Dear youth edition

It is very difficult to write about the former team “Lenta.ru” (and the future - “Medus”). On the one hand, the relations of the team with the outside world in recent months are built so that these people can satisfy only an enthusiastic tone of the conversation about them, but this is precisely on the one hand. On the other hand, by the middle of the fall, that is, just after the release of the book “Dear Editor” and especially after the Medusa’s chapcoster announcements, at least a significant part of the Moscow journalistic circles that were not related to this unique team, which was already new, different from spring, consensus. This consensus lies in the fact that people, of course, were good and the “tape” was good, but still with their self-assignment they went well. With this point of view, I have come across in the last weeks in many private correspondence, conversations and closed discussions in social networks - in general, everywhere except public space, and even, probably, it is worth opening a small editorial secret of “Kolts”: I am not the first author to whom the editors proposed to write about the book, I just agreed to write and did not say that it was difficult to praise, and they are uncomfortable, people are offended and all that is offended and all that is offended and all that is offended Other (by the way, advice to all young columnists-if “convenient” and if “people are not offended”, then no text should be written at all, the universe will do well without it, do better than something else). That is, the community, on the one hand, is waiting for someone to tell the unique team everything that he already deserves, on the other hand-for various reasons, no one is ready to say it himself. People had so hard, and self -assignment is the only thing that saved them all these months, why spoil their mood? As a result, a paradoxically former team of “tape” turned into such a surprise figure, almost like the dead from the formula “good or nothing” - with the difference that the real dead man is silent and does not touch anyone, and the “Medusa” team (the future Medusa team) tells us how good it is.

Sincerely believing that it was most effective to react to someone else's self -repayment from the standpoint of my own self -self -repayment, I would like to remind you: I was the first to publicly say that the Raming team did not behave very beautifully after his departure from this publication (by the way, they banned several veterans of the “tapes” on social networks), but I was the first to be the first to be dismissed by Galina Timchenko The “tape” of the Russian The New York Times - in the book “Dear Editor”, this expression is already used as a common place, that is, “Well, yes, these are the great ones”. These two episodes of my relationship with the “tape”, I believe, allow me not to restrain myself either in the positive or in the negative assessments of what I read in the book about the “tape”.

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A collection of short stories can be read at a different, from the end or from the middle. I began with personally acquaintances - with Ivan Kolpakov, without a shadow of irony, he called the “tape” “the last great Russian edition” (I can even understand why the great, but, damn why the last with a living Tatler?!), Yuri Sapkin, in whom a friend of the “tape” (“thank you, relatives, for the fact that you are”) frankly fighting Saprykin, whom we love and love We (“In the information Donbass, you have to run not so much with a machine gun, protecting the Russian world (or there is freedom of speech), how much to fall in the Shurf for 12 hours, often on the night shift”), Andrei Kozenko, whom I also know for many years, I really love and, in general, I don’t see a surprise in his enthusiasm (he describes the routine judicial reports so solemnly, as if it were solemnly, as if it were solemn Incredible journalistic investigation that changed the course of history). He stumbled on Artem Efimov - when the veterans of “tape” are written about “tape”, at least it is already familiar, but when they write about themselves with the same tenderness, that is, literally about biological objects (“I slept with my head and noisy sniffs”; “I returned - black as an Ethiopian, with a beads”), in Masai beads ”). It makes you stop and re -read - what is it written directly? Yes, just like that, but what is even more surprising-for some reason it is not annoying, although it should be by all signs. Probably, narcissism is also one of the legitimate rules of the game by which the Lenta played in recent years and with which it has achieved its indisputable success.

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Actually, the story of success is the second key element of the narrative after self -love. In fact, how did they manage to make such a publication? They say, it seems honestly. Svetlana Reuters writes that in the “tape” for the first time in her long professional practice faced the fact that no one ruled her texts at all, so they had to lead to the readable appearance of herself - Reuters did not manage to live long, she did not have time to live without an editor, so she was quite sincere in her delights about the harmless model of work. The same thing, but already from the position of the editor, writes Kolpakov.

In general, the professional secrets told in the book cause much more awkwardness than the notorious complacency of the team. Here is shared by the secrets of Elizaveta Surganov: “Lenta rewrote the news from agencies in normal conversational language. The news rewritten so immediately acquired the meaning ” - a great idea, Elizabeth, thanks! Here Alexander Ambzin shares his experience: “I compiled a checklist that provides at least the formal cross-country house. Format of the heading, structure, tape design rules ” - thanks, Alexander; If you find a good translator and a time machine, your idea can be sold to a deceased dick or the deceased Sulzberger Sr..

Probably, narcissism is also one of the legitimate rules of the game by which the Lenta played in recent years and with which it has achieved its indisputable success.

Perhaps the only author whose professional secrets can be read without awkwardness is precisely the veteran of the “tapes”, who left it long before the “golden period” (I'm afraid to lie, but it seems that I also gathered this expression from the book “Dear Editor”) Vyacheslav Varvan, who describes, probably, truly super -exaggerated and the beginning of the zero technology of news work in the news in the news in the nineteen. Online publications: I especially liked the position of "Debil Girls", an employee whose duties included the production of screenshots from television agencies in the absence of purchased photographs. But this is more likely to pass through the category of memoirs, like the text of Anton Nosik, interesting not so much by professional secrets as with all sorts of funny media-political stories from Early Putin Moscow-Pavlovsky, Yukos and so on; After all, we really have few such memoirs.

Probably, it is still worth saying about Barbannin. Personally, I do not know him and always treated him in absentia rather badly, because he once left the “tape” to make the famous “Reed” with the money of Rosmolodezhi with Ilya Varlamov (to do and deny the connection with Rosmolodezh). And you read his story about the “tape” - and, in general, you believe that both the professional is outstanding, and the man is good, and that's just the fact that a good man and a professional from the “tape” were able to do “Reedus”, of course, this can be a coincidence, but it can be a systemic defect just “tapes”, although I do not insist.

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Another something like intrigue is connected with a fragment written by Andrei Konyaev. “At least kill, I don’t remember how the VKontakte strip public got into my editorial duties,” Konyaev writes elegically and, it seems, does not notice by simple -mindedness, which makes a very important recognition.

The history of the Fire Accounts in social networks after coming to the Danilovsky manufactory of the “polite edition” stands in about the same row as the notes “This workplace is cursed”, the ideas “Show the system unit” and other movements of the soul of the team at the moment when it became unique. Accounts in social networks, a style -forming element of the “tape” of the heyday, is such a controversial moment: is it the property of mamut or not? The team believed that it was not, but the blue checkbox on Twitter, Facebook and VKontakte pointed out that the accounts belong to the “tape”, the editorial office - this, by the way, took advantage of Goroslav, who on behalf of the “tape” restored control over accounts in American social networks. This did not work out with the public “VKontakte”, because the blue checkbox from it disappeared before Gorreslavsky managed to think about it. Evil languages ​​say that the removal of the box occurred during the meeting of Galina Timchenko and Pavel Durov (Timchenko herself recalled this meeting publicly several times) on the day of his dismissal from the company, that is, to hold the public in the hands of the team, and not so that he himself fell into his hands. The team said that all the accounts on social networks were conducted in the hobby order, they had no relation to the Afisha Rabler and, therefore, they should not get to Gorreslavsky. For my taste, even in such an explanation, the story about accounts looks about the same as if I, leaving the Kommersant, took off the bronze hand from the Kommersant Entrance door in memory and in protest; But okay, there are some formal signs of correctness, legal and moral, on the basis of which the collective squeezed the “tape” from Grezlav,-this is how I thought about the conflict around the accounts, and here Andrei Konyaev came out and admits: yes, they say, the publication of VKontakte was included in his official duties, that is, the salary was mummed for him all the same He paid, and Konyaev threw Mamut.

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The fifteen -year history of Lenta.ru, of course, consists of two parts, and the first part acquired exceptional value only after the success of the second; So sometimes it happens in the cinema when, after a brilliant sequel, the passing first film also becomes a classic, as a “terminator” or “brother”. There was an aggregator, high -quality and respected (in the book this word sounds many times in such an offended context - they say, we were often called the aggregator), and then caps and Saprykin came, arranged a “department of new media”, and the old “tape” began to play, acquiring the species that everyone mourned in March. The exact description of the transition from the first part to the second gives Artem Efimov, describing the launch of special projects “Days of Eclipse” and “a country that is not”: they wanted to do what, but it turned out something outstanding, and then it remained only to put this genre on a permanent basis.

I read and heard a similar story when I myself talked to them, the veterans of the perestroika “look”; Over the past years, this nuance has been erased, and we now recall the “look” as the main television show of perestroika as if he had immediately arisen and conquered everyone. In reality, the first issues of the program were rather boring, there was nothing special in them, and telekritics, whether Yuri Bogomolov or Elena Chekalova, criticized the “look”, contrasting it with more successful “before and after midnight”. But, as it always happens in media projects with ambitions (in our “Russian life”, by the way, it was the same), the creators of the “look” literally studied reality by touch, trying to find the Leninist link for which you will pull and pull out the whole chain. At the “look” this happened in January 1988, when several allied departments were liquidated after the next Gorbachev reorganization of the government, and the program reporters went to the abolished Goskomnefteproduct, planning to make something like a fashionable film “Forgotten Melody for the Fleet”-we prayed to the street, we’ll be healed now. We arrived, and instead of bureaucrats-some unfortunate institutional aunts, “I am alone with three children, and where I’ll go now,” and from the “forgotten melody” the very acute sociality, on which the “look” safely traveled all three years of its existence.

That is very striking in the history of the “tape” - she, too,, like the “look”, was the “youth edition”. Galina Timchenko describes this in sports terms and rougher: “There are rich teams, there are poor, then50 metrovna, and then we are nobody, we are the donors of organs for the rich.” In the Soviet Union, the “organs”, of course, were Komsomol members, and when something changed in the country, it was they who threw out the waves-someone into the “look”, and someone in Menatep. It was a one-time episode, something such a spasmodic, and the further fate of youth editions and centers of NTTM-maybe it can already be seen in the prospects of Medusa.

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In general, it would be very cool if, at the end of the history of each edition, his team sat down and wrote a book about him. The Russian post -Soviet media has something to tell about themselves, and it is a pity that they, as a rule, do not tell anything about themselves (the memoir projects of the “posters” , the former RIA and “Elephant” are, of course, the blanks of books that will never be written). The unique team “Lenta.ru” violated the bad tradition, and, despite everything said above, it turned out to be a great book that would be worth reading to each journalist. Someone-to become the same as veterans of the "tape", to someone-so as not to become.

Dear edition. The true story of Lenta.ru, told by its creators. - M., AST, 2014. 340 p.