“Quiet, sit next to me and I’ll tell you what you have to write.” I was told this by Inés, aware that I was beginning to worry about Bertsolaris, but since I said yes to the ARGIA, yes, I would do the chronicles of the Bertsolaris Championship in Gipuzkoa. “You look forward. Then he went back. Then on the left and then on the right. Among these four walls there are no bichankas that know as much about Bertsolarism as I do.” Stop. And that, taking into account that in the room there were about 1,200 people -- listening almost entirely to Katamalo's album from the speakers. They are certainly good times for rhyme. “This periphery? I look more like Peria”, once again, sharpened, friends. Undecided convulsions greatly appreciate the presence of people who speak categorically around us. In addition to helping to clarify ideas, they are often very fun.

What kind of trial was it? Quite irregular. Gaztelumendi, wearing a sleek t-shirt, was dedicated to alternating gossip and somewhat more forced moments throughout the session, without being able to round in jail. Lizarralde, singing companion, alive and fresh. Alaia Martin didn't shine until he got to jail, but convenience gave him plenty of points. I found the most savory of the six short, using an ingenious rimer of ideas – thinking about it well – or “Txin-pun” or “Bua, bua, bua”. Iguaran had some very good moments – in the zortziko txiki it was he who did the best job of the program together with Laburu. Finally, Jon Martin was not particularly inspired, even though he went to jail. But Inés' words seemed closer to me than those of the bertsolaris. And among them, two main murmurs:

In responding to a point, Inés considered that the quality of the verses was directly related to the quality of the point. Gaztelumendi was told of the wealth, the withdrawal of Alaia Martin and the handover of blood to Jon Martin. The point in all three cases was a topic on the topic. "What the hell do you have to sing to that?" How are you going to create something creative from a piece of topic on the opposite side of creativity? No one talks like this, not even in the elevator conversations. It is time to stop putting as a point the phrases made on general issues, redeem me.” I didn't object.

Murmullo B: That's how he talked about prison. What you saw every day in the same place and at the same time today is not. Upon hearing the verses, Inés began to growl. “Everything free or what? More than half of them sang to the death of one of them and remained calm. Do the exercise backwards: listen to the prison verses as if you didn't know the issue and try to invent it. With one, you wouldn’t know from far.” I told him that he was not a patxikontra, that the issue is a starting point and that each one gives the direction that he wants to enrich that exercise. The comment did not make him graceful. That one thing is the starting point and another is to ignore the issue. “Every day you see very few people in the same place and at the same time. That happens in very specific places: at the bus stops, at the factory relay, at the bakery -- the theme is pretty open, and the bertsolaris open it even further. Square the first verse on the theme in some way and from there, free to sing whatever you want. That's not worth it."

In the next session he gave me permission to sit next to him.