Miranda in the 1943 film The Gang's All Here
|Born||Maria do Carmo Miranda da Cunha
9 February 1909
Marco de Canaveses, Portugal
|Died||5 August 1955
Beverly Hills, California, U.S.
Cause of death
|São João Batista Cemetery, Rio de Janeiro, Brazil|
|Other names||The Brazilian Bombshell
The Chiquita Banana Girl
|Education||Convent of Saint Therese of Lisieux|
|Occupation||Singer, dancer, actress|
|Spouse(s)||David Alfred Sebastian (m. 1947–55)|
Carmen Miranda, GCIH (Portuguese pronunciation: [ˈkaɾmẽȷ̃ miˈɾɐ̃dɐ], 9 February 1909 – 5 August 1955) was a Portuguese Brazilian samba singer, dancer, Broadway actress, and film star who was popular from the 1930s to the 1950s.
By the 1930s, Miranda was a local star, singing and dancing in musicals and five Brazilian feature films. Lee Shubert, a Broadway impresario, offered the Carmen Miranda an eight week contract to perform in "The Streets of Paris" on Broadway after seeing her perform at Cassino da Urca in the Rio de Janeiro in 1939.
In 1940, she made her first Hollywood film, "Down Argentine Way", with Don Ameche and Betty Grable, her exotic clothing and Latin accent became her trademark. In the same year, she was voted the third most popular personality in the United States, and was invited to sing and dance for President Franklin Roosevelt, along with her group, "Bando da Lua". Nicknamed "The Brazilian Bombshell", Carmen Miranda is noted for her signature fruit hat outfit she wore in her American films, particularly in 1943's The Gang's All Here. By 1945, she was the highest paid woman in the United States.
Miranda made a total of fourteen Hollywood films between 1940 and 1953. Though hailed as a talented performer, her popularity waned by the end of World War II. She later grew to resent the stereotypical "Brazilian Bombshell" image she cultivated and attempted to break free of it with limited success. Undaunted, Miranda focused increasingly on her nightclub appearances, also becoming a fixture on television variety shows—indeed, for all the stereotyping she faced throughout her career, her performances made huge strides in popularizing Brazilian music, while at the same time paving the way for the increasing awareness of all Latin culture.
Carmen Miranda was the first Latin American star to be invited to imprint her hands and feet in the courtyard of the Grauman's Chinese Theatre in 1941. She became the first South American to be honored with a star on the Hollywood Walk of Fame. She is considered the precursor of Brazil's Tropicalismo cultural movement of the 1960s.
- 1 Early life
- 2 Career
- 3 Personal life
- 4 Death
- 5 Image
- 6 Legacy
- 7 In popular culture
- 8 Filmography
- 9 Singles
- 10 See also
- 11 References
- 12 Bibliography
- 13 External links
Carmen Miranda was born Maria do Carmo Miranda da Cunha in Várzea da Ovelha e Aliviada, a village in the northern Portuguese municipality of Marco de Canaveses. She was the second daughter of José Maria Pinto da Cunha (17 February 1887 – 21 June 1938) and Maria Emília Miranda (10 March 1886 – Rio de Janeiro, 9 November 1971). In 1909 when she was ten months old, her father emigrated alone to Brazil and settled in Rio de Janeiro, where he opened a barber shop. Her mother followed in 1910 with their daughters Olinda (1907–1931) and Maria do Carmo. Maria do Carmo, later Carmen, never returned to Portugal, but retained her Portuguese nationality. In Brazil, her parents had four more children: Amaro (1911), Cecília (1913–2011), Aurora (1915–2005) and Óscar (1916).
She was christened Carmen by her father because of his love for the opera comique, and also after Bizet's masterpiece Carmen. This passion for opera influenced his children, and Miranda's love for singing and dancing at an early age. She went to school at the Convent of Saint Therese of Lisieux. Her father did not approve of her plans to enter show business. However, her mother supported her and was beaten when her husband discovered Miranda had auditioned for a radio show. She had previously sung at parties and festivals in Rio. Her older sister Olinda contracted tuberculosis and was sent to Portugal for treatment. Miranda went to work in a tie shop at age 14 to help pay her sister's medical bills. She next worked in a boutique, where she learned to make hats and opened her own hat business which became profitable.
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Miranda was discovered when she was first introduced to composer Josué de Barros, who went on to promote and record her first album with Brunswick, a German recording company in 1929. The following year, she recorded "Taí" (Pra Você Gostar de Mim) written by Joubert de Carvalho and became the most popular singing star in Brazil, a position she would maintain throughout the 1930s.
The increasing commercialization of popular music helped make Carmen Miranda the first truly national pop icon in Brazil's history. In November 1930, Miranda negotiated a recording contract with RCA Victor, the Brazilian subsidiary of the American music conglomerate. In 1933 went on to sign a two-year contract with Rádio Mayrink Veiga, the most popular station in the 30's, becoming the first contract singer in the radio industry history of Brazil (though for a year - 1937 - she moved over to Radio Tupi). Later signed a contract with record label RCA Records. In 1934, she was invited to perform as a guest artist on Radio Belgrano in Buenos Aires. In 1935, Odeon finally got her to sign a contract. This resulted in in a number of hits, many of which are now classics of Brazilian music.
Miranda's rise to Brazilian stardom was intricately linked to the growing popularity of a distinctly Brazilian style of music: the samba. The expansion of the samba, and of Miranda's popularity, was greatly supported of the refiguring of Brazilian nationalism during the regime of President Getúlio Vargas. Such was her gracefulness and vitality, as apparent in her recordings as in her live performances, that she was immediately dubbed "Cantora do It;" later she became "Ditadora Risonha do Samba," and then, in 1933, the radio announcer Cesar Ladeira gave her a lasting moniker: "A Pequena Notável". During the 1930s, Miranda recorded nearly three hundred songs, many written exclusively for her by Brazil's most renowned composers, such as Ary Barroso, Synval Silva and Dorival Caymmi. While recording or performing on radio and stage, she counted on Brazil's top musicians.
From 1933 to 1939, Brazil's burgeoning film industry, capitalizing on her widespread appeal, featured her in five films, invariably with parts that allowed her to showcase her vocal talent. As with other popular singers of the era, Miranda made her screen debut in the Brazilian documentary A Voz Do Carnaval (1933). Two years later, she appeared in her first feature film entitled Alô, Alô Brasil. But it was the 1935 film Estudantes that seemed to solidify her in the minds of the movie-going public. In the 1936 movie Hello, Hello, Carnival!, she performed the famous song "Cantoras do Rádio" with her sister Aurora, for the first time.
During her later career, Miranda would become primarily identified with her colorful fruit-hat costume and image, though she only adopted that costume in 1939. In that year she appeared in the film Banana-da-Terra, where she wore a glamorized version of the traditional costume of a poor black girl of Bahia: flowing dress and fruit-hat turban. Singing the song "O que é que a Baiana Tem?"("What does a Baiana have?"), the intent was to empower a social class which was usually looked down upon.
In 1939 the Broadway impresario Lee Shubert visited Rio de Janeiro and witnessed the Brazilian sensation in action after seeing Miranda's extravagant stage show at the "Cassino da Urca". Shubert immediately offered the she a contract to perform in his summer musical, The Streets of Paris. Although she was intrigued by the possibility of performing in New York, Miranda refused to accept the deal unless Shubert agreed to also hire her band, the "Bando da Lua". The impresario refused, saying that there were plenty of great musicians in New York who could back her. But Miranda remained steadfast. She felt that North American musicians would not be able to authentically create the sounds of Brazil. As a compromise, Shubert agreed to hire the six band members, but he would not pay for their transport to New York. At this point, President Vargas, realizing the propaganda value of Miranda's tour, stepped in and announced that the Brazilian government would sponsor the band by providing free tickets on the Moore-McCormack Lines between Rio and New York.
He believed that Carmen Miranda would foster greater ties between northern and southern hemispheres and serve as an Ambassadress of Brazil in the United States. This could benefit Brazil economically by increasing its share of the American coffe market. Miranda took very seriously the official sanction of her trip and her duty of representing Brazil to the outside world. Before boarding the New York-bound SS Uruguay on 4 May. 1939, she held a press conference and told her fans:
- My dear friends, in New York I'm going to show the rhythm of Brazilian music, the music of our land. I'm afraid and I feel it's a very big responsibility, but always remember of me, and I will never forget you (...) I want to show what Brazil really is and change the wrong ideas existing in the United States about our contry.
American stage and films
After seeing one of her performances in Rio, theatre owner Lee Shubert signed Miranda and her band, the Bando da Lua, to a contract. In 1939, Miranda sailed from Brazil aboard the ocean liner SS Uruguay, arriving in New York on 18 May. She made their first Broadway performance in 19 June 1939, with The Streets of Paris. Although her part was small (she only spoke four words), Miranda received good reviews and became a media sensation. At the same time, she participated in the The Rudy Vallee Show (1929–43), or The Royal Gelatin Hour—one of the most popular American radio shows, broadcast weekly between 8:00 P.M. and 9:00 P.M. from New York's Radio City Music Hall.
The world's fair was attracting throngs to the Sunken Meadow fairgrounds just outside New York City in the summer of 1939, but Carmen Miranda still managed to make Shubert's show, Street of Paris, a commercial success. Life magazine's reviewer noted:
- "Partly because their unusual melody and heavy accented rhythms are unlike anything ever heard in a Manhattan revue before, partly because there is not a clue to their meaning except the gay rolling of Carmen Miranda's insinuating eyes, these songs, and Miranda herself, are the outstanding hit of the show."
Time Magazine dubbed her the "oomph that stops the show." New York audiences were enchanted by her exotic costume and accessories. One critic summed up her surprising appeal: "she is the biggest theatrical sensation of the year." By the end of the summer of 1939, the press lauded Miranda as "the girl who saved Broadway from the World's Fair." Her fame grew quickly, having formally been presented to President Franklin D. Roosevelt at a White House banquet shortly after arrival.
She signed a film contract with 20th Century Fox in 1940 while she was appearing at a New York club, and Down Argentine Way was her first appearance in an American film. Since Miranda could not break her nightclub contract, her numbers for this film were shot in New York even though all the other actors were working with director Irving Cummings in Los Angeles. If you look closely at Miranda's scenes, you will find that she never interacts with the other characters. Fox, with its revue approach to musicals, could cut and paste Miranda into the film. The film was a great success and grossed $2 million that year.
The Shuberts brought Carmen back to Broadway, teaming her with Olsen and Johnson, Ella Logan, the Blackburn Twins, and others in the musical revue Sons o'Fun in 1 December 1941. The show was a hodgepodge of slapstick, songs, and skits. Richard Watts Jr. (New York Herald Tribune) concluded, "In her eccentric and highly personalized fashion, Miss Miranda is by way of being an artist and her numbers give the show its one touch of distinction." Her rousing showstopper was "Thank You, North American." On 1 June 1942, she left the production; her Shubert contract had expired. Meanwhile she made recordings for Decca Records, including "Chica, Chica Boom Chic," "O Tic-Tac do Meu Coração," and "Chattanooga Choo Choo."
Miranda was encouraged by the United States government as part of President Roosevelt's Good Neighbor policy, designed to strengthen links with Latin America and Europe. It was believed that in delivering content like hers, the policy would be better received by the American public. Miranda's contract with 20th Century Fox lasted from 1941 to 1946; this period coincides with the time of World War II (1939–1945) and the creation in 1940 of the Office of the Coordinator of Inter-American Affairs (OCIAA), based in Rio de Janeiro, whose goal was to obtain support from governments and Latin American societies for the cause of the United States.
The interference was linked to the Good Neighbor policy and Roosevelt sought to forge better diplomatic relations with Brazil and other South American nations, and pledged to refrain from further military intervention, which has sometimes been done to protect U.S. business interests in industries such as mining or agriculture. Hollywood was asked to help out with the Good Neighbor Policy, and both Walt Disney Studios and 20th Century Fox participated. Miranda was considered the goodwill ambassador and promoter of intercontinental culture.
While Miranda's popularity in the United States continued to rise, she began to lose favor with some Brazilians. On 10 July 1940, she returned to Brazil where she was welcomed by cheering fans. Soon after her arrival, however, the Brazilian press began criticizing Miranda for giving in to American commercialism and projecting a negative image of Brazil. Members of the upper class felt her image was "too black" and she was criticized in one Brazilian newspaper for "singing bad-tasting black sambas". Other Brazilians criticized her for playing up the stereotype of a "Latina bimbo" after her first interview upon arriving in the United States. In an interview with the New York World-Telegram, Miranda discussed her then limited knowledge of the English language stating, "I say money, money, money. I say twenty words in English. I say money, money, money and I say hot dog!"
On 15 July, she appeared at a charity concert organized by Brazilian First Lady Darci Vargas. The concert was attended by members of Brazil's high society. She greeted the audience in English but was met with silence. When Miranda began singing a song from one of her club acts, "The South American Way", the audience began to boo her. She attempted to finish her act but gave up and left the stage after the audience continued to boo. The incident deeply hurt Miranda and she later cried in her dressing room. The following day, the Brazilian press criticized her for being "too Americanized".
Weeks later, Miranda responded to the criticism with the Portuguese language song "Disseram que Voltei Americanizada" (or "They Say I've Come Back Americanized"). Another song, "Bananas Is My Business" was based on a line in one of her movies and directly addressed her image. She was greatly upset by the criticism and did not return to Brazil again for fourteen years.
Miranda's films came under harsh scrutiny by Latin American audiences for characterizing Central and South America in a culturally homogenous way. When her films hit theatres in Central and South America, it was strongly felt that the films depicted Latin American cultures through the lens of American preconceptions, and not as they actually were. Many Latin Americans felt their cultures were being misrepresented, and felt that someone from their own region, Carmen Miranda, was misrepresenting them. Her film, Down Argentine Way (1940), was met with heavy criticism, with pundits in Argentina claiming that it failed to depict Argentinean culture. It was alleged that lyrics throughout the movie were filled with non-Argentine themes, and that the sets were not strictly Argentinean, but rather, a fusion of cultures from Mexico, Cuba, and Brazil. The film was subsequently banned in Argentina, for "wrongfully portraying life in Buenos Aires." Similar sentiments arose in Cuba after her the debut of Miranda's film, Weekend in Havana (1941). Cuban audiences were offended by Miranda's portrayal of a Cuban female. Reviewers of the film asserted that an import from Rio could not possibly portray a woman from Havana. Further, they claimed that throughout the film Miranda does not "dance anything Cuban." Miranda's performances, it was argued, were merely hybridizations of Brazilian culture and other Latin cultures. Critics contend that other of her films likewise misrepresented Latin locales, by assuming that Brazilian culture could suffice as a direct representation of Latin America.
Upon returning to the United States, Miranda kept up her film career in Hollywood while also appearing on Broadway and performing in clubs and restaurants.
The war years saw Carmen Miranda starring in eight of her fourteen films and, although the studios labelled her the "Brazilian Bombshell," the films tended to blur her Brazilian identity in favor of a generalized Latin American image, she began appearing in its films as a featured performer.
In 1941, she shared the screen with Alice Faye and Don Ameche in That Night in Rio. Later that same year, she teamed up with Alice Faye again in Week-End in Havana. Miranda was now earning $5,000 a week. On 24 March 1941, she became one of the first Latinas to leave her hand and footprints in the sidewalk of the Grauman's Chinese Theater.
In 1943, she appeared in an extravaganza from noted director Busby Berkeley called The Gang's All Here. Berkeley's musicals were known for their lavish production, and Miranda's role as Dorita featured her number "The Lady in the Tutti-Frutti Hat." An optical trick from the set behind her made the fruit-bedecked hat she was wearing appear even larger than humanly possible. By then, Miranda seemed to be locked into such roles as the exotic songstress, and her studio contract even forced her to appear at events in her trademark film costumes, which grew even more outlandish. One song she recorded, "Bananas Is My Business" seemed to pay somewhat ironic tribute to her typecasting. The following year, Miranda made a cameo appearance in Four Jills in a Jeep. By 1945, she had become Hollywood's highest-paid entertainer and top female tax payer in the United States, earning more than $200,000 that year ($2.2 million in 2010 adjusted for inflation).
After World War II ended in 1945, the American public's tastes began to change and musicals began to fall out of favor. Hollywood studio heads and producers also felt that the novelty of Miranda's "Brazilian bombshell" image had worn thin. As a result, Miranda's career declined. She made one last film for Fox, Doll Face (1945), before her contract was terminated in January 1946.
She later signed a contract with Universal but at the time, Universal was undergoing a merger with another studio. Due to a change in management, no films for Miranda were planned. Eager to break away from her well established image, Miranda attempted to branch out with different roles. In 1946, she portrayed an Irish American character in If I'm Lucky. The following year, she played dual roles opposite Groucho Marx in Copacabana for United Artists. While the films were modest hits, film critics and the American public did not accept Miranda's new image.
Though her film career was faltering, Miranda music career remained solid and she was still a popular attraction at nightclubs. From 1948 to 1950, Miranda teamed with The Andrews Sisters to produce and record three Decca singles. Their first collaboration was on radio in 1945 when Miranda guested on ABC's The Andrews Sisters Show. The first single, "Cuanto Le Gusta", was the most popular (a best-selling record and a number-twelve Billboard hit). "The Wedding Samba" (#23) followed in 1950.
In 1948, she co-starred opposite Wallace Beery and Jane Powell in A Date with Judy, and Nancy Goes to Rio in 1950 for MGM. She made her final film appearance in the 1953 film Scared Stiff with Martin and Lewis for Paramount.
Following the release of Scared Stiff in April 1953, she embarked on a four-month European tour. While performing in Cincinnati in October 1953, Carmen Miranda collapsed (from exhaustion). She began suffering from acute depression, and underwent electroshock therapy, and when that failed to cure her, her physician suggested a return visit to Brazil. Accompanied by her sister Aurora, she arrived in Rio de Janeiro on 3 December 1954, was her first visit home in fourteen years. When she arrived, she was pleased to be greeted by his fans and commented, "My people, I'm happy! I can't say anything else. How good it's to be home." Carmen stayed by four months in Brazil. Recovered, returned to the United States in 4 April 1955.
On 17 March 1947, Miranda married the American movie producer David Alfred Sebastian (23 November 1907 – 2 August 1990). In 1948 she became pregnant, but suffered a miscarriage after a show. The marriage lasted only a few months, but Carmen, who was Catholic, would not accept getting a divorce. Her sister Aurora later would state in the documentary Bananas is My Business that "he was very rude, many times even hit her. The marriage was a burden in her life; he only married her for her money. He did not like our family" In September 1949, the couple announced their separation, but they later reconciled. Before leaving for the United States and before meeting her husband, Carmen had a relationship with the young Mario Cunha and bon vivant Carlos da Rocha Faria, son of a traditional family of Rio de Janeiro and also the musician Aloysio de Oliveira, integral the "Bando da Lua."
On 4 August 1955, Miranda was shooting a segment for the filmed NBC variety series The Jimmy Durante Show. According to Durante, Miranda had complained of feeling unwell before filming. Durante offered to get Miranda a replacement but she declined. After completing a song and dance number, "Jackson, Miranda, and Gomez", with Durante, she fell to one knee. Durante later said of the incident, "... I thought she had slipped. She got up and said she was outa [sic] breath. I tells her I'll take her lines. But she goes ahead with 'em. We finished work about 11 o'clock and she seemed happy." At around 4 a.m. the following day, Miranda suffered a fatal heart attack at her home in Beverly Hills.
The Jimmy Durante Show episode in which Miranda appeared was aired two months after her death, on 15 October 1955. A clip of the episode was also included in the A&E Network's Biography episode about Miranda.
Funeral and burial
In accordance with her wishes, Miranda's body was flown back to Rio de Janeiro where the Brazilian government declared a period of national mourning. 60,000 people attended her mourning ceremony at the Rio town hall, and more than half a million Brazilians escorted the funeral cortège to her resting place.
She is buried in São João Batista Cemetery in Rio de Janeiro. In 1956, all her belongings were donated by her husband and family for the creation of Carmen Miranda Museum, which opened its doors in Rio on 5 August 1976.
Miranda's Hollywood image was one of a generic Latinness that blurred the distinctions between Brazil, Portugal, Argentina, and Mexico as well as between samba, tango and habanera. It was carefully stylized and outlandishly flamboyant. She was often shown wearing platform sandals and towering headdresses made of fruit, becoming famous as "the lady in the tutti-frutti hat." Miranda's enormous, fruit-laden hats are iconic visuals recognized around the world. These costumes led to Saks Fifth Avenue developing a line of turbans and jewelry inspired by Carmen Miranda in 1939. Many costume jewelry designers made fruit jewelry also inspired by Carmen Miranda which is still highly valued and collectible by vintage and antique costume jewelry collectors. Fruit jewelry is still popular in jewelry design today. Much of the fruit jewelry seen today is often still called "Carmen Miranda jewelry" because of this.
The Brazilian musician Caetano Veloso, who is largely responsible for resurrecting Carmen Miranda as a Brazilian icon during the 1960s, has this to say about her legacy in a article for the New York Times: "For generations of musicians who were adolescents in the second half of the 1950s and became adults at the height of the Brazilian military dictatorship and the international wave of counterculture-my generation-Carmen Miranda was first a cause of both pride and shame, and later, a symbol that inspired the merciless gaze we began to cast upon ourselves, Carmen conquered 'white' America as no other South American has done or ever would, in an era when it enough to be 'recognizable Latin and Negroid' in style and aesthetics to attract attention." For Veloso and other musicians contemplating a career abroad, Miranda's pioneering experiences continue to loom as a point of reference. Miranda helped establish and transform the relationship between Brazilian musicians and American producer that now has created several remarkable transnational collaborations. In Veloso's words: "To think of her is to think about the complexity of this relationship". When Carmen Miranda died in 1955, her popularity abroad was greater than in Brazil. Nonetheless, her contributions to the music and culture of Brazil should not be overlooked. Although she was accused of peddling Brazilian music and dance in a highly commercialized format, Carmen Miranda can be credited with bringing Brazil's national music, the samba, to a worldwide audience. In addition, she introduced the image of the baiana with wide skirts and turbaned headdress as the "showgirl" of Brazil at home and abroad. The baiana costume was adopted as the central feature of Carnival for women and, especially, for men, who famously dress up in elaborate Carmen Miranda style and parade through the streets of Brazil's cities during Carnival.
Even after her death, Carmen Miranda is remembered for being perhaps the most important Brazilian artistic personality of all time and one of the most influential Hollywood, she is listed by the American Film Institute as one of the "500 great legends of Cinema".
On 25 September 1998, a city square in Hollywood was named Carmen Miranda Square in a ceremony headed by longtime honorary mayor of Hollywood, Johnny Grant, who was also one of the singer's friends dating back to World War II. Brazil's Consul General Jorió Gama was on hand for opening remarks, as were members of Bando da Lua, Carmen Miranda's original band. Carmen Miranda Square is only one of about a dozen Los Angeles city intersections named for historic performers. The square is located at the intersection of Hollywood Boulevard and Orange Drive across from Grauman's Chinese Theater. The location is especially noteworthy not only since Carmen Miranda's footprints are preserved in concrete at Grauman's Chinese Theatre's, but in remembrance of an impromptu performance at a nearby Hollywood Boulevard intersection on V-J Day where she was joined by a throng of servicemen from the nearby USO.
A museum dedicated to Carmen Miranda is located in Rio de Janeiro in the Flamengo neighborhood on Avenida Rui Barbosa. The museum includes several original costumes, and shows clips from her filmography. There is also a museum dedicated to her in Marco de Canaveses, Portugal called "Museu Municipal Carmen Miranda", with various photos and one of the famous hats. Outside the museum there is a statue of Carmen Miranda.
In honor of the 50th anniversary of the great star's death, many events were held in Brazil, including an exhibition, "Carmen Miranda Forever," that was initially mounted at the Museum of Modern Art in Rio de Janeiro in November 2005 and traveled to a number of Brazilian cities in 2006. and Ruy Castro, one of the city's best-known writers, has just published a 600-page biography of "the most famous Brazilian woman of the 20th century." Brazilians "tend to forget," Castro told Margolis in Newsweek International, that "no Brazilian woman has ever been as popular as Carmen Miranda - in Brazil or anywhere."
In 2009, the recording of "O que é que a baiana tem?" by Dorival Caymmi, sung by Miranda in 1939, was selected for preservation in the Library of Congress. The recording helped to introduce both the samba rhythm and Carmen Miranda to American audiences. It was also the first recording of a song by Caymmi, who went on to become a major composer and performer.
In 2011, along with Selena, Celia Cruz, Carlos Gardel and Tito Puente, Carmen Miranda was immortalized by the U.S. Postal Service in the series of Postage stamp: Latin Music Legends (Forever). The stamps were painted by artist Rafael Lopez. "From this day forward, these colorful, vibrant images of our Latin music legends will travel on letters and packages to every single household in America. In this small way, we have created a lasting tribute to five extraordinary performers, and we are proud and honored to share their legacy with Americans everywhere through these beautiful stamps". said Marie Therese Dominguez, vice president of Government Relations and Public Policy for the U.S. Postal Service.
In popular culture
Books, films & TV
- Mickey Rooney was one of the first to imitate Carmen Miranda, in the 1941 film Babes on Broadway.
- In 1943, Daffy Duck is characterized as Carmen Miranda in a scene from the cartoon Yankee Doodle Daffy produced by Warner Bros.
- In the 1943 Tom and Jerry cartoon Baby Puss, the cat Topsy is characterized as Carmen Miranda while singing and dancing to music "Mamãe Eu Quero".
- Among the musical numbers in the British motion picture, Fiddlers Three (1944 film), its star, comedian Tommy Trinder gives a stupendous and exhilarating performance as Senorita Alvarez (a imitation of Carmen Miranda).
- Animator Virgil Ross used Miranda's image in his short Slick Hare, (1947) featuring Bugs Bunny, who escapes from Elmer Fudd by hiding in the fruit hat. Bugs himself mimics Miranda briefly in What's Cookin' Doc? Tex Avery also used it in his MGM short Magical Maestro when an opera singer is temporarily changed into the persona, fruit hat and all, via a magician's wand.
- Bob Hope appears characterized as Carmen Miranda while interpreting the song "Batuque do Morro" in scene in the movie Road to Rio, produced by Paramount Pictures in 1947.
- In the Season 1 episode of I Love Lucy entitled "Be a Pal", Lucille Ball does an imitation of Miranda in the episode in which she lip-syncs to a record of Carmen Miranda singing "Mama Yo Quiero".
- The United Fruit Company did not hesitate to take advantage of the Carmen Miranda craze. The company created a banana-woman cartoon character named Chiquita whose "tutti-frutti" hat unmistakably conjured Carmen Miranda.
- The actress Carol Burnett is dressed like Carmen Miranda in an episode of the comedy The Carol Burnett Show in 1972.
- Fruta Manzana is an animated spoof of Carmen Miranda who appeared in two segments, created by Don Duga and Irra Verbitsky, for Sesame Street.
- In the film Radio Days 1987, the Brazilian actress Denise Dumont participates in singing the song "Tico-Tico no Fubá". In another scene, Ruthie personifies Carmen Miranda in front of the mirror as she dances and lip-synchs to the song "South American Way".
- Helena Solberg made a documentary of Miranda's life entitled Carmen Miranda:Bananas is my Business, in 1995.
- Gal Costa appeared in the 1995 film The Mandarin (O Mandarim) as the singer Carmen Miranda.
- In Episode 10, Cycle 12 of America's Next Top Model the models embodied Brazilian icon Carmen Miranda in a photoshoot.
- Brazilian author Ruy Castro wrote a biography of Carmen Miranda entitled Carmen, published in 2005 in Brazil. This book has yet to appear in English.
- In the TV-Show Modern Family Cameron disguises his two year old daughter Lily as Carmen Miranda for a photoshoot.
- In the movie Gangster Squad, released in January 2013, Miranda is portrayed by Yvette Tucker performing in Slapsy Maxie's nightclub.
- In 2007, the BBC Four produced "Carmen Miranda - Beneath the Tutti Frutti Hat", a one-hour documentary on the history of singer Carmen Miranda, forever remembered as the lady in the tutti frutti hat, charting her remarkable rise from humble beginnings to become Brazil's most famous singer, before going on to conquer Broadway and Hollywood. Featuring interviews with her biographer Ruy Castro, her niece Carminha and Mickey Rooney, who impersonated her in the 1941 film Babes on Broadway.
- In 2013, the book Carmen Miranda written by Lisa Shaw, was released by publisher Palgrave Macmillan. This is the first book-length study of Carmen Miranda in English. It traces her origins as a radio singer, recording artist and film star in Brazil in the 1930s, before exploring in depth her Hollywood screen roles and the construction of her long-lasting star persona in the US.
- Brazilian singer Ney Matogrosso's album Batuque, brings the period and several of Miranda's early hits back to life in faithful style. Caetano Veloso paid tribute to Miranda for her early samba recordings made in Rio when he recorded "Disseram que Voltei Americanizada" on the live album Circuladô Vivo in 1992. He also examined her legacy of both kitsch and sincere samba artistry in an essay in the New York Times. Additionally, on one of Veloso's most popular songs, "Tropicalia", Veloso sings "Viva a banda da da da ... Carmen Miranda da da da" as the final lyrics of the song.
- Singer/songwriter Jimmy Buffett included a tribute to Carmen Miranda on his 1973 album A White Sport Coat and a Pink Crustacean, entitled "They Don't Dance Like Carmen No More."
- In the early 1970s a novelty act known as Daddy Dewdrop had a top 10 hit single in the US titled "Chick-A-Boom," one of Miranda's trademark song phrases, although the resemblance ended there.
- In 1968, Maria Bethânia recorded a cover version of the song "Camisa Listrada" for his album Recital na Boite Barroco.
- Gal Costa, recorded in 1975 the Marching of Carnival "O Balancê" of João de Barro and Alberto Ribeiro. Recorded by Carmen Miranda in 1936.
- In 1973, the Brazilian singer Clara Nunes recorded the song "Ao voltar do samba" of Synval Silva and recorded by Miranda in 1934.
- In 1989, Tom Jobim recorded the samba "Na Batucada da Vida" of Ary Barroso and Luiz Peixoto and recorded by Miranda in 1934.
- The singer Rita Lee recorded a cover version of the song I Like You Very Much in the 1980s.
- In 1989, Marisa Monte recorded a cover version of the song "South American Way" for his debut album MM.
- Adriana Calcanhoto recorded in 1990 "Disseram que Voltei Americanizada" for your album "Enguiço".
- In 1995, the American singer Dionne Warwick recorded a cover version of the song "Na Baixa do Sapateiro" of Ary Barroso and recorded by Miranda in 1938.
- In 1996, Chico Buarque and Maria Bethânia, recorded a cover version of the song "Quando Eu Penso na Bahia" of Ary Barroso and Luiz Peixoto and recorded by Carmen Miranda in 1937, she also was presented by Miranda in the movie Greenwich Village of 1944.
- Pink Martini recorded "Tempo perdido" for their 2007 album Hey Eugene!.
- Singer Leslie Fish wrote a song called "Carmen Miranda's Ghost Is Haunting Space Station Three", in which a space station is inundated with fresh fruit. A science fiction anthology later had the same title.
- John Cale, a member of the Velvet Underground, issued a song called "The Soul of Carmen Miranda" on his album Words for the Dying.
- Eduardo Dusek recorded a cover version of the song "Tá-Hi (Pra Você Gostar de mim)", written by Joubert de Carvalho and recorded by Miranda in 1930. The song was part of the soundtrack of the telenovela Chocolate com Pimenta in 2003, the voice Dusek.
- In 2003, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo.
- In honour of Carmen Miranda's centenary, Daniela Mercury recorded a "duet" with her in the cover of "O Que É Que A Baiana Tem?", which includes the original 1939 phonogram. Mercury recorded another Miranda classic, "Tico-Tico no Fubá" for album Canibália.
|1933||A Voz do Carnaval||Herself at Rádio Mayrink Veiga|
|1935||Alô, Alô, Brasil|
|1936||Hello, Hello, Carnival!|
|1939||Banana da Terra|
|1940||Down Argentine Way||Herself|
|1941||That Night in Rio||Carmen|
|1941||Week-End in Havana||Rosita Rivas|
|1941||Meet the Stars #5: Hollywood Meets the Navy||Herself||Short subject|
|1942||Springtime in the Rockies||Rosita Murphy|
|1943||The Gang's All Here||Dorita||Alternative title: The Girls He Left Behind|
|1944||Greenwich Village||Princess Querida|
|1944||Something for the Boys||Chiquita Hart|
|1944||Four Jills in a Jeep||Herself|
|1945||The All-Star Bond Rally||Herself (Pinup girl)|
|1945||Doll Face||Chita Chula||Alternative title: Come Back to Me|
|1946||If I'm Lucky||Michelle O'Toole|
|1947||Copacabana||Carmen Novarro/Mademoiselle Fifi|
|1948||A Date with Judy||Rosita Cochellas|
|1949||The Ed Wynn Show||Herself||Episode #1.2|
|1949 to 1952||Texaco Star Theater||Herself||4 episodes|
|1950||Nancy Goes to Rio||Marina Rodrigues|
|1951||Don McNeill's TV Club||Herself||Episode #1.25|
|1951||What's My Line?||Mystery Guest||18 November 1951 episode|
|1951 to 1952||The Colgate Comedy Hour||Herself||3 episodes|
|1951 to 1953||All-Star Revue||Herself||2 episodes|
|1953||Scared Stiff||Carmelita Castinha|
|1953||Toast of the Town||Herself||Episode #7.1|
|1955||The Jimmy Durante Show||Herself||Episode #2.2|
|1995||Carmen Miranda: Bananas is My Business||Herself||Archive footage|
- "Entre Outras Coisas"
- "Esqueci de Sorrir"
- "Foi Numa Noite Assim"
- "Fogueira Do Meu Coração"
- "Fruto Proibido"
- "Cor de Guiné"
- "Casaco de Tricô"
- "Dia de Natal"
- "Fala, Meu Pandeiro"
- "Deixa Esse Povo Falar"
- "Sonho de Papel" (recorded with Orchestra Odeon on 10 May 1935)
- "E Bateu-Se a Chapa" (recorded with Regional de Benedito Lacerda on 26 June 1935)
- "O Tique-Taque do Meu Coração" (recorded with Regional de Benedito Lacerda on 7 August 1935)
- "Adeus, Batucada" (recorded with Odeon Orchestra on 24 September 1935)
- "Querido Adão" (recorded with Orchestra Odeon on 26 September 1935)
- "Alô, Alô, Carnaval"
- "Capelinha do Coração"
- "Cuíca, Pandeiro, Tamborim ..."
- "Beijo Bamba"
- "Entra no cordão"
- "Como Eu Chorei"
- "Cantores do Rádio" (recorded with Aurora Miranda and Orchestra Odeon on 18 March 1936)
- "No Tabuleiro da Baiana" (recorded with Louis Barbosa and Regional Luperce Miranda on 29 September 1936)
- "Como Vaes Você?" (recorded with Ary Barroso and Regional Luperce Pixinguinha and Miranda on 2 October 1936)
- "Dance Rumba"
- "Em Tudo, Menos em Ti"
- "Canjiquinha Quente"
- "Cabaret No Morro"
- "Baiana Do Tabuleiro"
- "Dona Geisha"
- "Cachorro Vira-Lata" (recorded with Regional de Benedito Lacerda on 4 May 1937)
- "Me Dá, Me Dá" (recorded with Regional de Benedito Lacerda on 4 May 1937)
- "Camisa Amarela" (recorded with the Odeon Group on 20 September 1937)
- "Eu Dei" (recorded with Regional Odeon on 21 September 1937)
- "Endereço Errado"
- "Escrevi um Bilhetinho"
- "Batalhão do amor"
- "E a Festa, Maria?"
- "Cuidado Com a Gaita do Ary"
- "A Pensão Da Dona Stella"
- "A Vizinha Das Vantagens"
- "Samba Rasgado" (recorded with Odeon Group on 7 March 1938)
- "E o Mundo Não Se Acabou" ("And the World Would Not End") (recorded with Regional Odeon on 9 March 1938)
- "Boneca de Piche" (recorded with Admiral and Odeon Orchestra on 31 August 1938)
- "Na Baixa do Sapateiro" (recorded with Orchestra Odeon on 17 October 1938)
- "A Preta Do Acarajé"
- "Deixa Comigo"
- "Amor Ideal"
- "Essa Cabrocha"
- "A Nossa Vida Hoje É Diferente"
- "Cozinheira Grã-fina"
- "O Que É Que a Bahiana Tem?" (recorded with Dorival Caymmi and Regional Assembly on 27 February 1939)
- "Uva de Caminhão" (recorded with Joint Odeon on 21 March 1939)
- "Camisa Listada" (recorded with Bando da Lua on 28 August 1939)
- "Voltei pro Morro" (recorded with Joint Odeon on 2 September 1940)
- "Ela Diz Que Tem"
- "Disso É Que Eu Gosto"
- "Disseram que Voltei Americanizada" (recorded with Odeon Set on 2 September 1940)
- "Bruxinha de Pano"
- "O Dengo Que a Nêga Tem"
- "É Um Quê Que a Gente Tem"
- "Recenseamento" (recorded with Joint Odeon on 27 September 1940)
- "South American Way" (recorded with Bando da Lua and boy on 26 December 1939)
- "Touradas Em Madrid"
- "Marchinha do grande galo"
- "Mamãe Eu Quero"
- "Bambú, Bambú"
- "I, Yi, Yi, Yi, Yi (I Like You Very Much)" (recorded with Bando da Lua on 5 January 1941)
- "Alô Alô"
- "Chica-Chica-Bum-Chic" (recorded with Bando da Lua on 5 January 1941)
- "Cai, Cai" (record with Bando da Lua on 5 January 1941)
- "Arca de Noé"
- "A Weekend In Havana"
- "Diz Que Tem..."
- "When I Love I Love"
- "Rebola, Bola" (recorded with the Bando da Lua on 9 October 1941)
- "The Man With the Lollipop Song"
- "Não Te Dou A Chupeta"
- "Thank You, North America"
- "Chattanooga Choo Choo" (recorded with Bando da Lua and boy on 25 July 1942)
- "Tic-tac do Meu Coração"
- "O Passo Do Kanguru (Brazilly Willy)"
- "Boncea de Pixe"
- "Upa! Upa!"
- "Tico Tico"
- "The Matador (Touradas Em Madrid)" (recorded with The Andrews Sisters and Vic Schoen & his orchestra)
- "Cuanto La Gusta" (recorded with The Andrews Sisters and Vic Schoen & his orchestra)
- "Asi Asi (I See, I See)" (recorded with The Andrews Sisters and Vic Schoen & his orchestra)
- "The Wedding Samba" (recorded with The Andrews Sisters and Vic Schoen & his orchestra)
- "Baião Ca Room' Pa Pa" (recorded with The Andrews Sisters and Vic Schoen & his orchestra)
- "Ipse-A-I-O" (recorded with The Andrews Sisters and Vic Schoen & his orchestra)
- "Carmen Miranda Dies Following Heart Attack". Pittsburgh Post-Gazette. 6 August 1955. p. 1. Retrieved 21 November 2012.
- "Brazil remembers its fruit-topped lady". Gloria Helena Rey. 1 March 1985. p. Evening Independent. Retrieved 11 April 2014.
- "Captivating a country with her curves: Examining the importance of Carmen Miranda's iconography in creating national identities". Amanda J Ellis. Retrieved 29 April 2014.
- Bloom, Stephen G. (24 August 1984). "After 30 years, Carmen Miranda still a bombshell". Edmonton Journal. p. B5. Retrieved 21 November 2012.
- "On Trail Of Miranda Museum". Woodene Merriman. 30 May 1988. p. Pittsburgh Post-Gazette. Retrieved 15 April 2014.
- (Dennison 2004, p. 112)
- Rohter, Larry (13 December 2001). "The Real Carmen Miranda Under the Crown of Fruit". The New York Times. Retrieved 3 January 2014.
- 14 April 2014 (17 June 1946). "Movie Stars And Detroit Auto Men Get Highest Pay". p. Tampa Bay Times.
- "Biography - Carmen Miranda". Jason Ankeny. p. AllMusic.
- "DK Eyewitness Travel Guide: Brazil". 9 June 2014.
- "Carmen Miranda - Tropicália". Ana de Oliveira. p. http://tropicalia.com.br/. Retrieved 13 January 2014.
- David Beard (29 January 1986). "Museum Shows Off The Fruits Of Carmen Miranda". Chicago Tribune. Retrieved 15 March 2014.
- Thomas, Kevin (7 October 1995). "TV Reviews: 'Carmen Miranda' Looks Behind Image". KEVIN THOMAS. p. The Los Angeles Times. Retrieved 15 March 2014.
- (McGowan 1998, p. 32)
- (Tompkins 2001, p. 192)
- "The century of the Brazilian Bombshell". It's time for Brazil in Singapore (Singapore: Sun Media): 63.
- "Ruy Castro mostra que Carmen Miranda foi além das marchinhas". Luis Fernando Vianna. 15 February 2007. p. Folha de São Paulo. Retrieved 23 May 2014.
- "50 (more) Years Of Carmen Miranda". 9 February 2006. p. Connect Brazil. Retrieved 19 May 2014.
- "Carmen Miranda entre representações da identidade nacional e de identidades regionais". ALESSANDER KERBER. February 2006. p. Revista Acadêmico. Retrieved 23 May 2014.
- "Latina Legacies: Identity, Biography, and Community". Vicki L. Ruiz and Virginia Sánchez Korrol. Retrieved 19 May 2014.
- Dorival Caymmi: o mar e o tempo (2001), p.142, author: Stella Caymmi
- film, Carmen Miranda: Bananas Is My Business (Brazil, 1995). Directed by Helena Solberg.
- "MIRANDA'S LEGACY STILL BEARS FRUIT OF CONTROVERSY 40 YEARS AFTER DEATH". Reuter News Service. 6 August 1995. p. Deseret News. Retrieved 17 December 2013.
- "Biography of Carmen Miranda" (in Portuguese). p. Uol. Retrieved 19 May 1939.
- "Morte de Carmen Miranda completa 50 anos nesta sexta" (in Portuguese). 5 August 2005. p. Terra Networks. Retrieved 19 May 1939.
- "From Tejano to Tango: Essays on Latin American Popular Music" (in Portuguese). 5 August 2005. p. Walter Aaron Clark. Retrieved 19 May 1939.
- Vinson, Bill; Casey, Ginger Quering. "S.S. Uruguay". Welcome Aboard Moore-McCormack Lines. Retrieved 20 May 2013.
- Atkinson, Brooks (20 June 1939). "The Streets of Paris Moves to Broadway". The New York Times. Retrieved 14 June 2013.
- (Ruíz 2005, p. 199)
- "The Seduction of Brazil: The Americanization of Brazil during World War II". Antonio Pedro Tota.
- "Relato da estréia de Carmen Miranda em Nova York é de arrepiar; leia". 6 March 2009. p. Folha de São Paulo. Retrieved 20 December 2013.
- "Let's get ready to rumba". Henry Chu. 25 December 2005. p. Los Angeles Times.
- "Broadway Likes Miranda's Piquant Portuguese Songs". LIFE. 17 July 1939.
- "Brazilian Bombshell: The Biography of Carmen Miranda". Martha Gil Montero.
- "A to Z of American Women in the Performing Arts". Liz Sonneborn. p. accessdate=10 June 2014.
- "Twentieth Century-Fox: The Zanuck-Skouras Years, 1935–1965". Peter Lev. p. accessdate=11 June 2014.
- "5-Foot, 1-Inch Performer Died in 1955: Brazil Pays Homage to Carmen Miranda". GLORIA HELENA REY. 1 September 1985. p. Los Angeles Times.
- (Parish 2003, p. 606)
- "The Latin Tinge: The Impact of Latin American Music on the United States". John Storm Roberts.
- "Hollywood Songsters: Garland to O'Connor". James Robert Parish & Michael R. Pitts. Retrieved 9 September 2014.
- ""The Brazilian Bombshell" Carmen Miranda & Her Life with and without the Fruit Hat". Nicole Akoukou Thompson. 9 January 2014. p. Latin Post.
- "Anos de Incerteza (1930–1937) a Política de boa vizinhança". p. Fundação Getúlio Vargas.
- "U.S. –Brazil Cultural Relations during World War II". Marcio Siwi.
- (Ruíz 2005, p. 200)
- Amanda Ellis, "Captivating a Country With Her Curves: Examining the Importance of Carmen Miranda's Iconography in Creating National Identities" (Masters Thesis, State University of New York at Buffalo, 2008), 31-33.
- Shari Roberts. "The Lady in the Tutti-Frutti Hat: Carmen Miranda, a Spectacle of Ethnicity," Cinema Journal 32, no. 3 (1993): 6.
- "Brazil and World War II: The Forgotten Ally. What did you do in the war, Zé Carioca?". FRANK D. McCANN. p. University of New Hampshire.
- "Gale Encyclopedia of Biography: Carmen Miranda". Answers. Retrieved 20 December 2013.
- "Large Earnings By Films Stars". The Age. 17 June 1946. p. 3. Retrieved 21 November 2012.
- (Tompkins 2001, p. 195)
- (Parish 2003, pp. 607–608)
- "Biography: Carmen Miranda". p. Lifetime.
- (Parish 2003, p. 608)
- (Sforza 2000, p. 289)
- (Hadley-Garcia 1990, p. 123)
- Magazine "Cinelândia", Rio de Janeiro, February 1955, 1st fortnight. page 69
- "Carmen Miranda Set For Trial Separation". Toledo Blade. 27 September 1949. p. 3. Retrieved 21 November 2012.
- (Ruíz 2005, p. 206)
- "Carmen Miranda - Brasil Escola". Retrieved September 10, 2014.
- Castro, Ruy, Carmen - Uma Biografia. Page 397, Companhia das Letras. ISBN 85-359-0760-2
- (Brioux 2007, p. 176)
- "Hollywood Songsters: Garland to O'Connor". James Robert Parish and Michael R. Pitts.
- "Carmen Miranda Of Movies Dies". The Milwaukee Sentinel. 6 August 1955. Retrieved 21 November 2012.
- "Actress Dies After Making Video Film". Pittsburgh Post-Gazette. 6 August 1955. Retrieved 4 April 2014.
- "Hollywood Mourns 2 Actresses: Suzan Ball, Carmen Miranda, 41". The Free Lance–Star. 6 August 1955. Retrieved 25 March 2014.
- (Bakish 2007, p. 136)
- "Death Takes Carmen Miranda, Suzan Ball". Reading Eagle. 6 August 1955. Retrieved 17 December 2013.
- "Death Takes Suzan Ball, Carmen Miranda Friday". Ludington Daily News. 6 August 1955. Retrieved 17 December 2013.
- (Ruíz 2005, p. 207)
- (Ruíz 2005, p. 193)
- Astor, Michael (1 December 2005). "In Rio, Carmen Miranda's Still Hard to Top". The Washington Post.
- Lawrence, Sandra (12 August 2003). "Brazil: In search of the queen of samba". London: telegraph.co.uk. Retrieved 30 October 2008.
- "Walk of Fame - Carmen Miranda". p. walkoffame.com.
- "Hollywood Star Walk - Carmen Miranda". p. Los Angeles Times.
- (Tompkins 2001, p. 191)
- "To Be or Not to Br Brazilian? Carmen Miranda's Quest for Fame and "Authenticity" in the United States". Darien J. Davis.
- "A Brief History of Brazil". Teresa A. Meade. 27 March 2011.
- "A compendium of the 500 stars nominated for top 50 "Greatest Screen Legends" status.". American Film Institute.
- Tobar, Hector; Trevino, Joseph (26 September 1998). "Some City Squares Bring Lives, and History, Full Circle". Los Angeles Times. Retrieved 21 November 2012.
- "Intersection honors Carmen Miranda". Sarasota Herald-Tribune. 28 September 1998. Retrieved 21 November 2012.
- "Historical Dictionary of South American Cinema". Peter H. Rist.
- Chu, Henry (25 December 2005). "Let's get ready to rumba". Los Angeles Times.
- "Mega exposição sobre Carmem Miranda estréia no MAM do Rio". Oba Oba. 2005.
- "Icon: We Still Have Bananas". Newsweek. 22 January 2006.
- "The Sounds of American Life and Legend Are Tapped for the Seventh Annual National Recording Registry". Library of Congress. 9 June 2009.
- "Latin Music Legends". U.S. Postal Service. 16 March 2011.
- "Selena, Tito Puente, Celia Cruz To Appear on U.S. Postage Stamps". Billboard. 9 March 2011.
- "The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil". Chris McGowan and Ricardo Pessanha. Retrieved 11 June 2014.
- "I Love Lucy: Season 1, Episode 2 Be a Pal". Internet Movie Database. 22 October 1951.
- "Banana Wars: Power, Production, and History in the Americas". Steve Striffler, Mark Moberg.
- "The Carol Burnett Show: Episode #6.7". Internet Movie Database. 25 October 1972.
- Woody Allen's Angst: Philosophical Commentaries on His Serious Films
- "Carmen Miranda - Beneath the Tutti Frutti Hat". BBC. Retrieved 17 July 2014.
- "CHOCOLATE COM PIMENTA: Trilha sonora". Memoria Globo. 21 March 2010. Retrieved 1 September 2014.
- "Ivete Sangalo – MTV ao Vivo". ISTOÉ Gente. 12 March 2004.
- "Renewing Carmen Miranda". GreenGoPost. 21 March 2010. Retrieved 17 December 2013.
- Bakish, David (2007). Jimmy Durante: His Show Business Career, With an Annotated Filmography and Discography. McFarland. ISBN 0-7864-3022-2
- Brioux, Bill (2007). Truth and Rumors: The Reality Behind TV's Most Famous Myths. Greenwood Publishing Group. ISBN 0-275-99247-0
- Dennison, Stephanie; Shaw, Lisa (2004). Popular Cinema in Brazil, 1930–2001. Manchester University Press. pp. 112. ISBN 0-7190-6499-6
- Hadley-Garcia, George (1990). Hispanic Hollywood: The Latins in Motion Pictures. Carol Pub. Group. ISBN 0-8065-1185-0
- McGowan, Chris; Pessanha, Ricardo (1998). The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil. Temple University Press. ISBN 1-56639-545-3
- Parish, James Robert; Pitts, Michael R. (2003). Hollywood Songsters: Singers Who ACT and Actors Who Sing: A Biographical Dictionary (2 ed.). Taylor & Francis. ISBN 0-415-94333-7
- Ruíz, Vicki; Sánchez Korrol, Virginia, (2005). Latina Legacies: Identity, Biography, and Community: Identity, Biography, and Community. Oxford University Press. ISBN 0-19-515399-5
- Sforza, John (2000). Swing It! The Andrews Sisters Story. University Press of Kentucky. ISBN 0-8131-2136-1
- Tompkins, Cynthia Margarita; Foster, David William (2001). Notable Twentieth-Century Latin American Women: A Biographical Dictionary. Greenwood Publishing Group. ISBN 0-313-31112-9
- Cardoso, Abel. Carmen Miranda, a Cantora d Brasil. Sorocaba. 1978. (Portuguese)
- Castro, Ruy. Carmen: Uma Biografia. Companhia das Letras. 2005. 8535907602. (Portuguese)
- Gil-Montero, Martha. Brazilian Bombshell. Dutton Adult. 1988. 978-1556111280.
|Wikimedia Commons has media related to Carmen Miranda.|
- Official website
- Museu Carmen Miranda In the city of Rio de Janeiro.
- Carmen Miranda at the Internet Broadway Database
- Carmen Miranda at the Internet Movie Database
- Carmen Miranda at the Notable Names Database
- Carmen Miranda at the TCM Movie Database
- Carmen Miranda at Brightlightsfilm.com
- International Jose Guillermo Carrillo Foundation (Portuguese)
- Carmen Miranda - Brazil on YouTube
- Carmen Miranda on The Jimmy Durante Show - Her last performance, 1955 on YouTube
- Carmen Miranda at Find a Grave