WEBVTT

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You're listening to Heritage Radio Network. Hi,

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everyone. Welcome to Potluck Food Talks. Today

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we have a special guest, Juliano Tero. He's creative

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chef at Mugaritz, one of the most creative restaurants

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ever, and also distributor of some of the most

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bizarre content on the... the most bizarre food

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content. He posts stories called Gastro Cringe.

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How are you doing, Julian? Hey, how are you?

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Well, I don't think it's bizarre. I think it's

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necessary to give this kind of sight to the gastronomy.

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I think if we always see a good part of gastronomy,

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there are very good people showing part of the

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recipes, the techniques, the teams and environments,

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but also there is a... bad, the astronomy, let's

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say that is bad, but maybe it's not bad, that

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showed the worst part of being a human. Yeah,

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like I've seen these stories, I mean, any crazy

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thing you can imagine, like people using, I don't

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know, like skin as part of food, or making shoes

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with ice cream, or the most cringe. Cringe things

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you could imagine around food, around his stories

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on Instagram. How often do you post that? Like

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every day? Every two weeks, more or less, I post

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a compilatory of these things that normally is

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divided into themes using food as strange things

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or using food without seeing the importance of

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food. That is the part of this. You say some

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examples, no? using ice cream for making a boot

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or let's do this kind of tiramisu bathroom. Let's

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put a tiramisu in a bathtub and start eating

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all this food. And for me, it's very linked with

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scarcity and with hunger, also with capital use.

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The other part is the thing that there's a lot

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of new food criticizers, let's say, that go to

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restaurants and say their opinions without any

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knowledge. For me, it's a way also to expose

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people and to fight against that kind of opinions.

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Because if we stay quiet, if we don't say anything,

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they normally think they are right. You mean

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like influencers, TikTokers that go to restaurants

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and give uninformed opinions? Yeah. Yeah, for

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me, I think it's a plague. It's a thing that

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started like not so long ago, like five years

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ago. Before that, we don't have any clue what

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the people used to do. For me, it's a trend.

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It's going to be a trend during maybe other five

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years until maybe social media is less important

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for our lives or a new social media appears maybe

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with... EA or something like that. I think there's

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a lot of people living with astronomy, but not

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participating in astronomy. And that's a problem.

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I wanted to go through your journey. As a chef,

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now, like I said, Julián is working as a creative

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chef in one of the most creative restaurants

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ever. How and when did you start cooking? Like,

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was it something you always wanted to do? Or

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like many of us, was it like you wanted to do

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something else and you ended up cooking? I was

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born in Lugo, in Valencia. It's a small city

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in Spain. I have the need of going away from

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Lugo. When starting to Madrid. to be a librarian.

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Because I like books, I like to read, I started

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working in Madrid in some, not restaurants, but

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some bars. I realized that I like astronomy and

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the way that people work in astronomy. So I made

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a small degree in Madrid, Formatio Profesional,

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it's called here in Spain. That is two years

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to be a line cook and I started to work in Madrid.

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But I think I always wanted to be a chef. I always

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cooked with my grandma, I cooked with my mom.

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I was very curious about food when I was a child.

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And then, when I was working in Madrid, I started

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to take all my money, I saved my money, to go

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to El Guli. What year was this, more or less?

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2010. More or less. And then El Bulli closed.

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They got me the brand, but they closed. So I

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have a lot of money. Not a lot of money, but

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I have money. I want to be more than a chef.

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And I thought that El Bulli was the path. But

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a new culinary school, a new university appears.

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That was a culinary center. And I applied. They

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denied me. They don't want me to go at the beginning.

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And then in September, they called me, okay,

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there's one spot left if you want to come. And

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I went here to San Sebastian. And I started to

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see food in another way because I never be involved

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with science. I never be involved with gastronomic

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culture like here in San Sebastian. And I started

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to try. To go everywhere, right? To go to the

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best places that I need to go to learn. So finally,

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at the end, being able to be to a widget foundation.

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and to be the first one to work, the first one

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people study or people in formation working in

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El Bulli Foundation. So it was very nice for

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me. Do you think your background as a librarian

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had anything to do with that? No, because I never

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finished the library science. I think I'm very

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worse at that. Maybe they changed a little bit

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of my mind because I'm more organized. I never

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go to the class when I was studying library science.

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I prefer to go to other places. The good thing,

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the good part, when I was in the Bully Foundation,

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that I've been able to share the space and the

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work with the people who made the Bully. In that

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moment, there were people of Disfrutar. It was

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Oriol, Eduardo, Mateo working in the Bully. It

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was Marcos Pineda, Eugenio Diego. All the big

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names that you know because you used to see the

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documentaries or you read the books and the people

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actually working with you. And the most important

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thing for me and the most shocking thing was

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that Ferran was there all the time. Was the first

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to come and the last to leave. Wow. What a crazy

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privilege. Yeah, you were probably one of the

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very last ones to work with that whole team together

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with Ferran and Oriol and Eduardo and Mateo at

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the same time in the same room. I think yes,

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I think yes. Maybe there are some people more

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that worked at the time, but yeah, I was very

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lucky to be there. I learned a lot and I realized

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why they were the first restaurant in the world

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so many times. Because they work very hard, they

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work very focused. And they don't let anything

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without investigate. Well, you were working on

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El Bullipedia back then or on a different project?

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Yeah. The Sapiens project or what was the project

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back then? Yeah, when I was there, there was

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no Sapiens. We realized, we started working with

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Sapiens during that time. We created the term

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Sapiens in that time. In that moment, we called

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it Bullipedia, but we don't have the Sapiens,

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we don't know if... The books are going to be,

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I don't know how many books they have right now,

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20 books or something like that. A lot of books,

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a lot of knowledge, a lot of different things

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that they made in that time. They work with Telefonica

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for making different kind of user experience

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to learn. It was very nice because you also,

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every week, there come a lot of people that maybe

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you know, like Tony Segarra, the branding producer,

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or people that do. working at a very high level,

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collaborating with a team. So it was very nourishing

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for me, for myself. How would you describe Oriol

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Castro? That's something, because I've heard

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so many people that have worked with him and

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they put him on such a high level of person and

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also of creative force. Do you have any anecdote

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that you can share or anything about him that

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you could say? Maybe not an adult, but I think

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Oriol is one of the kindest person I ever know

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in the industry. It was very nice with all the

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people. It was very, they know the names of everyone.

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They, it's very humble. In that moment, you don't,

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you know, start to open more or less. The rest

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are in cadaqués, but Disfrutar was a thing that

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maybe was in their minds, but it's not right

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now that are the... the top of the gastronomy

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at that moment, they were creating all these

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things that they have now. But for me, it's amazing

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because nowadays when we see each other, it's

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very, very warm. It's people that are very, very

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kind. Him and Eduardo and Mateo, they are this

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kind of people. And they deserve everything that

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they have right now. Yeah, just yesterday we

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were talking about going to Day 2, Disfrutar

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or Enigma is the nearest that you can be to go

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to El Bulli nowadays, right? The next generation

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after El Bulli. And then you got back to the

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Vasco de Nari Center. Was this like a... An academic

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internship? It was an academic internship. And

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then I worked with them in the summer and then

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started working with Mugaritz and with them in

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a common project that was in that kind of the

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first, let's say, project that involves Wikipedia

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or the Cuyo Foundation, Mugaritz and Pascualini

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Center to put this kind of way of thinking in

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the academy scholarship. So I was very young.

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I have a very pressure of a lot of people because

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then in two, three months, I realized that I

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have to make six hours of class in vascular center

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in the first year. In that time, I think I have

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34, 35 years. For me, it was like, okay, I don't

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know if I'm ready to do that, but I'm going to

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do it. I was very stressed because the ball was

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in the middle. And sometimes nobody wants to

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take decisions of the things. And you have to

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take a decision for them. For sure, you have

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to take a decision for three big corporations.

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And you are a small monkey in that moment. It

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was like a completely crazy moment of my life.

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And then, with this project, I started to work

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with Mugaris. Did you do the whole stagiaire

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process? Did you work direct to the line or direct

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to the creative lab? How was that? Entering Mugaritz.

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I entered, recommended by Ferran, in the R &B

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team. I only stayed two, three months as an internship

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in Mugaritz and then I had my first contract.

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For me, it was, of course, it was complicated

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because in the process of Mugaritz, you cannot

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do normally this. You have to be an internship,

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then you have to be a line cook, then you have

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to be a chef de partie, then you have to be a

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chef, and then you have... Maybe you have to

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go to R &D. Yeah, I know. I was just thinking,

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for example, I was thinking of Diego Prado, for

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example. He has all the conditions to be in the

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R &D team of Mugaritz. And he has been maybe

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one of the persons that has been the most in

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Mugaritz in one year. I think there was a year

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where he went like 11 times in one year. But

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he told me, yeah, you don't get hired in Mugaritz.

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That just doesn't happen. Not like that. Yeah.

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That was like a big exception, right? Yes, a

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big exception and also a big pressure to make

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things right. I know in that moment that I'm

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very lucky. It's for me a dream. I remember when

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I have my first books of Mugaritz in 2004. And

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then 10 years later, I start to work on Mugaritz.

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This is my favorite one. This is my favorite

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one. And I have it all signed with the team back

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then. And then I finally made some of the books

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of Mugares, so nice for me. It's like when you

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are a fan of something, a fan of a rock band,

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and then you are in a concert and the singer

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says to you, OK, you are going to play the bass

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with us today. And you say, what? And then you

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come and then you go with the tour with them.

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Twelve years later, you see, okay, I'm the guy

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in the rock band who can say to one in the audience,

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come with us. And it's nice, the process. Yeah,

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that's really crazy. I have to say I'm a bit

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jealous because I was a stagiaire in Mugaritz

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and I dreamt about being in the creative position.

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I was just for a short stash back then in 2005,

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like really early. Yeah, and how has been the

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experience of working in Mugaritz with people

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like Ramon, like Dani Lassa, like Javi, traveling

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around the world? What can you share about that?

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Well, it was very nourishing. You say you work

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with a lot of people, but sometimes for me right

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now, that maybe my last steps in Mugaritz, for

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me, the most important thing is not also the

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people who are there at the team that are very

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important for sure. And I get to know people

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very important like Leire or Daddy. But for me,

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the most important part are all the people who

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come every year, like as a stagiaire, as an internship,

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as one year only, because they are the people

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who move actually the machine. Yeah, they also

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bring the fresh blood, right? Like the energy.

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Yes, and for me, it's the most important thing

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because people in the history of Mugaris, maybe

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you can count 10. In that 27 years. But people

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who make us an internship in Mugaritz, there's

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thousands. And the people who put later the business

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or restaurants or other things with the trademark

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of Mugaritz, with this kind, there are people

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who only one year. So it's amazing force of Mugaritz,

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but it's not about the person. It's about the

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environment. And I really believe that the environment

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is the thing that makes it work. I completely

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agree. For me, there is magic in that. I remember

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when I first came back to the Basque Country

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10 years later after being in Mugaritz, just

00:15:33.669 --> 00:15:37.049
the smell of the forest triggered something in

00:15:37.049 --> 00:15:40.309
my head, like brought me back, you know, to being

00:15:40.309 --> 00:15:42.389
there in the morning, walking into the restaurant.

00:15:42.470 --> 00:15:45.090
It was like a very, very magical experience.

00:15:45.289 --> 00:15:47.090
It was the first place that I went after leaving

00:15:47.090 --> 00:15:50.169
home, living with my parents. I was 19 years

00:15:50.169 --> 00:15:52.980
old. I went directly to... to Mugaritz, you know,

00:15:53.019 --> 00:15:55.519
like Marcel picked me up in the train station.

00:15:55.639 --> 00:15:59.159
That was a, yeah, like a crazy time. Also something

00:15:59.159 --> 00:16:01.120
very interesting, and this is something we have

00:16:01.120 --> 00:16:04.220
talked a lot about in the show, the approach

00:16:04.220 --> 00:16:06.700
of Mugaritz, that is, I think it has something

00:16:06.700 --> 00:16:10.240
that not other restaurant in the world has, that

00:16:10.240 --> 00:16:13.360
is this thing that flavor is not the most important

00:16:13.360 --> 00:16:16.600
thing. For us, something important is... that

00:16:16.600 --> 00:16:19.460
is interesting, that is challenging, that is

00:16:19.460 --> 00:16:23.259
stimulating to your senses or to your intellect,

00:16:23.419 --> 00:16:26.700
same as a work of art could be. There is this

00:16:26.700 --> 00:16:29.039
super interesting documentary that you appear

00:16:29.039 --> 00:16:32.279
in, what's the name, Without Bread or Dessert,

00:16:32.419 --> 00:16:37.440
that was published last year, where you go through

00:16:37.440 --> 00:16:41.019
the whole creative process of a year. What can

00:16:41.019 --> 00:16:43.279
you say about that, about that approach that

00:16:43.279 --> 00:16:46.679
is so unique? I think that it's necessary, this

00:16:46.679 --> 00:16:49.519
kind of approach. I think that nowadays, I think

00:16:49.519 --> 00:16:51.820
there are more restaurants that they do the same.

00:16:52.320 --> 00:16:55.500
We are not unique. But in the moment that Mubariz

00:16:55.500 --> 00:16:59.019
tried to make this kind of approach to the gastronomy,

00:16:59.080 --> 00:17:01.399
for sure it was completely unique. The other

00:17:01.399 --> 00:17:05.279
big restaurant in that moment was Ibuli or Noma,

00:17:05.500 --> 00:17:08.339
and they do more comfort food. Even they use

00:17:08.339 --> 00:17:10.779
a lot of techniques and a lot of new approaches.

00:17:10.960 --> 00:17:14.240
It was more comfort food. Mugares has this kind

00:17:14.240 --> 00:17:17.640
of sense of trying to challenge people, as you

00:17:17.640 --> 00:17:21.000
said, but it was very good during a lot of time.

00:17:21.140 --> 00:17:23.680
But nowadays, I think Mugares is also trying

00:17:23.680 --> 00:17:26.559
to peace because they have, because it's a business

00:17:26.559 --> 00:17:29.980
as well. It's a 27 years business that you cannot

00:17:29.980 --> 00:17:33.740
think Mugares without that. We have to get money.

00:17:33.900 --> 00:17:37.599
And I think also Mugares changed a lot. During

00:17:37.599 --> 00:17:40.339
these 27 years, because when you were in Mubarak,

00:17:40.559 --> 00:17:45.460
you were in the kind of herbal, wild kind of

00:17:45.460 --> 00:17:48.559
inspiration. Ten years ago, they started all

00:17:48.559 --> 00:17:52.920
this kind of wild, crazy ferment. And nowadays,

00:17:53.220 --> 00:17:56.359
I don't know exactly what is the point, because

00:17:56.359 --> 00:18:00.599
I think we have to see with five, six years in

00:18:00.599 --> 00:18:03.890
advance, let's say. to talk about the history

00:18:03.890 --> 00:18:06.190
of Mogadishu, but it changed a lot. And I think

00:18:06.190 --> 00:18:09.029
it's one of the values of Mogadishu, that they

00:18:09.029 --> 00:18:12.049
change. They can change. That's why there's no

00:18:12.049 --> 00:18:14.970
clothes, that it was still relevant, and the

00:18:14.970 --> 00:18:18.589
people talk about us like a big, big, important

00:18:18.589 --> 00:18:23.069
place. There is a new topic for every season,

00:18:23.210 --> 00:18:25.690
right? I remember in the documentary, the topic

00:18:25.690 --> 00:18:29.500
was... the things that you can't see, like everything

00:18:29.500 --> 00:18:34.200
that is invisible but is present. And what was

00:18:34.200 --> 00:18:37.380
it this year? Well, I don't remember. I usually

00:18:37.380 --> 00:18:39.380
don't think about these kind of topics. I think

00:18:39.380 --> 00:18:42.420
they're important because it's seasonal, but

00:18:42.420 --> 00:18:46.109
I always forget that during the season. Something

00:18:46.109 --> 00:18:48.190
important is the dynamic of the teams that you

00:18:48.190 --> 00:18:50.130
work with when you create the dishes. Like you

00:18:50.130 --> 00:18:52.990
have like this force, as you mentioned, of people

00:18:52.990 --> 00:18:54.769
that come from all over the world, these young

00:18:54.769 --> 00:18:57.890
chefs that want to spend a season there and nourish

00:18:57.890 --> 00:19:01.049
themselves technically and intellectually. So

00:19:01.049 --> 00:19:05.009
there are like team builds for specific dishes.

00:19:05.250 --> 00:19:09.650
There's like every dish has a team and how does

00:19:09.650 --> 00:19:12.950
it work? And a leader also and also like a mentor.

00:19:12.970 --> 00:19:15.549
Is it something like that more or less? In R

00:19:15.549 --> 00:19:17.910
&D, we are the leaders of this kind of processes.

00:19:18.490 --> 00:19:20.970
The recipes are the techniques, but the people

00:19:20.970 --> 00:19:23.670
who are going to be with us, that are the ones

00:19:23.670 --> 00:19:26.670
who stay during a year with us and then stay

00:19:26.670 --> 00:19:29.970
like this kind of four or five months more to

00:19:29.970 --> 00:19:33.470
make this kind of creative system, they are the

00:19:33.470 --> 00:19:36.650
people who actually develop the recipes. They

00:19:36.650 --> 00:19:39.410
are people who have to set recipes and change

00:19:39.410 --> 00:19:43.049
things and try to... to figure out what is kind

00:19:43.049 --> 00:19:46.609
of strange topics that we are with some sometimes

00:19:46.609 --> 00:19:50.289
we we put in let's say this is an hypothetical

00:19:50.289 --> 00:19:54.869
we are going to make a plate about luxury but

00:19:54.869 --> 00:19:58.410
we don't tell people what is luxury or what or

00:19:58.410 --> 00:20:00.930
which ingredients is going to be the plate so

00:20:00.930 --> 00:20:04.430
they have to figure out and that's why it's important

00:20:04.430 --> 00:20:08.609
they have to be that morales has to have young

00:20:08.609 --> 00:20:13.089
plus every year because you can manage ideas,

00:20:13.329 --> 00:20:18.250
but your ideas are limited in time. I have a

00:20:18.250 --> 00:20:20.630
theory for me, it's very important. We are very

00:20:20.630 --> 00:20:24.650
good as creative chefs when we are young because

00:20:24.650 --> 00:20:29.809
we have a pack of knowledge and of memories when

00:20:29.809 --> 00:20:34.450
we are children. We have like 20 years of knowledge

00:20:34.450 --> 00:20:37.470
in the setup of our minds, but when you start

00:20:37.470 --> 00:20:39.970
to work, you... You can use a lot of these kind

00:20:39.970 --> 00:20:42.150
of ideas. And if you don't nourish yourself a

00:20:42.150 --> 00:20:46.089
lot, reading, traveling, seeing other restaurants,

00:20:46.230 --> 00:20:50.630
you cannot go as fast as you need to survive

00:20:50.630 --> 00:20:53.509
as a creative chef. So it's very important that

00:20:53.509 --> 00:20:57.410
young chefs with all these fresh ideas come and

00:20:57.410 --> 00:21:02.950
to make a work that is shared and that is collaborative.

00:21:03.309 --> 00:21:05.809
Because it's the same thing that I said before.

00:21:07.079 --> 00:21:09.200
It's not about the names, it's about the environment

00:21:09.200 --> 00:21:12.819
and how we can create a thing together. No, absolutely.

00:21:13.000 --> 00:21:15.380
I think that the magic about being in Mugaritz,

00:21:15.440 --> 00:21:18.440
I remember when I was there, all of the station

00:21:18.440 --> 00:21:21.960
chefs, the chef de parties, now they're famous

00:21:21.960 --> 00:21:24.519
chefs on their own worldwide, you know, like,

00:21:24.619 --> 00:21:28.250
and many of the stagiaires. Also, so I think

00:21:28.250 --> 00:21:30.210
I was in a very, very special year. Probably

00:21:30.210 --> 00:21:32.210
every year is special, but that was my year,

00:21:32.329 --> 00:21:35.170
you know. I also wanted to ask something I want

00:21:35.170 --> 00:21:37.269
to know, like in a restaurant like Mugaritz,

00:21:37.329 --> 00:21:40.829
when do you know that a dish is ready for service?

00:21:41.509 --> 00:21:44.869
Like how many tryouts, which is the indicator?

00:21:44.950 --> 00:21:48.309
Because if delicious is not the indicator, how

00:21:48.309 --> 00:21:52.150
do you, is it intuitive? Is there like an approach?

00:21:52.609 --> 00:21:55.960
How do you do that? Well, the thing is that a

00:21:55.960 --> 00:21:58.619
dish is never ready. But in Mugares and in other

00:21:58.619 --> 00:22:02.599
places. But because when you create a dish, when

00:22:02.599 --> 00:22:04.940
you serve a dish, people that are going to eat

00:22:04.940 --> 00:22:07.559
that dish are going to change and are going to

00:22:07.559 --> 00:22:11.259
finish the meaning of the dish. And sometimes

00:22:11.259 --> 00:22:14.259
this kind of feedback helps you to make things

00:22:14.259 --> 00:22:18.539
differently. And also, maybe you make a dish

00:22:18.539 --> 00:22:22.299
four, five, six times, but the people who are

00:22:22.299 --> 00:22:26.529
going to make it, Every day during a few months,

00:22:26.670 --> 00:22:29.650
I'm going to change a lot of things. So at this,

00:22:29.829 --> 00:22:32.609
when we start the season and when we finish the

00:22:32.609 --> 00:22:35.250
season, it's going to be different. And for sure,

00:22:35.269 --> 00:22:39.089
if we continue the season, it's going to be different

00:22:39.089 --> 00:22:41.890
as well. Actually, you don't finish at this.

00:22:42.009 --> 00:22:46.769
You abandon this. It's like, I think Picasso

00:22:46.769 --> 00:22:50.690
said that about the art, that the art is never

00:22:50.690 --> 00:22:55.140
finished. You have to leave it. people have to

00:22:55.140 --> 00:23:00.259
finish it for you. Yeah, I think Duchamp said

00:23:00.259 --> 00:23:05.000
that. Yeah, that the work is finished by the

00:23:05.000 --> 00:23:09.480
receptor, by the public. And I also, I don't

00:23:09.480 --> 00:23:12.779
know if it was Hemingway or some writer that

00:23:12.779 --> 00:23:15.920
said that a work is never finished, only published.

00:23:16.339 --> 00:23:19.480
So, like, you publish it, but that doesn't mean

00:23:19.480 --> 00:23:22.660
it's finished. Yeah, I guess... Both of those

00:23:22.660 --> 00:23:25.779
ideas come together with this one. But on the

00:23:25.779 --> 00:23:29.519
creative process, how many tests, like kitchen

00:23:29.519 --> 00:23:32.740
tests, do you make or like a random number? Is

00:23:32.740 --> 00:23:36.779
it 10, 20, 100? Like how many for this? Maybe

00:23:36.779 --> 00:23:39.460
you have an aha moment and you create a dish

00:23:39.460 --> 00:23:44.500
in a few tests because you have it very clear

00:23:44.500 --> 00:23:48.460
in your mind. And sometimes for making a new

00:23:48.460 --> 00:23:51.299
technique, maybe it's four years. to develop

00:23:51.299 --> 00:23:55.220
it. I remember when we started using Bendicium

00:23:55.220 --> 00:23:58.559
aviarensis, that is the fungus that grows in

00:23:58.559 --> 00:24:02.640
some sausages like Fuet or Satichonca in Spain,

00:24:02.799 --> 00:24:07.400
that takes us like four years to grow it safely

00:24:07.400 --> 00:24:11.079
in the way we like it. And once, because it was

00:24:11.079 --> 00:24:13.779
a human mistake, they changed the proportions

00:24:13.779 --> 00:24:18.059
that we normally use it and grow so fast that

00:24:18.059 --> 00:24:21.250
you can start to use it. without any harm to

00:24:21.250 --> 00:24:24.730
the people. So it depends, it depends. But for

00:24:24.730 --> 00:24:28.250
saying that, if maybe if you work with this two

00:24:28.250 --> 00:24:33.769
months, you can work with 30, 40 tests every

00:24:33.769 --> 00:24:37.410
recipe. Super interesting. Thank you so much

00:24:37.410 --> 00:24:40.410
for sharing all of this with us. And it was a

00:24:40.410 --> 00:24:46.609
pleasure having you with us. That's it for this

00:24:46.609 --> 00:24:49.279
week's episode of Potluck Food Talks. If you

00:24:49.279 --> 00:24:51.200
like what we're doing, make sure to subscribe

00:24:51.200 --> 00:24:53.460
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00:24:53.839 --> 00:24:55.920
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