• Madrid: Blanca Fernández Ochoa disappears in Aravaca
  • Sports: the legacy of the Fernández Ochoa

Blanca Fernández Ochoa was that girl who, in the institutional campaign sponsored by Juan Antonio Samaranch to promote sport in Spain and whose slogan was so popular as "We Count on You", she looked scared at the camera. He held her, hugging her, her brother Paquito, Olympic champion at the Sapporo Games, in 1972.

Despite the fear that showed the childish look, Blanca, a very appropriate name for snow, was predestined by genetics and environmental influence to be a champion. Although born in Madrid (1963), her residence from a very young age in Cercedilla, at the foot of the port of Navacerrada, where her father worked as a janitor in the school of the Spanish Ski Federation (her mother was the cook), makes us associate her to the mountains of Madrid. A traditional skier nursery that, until the arrival of the Fernández Ochoa brothers (Paco, Blanca, Juan Manuel, Luis, Lola), had as reference the Arias family.

Blanca appears in the saint of our women's sport for her bronze medal in the slalom of the Albertville Olympics in 1992. It could have been gold in the Calgary in 1988. Winner of the first sleeve of the giant slalom, she fell In the second. The Albertville medal was won by fighting, according to his own confession, fighting the ghost of Calgary. An additional merit. In a mountainous Spain but far from the ski slopes, being Paco's sister was, above all, a heavy burden. A chain. When he broke it, his successes came in several World Cup events , an unprecedented success in the history of Spanish women's skiing. Between 1985 and 1991, Blanca won a giant and three slalons (special, it was said then) of the most prestigious seasonal competition in world skiing. Albertville's bronze culminated his career and, so to speak, rounded the family's trajectory. She retired after the Games and her popularity led her to participate in some television "reality".

Paco's premature death, at age 52, affected her deeply . He rubbed his head in a sign of pain that, in these moments of anguish and uncertainty, associates it with the figure of a Greek tragedy.

According to the criteria of The Trust Project

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