Podcast Summary: "Acontece que no es poco | América sí sabe tratar a sus dictadores"

Podcast: Todo Concostrina
Host: Nieves Concostrina (with Marta)
Date: December 11, 2025
Episode Theme:
A historical commentary on what happens to Latin American dictators after their deaths, focusing on the fate of their remains, their burial sites, and society’s collective memory—or rejection—of them. With her signature irreverence and sharp wit, Nieves Concostrina explores how dictators’ legacies are handled, comparing it to the case of Francisco Franco in Spain.

Main Theme and Episode Overview

This episode delves into the often ignominious afterlives of Latin American dictators, examining the fate of their mortal remains and public memory. Concostrina, in conversation with Marta, recounts various stories of toppled regimes and what became of their leaders' bodies, mixing humor, biting critique, and historical context. The focus is on how these countries deal (or refuse to deal) with the legacies—and literal remains—of their dictators, contrasting them frequently with the Spanish experience relating to Franco.

Key Discussion Points & Insights

Introduction: Recap and Context ([00:31] – [01:47])

• Marta and Nieves set the stage by referencing the prior episode about the fate of certain dictators’ remains.
• Nieves points out that, unlike Franco—whose pantheon in Spain remains maintained by public expense—many Latin American dictators faced rejection even after death.
  • Quote: “Por ser eso, dictadores, tienen que esconder sus vergüenzas, sus cenizas y sus huesos después de muertos. Casi todos, menos Franco…” (A, [00:45])

Alfredo Stroessner (Paraguay) ([01:54] – [07:28])

• Background: Stroessner ruled Paraguay with an iron fist for 35 years; a Nazi sympathizer who offered asylum to Nazis and granted citizenship to war criminals like Josef Mengele.
• Exile and Death: Ousted in 1989, died peacefully in 2006 in Brazil at 93.
• Burial Refusal:
  • Family requested a state funeral in Asunción—refused by the Paraguayan government (“sonora pedorreta”).
  • Buried simply in Brazil, with only a judicial visit for DNA/paternity testing (as he allegedly fathered around 40 children).
• Memorialization:
  • In Asunción, a "Contramonumento" features his crushed statue, originally made by Spanish sculptor Juan de Ávalos (also responsible for Francoist monuments).
  • Quote on the “Contramonumento”:
    “Es muy curioso. Se ven dos bloques de hormigón, uno encima de otro, y en medio... los restos de una estatua de bronce de Stroessner aplastada y rota...” (A, [05:53])
• Artistic Ironies: Connection between dictatorial art/politics—Ávalos denied Francoism but worked “por órdenes”.
• Memorable Moment: The episode plays “Rata de dos patas” by Paquita la del Barrio as an impromptu anthem for dictators.
  • Quote: “Rata inmunda. Animal rastrero, escoria de la vida...” (C, [03:36])
  • Nieves: “Le viene bien a todos. Podemos poner en bucle, oye.” (A, [04:04])

Jorge Rafael Videla (Argentina) ([08:11] – [14:12])

• Background: Architect of the 1976 Argentine coup, responsible for the “Dirty War” and “vuelos de la muerte”.
• Death in Prison: Died in 2013 after collapsing in prison—famously in his own toilet.
  • Quote: “Murió en la cárcel en 2013, un día de mayo que deberían declarar fiesta nacional. Se murió mientras estaba sentado en el váter.” (A, [08:28])
• Burial Secrecy:
  • Family wanted to cremate or bury him in Mercedes; both options sparked outrage and were blocked by judicial orders and public protests.
  • Massive protests in Mercedes: “No estaban dispuestos a permitir que su cementerio se convirtiera en un centro de peregrinación del fascismo argentino.” (A, [11:16])
• Final Resting Place: Secret nighttime burial in a private plot in Pilar, under another family’s name (“Familia Olmos”), with cemetery staff under strict secrecy.
  • Quote: “Dio orden por escrito a todos sus trabajadores prohibiendo informar sobre la ubicación exacta de la tumba. Nadie debía conocer el paradero final de Videla.” (A, [12:37])
• Moral Critique of Mourning Dictators:
  • Indignation at priests conducting funeral masses for genocides—parallels drawn with Franco in Spain.
  • Quote: “¿Qué clase de cura canalla le dedica una misa a un tipo que robaba bebés, asesinaba a las madres y las tiraba desde un avión al océano vivas?” (A, [09:16])

Notable Dictators (Brief Mentions) ([14:12] – [15:19])

• Anastasio Somoza (Nicaragua):
  • Killed in Paraguay in a car bomb attack (1980). Ironically, was in exile under Stroessner and assassinated on “avenida Generalísimo Franco” in Asunción.
• Rafael Trujillo (Dominican Republic):
  • Buried in Madrid, just 20 meters from Franco.
  • Quote: “Al final va a ser verdad eso de que su Dios los cría y ellos se juntan.” (A, [15:14])

Notable Quotes & Memorable Moments

• On collective response to dictator funerals:
  • “...hubo manifestaciones, hubo muchísima bronca. Forraron la entrada del cementerio con carteles de protesta...” (A, [11:16])
• On families’ expectations:
  • “La familia, tan contentos, que lo iban a enterrar en Mercedes, que inicialmente los mismos esperaban que recibieran al fiambre con fuegos artificiales. Y claro…” (A, [11:00])
• Moral commentary:
  • “Siempre he dicho que el sitio del bribón Borbón es en Aguas del Golfo. Incinerado. Aguas del Golfo.” (A, [04:31])
• Song as metaphor:
  • “Tantas veces me mataron, tantas veces me morí…”—lyrics of resiliency for oppressed people, contrasting with the dictators’ ignominy. (C, [07:28])

Timestamps for Key Segments

• 00:31–01:47: Introduction; Spain vs. Latin America in dictatorial afterlives
• 01:54–07:28: Alfredo Stroessner’s life, fall, and posthumous ignominy
• 08:11–14:12: Jorge Rafael Videla’s death, society’s rejection, and secret burial
• 14:12–15:19: Recap and mentions of Somoza and Trujillo; closing remarks

Tone and Style

Nieves Concostrina maintains an irreverent, critical, and often humorous tone, blending caustic sarcasm with historical facts to denounce the cult of personality and the problematic legacy of dictatorships. Her commentary is sharp, personal, and provocative, making history both engaging and reflection-worthy.

Summary

This episode is a sweeping, unsparing look at how (and where) Latin American dictators end up, focusing less on their crimes than on society’s refusal to honor them after death. With memorable anecdotes, songs as barbed commentary, and scathing social criticism, Concostrina demonstrates how democratic societies can—and often should—deal with their darker memories: not through glorification, but by hiding, ridiculing, or even physically destroying symbols of oppression. The episode provides rich historical context, social perspective, and a winking Spanish self-critique—all delivered in Nieves’ unmistakable, biting style.