She became a central figure of Peronism and Argentine culture because of the Eva Perón Foundation, a charitable organization perceived by many Argentinians as highly impactful.

In direct contrast, the 1930s were also years of great unemployment, poverty, and hunger in the capital, and many new arrivals from the interior were forced to live in tenements, boardinghouses and in outlying shanties that became known as villas miserias.

[22] Later that year, she signed a five-year contract with Radio Belgrano, which assured her a role in a popular historical-drama program called Great Women of History, in which she played Elizabeth I of England, Sarah Bernhardt, and Alexandra Feodorovna, the last Tsarina of Russia.

In one of her last films, La cabalgata del circo (The Circus Cavalcade), Eva played a young country girl who rivaled an older woman, the movie's star, Libertad Lamarque.

Shortly after her election as president of the union, Eva Duarte began a daily program called Toward a Better Future, which dramatized, in soap opera form, the accomplishments of Juan Perón.

In 1947, Eva embarked on a much-publicized "Rainbow Tour" of Europe, meeting with numerous dignitaries and heads of state, such as Francisco Franco and Pope Pius XII.

Therefore, a visit to Franco, with António Salazar of Portugal, the last remaining Western European authoritarian leaders in power, was diplomatically frowned upon internationally.

The brilliant gold color became more subdued in tone and even the style changed, her hair being pulled back severely into a heavy braided chignon.

In an attempt to cultivate a more serious political persona, Eva began to appear in public wearing conservative though stylish tailleurs (a business-like combination of skirts and jackets), which also were made by Dior and other Paris couture houses.

At one point the Sociedad had been an enlightened institution, caring for orphans and homeless women, but those days had long since passed by the time of the first term of Juan Perón.

[45][page needed] Fraser and Navarro counter these claims, writing that Ramón Cereijo, the Minister of Finance, did keep records, and that the foundation "began as the simplest response to the poverty [Evita] encountered each day in her office" and to "the appalling backwardness of social services—or charity, as it was still called—in Argentina".

[48] Toward the end of her life, Evita was working as many as 20 to 22 hours per day in her foundation, often ignoring her husband's request that she cut back on her workload and take the weekends off.

In a public celebration and ceremony, Juan Perón signed the law granting women the right to vote, and then he handed the bill to Eva, symbolically making it hers.

The Peróns addressed the crowd from the balcony of a huge scaffolding set up on the Avenida 9 de Julio, several blocks away from the Casa Rosada, the official government house of Argentina.

A few months after "the Renunciation", Evita secretly underwent a radical hysterectomy, performed by the American surgeon George T. Pack[55] at the Memorial Sloan-Kettering Cancer Center in an attempt to remove the cervical tumor.

[19][page needed] For the following two weeks, lines stretched for many city blocks with mourners waiting hours to see Evita's body lie in state at the Ministry of Labour.

Martínez suggested she has remained an important cultural icon for the same reasons as fellow Argentine Che Guevara: Latin American myths are more resistant than they seem to be.

Che as well as Evita symbolize certain naive, but effective, beliefs: the hope for a better world; a life sacrificed on the altar of the disinherited, the humiliated, the poor of the earth.

The museum, created by her great-niece Cristina Alvarez Rodriguez, houses many of Eva Perón's clothes, portraits, and artistic renderings of her life, and has become a popular tourist attraction.

[78] In the book Eva Perón: The Myths of a Woman, cultural anthropologist Julie M. Taylor claims that Evita has remained important in Argentina due to the combination of three unique factors: In the images examined, the three elements consistently linked—femininity, mystical or spirituality power, and revolutionary leadership—display an underlying common theme.

[79]Taylor argues that the fourth factor in Evita's continued importance in Argentina relates to her status as a dead woman and the power that death holds over the public imagination.

[81]In 2011, two giant murals of Evita were unveiled on the building facades of the current Ministry of Social Development, located on 9 de Julio Avenue.

The controversial effigy of Julio Argentino Roca was replaced by that of Eva Duarte, making her the first actual woman to be featured on the currency of Argentina.

In many of her speeches, Evita argued that it was the country's oligarchy that upheld antisemitic attitudes, but that Peronism did not.From the start, Juan Perón's opponents accused him of being a fascist.

Therefore, both Evita and Perón were seen to represent an ideology which had run its course in Europe, only to re-emerge in an exotic, theatrical, even farcical form in a faraway country.

"[86] Time magazine published an article by Tomás Eloy Martínez—Argentine writer, journalist, and former director of the Latin American program at Rutgers University—titled "The Woman Behind the Fantasy: Prostitute, Fascist, Profligate—Eva Peron Was Much Maligned, Mostly Unfairly".

It is true that (Juan) Perón facilitated the entrance of Nazi criminals to Argentina in 1947 and 1948, thereby hoping to acquire advanced technology developed by the Germans during the war.

The musical began as a concept album which was co-produced by Andrew Lloyd Webber and Tim Rice in 1976, with Julie Covington in the title role.

After a nearly 20-year production delay, Madonna was cast in the title role for the 1996 film version and she won the Golden Globe Award for "Best Actress in a Musical or Comedy".

[93][94] Nicholas Fraser writes that Evita is the perfect popular culture icon for our times because her career foreshadowed what, by the late 20th century, had become common.