Todxs al obelisco

Todxs al obelisco is live-radio political culture with the edges left on. It moves fast. The show’s recent run jumps between Argentine public life, union conflict, football identity, music mythology, and the odd comedy of power seen up close. A conversation about the subway workers’ fight over asbestos brings in Roberto "Beto" Pianelli and stays grounded in the daily health stakes for workers and passengers. A music segment descends into darker folklore around Moll Evans, lost manuscripts, ashes, Beatles history, and the line between mystery and terror. A football column turns the Hamburg derby into a story about St. Pauli, Hamburg, punks, skinheads, antifascists, ultras, working-class neighborhoods, and the politics of the terraces. The polling discussion is not just horse-race chatter. It uses the Analogías study to argue about political expectations, economic anxiety, the IMF, and the lazy story that society has simply shifted right. Then Edu’s account of interviewing Alberto Fernández shifts the scale again, from national politics to the strange practical details of phones, security, buildings, and personal impressions inside Olivos. The show likes the scenic route. That is part of the point. It often begins with banter, annoyance, or a ridiculous aside before arriving at a serious claim. The voices overlap. Corrections happen in motion. Jokes do real work, especially when the topic is grim or overfamiliar. Todxs al obelisco is not polished explainer audio; it is a crowded, argumentative broadcast where culture and politics keep interrupting each other. The result is a show for people who want analysis that still sounds like people talking, not copy read from a desk. Its best moments feel local, heated, funny, and suspicious of anything too smooth.