Todo may refer to:

Tōdō may refer to:

Carlos Gardel (11 December 1890 – 24 June 1935) was a singer, songwriter and actor, and is perhaps the most prominent figure in the history of tango. The unerring musicality of Gardel's baritone voice and the dramatic phrasing of his lyrics made miniature masterpieces of his hundreds of three-minute tango recordings. Together with lyricist and long-time collaborator Alfredo Le Pera, Gardel wrote several classic tangos.

Gardel died in an airplane crash at the height of his career, becoming an archetypal tragic hero mourned throughout Latin America. For many, Gardel embodies the soul of the tango style. He is commonly referred to as "Carlitos", "El Zorzal" (The Song Thrush), "The King of Tango", "El Mago" (The Magician) and "El Mudo" (The Mute).

Gardel was born to an unmarried woman, laundress Berthe Gardes; the baby registered under the name Charles Romuald Gardes in Toulouse, France, on 11 December 1890, although many Uruguayans argue that he was born earlier in Tacuarembó, Uruguay. The father of the baby boy is unknown. His mother traveled from France to the Rio de la Plata area because of the Tierra del Fuego gold rush. Gardel lived in Argentina from the age of two, and three decades later he acquired Argentine citizenship in 1923. He grew up in the Abasto neighborhood of Buenos Aires. He attended Pio IX Industrial high-school located in the Almagro neighborhood of Buenos Aires.

Julio de Caro (December 11, 1899 – March 11, 1980) was an Argentine composer, musician and conductor prominent in the Tango genre.

His father opened a conservatory in the San Telmo district, in 1913, soon becoming one of the city's best known sources for music, instruments, parts, and lessons. He and his brother, Francisco, were both taught the piano and violin, respectively; though their father ultimately granted them their wish to exchange instruments (a third brother, Emilio, learned the violin). Against his father's wishes, Julio obtained a spot as a second violinist at the Lorea Theatre for a 1915 performance of a zarzuela. Despite his father's punishment and objections, the brothers began attending Buenos Aires' popular tango recitals. Some of these early influences included bandleaders Eduardo Arolas, Juan Carlos Cobián, and Roberto Firpo.

At his friends' prompting, de Caro rose to the stage during a tango performance at the Palais de Glace, an elegant multi-purpose venue, in 1917. Granted an instrument by Firpo's violinist, de Caro's performance eleicited a standing ovation, as well as Eduardo Arolas' offer for a permanent spot in his orchestra. The elder de Caro (who disdained popular music generally) resisted it, and the talented young musician resorted to stealth to join Arolas' orchestra, for which he wrote his first tango, Mon beguin.