Desperate, I marked Inés's phone number.

“Aizan, I need you.

It was accepting my defeat, but I had no other way out. I had the last chance to convince myself that I could make a dignified chronicle by my own criteria, that I had developed enough the sense of the critic verse, and intentionally, I sat apart from Inés. Useless. Faced with white paper, everything was in doubt.

“How would you summarize Ilunbe’s final?”

I knew I would call her.

– Alaia Martin and BEÑAT Gaztelumendi spent wisely above a head step. The rest? They've been doing better.

"OK, pointed. And, in general, any thoughts arising from the sitting?

He made a short silence.

– The canon of Bertsolaris is changing, for better or for worse – I am particularly concerned about what is called poetic – or with a rather sticky language that is rated very high, but that deserves another chapter. I will tell you the truth: I missed someone who sings in another register – more “terrible”, to put it another way. I do not put Gaztelumendi and Martin in the same bag, but it is undeniable that they tend to a finer and more sentimental style. Nago, which in the end would give him more color, for example, the fact that they reached the top Unai Agirre or Agin Laburu, to mention two that have a very different touch. Having said that, and seeing the men who were classified for the end, it seems clear to me: Gaztelumendi was done with the txapela at all high. He made a deep attempt.

Their colors were distinguished.

Also Alaia Martin, Inés. We cannot be objective, we are elderly.

– Look, it is now impossible to be Old and objective. Please give me some seriousness. If I tell you that Beñat deserved it, it's because I think Beñat deserved it. He just did a mediocre job, a hand to hand exercise with Alaia by points.

– Was Alaiak also the only mediocre job?

“Yes and no. I'm circling on one side. I do not know what criteria the judges have when it comes to scoring a verse, but we have to look at something fundamental: whether in the trades the bertsolaris have managed or not to get into the character correctly and into the situation. To enter the character means, as far as possible, to try to use the words that he would use, to go down to his watchtower – yes, to go down, since he tends to walk very high. To enter the situation means to sing from the context of the theme and not from the outside, freely philosophizing on the theme. The cheerful man often resorted to singing more from Alaia than from the character. It became evident to me in the role of Zortziko Grande Down Syndrome, which by the way is the theme of “brown”, and in the first two verses of six shorts in the head, when he was in the role of the cashier. Sometimes you can build a character very much like the person's, and in that case a problem. But other times you have to make a little effort. Beñat, I have also seen on some occasion that tendency to sing from the person. In the end, however, it seemed to me that it had been more exquisite.

“That’s the speech, Inés. The cash representative is delivered.

“Joder, what kind.

"Did he whistle?"

– At first no, but at the beginning with the sermon... You?

“He caught me in the toilet.