“Discover through our images the atmosphere, the dishes and the special moments at Taberna Garibaldi”. Well, you won’t find out and if you pay attention to this legend that heads the image gallery of the website of the place that premiered this week Pablo Iglesias, he will feel deeply cheated and stewed. Because none of the images that appear are of his own dishes. Neither are those of the establishment. Not even that male torso in the shape of a capital V will serve him the meter and a half of beer foam they plant there. Monroe would like it for her bubble bath. But temptation lives upstairs, and not in Lavapiés.
Who raises the hare in X is @chus_fr. He does it wrong at first: he accuses the former general secretary of Podemos of stealing the photos of other restaurants, when in reality they are taken from image banks, available to everyone on the internet, some at modest prices. @jordii84 points it out: “Shut up, delete it, they’re from an image bank. Don’t get hurt.”
In any case, the tavern does not steal, but it does deceive. Associate the images with the names of your dishes. Nowhere is it announced that the website is under construction or that, indeed, or rather, Ferran Adrià is deconstructing it like a potato omelette. It offers meals that don’t exist. Clumsiness, too. In “Our featured dishes from the menu”, a kind of Greek beetroot salad is an insalata Garibaldi; a meat pie becomes a Garibaldi toast, or the same photo of an egg pasta dish with grated white truffle is at the same time, in the new bar, spaghetti ai funghi.
Some restaurants regularly turn to image banks. Enter the logic that as the tavern rumbles, the photos will be replaced. But they mess up, and the network is crueler than what it can be on the night of May 12 for Ciutadans. “It’s the expropriation menu”, says @NachoAnaya4; “The images are of the people and for the people, nothing about ‘your’ images. They are ‘our’ images”, quips @gazpachuelopre.
Lucía Etxebarría also rants about the prices, and then feels a tingle in her stomach and throws flowers at one of Garibaldi’s members: “There is a very handsome and very funny boy who is one of the members, and if I remember correctly he was a singer-songwriter from Gadí. To Caesar what is Caesar’s”.
The portrait in Garibaldi by Pepa Flores sings to the writer if she has a happy heart, and the one by Raffaella Carrà, on the contrary, is jealously irritated and wants to believe that everything is rumour. There is a third poster, that of Smirnoff Red vodka, in a carafe, in case Yolanda Díaz appears one day.
