Good morning, Mother? Good morning' s sphere wrong, Comonic sphere of
the Fund. Welcome to a new episode of Good Morning Mother, wait for
the program in which we like to approach different aspects, challenges, projects,
people, books, everything that helps us in this beautiful task, so intense,
so fun that it is the upbringing, the education, everything related to
childhood and beyond. You know that we try to bring you topics of the
most diverse and surprising, also and that we like to propose you stimulating challenges
and also to present alternatives and surprises, like the one that we bring you
today or, for example, masked croquettes. Who could imagine that there is
a masked croquette? Well, today we present to you the little people who
are behind the thinking heads of masked croquette. They are Javiera Torres and Laura
Donada welcome, Javiera, Laura, how you are. Thank you very much,
welcome, very much adore this welcome. Yeah, well, nothing here.
Monica very well inventing strange things always Javiera we already know her. He
' s been with us several times. We could hear it with that wonderful
podcast, please of the Sonica magnifying glass. So beautiful, Javiera, so
beautiful, so stimulating and to be able to listen with the children at home,
with the boy, the girls without enjoying it, a project also,
super beautiful that we are very sorry that it ended, but that is there
for the enjoyment and enjoyment of all the generations that can enjoy it and that
also, has published tale or skies a woman that you do not stop creating
things, you do not stop inventing, you do not stop proposing to us
besides questions that we always like. I don' t know why it will
be and that on this occasion you come together with the hand of Laura Dorada,
whom, because we didn' t know, so it' s a
pleasure Laura we know. Thank you very much, indeed, and please tell
us a little bit about you, Laura, if you think it' s
all right, because the truth is a schoolmate and a very best friend for
a long time. I mean, we' ve been henchmen since those times
when he dyed Red' s hair on me, cheating on me saying that
he already had a lot of experience, but then he confessed that he had
only once done it to his brother and that he hadn' t been very
happy, but we were already there and that' s kind of like the
sort of things that define us. We get into Bernjenals. We like science,
we like children, we like children' s literature and we like to
write both. And then we' ve already done things together at the start
of blogs. We had a blog called Carambola de Croquetas, where the GUIs
were born before thinking and the time was Lombardy rebooted and we put our things
there and nobody read us, or anyone else, but we were very happy
in the two thousand four, or so or before day two thousand four.
So out there and since then, because we' re always like what we
do, what we do every time we get together there' s a desire
to sauté somehow we made a book about water that was for an association that
in the end was because it had lots of jokes and lots of things.
And we always have this anxiety about doing things. And this summer we'
re meeting in Soria for a week like something you have to do, what
you' d like to do no, and well, we' re clear
there are things. We' ll talk about it, then there' s
no one. He can do the things others want and what he sells and
these things. But that never attracts us, because it seems that making money
is something that eludes us. And we wanted to do it. What we
wanted to do and put there on the table everything we wanted to do and
we composed this cropeta laura you also come from the world of science, like
Javier, exactly what you do for putting so a little in context, to
see that as with Javi, with a lot of friends that we have out
there crazy. And then I devoted myself to the subject of environmental engineering.
Then I went on to the subject of conservation. I worked in different NGOs,
but well, because of life issues and because in the end, you
pick up a line and in the end deviates all the time. Or at
least, that' s my discharge. Fortunately, fortunately, and then I
ended up writing, writing content for companies, social networks, I know fuck
and all web catalogs, such as I mean, I dedicate myself to managing
content then because I love to tell. I mean, in the end is
that in the end this says no what of turns. You' ve given,
well, I' ve gone around, but not so many, because
in the end, science is looking at the world differently. I think that
' s what attracts science, as the world amazes you from another perspective and
in the end, counting and counting is the same thing. It' s
like collecting data to put it on the table and bring out the fascinating world.
So, well, all of a sudden, I kind of got there
by magic. And then, that' s what I do to write myself
because I like it and to train myself in writing. And all that,
I mean, that a little weird, everything, but well, well,
and that' s not it, the right cyminoes are really boring. I
think yes, yes, you don' t do well, no, they
don' t work out well, friend, well, we have sometimes very
closed ideas about what a production and a career should be and on many occasions,
in most cases, I would say they are almost not formed by curves,
mountains, bridges. What is that we still follow as in this installed
narrative that virtue the virtuous are a vocation and dedicate yourself in body and soul
for life forever and ever and lift up and say this is what I want
to do and it is very good. There are people who have that luck,
that is, misfortune, I don' t know what to do with
but this call, but there are others who don' t that we have
perhaps our virtue, of the ability to change, of adaptation or seeing how
the thing goes and go adapting. And well, it' s another different
narrative and neither better nor worse. It' s another one. So this
isn' t a lot of intelligence. I don' t know a lot
of what. Now all is known, but the way must be right because
it is not right. That seems to me to be a very interesting lesson
and that, moreover, many people who have that experience have already passed by
here and I like to always tell it, because I think they continue to
perpetuate that idea and generate a lot of frustration, because there are many people
who are not so clear what they want to do in life and then it
seems like you have to reach that position, that mistake, that you want
to do. But, well, of course, this stops, it stops
for a lot. But the man, that' s what we' re
dealing with. The thing is that they unite you, apart from friendship,
a creative spirit, the world of science, the world of childhood and crazy
ideas, crazy ideas like this fanzin that you have posed to us. Suddenly.
One day Javier writes to me Look at one thing. Give me your
address. That' s right, that' s the way it is and
all of a sudden you throw us this adventure called the masked croquette. Tell
us, please, what is this you and I, Javi give him good
is we think we' ve talked about it other times. Monica, I
think and the magnifying glass also had a little bit of that dye that we
didn' t think childhood would put doors in the field. Science is everything,
and in the same question of a girl there is a science thing with
a poetry thing and then when you answer it very well and something else happens,
and then we see more and more a bunch of science books for children
or science material for children that is like only based on scientific vision and very
close to the rest and to us the passion for science. It doesn'
t come to us like that. What we see in our day to day
with the children the time also gives workshops at their school because it doesn'
t tell them no to anything, and what we see is that that'
s not so, that it' s not just science. Then we really
liked this idea of we' re going to take a topic and talk about
it from all the perspectives that we want and we want to do it in
a way that anyone, that is, that doesn' t depend on borders
or having a bookstore nearby, but neither buy it on Amazon. Then I
was born this idea of and if we do something that can be printed and
mounted at home and that so the theme of riding it is part of making
your material and then we had to fit all our ideas into this and I
also like to make drawings the work, makes collage, we write the two
poems for children and tales and then and we share a sense of humor and
one thing that is very fashionable in theory, but that is not so difficult,
it is not so easy to find that it is this irreverence and it
is a bit, not that in the first I think it is masked,
that it was ultraviolet light, because Laura marked a tale of a gentleman with
forescent farts and it stayed so wide. And that' s a little masked
croquette, a printable to download and ride at home and then you ride full
color, adds pages. One day he reads a part, one day he
makes a crossword puzzle, another day he learns a new thing and another day
he sets up an experiment with the indications we give. So that' s
the idea of how to approach a topic from all sides in a very unscathed
way and very much when you feel like it and without it being didactic.
I think that' s what I was going to say that I think one
thing that defines croquette too is that it' s not in this we have
a goal that the person reading it ends up knowing exactly what our other violet
is. How many I don' t know about Us what we think is
that the croquette is full of questions and threads to pull. I mean,
it' s not so much about response, but how to say hey you
know there' s our ultraviolet out there, I mean, flinch. Since
I' m going to explain to you a little bit how it is about
ultraviolet, but it' s just that you have to say the same thing
that attracts you the attention of ultraviolet light and keep going around, or don
' t forget the light for life. I mean it' s a me
I think it' s like a call not a touch tok you know like
hy in Lucinto de Veneta flipa such I don' t know what and above
all that not the Violet Route. I can explain to you what it is
but if we play with the name and if we suddenly imagine what would happen
like that, because that' s also science, that is, it'
s a form of science, it' s literature, that' s all.
It' s not what Javi said. That' s it. It
' s just that I, for example, the other day I did a
density workshop at school and I realized that what was moving him was cooking,
that is, and they were there doing a thousand curreries and going through.
That' s not great and I thought Joe, who marvels that you have
this space to say take it clear that it does mix ke made with flour
to see and put it there to see whether it floats or not. What
difference does it make that you' re going to put yourself here to explain
the density of the mass. I told you, I explained it to you
at the beginning of class. Another does what you want if the question arises
and why this happens, because phenomenal. That' s not the idea,
but we don' t want the croquette to be a didactic unit. It
' s a door, a little pig to explore the second number of the
hair. It has a hair crossword puzzle, a rhymed poem by a gentleman,
a rapuncture, an experiment to see how much a hair resists, the
structure of the hair you paint, the fauna in your hair. If you
get under the bed and absorb all the fluff there is, I mean,
it' s a little bit of a tour of all aspects and we'
d love it to be very communicative. I mean, we ask a lot
to send us things in the fancín is all the time, please, the
drawing you make. We want to see if you can come up with another
ending for the story. We want to see it because that dialogue is very
nutritious and it is what maintains the real connection that we program with our children,
the little children of Indias always the poor, but all the real connection
with all the other children who have other interests, other viewpoints. No and
as the now says, that part of the surreal poets of now takes the
word ultra violet. What is this why see all those aspects. Also language
play. The language we like very much both of us and we think it
is very important to play with it, deconstruct it, use it as a
tool, as a game. Then there are the two aspects very closely linked.
The person who hasn' t seen a masked croquette must still be brimming.
Then it' s like that. But yes, it' s a
four. Yeah, yeah, yeah, I' ve got the first one
here that my son rode on him, so look who' s coming.
Yeah, yeah, yeah, cool, yeah, yeah, man, cool,
cool, cool, cool, cool, cool, cool, cool,
cool, cool, cool, cool, cool, cool, cool, cool,
cool, cool, cool, cool, cool, cool, cool,
cool, cool, cool, cool. Let' s use it as a
definition. Yeah, it' s nothing. Funny, it' s very
good. They love it, I love the slogan. Yes, in fact,
when I received it, I said and to see how, within my
rational spirit that sometimes I have I say where I fit it, how I
place it, in what category, where to communicate it. It is not
to say that we have also jumped well as you tell it and suddenly you
realize that this you have to come to tell people about it, because it
is hilarious and it seems to me, moreover, so out of the system
is that it seems to me, that is, best of all, how
you have chosen it the way people find it and unload it. But by
paying for that now you do not tell it the way it is acquired,
but with that hooligan spirit and as indie also, but well not innimal,
indiviene indeed. Yeah, I mean, I think what both of us were
attracted to doing something, the one with the other is that we know we
' re crazy on the same wavelength. No, and our point is we
don' t want to do anything, because although we' d love to
make ourselves millionaires, but I think they' re masquerading. We have a
point of realism still and we know that it is a thing that we do
a lot, by the way, because we feel like it. And then
we don' t want to do anything that we don' t want to
do, so, in the whole process of the subjects of things, we
' re going through the pipe and we want that to be noticed and not
at this point in life we' re not going to make videos with filters,
I mean, for what, what filter nor we' re going to
stop. Then it' s all as clear as that, we' ll
finish a whole creoquet costume. You see, I don' t doubt it,
I don' t doubt it, we already have a secret plan to
disguise ourselves as lice, but we can' t waste much. But then
the other day I don' t know when we were preparing the ultraviolet light,
for example. Of course, we' ve done everything with the lamp
with I don' t know what. And the ultraviolet light lamp has to
be used with sunglasses because if it doesn' t happen much, because in
discos there are many. But just in case and then I hear my kids
where he is. Where' s Mom and you say one, because you
know she must be in the bathroom with the sunglasses and she doesn' t
stop with ultraviolet light. And it was true and it' s great.
I don' t think we have a lot of fun with that and that
doesn' t feign Whoever gets there will get there if you don' t
say anything and look like two pyres, because that' s it. But
that' s where the indie thing comes from that it' s really that
we' re wearing sunglasses watching them pee that glows ultraviolet, so that'
s also that important lizard tool. Yeah, it' s like coming in
That' s the one with the sunglasses. Here' s someone who pees
outside and we' re gonna find out now, because with the hair thing,
we can take samples with the pancin, the number two on the hair.
We already know that we can take samples and guess who it is,
I mean, they' re from that side that comes a little that good.
And also on the practical side, not because Javier and I have you
this mind also super, perfectionist and super even if it does not seem,
very very existing, like you have others more. And then one when you
start riding one, when you start riding stuff, instead of or, you
jerk us off, instead of getting to what good do we do this?
How well we do that is as it is already, but we don'
t know how to edit it anymore, but we don' t have it
as it pays us already, but we don' t have an editorial.
And it was the way he looked. I believe that from forty- five
years old we are already saying legitimacy, the legitimate we are to say to
do whatever we want, which tool already is? What tools do we have
ourselves that we read a lot and that we like to see what happens here
in life. We' re gonna put all this together, which could be
a wonderful, incredible thing edited with extraordinary things and company in three of me
that I know could, but it' s not, it' s not,
and we have to pull forward. And then, for once we'
ve grown up, I think the partner very mature and we said let'
s go out, let' s start walking, because what matters, so
if the important thing is that we have a good time, that there are
people there who like a lot, the masked croquette, that they' re
having a super cool reception, that people tell us that it' s a
pass, that they have fun. That' s it, that' s
it, then it' s coming a little. We' ve also made
a movie fan because we like the scam and because we can' t do
anything else. What the fuck do you know, that' s fine with
the tools we have. We have also found it to be also, i
e we both have a bit of a syndrome that I think is very common,
which is the syndrome we call the Molesquine notebook. You don' t
have a wonderful precious notebook, you never paint on it, you never do
anything on it, because it' s so beautiful that your unworthy contribution.
I mean, I' m sure you' re gonna start with the wrong
thing, because of him, and he' s paralyzing. And sometimes these
things too precious, too wonderful, are paralyzing and teach that either what you
do is perfect or you have no right to do anything and we have put
together the need with the virtue of these are the drawings we make. This
is the style we like. So, we like to model and it is
considered that it is relaxing. It' s also like it' s not
perfect, it' s crappy. Here, here it' s nicer,
here it' s more like, but here it is the children can paint
it. Besides, without having remorse of conscience, not doing what I give
you in a book, you can' t, but here you can do
whatever you want. We encourage you as the front of the croquette, put
it on, hair, hit it, macaroons, lentils. What you want
is not a collective and unpretentious work of being a work of art, but
of being a moment that is shared and you have fun and learn something and
if you don' t have any more fun and it is together at different
levels because you can do it with mother without mother, small big ones,
you will like one thing more, no, my nephew likes the story,
but my niece is doing the crossword puzzle and no. Each one gets one
thing thrown at those who like to draw more than others who don' t.
To me, lem don' t make me do things that look like
homework, because that' s also because this format also allows you to experiment.
I mean, the first croquette had blank pages or the second one we
suddenly removed one day we decided that instead of a five, it' s
a four or lu again I don' t know it' s like there
' s nothing closed, nothing happens, don' t put your own limits,
I mean, maybe the next creapatas a folio. Only I know it
doesn' t matter. Then that freedom also opens a lot for you.
It' s an explosion for your brain not, because it' s like
what we do this time. So, right now we keep a more or
less homogeneous format, because if it doesn' t go hand in hand,
yes, of course, but nobody takes it away that all of a sudden
you call games of combinations popá simple things that can always be mounted, but
that are part of that to churrate the fanzine And what difference if it is
a fanzine. You know, that' s a little theory and how people
are saying, where we can find it, how we buy it, what
we have to do, there' s subscription, how it goes because you
pray for now, the easiest thing, the easiest thing to buy is to
go to the instagram of the masked croquette that is stealing it. I think
they' re masquerade and from there on the profile they have the link and
that' s the point. It' s very simple. You buy a
product for nine euros. You get a text message from an e- mail
pardon and you download it, print it at your house and start the party.
You start riding it, you start doing whatever you want with it.
This time we have also given up the possibility that I can. Let'
s send a light print with a little bit clearer, you can receive a
clear printer. If you don' t feel like it or if I know
if I finish your ink and live in a town of 200 inhabitants, I
don' t know who could have done that to. I mean, anyway,
you don' t feel like it and then you get it in your
house already printed and ready to ride. We' re not gonna give it
to you, too. We' ll give you printed, but the assembly
spree and then we' ve also added this time an option, which is
good. We have a lot of trust in the human being. Then we
' ve given you an option, and if you want it, print out,
for example, this number of hairs to the sea. We think you
can be very interesting for children' s hairdressers. It doesn' t occur
to us that while they are waiting for them to cut the hair of the
girls, because they can be knowing the hair is not an environment of hair
and that it is happening then that you, if you have a hairdresser,
can print it as many times as you want, but that you do want
and since it is a contribution, a little more ins instead of for nine
euros, because you buy it for twenty. I think we put in the
twenty- five. Javier, I don' t remember and they give different
to two and little gives you license to print it every time you want to
see it then that they can color or things like this now people who can
see it on the YouTube channel when we upload it that they are illustrations of
the hair, like a forest, what it' s called their gums,
their lice. Sure, I mean, we' d really love to,
like, croquette, obviously get everybody to see, we' d love to
be rich. That' s what we' re going to make clear,
but I think it' s gourmet. But to make the good clear,
to do good, and then, because we can' t think of it,
that it would be very cool, because I know and all of a
sudden, because they encourage themselves in dentists and tell us why they are toothed,
and the children can see it in the dentist, in the oculist.
I know in scenes before traveling, that not that you say oysters how to
run on a plane how, but not an entertainment, but like what'
s going to happen about the trip. Oysters didn' t travel before.
I know I' m making up as I go. Gentlemen, I divided
that you are listening to us, of course you are listening to us in
what idea you do travel by train. I know there' s a lot
of stuff, yeah, I mean, it' s not a list and
it' s very big and a lot of ideas of where to throw it
in the future. We want to have a page, but life doesn'
t come to us yet. But that means we' re on a platform.
There are no several of these platforms where you can buy digital things and
choose one, because you also had to choose. You don' t get
opened up there a universe that' s like ter gods on platforms and we
pick one that the truth is that sometimes the time actually happens to us that
it' s a puzzling well because it' s American and you do it
all and in the end they charge you dollars and people are like but don
' t freak out. It' s normal and they charge the nine euros
if someone comes up with a better platform, please get in touch. Yeah,
we talked about Etsy. We may migrate, but what we want is
to make a page. But, well, that' s clear is that
it looks like it' s simple everything, but then it' s not
a level and something else and another and another and another and now how you
communicate it and the bro and now this goes with taxes. Then they charge
you, they only charge yes, yes, yes. It' s the
world behind entrepreneurship that seems to be coming up with a film plan. Let
' s put it on, take it buy it, oh my God,
until then it' s been like I want to cry. Yes, but
yes, yes, no. And then on the questions of how you communicate
with all this revolution there is that if the algorithm ignores you, it doesn
' t ignore you, that if people are sick of Instagram too and they
don' t want anymore. There are many factors not, but well the
time is good in communication, it is good in networks. We both wrote
we draw we create sansemos, we go little by little. At first we
were burdened with Mogollón, not with what you said, we do a subscription
model, so you have to go out one a month is as you look.
You have two kids, I have two kids. You live in a
village. Life crosses us, not always to help. We' re not
going to see, we' re going little by little. It' s
not like the world' s been throbbing like three days ago that number three
should have come out. It' s not how we' re going to
relax, because if we lose the fun, then we' re going to
fry. No. Yeah, we hit the anti- business. Yes,
lanti company. That' s right. It' s like it was previsional,
of course, yeah, forecast was predictable, but it' s like
I' m already fatal. Na doesn' t come out, it'
s okay, you don' t care. We' ll be out tomorrow.
I don' t know what he hears in the house the day,
I don' t know what the new one has to come out, the
three or I see it fatal. I do what' s fatal, because
every morning I don' t know what. I mean, we can do
nothing. Don' t worry. Don' t worry or it' s
sense has to make it not clear that we should do it. Yeah,
man, this is conciliation, gentlemen of Spain, it' s real cautilization.
It changes, it changes when things happen in real life. And this
is not how we don' t follow the same plan that it is to
be what happens. It' s not like that. Things have happened to
them that the other can' t cover because they can' t, too.
I mean, it' s like hell I' m sorry. You
can' t say for another day in three I' m pregnant and a
hundred pops can be forty fever and nothing happens partner I' m here.
I exposed mine and we' ll be there or look. I can'
t do it today either, because it' s the algorithm, because girl
the I want me to tell you if we haven' t understood it well,
or it' s clear who hears you can do one about it,
a ful about what it is that uff I do not understand even the real
ones but they, if we' re going to get to the algorithm,
it' s not true. We' re going to do it, and
we' re going to do it. But it' s true that although
it would be cool if it was a subscription, not because at many levels
children expect There are many magazines for children so they sell through school and my
children wait ah it' s first of the month the magazine will arrive and
they get their own mail, that is to say it is a model that
is very cool. For that we have to walk a little bit to see
if we like to dialogue with the real opinion of the children who tell us
this. Yeah, this is a bodrium. This is very cool for you,
but we don' t and go evolving to see where we can go.
But it would be very cool, of course, it would be very
cool if it were a clear subscription. We' re going little by little,
well, while I think it' s a very good pace to follow
life. You know that in the end, the important thing is that you
also enjoy it that it is very noticeable, it is read perfectly in the
pages of the fanzine, and that is the most important thing and that you
can make it sustainable with your lives, because without that, you know,
it seems to me an example, very good and that is why I really
wanted that you came, because we bring many books, there are many editorial
projects and, in reality, or life is full of many things, there
is no space for everything and, suddenly, to find you with something because
as I think it has masked you, because it is like recovering there the
salsa, not from life, that it is very real nothing or thanks to
you, for not losing the desire, to do different things and, above
all, to make us have fun, because this is a question that has
me junge, that has background there to teach, but above all, to
spend a very good time. It' s the idea. It' s
how we' ve had it, very well doing it I hope you have
a good time reading it and tearing it apart or expanding it or whatever,
because it is and then it' s another way too. It is also
a little more philosodical, but also that type of projects presents you with the
opportunity of another way of consuming. Of course not, I mean, we
always say the masked croquette doesn' t have a price. It has a
chance that you contribute to a project, but this is not a marketing strategy.
This is true, that is, and it' s not worth seven
with ninety- nine, nine creve, it' s not how you'
re buying the croquette, you' re supporting this to go on whatever it
is. Then you, as a buyer or buyer, can decide where you
put your impact. No. And the issue of over culture and creativity,
as we would like to call it, is very important today. No,
then, well, it is also a proposal that also this kind of reflections,
although it seems we also have Javi and I, that is, where
we want to place ourselves in the world. So say hey, because we
believe so much in the popular movement, I don' t know what about
it and then, well, we' re going to do something. Well,
let them go that way, which is handled in that environment and let
' s see what happens. So it' s as if that' s
why it' s priceless, but it' s how it contributes to this
project and we have the thanks from there. You know how cool, because
if you support a lot of people, this project will be much more viable.
Obviously, we have the bad habit of circling money to live. That
' s weird. Yes, we are very rare, but it' s
true that we also, in other words, have our background. We don
' t have lightness and fun, but we' re very intellectual whenever we
want. And what I was telling you before aesthetics are not pretentious, but
rather liberating, is one of those things, the idea of not talking from
a very clear gender perspective. But the protagonist is not a pickle or is
a croquette, is homemade, is normal, is nice and is there discovering
the world. It doesn' t have everything, it' s got some
kind of agenda behind it that fits our way of looking at the world.
But we didn' t want to. Yeah, as they say, we
' re the anti- business. Not all the foot shots you can hit
all of us hit them and she could be a princess with a unicorn,
which is that she already sells no no. A croquette, a masked croquette
could be a superhero or not, and but it does not have a reason
why we believe in multidisciplinaryness, in a vision from many angles, in a
gender perspective without stridence, in which it is simply a croquette to which the
world discovers. And that' s because not in a comforting aesthetic and in
doing what we can, not both of us anymore. We already have projects
that are to survive and that are made, whether you can or not and
that have deadlines, that have distresses and that have to go worse than you
wanted, because it doesn' t give you time and we didn' t
want the croquette to be that. The croquette is our verjel and it'
s like the place where we do what they' re not making fart tales
of all that. Yeah. In addition, I find it very interesting that
the children who are the ones who are mostly directed, although the fathers,
the mothers are the ones we contribute, but the audience to which it is
directed are the creatures who know this model as well. This that you mention
about the consumption model also fanzines as a product that is true that it is
very underground and that has maybe that punk part there also the children like very
much and it is very good also to conquer them out there is not a
minority product and as rebel like to get out a little of the mainstream that
here I am putting many words, but it is true yes, yes,
yes, as a more careful product, that is to be more careful within
that that that you comment about is the style that we want to do less
care, but it is like a special thing. Not that' s what
you can do and that you can make yours very easily clear as a child,
not you, can now point your parents to a book binding workshop.
I don' t know what, but a fanzine is to paint some leaflets,
fold them and make the story you want, and that' s very
attractive to us to give possibilities as well. There is not always this speech
that I know that you deal many times with Cristina and such about screens,
not screens and how not, and many times it is to remove remove the
screen, forbid speech, but why not give anything else that is more entertaining
for a while. We' re not going to fool ourselves Fans aren'
t the panacea here. No, but say, look. We put these
pages together, we number, now we open it. Who does what is
one thing that you can do very easily with what you have at home and
also, on that side, we find very attractive. He' s got
that punk thing and it' s really good. Yes, yes, good,
well, it' s very punk And besides, it' s also
not like getting used to that there are things that don' t cost either,
So you don' t have to pay everything, So we' re
in a very mercantile system and that even if it has its price because it
is worth it, not the contribution, but that to enter into those experiences
that in the end, the most satisfying is not in the product itself,
but in the experience that accompanies these pages that you have given us that everything
you believe is the richest to tell us the stories, to enjoy, riding
the fanzine or drawing or what comes next. No or remember what we have
done, that all that, because they also value it that in the end
I know that they do, but that we are like because this costs twenty
- five euros the book and you take it and it is finished and then
you leave it there because you can not spoil jolinda a tremendous penalty and super
beautiful books. Then you say oh, no. I tell him I don
' t know, he said you can remember the book that cost you 20
euros and I say no, honestly, you can' t. Instead,
you can cut the fantile and then son for God' s sake, cut
it to fringe me who knows what you want not and the object, the
book or the fancino whatever you want as an artifact, that is, as
an element to transform it. Touching it is also very interesting, not because
we are used to books in that passing, page and observing thing, and
that' s wonderful, I mean, it seems fascinating to me. But
there is also another version that is like the book, like that, as
a tool, gadget to undo it. And that also breaks your schematics a
little bit, because we' re not on the coast named to that to
take around, to build it, to complete it, to pick up here
and croquette it and put it on. Here' s what Javi said,
not stick it in here and put it in lentils. Yes, yes,
if you can, I can do the crossword puzzle and paint it here Yes,
of course, of course you can perfectly and sometimes it' s mandatory.
Of course in the last one we have a pelario that is like a
herbarium and we have to go there, you carry it around in your pocket
and hair that you find, because what you stick in your hair and you
see that they are different, in that they are not and clear is how
it is obligatory and the fact of collecting yours also clear that, besides,
it reminds me of my childhood in the collections, that is, when we
were waiting, for example, the collections that came out in those already lost
and in the Kioscos, in the Kioscos, because of the country, the
small country, these children' s collections that took out weekly strips and I
kept them all and kept them, I cut them kept them. And that
also creates when you' re little, when it creates that feeling that you
' re accumulating something that' s yours, that you cost your jeo in
some way, you participate, duck, you, you pick them up,
you, keepers, you, you take care of them and on top.
I wish, and the cinema has a lot of that and both for childhood
and then people, for adults, that niche part of this only ours has
that little taste to value and I think it' s cool to get it
back, because it' s true that it' s lost, it'
s lost today. In addition, all digital, of course, fanzines cost
them there is already more digital, a much faster version, less joyful to
print mounted and save and have it handled there. So in the end you
have to value it. For many different aspects. Yeah, yeah, yeah,
it' s true, it' s like a number for the chromes
we used to make. It' s like Mira, I have a new
chrome and well, well, that would be great. Yeah, that'
s nice,' cause we expect it to reach a lot more people who
already know it' s getting there. Little by little, the croquettes are
spread out. This pretend or I know someone who is. We are open
to any type of marte, multimillionaire country, producers of animated croquettes of the
world. I don' t know how to be. These women have a
lot of super creative ideas. Look, there' s the gluten croquette,
gluten- free, if a type of fillings, all kinds of fillings.
Javiera Laura is a pleasure to chat with you. It' s always that
everything that comes to you, Laura didn' t know you but everything that
comes to me through Javiera is always very cool and I love to be able
to tell it, because well, that' s why we' re here
to serve as a speaker to the extent that it' s such cool things
and that make me feel both to know them and this, as well as
everything that you' ve brought Javiera to us. And now, then,
this masked croquette, which I hope will go very far. Please, we
want many thanks, nothing, thank you very much. Total pleasure encouraged with
this project and good that we will follow you, we will follow the masked
croquette. We will leave all the information in the others of the program the
Instagram user where you can locate these two women so that, since any doubt
comments suggestion, you see it and that to our audience, because you are
encouraged to discover this masked croquette, which is full of very good moments.
So I think that' s pretty much it, yeah, yeah. Thank
you very much, thank you very much. Thank you very much, Javiera
Laura, Thank you Monica, for always inviting us already the people who are
listening, thank you for hearing it, yes, it is true, that
always. Thanks for listening. Good morning, maderefera and podcast you have to
listen, many podcasts, which is a table and you hear and the croquette
can also come by audio format. I' ll leave it there. There
it is, I don' t know it' s in the air.
That' s where we sound, there' s a croquette. That'
s where we left it. We' re going back in a new episode
of Good Morning. Mother, wait for a very strong hug Javier Laura and
thanks to our entire audience. Bye bye Thank you, Cha. S s
S? Yeah? Yeah? Yeah? S