When one hears Tango, one is necessarly reminded of Gardel (one spontaneously thinks of Gardel). Strangely, the word tango is not all that is associated with the greatest singer/performer of Argentina. Gardel also rhymes with myth, mystery and controversy.

Indeed, the man has become larger than life. After his tragic death, he was made a saint by the Argentine population and has continued as such in the collective memory of the country.

The picture of Gardel is undoubtedly the most popular icon in Argentina. Not all recognize the man on the bank notes but everyone recognizes the face of Gardel which can be seen on dashboards of luxury automobiles as well as on the most modest hand barrow. His statue reigns on the humblest of cantina counters and in the luxurious confiterias of the capital alike.

In homes, his picture hangs next to those of cherished family members and saints. People call him Carlitos and talk about him as if he was part of their life. They discuss his success and identify with him. He is the voice of the people and their common wealth. Like all their great heroes, Gardel belongs to every Argentine - the guardian of their dreams and hopes.

Though Gardel is worshipped by the humble and his picture is pinned in buses and in barbershops, he is not looked upon as a man of the people. He embodies elegance, whether he be standing in pijamas or in a tuxedo. His hair is always sleek, and he wears a confident smile like a man who's made it big.

Yet Gardel did not come from an upper middle class or a successful family. Even with all his fame, Gardel never became a wealthy man .

What is still fascinating about Gardel is that he took pride in the idea he was an outsider in the sense that his day to day life was uncommon, and willingly wrapped himself in mystery, casting shadows on his origin, his youth and his personal life. Although he had many friends, very few can admit having been his confidant. His secrecy boosted his popularity, whether he planned it or not.

When we look into the history of North American music, the only suitable comparison that can be made in order to better understand the Gardel phenomenon, would be Elvis Presley in the United States of America.

True, there are many differences between the two men (as well as their times, and music...) but because of their influence, we cannot help noticing the similarities. Both were known for having a deep voice with a warm tone. Each of them had a cult following that grew even greater after their deaths, often making them front page news in the tabloïd press.

The events surrounding his birth have always been a mystery. Even today, historians remain puzzled by the confusion and the controversy which emanate from the different versions of the facts. Here are some of them.

His military papers tell us that he was born in Tacuarembo, Uruguay. There are many documents certifying his Uruguyan origins. The greater part of the confusion comes from a controversial and supposedly authentic will which was revealed by his good friend Armando daFino three months after his tragic death.

Many experts have analized this document over the years but none could garantee its authenticity. In this will, written and signed by Gardel himself, it states that that he was born in the city of Toulouse, France, on December 11th 1890. He also states that he is the lawful son of Maria Berthe Gardez, and that he was christened with the name Charles Romuald Gardez. However, none had ever heard him being called Romuald before. Many historians think that the document was forged by da Fino so that Gardel's wishes could be carried out after his sudden death.

As Da Fino had taken care of Gardel's business for a few years, It would have been easy for him to use documents which had already been signed by Gardel in order to create a fake will. Most admit the existence of Maria Gardez who was his nanny during the early years of his childhood. Immigration papers testify that a certain laundress named Bertha Gardez, arrived with her son Romuald in Buenos Aires, on March 11th, 1890. At the time of their arrival, she would have been 27 years old. For many, the boy with her could not have be been Gardel.

Gardel was quoted in a local newspaper of the time saying that he had worked as a scene shifter in a Buenos Aires theatre in 1902. It would have been impossible that a 12 year old boy could have worked in a theatre in 1902.

A thorough investigation on the matter was made by a Uruguyen reporter named Erasma Sylva Cabrera. He found that Gardel was born in Tacuarembo on November 11th, 1881, and was the unlawful son of colonel Escayola and Manuela Bertos da ora. The colonel had high duties in the town's administration. He was also making business with France. It is not impossible that among his private personnel was a certain laundress named Bertha Gardel. But to this day, no one can really be sure about Gardel's origins.

When listening to the first recordings of Gardel, one notices the wide range of his tenor voice, which at the time still had not reached its full potential. It was the great opera singer Tito Shipa who revealed to him that he was a baryton, and that he sould not limit himself to singing popular songs.

In the light of Shipa's opinion , he worked on polishing his voice until he developed complete control over it, even in the more subtle modes. Throughout his life, taking care of his voice, enlarging his range and working on his tone, was a constant preoccupation.

Gardel had a deep, rich voice, with great sensibility. It was as like he sung with tears in the voice. As one of his colleagues put it, he was the expression of the songwriters emotion, and it was as if he was speaking personally to each listener. His voice immediately conquered all. Argentinians have declared him the voice Buenos Aires, the unique subtll voice of the city that he loved, and left to broaden his horizons.

As soon as 1902, Gardel gets noticed singing Argentinian folksongs called pampa, . He is nicknamed Zorzal, which means "the thrush".

In 1912, Gardel hooks up with guitarist Razzano for his first gigs in provincial towns. Gardel and Razzano get their first major acclaim playing at a New Years day party at the famous Armenonville restaurant, on December 31st, 1913. The owner liked Gardel's voice so much that he gave the duo a very lucrative contract.

Gardel and Razzano played together until 1926. During this period,they toured the capital and the provincial region. GardelÕs voice and his sense of rythm fit perfectly with the guitar arrangements of Razzano.

The invention of the gramophone was a major event in the history of the tango. With the record came a growing interest for this music, as it reached everybody, not only the cabaret and theatre crowd. It soon became a cultural phenomenon, loosing both its bad name and its reputation of being a dance which the conservative majority found suspect and belonging to the ghettos.

During his career, Gardel recorded more than 300 records, more than half of which were with Razzano. He sung the words of the most famous lyricist of his time; EnriqueCad’camo, Pascual Contursi, Enrique Delfino, Enrique Santos Discépolo, Celedonio Flores, Francisco Garcia Jiménez, Homero Manzi and Alfredo Le Pera.

Everyone agrees that Gardel is not the first to introduce the tango to the Parisians. Many musicians had beat him to it. In 1907, there are already Argentinian and Uruguyen musicians and singers playing tango in France.

That same year, Angel Villoldo , a renowned musician, is in Paris to record the ever famous El Choclo on Wax rolls. He is not alone ; Al Gobbi and his wife Flora Rodrigez are also in the city of lights. During the next seven years, the couple will offer tango lessons and perform in many cabarets.

1913 A year before the First World War, the city organizes a great tango contest at the Palais des Glaces.

After the war, it is the maestro Manuel Pizarro who gives tango a new life.

1928. Gardel arrives in Paris. He is greeted by Pizarro who introduces him around. However his reputation has preceded by his recordings. He conquers Paris as quickly as he had the hearts of South Americans. One month after his arrival, record companies begin offering him recording opportunities. His first records are hits and Odeon records signs him up for a series of recordings.

1929. Carlos Gardel sings at a benefit concert, Le bal des petits lits blancs (dance of the little white beds), where the biggest names of the Parisian art scene are gathered; Maurice chevalier,... Gardel, accompanied by Pizarro's orchestra, gets a standing ovation and he is presented to the president of France. Gardel is so popular that it becomes difficultfor him to go out without restaurant owners and customers handing him a guitar and asking him to to sing. Graciously, he always acceptes.

1932. Gardel starts working with lyricist Alfredo La Pera who wrote many popular tangos for him; their work became so popular that there is a saying in Buenos Aires that states; Òit is like Gardel without La peraÓ, which means that something is missing like a good meal without wine.

1930 Gardel undertakes a brillant movie career which ended abruptly with his tragic death in june, 1935. During this short period, Gardel starred in at least eight films.

In 1916 and 1918, he had roles in two of Francisco Deffilippis silent movies; Peach Flower and Wolverine.

1930-1931 Gardel is featured in a series of short films directed by Eduardo Morera. The footage contains scenes of him singing and talking with the writers. 1931 Gardel stars in his first french production (lights of Buenos Aires) directed by Adelqui Millar, the script written by Manuel Romero.

1932 Gardel is featured in Wait for Me and No Laughing, both of which were shot in joinville. Al Pera who worked on these productions as a writer will continue to provide dialogues for all the next movies.

1933 Working class melody, directed by Louis Gasnier

1934 In New York featuring in another film by Gasnier, Cuesta Abajo.

1935 Gardel stars in three movies; Tango on Broadway, directed by Gasnier, and also The day you Will Love Me and Tango Bar with actress Rosita Morena, both filmed in New York and directed by John Heinhart. Then he is off to Hollywood to play in Radio Stars, directed by Norman Taurog, which premiered after his death. .

June 24, 1935 A few minutes after take off, the plane carrying Gardel back to Argentina from Colombie explodes. Gardel dies at a time when all movie and record producers are at his feet.

His tragic death makes him a legend. More than a million people gathered for the funaral ceremony, blocking Buenos Aires traffic for a whole day. Since that terrible day, his grave has become a shrine. People from all corners of the world visit his statue. They put flowers in his buttonhole and a lit cigarette between his bronze fingers.

Gardel is considered the soul of Argentina. The people are devoted to him in a religious way. In cherishing his memory, Argentinians keep a part of their history alive, claiming their unique identity.