Podcast Summary: Hoy por Hoy | Los techos, viaje de ida de José Antonio Labordeta y charla con Martín Berasategui | Magazine

Date: 19 November 2025
Host: Àngels Barceló (SER Podcast)
Guests/Contributors: Marta Sanz, Manuel Delgado, Brian Pérez, Martín Berasategui, Pepe Rubio, Ana/Paula/Ángela Labordeta

Main Theme

This episode of Hoy por Hoy is a rich, reflective exploration of the concept of "techo" (“roof” or “ceiling”), spanning literal and metaphorical meanings—architectural, social, economic, and emotional. The program weaves this discussion through cultural references, film and literature, and current social issues, and then transitions to evocative portraits: the life and legacy of José Antonio Labordeta, and an in-depth interview with renowned chef Martín Berasategui. The tone is thoughtful, often emotional, filled with anecdotes and cultural critique.

Key Discussion Points and Insights

1. Philosophical and Metaphorical Meanings of "Techo" (Roof/Ceiling)

[02:42 - 05:25]

• Marta Sanz opens with an evocative story: imagining a person living in a basement, considering not just the roof above but all the layers of “celestial roofs” (atmosphere, satellites, stars) above them.

• She frames the roof as both limit (escape, growth, claustrophobia) and shelter (protection, comfort), capturing the dual nature of "techo":

  "En esa metáfora del techo, en esa historia del individuo del sótano, se sintetizan las dos ideas fundamentales de este programa... el tope, la claustrofobia, la necesidad que tenemos de romper un límite... Y por otra parte, el abrigo, el calor, la defensa que nos dan los techos contra la intemperie." (Marta Sanz, 03:52)

• Example from personal travel: The ceiling of the sacristy in the Monastery of Yuso, never restored because of the alabaster floor that absorbs moisture—highlighting the interplay between floor and ceiling.

2. Roofs in Art and Culture

[05:25 - 14:44]

• References to the Sistine Chapel, El diablo cojuelo (lifting roofs to reveal domestic life), films like "Bajo los techos de París" and performances like Fred Astaire dancing on the ceiling (“Bodas Reales”) and the iconic sweeping on Mary Poppins’ rooftops.
• Playful debate on the distinction between “techo” (roof/ceiling, seen from below) and “tejado” (roof, seen from above).
• The rooftop as a setting for escapism, introspection, adventure, and nocturnal thought (e.g., "La gata sobre el tejado de zinc caliente", “El violinista en el tejado”).

3. The Roof as a Social and Political Right

[14:59 - 23:17]

• Manuel Delgado delves deeply into "techo" as a fundamental social right—the notion of "los sin techo" (the homeless), defending the “derecho a la barraca, a la chabola” (the right to a shack) due to emergencies in accessing housing:

  “...Lo que reclamo justamente es que se vuelva a eso que en otras épocas se tenía como derecho, que es de, oye, pues ya que tú no me das una casa, pues me la monto yo, me la construyo..." (Delgado, 15:43)

• Cinematic references:

  • "El 47", a film depicting people hurriedly building homes at night, hoping to finish the roof before police arrive, or face demolition.
  • "El techo" (Vittorio De Sica, 1959), paralleling the social dynamics of building and losing one’s home.

• Marta Sanz ties this to current problems: unaffordable housing, evictions, youth unable to live independently, the weaponization of “squatters” (okupas) in political discourse, and the underlying conflict between the right to housing and private property.

4. Cinema and Literature as Mirrors for "Techo"

[21:44 - 34:16]

• Techo y comida, En los márgenes, and La deuda, recent Spanish films, examined for their deep portrayal of eviction, poverty, and the existential link between body and shelter.
• Impassioned reading:

  “Ayer dos mujeres se suicidaron en Barcelona. Iban a ser desahuciadas de su casa. Su cuerpo sin su casa carecía de sentido..." (Marta Sanz, 26:26).

• Delgado shares direct experience living alongside the homeless, condemning the commodification of housing, proposing the radical idea of abolishing the housing market.
• Discussion of "Los viajes de Sullivan", a Hollywood film addressing the limits and naivety of social solidarity from the outside.

5. The Many Forms of "Techo": Physical, Glass, and Imposed Ceilings

[34:16 - 38:10]

• Listener contribution: the neighborly code of knocking through the ceiling for messages—a reminder that roofs are porous to sound, memory, and relationship.
• Marta expands on “invisible” ceilings:

  "Hay otros techos que son aparentemente inmateriales, pero que se derriban con muchísimas dificultades. Hablamos de los techos de cristal, de las mujeres en el ámbito profesional..." (Marta Sanz, 35:48)

• Manuel Delgado contextualizes class and gender and the insidiousness of ceilings you don't see:

  "...el obstáculo principal es de vidrio. No se ve, pero está ahí." (Delgado, 37:11)

Notable Quotes & Memorable Moments

• "El techo uno siempre lo contempla justamente desde abajo, mientras que el tejado se contempla desde arriba."
  — Manuel Delgado (10:16)

• "El derecho a la vivienda... uno de los grandes problemas de hoy... y que tiene un montón de manifestaciones alarmantes, los sin techo, los desahucios, los jóvenes que no se pueden emancipar...”
  — Marta Sanz (20:36)

• “Ayer dos mujeres se suicidaron en Barcelona. Iban a ser desahuciadas de su casa. Su cuerpo sin su casa carecía de sentido...”
  — Marta Sanz, poem from "Amarilla" (26:26)

• "La vida es la vivienda, como su nombre indica... hay gente que no tiene derecho a la vivienda."
  — Manuel Delgado (15:08)

• "Los hombres y las mujeres que viven libres mirando las estrellas, sin depender de una casa ni de una hipoteca, ni material ni afectiva... la falta de techo no se representa como una marca de precariedad o como un estigma, sino como un ejemplo de libertad.”
  — Marta Sanz on the cultural romanticization of being “without a roof” (33:26)

Timestamps for Key Segments

| Time | Segment | |-----------|----------------------------------------------------------------------------------| | 02:42 | Marta Sanz’s opening metaphor and exploration of "techo" | | 05:25 | Cultural references: art, literature, film about “roofs” and “ceilings” | | 14:59 | The social right to shelter; activism for basic housing | | 21:44 | Evictions in contemporary Spain; “Techo y comida” and the impact on the human body| | 26:26 | Poem about eviction and suicide (Marta Sanz, "Amarilla") | | 31:08 | "Los viajes de Sullivan" and the limitations of popular solidarity | | 34:29 | Listener Lola’s story about communicating through the ceiling | | 35:48 | Marta and Manuel discuss the "glass ceiling" and intangible structural barriers | | 43:16 | Pepe Rubio’s segment: A Life’s Journey—José Antonio Labordeta | | 64:30 | In-depth interview with chef Martín Berasategui |

A Life’s Journey: José Antonio Labordeta

(Astriking, emotional documentary tribute—43:16–62:48)

• Empathy Rooted in Childhood:
  Labordeta’s daughters (Paula, Ángela, Ana) share how his empathy stemmed from his war/postwar childhood and deep ability to connect personally (44:10).

• Intellectual & Poetic Influences:
  He was shaped by his brother Miguel Labordeta and his father’s humanism—a love of books, poetry, and open-mindedness (45:13).

• From Zaragoza to Teruel:
  Labordeta’s journey across Aragon solidified his voice as a “cantautor” (singer-songwriter) and his commitment to the rural, the marginalized (51:41).

• Political Commitment:
  He became a symbol of the fight for housing, dignity, and regional identity, as attested in his famous song "Canto a la libertad" (53:30).

• Personal and Political Legacy:
  Emotional family remembrances of his humility, activism, and grace through illness and death; Zaragoza now makes “Canto a la libertad” part of every Fiesta del Pilar (62:20).

• Quote:

  “La libertad era mucho más fuerte que el miedo.” (Paula/Ángela Labordeta, 53:14)

Interview: Chef Martín Berasategui

(64:30–79:18)

• A Life of Learning:
  Martín celebrates 50 years in the kitchen, emphasizing humility, teamwork, effort, and optimism as the keys to success:

  “Llevo 50 años desde que empecé como aprendiz... Ahora, 50 años más tarde, soy el eterno aprendiz y más aprendiz que hace 50 años.” (Martin Berasategui, 65:00)

• Family as Foundation:
  Family—especially his mother and aunt—are at the heart of his culinary education; describes intense work ethic from age 15 (67:56).

• Personal and Professional Ethos:
  No ego, pure passion, continuous improvement, reverence for mentors and colleagues, especially the early generation of new Basque cuisine (70:06).

• Tradition and Innovation:
  Stresses the continuity between traditional and avant-garde cuisine—"el lazo" (the link)—"garrote" (courage, drive, and passion) as his legacy word (78:13).

Flow and Atmosphere

The tone throughout is a blend of humor, cultural curiosity, social critique, and deep empathy. The presenters, especially Marta Sanz and Manuel Delgado, combine cultural erudition with firsthand experience and personal storytelling, while the guests’ testimonies about Labordeta and Berasategui add authenticity and warmth.

Conclusion

This episode stands out for its elegant interweaving of the everyday and the profound: roofs as both architecture and metaphor, as shelter and constraint. Social and political critiques of housing, gender, and class intersect with poetry, reminiscence, and cultural celebration. The life and values of José Antonio Labordeta—empathy, struggle, rootedness—echo through the hour, while Martín Berasategui’s story offers another angle of perseverance and excellence. Both embody the dignity of “tener techo… y levantarlo”.

For listeners: This episode will leave you reflecting on what “having a roof” means—materially, emotionally, and collectively—and inspire awareness of those fighting for that basic right.

Notable Quotes Table

| Timestamp | Speaker | Quote | |-----------|-------------------|------------------------------------------------------------------------------------------------------------------------------------------------| | 03:52 | Marta Sanz | “...el tope, la claustrofobia... Y por otra parte, el abrigo, el calor, la defensa que nos dan los techos contra la intemperie.” | | 14:59 | Manuel Delgado | “El techo es un derecho... si no me das la opción de tener un sitio donde vivir, ¿qué quiero decir? Donde cocinar...” | | 26:26 | Marta Sanz | (Poem) “Ayer dos mujeres se suicidaron en Barcelona. Iban a ser desahuciadas de su casa. Su cuerpo sin su casa carecía de sentido...” | | 37:11 | Manuel Delgado | “...no todo el mundo con los mismos méritos puede acceder a esos niveles superiores de los que el obstáculo principal es de vidrio. No se ve, pero está ahí.”| | 53:14 | Paula/Ángela Labordeta | “La libertad era mucho más fuerte que el miedo.” | | 65:00 | Martín Berasategui| "Ahora, 50 años más tarde, soy el eterno aprendiz y más aprendiz que hace 50 años." | | 78:13 | Martín Berasategui| “Garrotes trabajo, coraje, ganas, arranque, hambre, pasión, inconformismo, ímpetu y ser de pata negra, que es lo que hay que ser en la vida.” |

Recommended listening: For full emotional and intellectual impact, listen to Marta Sanz’s poem on eviction (26:26), the family memories of Labordeta (43:16–62:48), and the passionate words of Martín Berasategui (64:30–79:18).