Carmen Miranda
Actress, singer
Carmen Miranda
Carmen Miranda, GCIH was a Portuguese-born Brazilian samba singer, Broadway actress and Hollywood film star popular in the 1940s and 1950s. She was, by some accounts, the highest-earning woman in the United States and noted for her signature fruit hat outfit she wore in the 1943 movie The Gang's All Here. Though hailed as a talented performer, her movie roles in the United States soon became cartoonish and she grew to resent them.
Biography
Carmen Miranda's personal information overview.
{{personal_detail.supertitle}}
{{personal_detail.title}}
{{personal_detail.title}}
Photo Albums
Popular photos of Carmen Miranda
Relationships
View family, career and love interests for Carmen Miranda
Show More Show Less
News
News abour Carmen Miranda from around the web
Why This "Colombiana" Is Going to Watch Colombiana - Huffington Post (blog)
Google News - over 5 years
Or is she just one more example of Hollywood reducing Latinas to exotic stereotypes à la fruit basket crowned Carmen Miranda and "cuchi-cuchi" Charo, or that of submissive maid -- a role Mexican-American actor Lupe Ontiveros has played up to 300 times?
Article Link:
Google News article
Time in stitches - Tulsa World
Google News - over 5 years
They didn't go to many shows while they were there, but she recalled seeing famous samba singer and actress Carmen Miranda from the front row at the Desert Inn, as well as Siegfried & Roy at the Stardust, before they started performing at the Mirage
Article Link:
Google News article
WWII vets focus of 'VJ Day Remembered' - News Courier
Google News - over 5 years
— The Andrews Sisters, Carmen Miranda and other popular entertainers of the 1940s were brought back to life during a 20-act, one show only performance of "VJ Day Remembered." The variety show, which honored World War II veterans was a sell out Sunday
Article Link:
Google News article
Checkpoint debate continues in Escondido - SignOnSanDiego.com
Google News - over 5 years
Former City Council candidate Carmen Miranda said the goal of the group — whose members are not only Latinos — is to get police to stop asking for driver's licenses at checkpoints. “The community perceives that these are not DUI checkpoints but
Article Link:
Google News article
Video: Copacabana, "Carmen Miranda," Bring Out Crowds for La Luz - Patch.com
Google News - over 5 years
"Carmen Miranda," aka an on-theme Sheila Whitney led event hosts in a performance of "Copacabana." Almost 400 guests gathered Sunday night as the Sonoma Barracks was transformed into a Havana-wonderland—complete with palm trees and a
Article Link:
Google News article
Midweek Madness: Benny, Carmen and a wild ride through 'Paducah' - Baltimore Sun (blog)
Google News - over 5 years
A little blast of perpetually tropical Carmen Miranda seems appropriate for Midweek Madness during this ever so hot summer, even if, in this case, she's singing and wriggling to a tune about Paducha, Kentucky. This is a great, only-in-Hollywood moment
Article Link:
Google News article
Not So Hollywood Wedding Night: Ava Gardner and Mickey Rooney - Big Hollywood
Google News - over 5 years
Rooney was also wearing a dress and high heels—a Carmen Miranda costume. “Hello,” said Ava. That's all. Just hello. And without a smile. But she said it in the soft drawl of her native rural North Carolina, and I was a goner. I had known many
Article Link:
Google News article
Lifelong Manchester United Supporter Fires Broadside at The Spoof - The Spoof (satire)
Google News - over 5 years
Genuinely satirical or critical articles about Wayne Rooney or Chicharito or Rio Ferdinand aren'ta problem. but stupid articles about Chicharito locking lips with fucking Carmen Miranda, or blousy bollocks about our fans being fickle - for fuck's sake
Article Link:
Google News article
Hearing Today In Escondido DUI Checkpoint Clash Case - KGTV San Diego
Google News - over 5 years
"I think it's about more than DUIs," said Carmen Miranda, an Escondido resident who was in court on Friday. "I think they're looking for people who don't have papers." The police department and city leaders defend the checkpoints
Article Link:
Google News article
'Toddlers and Tiaras,' Indians game on tap tonight - New Philadelphia Times Reporter
Google News - over 5 years
Tonight, you can tune in at 8 pm for the 1942 musical “Springtime in the Rockies” starring Betty Grable, John Payne and the one and only Carmen Miranda. Grable and Payne play Vicky Lane and Dan Christy, a Broadway musical team who split due to Dan's
Article Link:
Google News article
Netflix Goes South - Motley Fool
Google News - over 5 years
This is pretty big -- as in Carmen Miranda headdress big -- news. We already knew that Netflix was setting its sights overseas. It has been bracing investors for $50 million to $70 million in losses during the second half of the year, as it plans to
Article Link:
Google News article
Cover, Beauty and the Antique, Carmen Miranda's Antiques - In Utah This Week
Google News - over 5 years
—Autumn Thatcher Carmen Miranda's Antiques sits along Broadway between other local shops and while the shop just celebrated its first anniversary of the 300 South location, it has actually been up and running for more than 28 years
Article Link:
Google News article
Goa's battle against mining reaches London - Times of India
Google News - over 5 years
The 'Save Goa Campaign UK' has been started by Carmen Miranda, a former director of the Panos Institute. She claims that rapacious mining in the state's hinterland has put Goa and its people in jeopardy. "The campaign will help spread awareness amongst
Article Link:
Google News article
She was Brazilian - Pueblo Chieftain
Google News - over 5 years
Through no fault of Sandy Stein, the report included a person who highlighted Carmen Miranda as a Cuban. Carmen Miranda was a very talented singer, dancer and movie actress, made famous by Hollywood in the United States. Unfortunately, she was not
Article Link:
Google News article
Timeline
Learn about memorable moments in the evolution of Carmen Miranda
    FORTIES
  • 1955
    Age 46
    The Jimmy Durante Show episode in which Miranda appeared was aired two months after her death, on 15 October 1955.
    More Details Hide Details A clip of the episode was also included in the A&E Network's Biography episode about Miranda. 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. A crowd of about 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. For her contributions to the television industry, Carmen Miranda has a star on the Hollywood Walk of Fame at the south side of the 6262 block of Hollywood Boulevard. 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. In fact, the Bonwit Teller store even created mannequins with faces and poses copied directly from Miranda’s for their window displays.
    When Carmen Miranda died in 1955, her popularity abroad was greater than in Brazil.
    More Details Hide Details 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 in Hollywood. She is listed by the American Film Institute as one of the "500 great legends of Cinema".
    On 4 August 1955, Miranda was shooting a segment for the filmed NBC variety series The Jimmy Durante Show.
    More Details Hide Details 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 told her I'll take her lines. But she goes ahead with 'em. We finished work about 11 o'clock and she seemed happy." After the last take, Miranda and Durante staged an impromptu performance on the set for the cast and technicians. And the singer took several members of the cast and some friends home with her for a small party. It was about 3 a.m. when she climbed the stairs to bed. Miranda removed her clothing, placed her platform shoes in a corner, lit a cigarette and placed it in an ash tray and went into her bathroom to fix her face for the night. She apparently came from the bathroom with a small, circular mirror in her hand and in the small hall that lead to her bedroom, she toppled to the floor and suffered a fatal heart attack. She was just 46 years old. Her body was found at about 10:30 a.m. lying in the hallway.
    Recovered, Miranda returned to the United States on April 4, 1955.
    More Details Hide Details In 1947, to achieve more creative freedom in a film she was making, Carmen decided to produce her own film. It was called Copacabana and she played opposite Groucho Marx. The budget was divided into around ten sponsors' quotas. A Texan investor, who held one of the quotas, sent his brother David Sebastian (23 November 1907 – 2 August 1990) to keep an eye on Carmen and look after his interests on the film set. His position allowed him to get close to Carmen and they started to date.
    According to Bananas Is My Business, her family blamed a troubled and abusive marriage for Miranda's nervous breakdown, forcing her to return to Rio de Janeiro to recuperate from acute depression and anxiety, before heading back, once again, to the U.S. to resume her celebrity career in 1955.
    More Details Hide Details She stayed four months in Brazil.
  • 1953
    Age 44
    While performing in Cincinnati in October 1953, Miranda collapsed from exhaustion, she was rushed to LeRoy Sanitarium by her husband Dave Sebastian and has canceled your following presentations.
    More Details Hide Details 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.
    In April 1953, Carmen Miranda embarked on a four-month European tour.
    More Details Hide Details
  • THIRTIES
  • 1948
    Age 39
    Though her film career was faltering, Miranda's 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.
    More Details Hide Details After Copacabana, Joe Pasternak invited Carmen to make two Technicolor musicals for the MGM studios, A Date with Judy (1948) and Nancy Goes to Rio (1950). With the first of these two productions, MGM set out to portray a different image of the star, allowing her to take off her turban and reveal her own hair, styled by the legendary coiffeur Sydney Guilaroff, and set off by make-up by the equally renowned make-up artist Jack Dawn. Carmen's wardrobe for the film eschewed "baiana" outfits, and instead included elegant dresses and hats designed by Helen Rose. She was clearly no longer the star attraction, however, appearing as fourth on the bill, in the role of Rosita Cochellas, a rumba teacher, who makes her first appearance on-screen some 40 minutes into the film and has little dialogue. In spite of the best efforts of MGM to introduce innovations into her star text, her roles in both productions were peripheral, and largely watered-down caricatures of her earlier screen performances in Hollywood, which relied heavily on fractured English and over-the-top musical and dance numbers.
  • 1947
    Age 38
    Carmen Miranda and David Sebastian married on 17 March 1947.
    More Details Hide Details The ceremony was performed at the Catholic Church of the Good Shepherd in Beverly Hills with the Right Rev Patrick J. Concannon officiating. 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 Miranda later would state in the documentary Bananas is My Business that "he married her for selfish reasons, she got very sick after she married and lived with a lot of depression". The couple announced their separation in September 1949. But they reconciled months later. Carmen Miranda was always very discreet in their relationships and little is known about her private life. Before leaving for the United States and before meeting her husband, she 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, one of the "Bando da Lua" members. In the US, she maintained relationships with the actor John Payne, Mexican actor Arturo de Córdova, Dana Andrews, Harold Young, John Wayne, Donald Buka and the Brazilian Carlos Niemeyer.
  • 1946
    Age 37
    When Carmen's contract with 20th Century Fox expired on January 1, 1946, she made the decision to pursue her acting career free of the constraints of the studios.
    More Details Hide Details Her ambition was to play a genuinely leading role and to show off her comic skills, which she sets out to do in the independent production for United Artists, Copacabana (1947) alongside Groucho Marx. While the films were modest hits, film critics and the American public did not accept Miranda's new image.
  • 1945
    Age 36
    By 1945, she had become Hollywood's highest-paid entertainer and top female taxpayer in the United States, earning more than $200,000 that year ($2.2 million in 2010 adjusted for inflation).
    More Details Hide Details After World War II, Carmen's films at Fox were made on black-and-white stock, reflecting Hollywood's diminishing interest in her and in the portrayal of Latin Americans in general, in keeping with the demise of the now strategically unnecessary "Good Neighbor policy". A monochrome Carmen was not what audiences expected, and it undoubtedly contributed to reducing the box-office appeal of the backstage musical, Doll Face (1945), in which she was demoted to fourth on the bill. She plays the character Chita Chula, billed in the show-within-the-film as "the little lady from Brazil", an endlessly cheerful comic sidekick to leading lady, Doll Face played by Vivian Blaine, and she is given only one musical number and little dialogue. The New York Herald Tribune alerted, "Carmen Miranda does what she always does, only not well," and The Sydney Morning Herald wrote that "Carmen Miranda appears in a straight part with only one singing number. The innovation is not a success, but the fault is the director's not Carmen's."
  • 1944
    Age 35
    The third film with Carmen Miranda released in 1944 was Something for the Boys, a musical comedy based on an eponymous Broadway musical, starring Ethel Merman with Cole Porter's songs.
    More Details Hide Details This would be the first of her films without William LeBaron or Darryl F. Zanuck as a producer. The person responsible for production was Irving Starr, charge of the second line of studio movies. For magazine Time, the film “turns out to have nothing very remarkable. There is not Carmen Miranda”.
    In 1944, Miranda starred with Don Ameche, Greenwich Village, a Fox musical with William Bendix and Vivian Blaine in supporting roles.
    More Details Hide Details The movie attracted bad reviews from the press. The New York Times wrote that “Technicolor is the picture's chief asset, but still worth a look for the presence of Carmen Miranda” and Peggy Simmonds, in his review for The Miami News said "Fortunately for Greenwich Village, the picture is made in Technicolor and has Carmen Miranda. Unfortunately for Carmen Miranda, the production doesn't do her justice, the overall effect is disappointing, but still she sparkles the picture whenever she appears." Besides that Greenwich Village did not manage to bring the box office numbers that Fox and Miranda had expected from the Technicolor musical.
  • 1943
    Age 34
    In 1943, she appeared in an extravaganza from noted director Busby Berkeley called The Gang's All Here.
    More Details Hide Details 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, "I Make My Money With Bananas" seemed to pay somewhat ironic tribute to her typecasting. The film was included among the 10 highest-grossing films of that year, and Fox's most expensive production in 1943, and received positive reviews at its premiere, although The New York Times film critic mused about the Freudian suggestions of All Those bananas, "Mr. Berkeley has some sly notions under his busby. One or two of his dance spectacles seem to stem straight from Freud."
  • 1942
    Age 33
    In 1942, 20th Century-Fox paid sixty thousand dollars to Lee Shubert to end her contract with Miranda. She finished her Sons o' Fun tour and began filming Springtime in the Rockies with Fox. It grossed about $2 million mark, staying among the ten most successful films at the box office in 1942.
    More Details Hide Details The film reviewed by the Chicago Tribune as “senseless, but eye intriguing… The basic plot is splashed over with songs and dances and the mouthings and eye and hand work of Carmen Miranda, who sure would be up a tree if she ever had to sing in the dark.”
  • 1941
    Age 32
    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 on 1 December 1941.
    More Details Hide Details
    On 24 March 1941, Carmen Miranda became one of the first Latinas to leave her hand and footprints in the sidewalk of Grauman's Chinese Theater.
    More Details Hide Details His next film, Week-End in Havana was directed by Walter Lang with William LeBaron as producer. The cast included Alice Faye, John Payne and Cesar Romero. After this third effort to activate the "Latin hot blood", Fox was dubbed by Bosley Crowther of "Hollywood's best good neighbor". In its release week, the film went to the top of the box office and topped the now-classic Citizen Kane, which was in its second week of release.
    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.
    More Details Hide Details 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!"
  • TWENTIES
  • 1939
    Age 30
    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.
    More Details Hide Details 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.
    She and the band made their first Broadway performance on 19 June 1939, in The Streets of Paris.
    More Details Hide Details Although her part was small (she only spoke four words), Miranda received good reviews and became a media sensation. According to the New York Times theater critic Brooks Atkinson, most of the musical numbers "ape the tawdry dullness" of genuine Paris revues, and "the chorus girls, skin-deep in atmosphere, strike what Broadway thinks a Paris pose ought to be". Atkinson continues, "South American contributes the most magnetic personality" of the revue. Carmen Miranda, singing "rapid-rhythmed songs to the accompaniment of a Brazilian band, she radiates heat that will tax the Broadhurst theater air-conditioning plant this Summer". Though Atkinson finds the bulk of the musical numbers forgettable he tells his readers that Miranda makes the show. The columnist Walter Winchell reported in the Daily Mirror, in a column syndicated to newspapers all over the USA, that a new star had been born who would save Broadway from the slump in ticket sales caused by the popularity of the New York World's Fair of 1939. Winchell's praise for Carmen and her Bando da Lua was repeated on his daily show on the ABC radio network, which reached 55 million listeners. The press lauded Miranda as "the girl who saved Broadway from the World's Fair". Her fame grew quickly, she having been formally presented to President Franklin D. Roosevelt at a White House banquet shortly after her arrival.
    She departed to New York aboard ship SS Uruguay on May 4, 1939, on the eve of World War II.
    More Details Hide Details Miranda arrived in New York on 18 May.
    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".
    More Details Hide Details Shubert immediately offered her 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.
    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.
    More Details Hide Details 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.
  • 1934
    Age 25
    Carmen's next screen performance was in the musical Hello, Hello Brazil! (1935), and her proven star status in the world of popular music was reflected in the fact that she was chosen to provide the closing number of the film, the marcha "Primavera no Rio", which she had recorded on the Victor record label in August 1934.
    More Details Hide Details By all accounts, in Hello, Hello Brazil! Miranda stole the show with this performance and the head of the Cinédia studios, Adhemar Gonzaga, decided to make it the musical finale of the film, rather than a number by the leading male singer of the era, Francisco Alves, as had been planned. A few months after the release of film, Cinearte magazine stated "Carmen Miranda is currently the most popular figure in Brazilian cinema, judging by the sizeable correspondence that she receives". In her next film, Estudantes (1935), Carmen Miranda was given a narrative role for the first time. In this musical comedy, Miranda played Mimi, a young radio singer (who performs two numbers in the film), who falls in love with a university student played by the singer Mário Reis. Carmen was central to the success of the next co-production from the Waldow and Cinédia studios, the musical Hello, Hello, Carnival! (1936), which featured a roll call of star performers from the world of popular music and the radio, including Carmen's sister, Aurora Miranda. The backstage standards plot provided the pretext for the inclusion of 23 musical numbers, and by the Brazilian standards of the time Hello, Hello, Carnival! was a major production. The set reproduced the interior of Rio's plush Atlântico casino, where some of the scenes were shot, and the backdrops for certain musical numbers.
  • 1933
    Age 24
    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".
    More Details Hide Details Her film career in Brazil was closely bound up with genre of musical films that drew on the nation's carnival traditions, and the annual celebrations and musical style of the city of Rio de Janeiro, Brazil's then capital, in particular. She performed a musical number in O Carnaval Cantado no Rio (1932), the first sound documentary on this popular theme, and three songs in A Voz do Carnaval (1933), which combined real footage of street carnival celebrations in Rio with a fictitious plot that provided endless pretexts for carnival musical numbers.
  • 1930
    Age 21
    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.
    More Details Hide Details In 1933 went on to sign a two-year contract with Rádio Mayrink Veiga, the most popular station in the 1930s, becoming the first contract singer in the radio industry history of Brazil (though for a year – 1937 – she moved over to Radio Tupi). Later she signed a contract with record label Odeon. 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 supportive of the refiguring of Brazilian nationalism during the regime of President Getúlio Vargas.
  • TEENAGE
  • 1929
    Age 20
    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.
    More Details Hide Details The following year, she recorded (Taí, Eu fiz Tudo) Prá Você Gostar de Mim (also known as Taí) written by Joubert de Carvalho and became the most popular singing star in Brazil, a position she would maintain throughout the 1930s.
  • CHILDHOOD
  • 1910
    Age 1
    Her mother followed in 1910 with their daughters Olinda (1907–1931) and Maria do Carmo.
    More Details Hide Details 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.
  • 1909
    Age 0
    Born in 1909.
    More Details Hide Details
    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.
    More Details Hide Details
Original Authors of this text are noted here.
All data offered is derived from public sources. Spokeo does not verify or evaluate each piece of data, and makes no warranties or guarantees about any of the information offered. Spokeo does not possess or have access to secure or private financial information. Spokeo is not a consumer reporting agency and does not offer consumer reports. None of the information offered by Spokeo is to be considered for purposes of determining any entity or person's eligibility for credit, insurance, employment, housing, or for any other purposes covered under the Fair Credit Reporting Act (FCRA)