Carmen Miranda

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Carmen Miranda
Gangs all here trailer.jpg
Miranda in the 1943 film The Gang's All Here
Born Maria do Carmo Miranda da Cunha
(1909-02-09)9 February 1909
Marco de Canaveses, Portugal
Died 5 August 1955(1955-08-05) (aged 46)
Beverly Hills, California, U.S.
Cause of death
Heart attack
Resting place
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
Years active 1928–1955
Spouse(s) David Alfred Sebastian (m. 1947–55)
Website
www.carmenmiranda.com.br

Carmen Miranda, GCIH (Portuguese pronunciation: [ˈkaɾmẽȷ̃ miˈɾɐ̃dɐ], 9 February 1909 – 5 August 1955) was a Portuguese-born Brazilian[1][2] 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. The original copies of those films were lost or badly damaged.[3] 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.[4] 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".[5]

Nicknamed "The Brazilian Bombshell",[6][7] 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.[8]

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.[9]

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 is considered the precursor of Brazil's Tropicalismo, cultural movement of the 1960s.[10]

A museum was later constructed in Rio de Janeiro in her honor,[11] and in 1995 she was the subject of the acclaimed documentary Carmen Miranda: Bananas is My Business.[12]

Early life[edit]

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.[1] 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).[13] In 1909 when she was ten months old, her father emigrated alone to Brazil[14] and settled in Rio de Janeiro, where he opened a barber shop. Her mother followed in 1910 with their daughters Olinda 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), Aurora (1915–2005) and Óscar (1916).[13]

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.[14] 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.

Career[edit]

Brazilian career[edit]

Carmen Miranda and Mário Reis, released in 1933

Carmen Miranda and Mário Reis, released in 1934

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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. In 1930, she was known to be Brazil's gem singer, and in 1933 went on to sign a two-year contract with Rádio Mayrink Veiga, becoming the first contract singer in the radio industry history of Brazil. In 1934, she was invited as a guest performer in Radio Belgrano in Buenos Aires.[14] Ultimately, Miranda signed a recording contract with RCA Records. She led a successful career as a singer for ten years, singing in many popular styles, such as the samba and the Marchinha.

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 Alô Alô Carnaval, she performed the famous song "Cantoras do Rádio" with her sister Aurora, for the first time.[14]

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.[15][16]

American stage and films[edit]

Photo of Carmen Miranda published by the New York Sunday News in 1941.

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.[17] She made her US stage debut on 19 June 1939[18] in The Streets of Paris, opposite Abbott and Costello.[19][20] Although her part was small (she only spoke four words), Miranda received good reviews and became a media sensation.[4][21]

The New York 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 Schubert's show, 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."[22]

Her fame grew quickly, having formally been presented to President Franklin D. Roosevelt at a White House banquet shortly after arrival.[14]

In 1940, 20th Century Fox signed her to a contract for a one-time appearance in Down Argentine Way.[23] She received good reviews for her performance prompting Fox to sign her to a long-term film contract.[24]

She 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.[25] 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.[26]

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.[27]

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.[28]

Criticism[edit]

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!"[29]

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".[29]

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.

The Shamrock Hotel Program and Menu - Carmen Miranda (Houston, Texas, 26 February 1952)

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." [30] 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.[31]

Peak years[edit]

Carmen Miranda at the Grauman's Chinese Theater (1941).
Miranda's footprints at the Chinese Theatre in 2009.

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. 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.[24]

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.[32] 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,[14] earning more than $200,000 that year ($2.2 million in 2010 adjusted for inflation).[33]

Decline[edit]

In publicity photo for the movie Greenwich Village (1944).

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.[34] 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.[35]

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.[35]

Though her film career was faltering, Miranda music career remained solid and she was still a popular attraction at nightclubs.[36] 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.[37]

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.[38]

Following the release of Scared Stiff in April 1953, she embarked on a four-month European tour. After collapsing from exhaustion during a club performance in Ohio in October 1953, dates for her future tour were canceled. On the suggestion of her doctor, Miranda returned to Brazil to rest. Miranda was still hurt over the criticism she received there in 1940, but was happy when she received a warm reception upon her return. She remained in Brazil until April 1955.[24]

Personal life[edit]

With David Sebastian, in 1947.
For her contributions to the television industry, Carmen Miranda has a star on the Hollywood Walk of Fame.

On 17 March 1947, Miranda married American movie producer David Alfred Sebastian.[39] In 1948 she became pregnant, but suffered a miscarriage. The marriage was reportedly rocky and her family claimed that Sebastian was abusive.[40] In September 1949, the couple announced their separation, but they later reconciled.[41]

In her later years, in addition to her already heavy smoking and alcohol consumption, Miranda began taking amphetamines and barbiturates, all of which took a toll on her health.[42]

Death[edit]

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."[43][44] At around 4 a.m. the following day, Miranda suffered a fatal heart attack at her home in Beverly Hills.[43]

"I never knew before that she had heart trouble" said husband David Sebastian.[45]

The Jimmy Durante Show episode in which Miranda appeared was aired two months after her death, on 15 October 1955.[46] A clip of the episode was also included in the A&E Network's Biography episode about Miranda.[47][48]

Funeral and burial[edit]

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.[49] 60,000 people attended her mourning ceremony at the Rio town hall,[14] and more than half a million Brazilians escorted the funeral cortège to her resting place.[50][51]

She is buried in São João Batista Cemetery in Rio de Janeiro.[52]

For her contributions to the television industry, Carmen Miranda has a star on the Hollywood Walk of Fame South side of the 6262 block of Hollywood Boulevard.[53][54]

Image[edit]

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."[55] 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.

Her image was much satirized and taken up as camp, and today, the "Carmen Miranda" persona is popular among drag performers.[citation needed]

Legacy[edit]

Mickey Rooney with Miranda backstage at Babes on Broadway (1941).
  • 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.[56]
  • 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".[57]
  • 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.[58] "Carmen was a pioneer, she was the first name that was widely known from Brazil." told the Los Angeles Times Sergio Mielniczenko a cultural attache to the Brazilian Consulate.[59]
  • 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.
  • For a later generation, Miranda was viewed as a contemptible example of Hispanic stereotyping in American popular culture. The subject was explored in a 1995 documentary Carmen Miranda:Bananas is my Business, made by Brazilian filmmaker Helena Solberg. A decade later, Miranda's posthumous reputation seemed to have under-gone rehabilitation, with several events taking place in 2005 that marked the fiftieth anniversary of her death. These included a film and costume retrospective, "Carmen Miranda Forever," at Rio's Museum of Modern Art,[60][61] 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."[62]
  • 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.[63]
  • 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.[64][65]

In popular culture[edit]

Books, films & TV[edit]

  • 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".
  • Animator Virgil Ross used Miranda's image in his short Slick Hare, 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".[66]
  • 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.[67]
  • The actress Carol Burnett is dressed like Carmen Miranda in an episode of the comedy The Carol Burnett Show in 1972.[68]
  • 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". The film also includes 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 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.

Music[edit]

  • 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.
  • In 2003, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo.[69]
  • 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.[70]

Filmography[edit]

Year Title Role Notes
1933 A Voz do Carnaval Herself at Rádio Mayrink Veiga
1935 Alô, Alô, Brasil
1935 Estudantes Mimi
1936 Alô Alô Carnaval
1939 Banana da Terra
1940 Laranja-da-China
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
1947 "Slick Hare" Herself Voice
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

Singles[edit]

Brazilian singles[edit]

1935
  • "Anoiteceu"
  • "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)
1936
  • "Alô, Alô, Carnaval"
  • "Duvi-dê-ó-dó"
  • "Capelinha do Coração"
  • "Cuíca, Pandeiro, Tamborim ..."
  • "Beijo Bamba"
  • "Balancê"
  • "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)
1937
  • "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)
1938
  • "Endereço Errado"
  • "Falar!"
  • "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)
1939
  • "A Preta Do Acarajé"
  • "Deixa Comigo"
  • "Candeeiro"
  • "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)
1940
  • "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"
  • "Blaque-Blaque"
  • "Recenseamento" (recorded with Joint Odeon on 27 September 1940)
  • "Ginga-Ginga"

American singles[edit]

1939
  • "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"
1941
  • "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)
  • "Bambalê"
  • "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"
  • "Manuelo"
  • "Thank You, North America"
1942
  • "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"
1945
1947
  • "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)
1949
  • "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)
1950
  • "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)

See also[edit]

References[edit]

  1. ^ a b (McGowan 1998, p. 32)
  2. ^ "Carmen Miranda Dies Following Heart Attack". Pittsburgh Post-Gazette. 6 August 1955. p. 1. Retrieved 21 November 2012. 
  3. ^ "Brazil remembers its fruit-topped lady". Gloria Helena Rey. 1 March 1985. p. Evening Independent. Retrieved 11 April 2014. 
  4. ^ a b Bloom, Stephen G. (24 August 1984). "After 30 years, Carmen Miranda still a bombshell". Edmonton Journal. p. B5. Retrieved 21 November 2012. 
  5. ^ "On Trail Of Miranda Museum". Woodene Merriman. 30 May 1988. p. Pittsburgh Post-Gazette. Retrieved 15 April 2014. 
  6. ^ (Dennison 2004, p. 112)
  7. ^ Rohter, Larry (13 December 2001). "The Real Carmen Miranda Under the Crown of Fruit". The New York Times. Retrieved 3 January 2014. 
  8. ^ 14 April 2014 (17 June 1946). "Movie Stars And Detroit Auto Men Get Highest Pay". p. Tampa Bay Times. 
  9. ^ "Biography - Carmen Miranda". Jason Ankeny. p. AllMusic. 
  10. ^ "Carmen Miranda - Tropicália". Ana de Oliveira. p. http://tropicalia.com.br/. Retrieved 13 January 2014. 
  11. ^ David Beard (29 January 1986). "Museum Shows Off The Fruits Of Carmen Miranda". Chicago Tribune. Retrieved 15 March 2014. 
  12. ^ Thomas, Kevin (7 October 1995). "TV Reveiws: 'Carmen Miranda' Looks Behind Image". KEVIN THOMAS. p. The Los Angeles Times. Retrieved 15 March 2014. 
  13. ^ a b (Tompkins 2001, p. 192)
  14. ^ a b c d e f g "The century of the Brazilian Bombshell". It's time for Brazil in Singapore (Singapore: Sun Media): 63. 
  15. ^ film, Carmen Miranda: Bananas Is My Business (Brazil, 1995). Directed by Helena Solberg.
  16. ^ "Death Takes Suzan Ball, Carmen Miranda Friday". Reuter News Service. 6 August 1955. p. Deseret News. Retrieved 17 December 2013. 
  17. ^ Vinson, Bill; Casey, Ginger Quering. "S.S. Uruguay". Welcome Aboard Moore-McCormack Lines. Retrieved 20 May 2013. 
  18. ^ Atkinson, Brooks (20 June 1939). "The Streets of Paris Moves to Broadway". The New York Times. Retrieved 14 June 2013. 
  19. ^ "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. 
  20. ^ "Let's get ready to rumba". Henry Chu. 25 December 2005. p. Los Angeles Times. 
  21. ^ (Ruíz 2005, p. 199)
  22. ^ "CARMEN MIRANDA ON MY MIND: INTERNATIONAL POLITICS OF THE BANANA". St. Cloud State University. 
  23. ^ "5-Foot, 1-Inch Performer Died in 1955: Brazil Pays Homage to Carmen Miranda". GLORIA HELENA REY. 1 September 1985. p. Los Angeles Times. 
  24. ^ a b c (Parish 2003, p. 606)
  25. ^ ""The Brazilian Bombshell" Carmen Miranda & Her Life with and without the Fruit Hat". Nicole Akoukou Thompson. 9 January 2014. p. Latin Post. 
  26. ^ "Anos de Incerteza (1930–1937) a Política de boa vizinhança". p. Fundação Getúlio Vargas. 
  27. ^ "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. 
  28. ^ "U.S. –Brazil Cultural Relations during World War II". Marcio Siwi. 
  29. ^ a b (Ruíz 2005, p. 200)
  30. ^ 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.
  31. ^ Shari Roberts. "The Lady in the Tutti-Frutti Hat: Carmen Miranda, a Spectacle of Ethnicity," Cinema Journal 32, no. 3 (1993): 6.
  32. ^ "Gale Encyclopedia of Biography: Carmen Miranda". Answers. Retrieved 20 December 2013. 
  33. ^ "Large Earnings By Films Stars". The Age. 17 June 1946. p. 3. Retrieved 21 November 2012. 
  34. ^ (Tompkins 2001, p. 195)
  35. ^ a b (Parish 2003, pp. 607–608)
  36. ^ (Parish 2003, p. 608)
  37. ^ (Sforza 2000, p. 289)
  38. ^ (Hadley-Garcia 1990, p. 123)
  39. ^ "Carmen Miranda Set For Trial Separation". Toledo Blade. 27 September 1949. p. 3. Retrieved 21 November 2012. 
  40. ^ (Ruíz 2005, p. 206)
  41. ^ "Death Takes Carmen Miranda". Oxnard Press-Courier. 6 August 1955. p. 5. Retrieved 21 November 2012. 
  42. ^ (Brioux 2007, p. 176)
  43. ^ a b "Carmen Miranda Of Movies Dies". The Milwaukee Sentinel. 6 August 1955. Retrieved 21 November 2012. 
  44. ^ "Actress Dies After Making Video Film". Pittsburgh Post-Gazette. 6 August 1955. Retrieved 4 April 2014. 
  45. ^ "Hollywood Mourns 2 Actresses: Suzan Ball, Carmen Miranda, 41". The Free Lance–Star. 6 August 1955. Retrieved 25 March 2014. 
  46. ^ (Bakish 2007, p. 136)
  47. ^ "Death Takes Carmen Miranda, Suzan Ball". Reading Eagle. 6 August 1955. Retrieved 17 December 2013. 
  48. ^ "Death Takes Suzan Ball, Carmen Miranda Friday". Ludington Daily News. 6 August 1955. Retrieved 17 December 2013. 
  49. ^ (Ruíz 2005, p. 207)
  50. ^ (Ruíz 2005, p. 193)
  51. ^ Astor, Michael (1 December 2005). "In Rio, Carmen Miranda's Still Hard to Top". The Washington Post. 
  52. ^ Lawrence, Sandra (12 August 2003). "Brazil: In search of the queen of samba". London: telegraph.co.uk. Retrieved 30 October 2008. 
  53. ^ "Walk of Fame - Carmen Miranda". p. walkoffame.com. 
  54. ^ "Hollywood Star Walk - Carmen Miranda". p. Los Angeles Times. 
  55. ^ (Tompkins 2001, p. 191)
  56. ^ "A Brief History of Brazil". Teresa A. Meade. 27 March 2011. 
  57. ^ "A compendium of the 500 stars nominated for top 50 "Greatest Screen Legends" status.". American Film Institute. 
  58. ^ Tobar, Hector; Trevino, Joseph (26 September 1998). "Some City Squares Bring Lives, and History, Full Circle". Los Angeles Times. Retrieved 21 November 2012. 
  59. ^ "Intersection honors Carmen Miranda". Sarasota Herald-Tribune. 28 September 1998. Retrieved 21 November 2012. 
  60. ^ Chu, Henry (25 December 2005). "Let's get ready to rumba". Los Angeles Times. 
  61. ^ "Mega exposição sobre Carmem Miranda estréia no MAM do Rio". Oba Oba. 2005. 
  62. ^ "Icon: We Still Have Bananas". Newsweek. 22 January 2006. 
  63. ^ "The Sounds of American Life and Legend Are Tapped for the Seventh Annual National Recording Registry". Library of Congress. 9 June 2009. 
  64. ^ "Latin Music Legends". U.S. Postal Service. 16 March 2011. 
  65. ^ "Selena, Tito Puente, Celia Cruz To Appear on U.S. Postage Stamps". Billboard. 9 March 2011. 
  66. ^ "I Love Lucy: Season 1, Episode 2 Be a Pal". Internet Movie Database. 22 October 1951. 
  67. ^ "Banana Wars: Power, Production, and History in the Americas". Steve Striffler, Mark Moberg. 
  68. ^ "The Carol Burnett Show: Episode #6.7". Internet Movie Database. 25 October 1972. 
  69. ^ "Ivete Sangalo – MTV ao Vivo". ISTOÉ Gente. 12 March 2004. 
  70. ^ "Renewing Carmen Miranda". GreenGoPost. 21 March 2010. Retrieved 17 December 2013. 

Works cited[edit]

  • 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

Bibliography[edit]

  • 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.

External links[edit]