Page numbers in bold refer to illustrations.
“A banda” (Buarque), 211
Abbott, William “Bud,” 73–74, 198
Abby in Wonderland (Clash), 200
acculturation, 44
Acquanetta, 252n59
“Adeus, batucada” (S. Silva), 219, 221
Adrian (costume designer), 118, 155
Afonso Arinos Law, 48
Afro-Brazilianness: and baiana, 26, 43–44; and Carioca Tias, 16–17; and Carnival, 16; commodification of, 53–54; cultural prominence of, 44, 46, 56; in Hollywood, 108; Miranda’s appropriation of, 5–6, 26, 34, 43, 47–48, 52–56, 61, 65–69; and music, 91; and national identity, 45–46, 50, 54, 233n3; phonic signifiers of, 55–56; social discrimination against, 44–48; on stage, 21, 23, 34–35, 61, 64, 67; whitening of, 52–53, 55
Alberoni, Francisco, 33
Allen, Amanda, 214
Allen, Fred, 90
Allen, Richard, 104–7, 241n7, 242n11
Almeida, Aracy de, 230n45
Almirante (Henrique Foréis Domingues), 36, 39, 54, 57–59, 60, 63–65, 68, 232n72, 234nn22–24, 234n28
“Alô . . . alô?” (André Filho), 36
Alô, alô, Brasil! (Downey), 36–37, 40, 229n20
Alô, alô, carnaval! (Gonzaga), 5, 7, 24, 37, 38, 39–40, 227n11, 229n20, 232n70
Alves, Francisco, 30, 36, 56, 232n65
Always Leave Them Laughing (Del Ruth), 186, 252n50
Ameche, Don, 84, 107–9, 120, 125, 127, 140, 144, 148–49, 192, 248n11
Amos ’n’ Andy, 64
Anacani, 187
Anderson, Laurie, 209
Andrade, Oswald de, 238n78
Andrews Sisters (Maxine, Patty, and LaVerne), 151, 174, 250n21
Antunes Filho, José Alves, 217, 256nn37–38
“Aquarela do Brasil” (Barroso), 22, 25, 230n34, 234n27
Arabian Nights (Rowlins), 137, 252n59
A república (Aluísio and Artur Azevedo), 21
Argentine Nights (Rogell), 151, 173–74
Arinos, Afonso, 229n30
Arkin, Alan, 188
“Art for Art’s Sake” (Brown and Robin), 147
Astaire, Fred, 23, 62, 135, 190
Avery, Tex, 198, 253nn65–66
Azevedo, Aluísio, 21
Azevedo, Artur, 21
Babes on Broadway (Berkeley), 174–75, 176
Babo, Lamartine, 6, 36, 234n27
Babuscio, Jack, 138, 169, 250n5
Bacall, Lauren, 196
baiana: on Carioca stage, 21–24; in Carnival, 15–18, 20, 41, 137, 166; as cartoon character, 195; Cecília Meireles’s depiction of, 20–21, 27; and cross-dressing, 17–18, 168; cultural symbol, 42; definition of, 14, 227n4; dolls as, 14, 19; as entertainment persona, 3; as exotic sign in the US, 89; false, 10, 17; and gender-bending, 136–37, 166; and Hollywood, 23; image of, 3–4; in media, 16, 41; Miranda’s identification with, 66; origins of, 14–19; outfit of, 14–15, 19, 27, 149; performative vogue, 41–42; public presence, 15–19, 27, 42; as quituteiras or street vendors, 15–17, 20; and racial politics, 26, 43; in ranchos dos reis (kings’ parades), 18; in religious ceremonies, 14–15; stock character of stage, 21; as synecdoche for Brazilian culture, 13–14, 16, 223; US reception of, 13, 93, 98; and West Africa, 15
baiana costume: and Afro-Brazilianness, 43; authentic, 20; and camp, 131–32, 137; as Carioca tradition, 19–21; as carnivalesque costume, 18–19, 165; Cecília Meireles’s portrayal of, 20–21; and censorship, 19; and children, 232n82; and Deo Maia, 59, 232n82; and gender-toying, 133–34, 134; and Joan Bennett, 173; See also Miranda, Carmen, costumes
Bailey, Pearl, 187
Baker, Josephine, 65
Baker, Phil, 165
balangandãs, 15, 27, 196, 219, 228nn5–6, 234n27
Balbi, Cesar, 226
Ball, Lucille, 167, 180–81, 192
“Bambu bambu” (Almirante and De Abreu), 87
Banana da terra (Costa): artists in, 41; influence on Carnival 1939, 17; Miranda as baiana in, 13, 14, 24, 27–29, 39–42, 66; preserved segment of, 5, 14, 26–27, 58; reception of, 40–41, 57, 232n63; song changes to, 59
Bananas Is My Business (Solberg), 9, 14, 26, 58, 83, 208–9, 219–23, 256n42
Banda 1E99, 225
Bando da Lua: in Alô, alô, Brasil!, 36; in Banana da terra, 39; at Ciro’s, 127; in Estudantes, 37; as fictional characters, 218; in The Gang’s All Here, 163; at Grauman’s Chinese Theatre, 126, 221; in Greenwich Village, 101–2, 138–40, 148–50; on The Jimmy Durante Show, 205; in New York, 7, 71, 90, 227n14; at New York World’s Fair, 90–91, 100; and “O que é que a baiana tem?,” 27–28; in Sons O’ Fun, 98; in Springtime in the Rockies, 142; in The Streets of Paris, 75, 89; in That Night in Rio, 119; in The Three Caballeros, 198; at Urca Casino, 43, 58
Barbizon School of Languages, 91, 129
Barbosa, Joaquim Silvério de Castro, 39
Barbosa, Maria Carmen, 207
Barbosa, Paulo, 40
Barbosa Júnior, 37
Barnett, Lisa, 214
Barreto, Erick, 83, 206, 208–9, 220–22
Barrios, Richard, 62
Barro, João de (Braguinha), 24, 34, 39, 57–58, 254n5
Barros, João de, 16
Barros, Orlando de, 21, 23, 51–52, 229nn25–26
Barroso, Ari: in Alô, alô, Brasil!, 36; and “Aquarela do Brasil,” 22, 25, 234n27; and Banana da terra, 57–59; and “Batuca, nego,” 151; and Boneca de pixe, 58–59, 64–65, 192; and Carnival, 39; composer for Miranda, 6, 34; rumored relationship with Miranda, 128
Barthes, Roland, 246n110
Bastide, Roger, 233n10
Ba-Ta-Clan Preta (troupe), 23
Bathing Beauty (Sidney), 190, 192, 249n33
Batista, Dircinha, 36, 39–40, 230n45, 232n73, 234n28
“Batuca, nego” (Alves), 151–52
“Batucada” (Myrow and De Lange), 108, 153–54
“Batuque no morro” (Pandeiro), 177, 251n30
Bellamy, Madge, 62
Bell-Metereau, Rebecca, 174, 177, 198, 251n31
Beloved Infidel (King), 192
Bendix, William, 147
Bennett, Joan, 173
Berg, Charles Ramírez, 89, 238nn84–85
Bergman, David, 247n4
Bergman, Ingrid, 94
Berkeley, Busby: camera work of, 155–56, 158–59, 163–64, 249n31, 249n36; and camp, 132, 138, 149–50, 154–63, 193; choreography by, 151, 159–60, 249n21; feminine space by, 156, 158, 164; influence of, 201, 209; and MGM and Warner Bros. films, 149, 162, 174, 248n19, 249n35, 249nn37–38; See also Gang’s All Here, The
Berle, Milton, 182, 185–86, 252n46, 252n48, 252nn50–52, 254n77
Berlin, Irving, 62, 184, 235n11
Berry, Sarah, 100, 120, 135–36, 244n72, 245n83, 249n21
“Bet Your Bottom Dollar” (Myrow and De Lange), 110
Big Broadcast of 1938, The (Leisen), 248n19
Binatti, Lia, 23
blackface: in “Boneca de pixe,” 65; in Brazil, 61; in Ceará (Brazil), 62, 234n29; and clowning, 63, 234n31; in Cuba, 50–51, 53, 61, 233n13; and gender, 62–63, 234n30; Miranda and Almirante in, 57–60, 63–66, 234n23; nega maluca in, 58; in teatro de revista, 50–51, 62; in US films, 62, 184, 252n50; US performers in, 61–63; See also Afrocubanismo; Amos ’n’ Andy; boneca de pixe (tar doll); Miranda, Carmen: in brownface
Blaine, Vivian, 107, 141, 147–50, 248n17
Blake, Arthur, 183
Blondell, Joan, 91
Blue Sky Studios, 203
Bogart, Humphrey, 196
Bombalera (Madison), 190
“Boneca de pixe” (song; Barroso): and Banana da terra, 58–59; and blackface performance, 60–63, 65; compared to “Miss Lucy Long,” 63; in Diz isso cantando, 62; in Easy to Wed, 192; and Grande Otelo, 65; lyrics of, 65; by Miranda and Almirante, 57–60, 63–66, 232n72, 234n23; See also Barroso, Ari; blackface; race
boneca de pixe (tar doll): and Carnival float, 65; as comic routine, 63; compared to Amos ’n’ Andy, 64; compared to Jim Crow, Sambo, and Zip Coon, 59; in folklore, 10, 59; and gender, 63; Miranda’s identification as, 61, 234n28
Bonequinha de seda (Vianna), 232n63
Boomer, Lucius, 93
Boorstin, Daniel, 167
Borges, Jason, 253n72
Bow, Clara, 230n47
Boxer’s Bride, The (Guter), 62
Bracken, Eddie, 180
Brand, Harry, 111, 114, 128, 243n50, 245n79, 245n89, 245nn97–98, 247n137
Brassard, Gail, 79
Brassart, Scott, 214
Brastoff, Sascha, 118, 139, 153, 184–85, 244n78, 245n79
Brito, Dulce Damasceno de, 32, 89
Bronski, Michael, 131, 169, 250n8
Browne, Dik, 201
Bugs Bunny, 194–96, 202–3, 253n66. See also cartoon characters; cartoons and children’s programming
Burlamaqui, Ulisses, 226
Burnett, Carol, 167, 187–90, 189
Burton, Julianne, 198
Butler, Judith, 47, 64, 66–67, 69, 169
Caballeros da Lua, 98. See also Bando da Lua
Cabral, Yvone, 231n50
“Cai, cai” (Martins), 229n20
camp: in Bananas Is My Business, 222; and Busby Berkeley, 154–56, 158–66; in Carnival, 17; in cartoons, 194–97, 204; in comic routines, 178, 182; definitions of, 131; feminist, 178–80; in The Gang’s All Here, 132, 138, 154–66, 157; and gender, 133, 134, 146, 169, 204, 247n6; in grand finales, 143–46; in Greenwich Village, 147–51; and Hollywood musicals, 10, 134–36, 144–59; and homosexual associations, 131; in If I’m Lucky, 153–54; in imitations, 172, 186; and incongruity, 85, 135, 151–52, 154; and kitsch, 136, 171; and Latinness, 169, 247n3; and Miranda, 3, 5, 132–48, 150–66; performativity of, 132, 138, 141–43; in Something for the Boys, 151–52; in Springtime in the Rockies, 146–47; Susan Sontag on, 131–34, 160; in That Night in Rio, 85, 144–45; and Tropicália, 211–13; in Weekend in Havana, 145–46
Canosa, Fabiano (curator), 224
“Cantoras do rádio” (Ribeiro, Barro, and Babo), 7, 38, 219, 232n65
capoeira (dance and martial arts), 53, 167
Cardoso Junior, Abel, 230n40, 234n25
Caribbean Romance (Fuller), 190
“Carioca, The” (Youmans, Kahn, and Eliscu), 23
Carmen, notável para sempre (Carmen Miranda Museum), 226
Carmen, o it brasileiro (De Bonis), 225
Carmen Miranda (Lindsay), 209
Carmen Miranda Museum, 222, 224–26
Carmen Miranda para sempre (MAM, Rio de Janeiro), 224–25, 257n54
“Carmen Miranda’s Ghost” (Fish), 213
Carmen Miranda’s Ghost Is Haunting Space Station Three (Sakers), 213–14
Carmen Miranda Square (Hollywood), 224
Carnival: and baianas, 15–16, 18, 20–21, 27, 229n19; and camp, 17; and cinema, 16, 35–42, 59, 231n58; and drag, 17, 137, 168; and false baiana vogue, 17; gay men in, 17; marchas of, 2, 25, 36, 40, 87, 209, 229–30n32, 231n53, 234n22; and Miranda, 2, 6, 26, 30–33, 38–39, 63, 141, 206, 223; in Nancy Goes to Rio, 248n7; in Rio: The Movie, 203; shows, 40–41; and state sponsorship, 8, 18; stylized baianas in, 18, 43; Tias as staple of, 16–17; tourism and, 40; and Tyrone Power, 40
Carnival associations or clubs: Caçadores de Veados, 17; Democráticos, 17, 228n13; Fenianos, 17, 228n13; Tenentes do Diabo, 17, 228n13
Carol Burnett Show, The (CBS), 187–88
cartoon characters: baiana as, 195; Bing Crosby as, 198; Bugs Bunny, 194–96, 202–3, 253n66; Chico Marx as, 196; Daffy Duck, 194–95; Donald Duck, 197–98, 209; Dorothy Lamour as, 198; Elmer Fudd, 196; Frank Sinatra as, 196, 198; Fruta Manzana, 201; Gregory Peck as, 196; Harpo Marx as, 196; Humphrey Bogart as, 196; Jimmy Durante as, 198, 253n75; José (Zé or Joe) Carioca, 197–98, 253n71, 253n73; Lauren Bacall as, 196; Leopold Stokowski as, 196, 198; Lou Costello as, 198; Mater, 202–3; Minnie Mouse, 161, 200; Olive Oyl, 196–97; Poochini, 198–99; Popeye, 196–97, 253n70; Porky Pig, 194; Ray Milland as, 196; Scooby-Doo, 200; Stitch, 200, 254n76; Sweet Polly Purebred, 200; Sydney Greenstreet as, 196; Underdog, 200; William “Bud” Abbott as, 198; See also Avery, Tex; Clampett, Bob; Jones, Chuck
cartoons and children’s programming, 193–204; Baby Puss (Barbera and Hanna), 199; Bear in the Big Blue House (Kriegman), 200, 254n77; and camp, 194–97, 204; Cat in the Hat, The (Welch), 202, 254n81; Daffy’s Southern Exposure (McCabe), 195; Despicable Me 2 (Coffin and Renaud), 254n78; Disney Studios, 25, 194, 197–98, 209; Futurama: The Beast with a Billion Backs (Avanzino), 203; and gender, 194; Hollywood Canine Canteen (McKimson), 198; Juke Box Jamboree (Lovy), 199; Leroy and Stitch, 254n76; Madagascar: Escape 2 Africa (Darnell and McGrath), 203; Magical Maestro (Avery), 198–99; Mater Private Eye (Gibbs), 202; Pixar studios, 202; Porky’s Pooch (Clampett), 253n64; Rio: The Movie (Saldanha), 203; Sesame Street, 200–201, 254n77; Slick Hare (Freleng), 196; Tin Pan Alley Cats (Clampett), 199; Torrid Toreador, A (Donnelly), 253n75; We’re on Our Way to Rio (Sparber), 196–97; What’s Cookin’ Doc? (Clampett), 195; Yankee Doodle Daffy (Freleng), 194–95; See also camp; “South American Way” (song; McHugh and Dubin)
Carvalho, Joubert de, 6, 26, 34
Casé, Regina, 209
Casino Atlântico, 23, 40–41, 197
Casino Icaraí, 67
casinos in Brazil: audience of, 34–35, 67–68; and cinema, 35; international guests at, 41; Miranda and, 2, 30–31, 33–35, 47; as white performative space, 34–35, 47, 54–56, 68; See also Casino Atlântico; Casino Icaraí; Copacabana Palace Hotel (Copacabana Casino); Urca Casino
“Casta Suzana” (Barroso), 59
Castro, Ruy: author of Carmen—Una biografia, 9, 226; on baiana, 229n26; on Banana da terra, 57–58; on Miranda’s biography, 2, 66, 84, 230n41, 231n51; on Miranda’s stardom, 30, 32–34, 230n45
Castro Barbosa, Joaquim Silvério de, 39
Caymmi, Dorival, 26, 28–29, 57–59, 67, 197, 234n27. See also “O que é que a baiana tem?” (song; Caymmi)
Channing, Carol, 187
“Chattanooga Choo Choo” (Warren and Gordon), 142
“Chica Chica Boom Chic” (Warren and Gordon), 109, 142, 143–44, 182–83, 185, 193–95
“Chico Chico, from Puerto Rico” (Adamson and McHugh), 110
Chierichetti, David, 242n28
Chiquita Banana, 201, 254nn78–80
Chu Chu and the Philly Flash (Rich), 167, 188, 189
“Chula Chihuahua” (Styne), 173
“Cidade maravilhosa” (André Filho), 209, 231n53
Cinédia studios, 8, 36, 41, 59, 228n1. See also Gonzaga, Adhemar
cinema, early Brazilian: and Carnival, 36–39; criticism of, 231n59; and “filmusical” trend, 36; Miranda and, 35–42; and modern movie-palaces, 37; radio and casino artists in, 35–37; and samba, 35; See also Cinédia studios; Gonzaga, Adhemar
cinema, Hollywood: and advertising, 102–4; and celebrity gossip, 102; and consumer culture, 100–101, 122–24; and exotic travel, 100; and fashion, 110–11, 117–20; gender in, 121, 133; heterosexuality and, 108, 157; and manufacturer tie-ups, 101, 115–20, 128–29; and posters, 104–8; racial bias in, 108; trailers of, 108–9
Clampett, Bob, 195, 199, 253nn65–66
Clark, Walter Aaron, 227n16, 238n77, 248n12, 249n25
Class of ’44 (Bogart), 192
Cleto, Fabio, 229n16
Club Versailles (New York), 93–95
Cobra Woman (Siodmak), 137
Coelho, José Ligiero, 39, 55, 62, 232n67, 233n17, 234n23, 239n91
Cohan, Steven, 247n6, 250n6, 251n33
Colbert, Claudette, 112
Colibri Sextet (choro group), 217
Colonna, Jerry, 178
Companhia Instável do Teatro, 218
Companhia Mulata Brasileira, 51
Companhia Negra de Revistas, 23, 51
Connelly, Marc, 70
Conway, Tim, 185
Copacabana (Green), 7, 101, 108, 113, 169, 241n1, 250n10
Copacabana Palace Hotel (Copacabana Casino), 23, 31, 35, 197
Corrêa, Mariza, 15
Correia, Apolo, 59
Cortes, Araci, 21–24, 22, 41, 51–52, 62, 230n45
Costa, Deo, 23
Costa, Gal, 209
costume designing, 29, 118. See also Adrian (costume designer); Banton, Travis; Brastoff, Sascha; du Bois, Raoul Pene; Sharaff, Irene
Crafton, Donald, 242n12
Crosby, Bing, 135, 177–78, 179, 197, 198, 251n30, 253n70
cross-dressing: and baiana, 168; and blackface, 62–63, 234n33; in Carnival, 17–18, 137; compared to same-sex masquerade, 178, 180; in imitations of Miranda, 133, 168–71; in minstrel theater, 62; and Production Code, 171, 177; See also Carnival; Miranda, Carmen, impersonations
“Cuanto le gusta” (Oz), 185
Cugat, Xavier, 87, 135, 190–91, 252n59
Cummings, Irving, 125
Cushman, Robert, 224
Dada movement, 211
Daley, Cass, 180
DaMatta, Roberto, 229n21
Dames (Enright and Berkeley), 154; compared to The Gang’s All Here, 159, 249n27, 249n37
Date with Judy, A (Thorpe), 115, 238n79, 244n60
Davis, Bette, 183
Davis, Dorién, 26, 32, 56–57, 63–64, 233n6, 233n12, 233n17
De Chocolat (João Cândido Ferreira), 23, 52, 233n14
deCordova, Richard, 3, 105–6, 113, 123, 125–26, 246n108, 246n120
Degler, Carl N., 45, 48–49, 52, 233n9
Deleuze, Gilles, 238n83
Dennison, Stephanie, 37–38, 232n70, 256n49
Dias, Antônio Gonçalves, 25
Dibbell, Julian, 83
Dietrich, Marlene, 118, 169, 187
Dietz, Howard, 73
Diplomatic Courier (Hathaway), 183
Disney Studios, 25, 194, 197–98, 209
“Disseram que voltei americanizada” (Peixoto and Paiva), 210, 213
Diz isso cantando (Vianna and Iglesias), 62
Doane, Mary Ann, 101, 244n73, 247n141
Doll Face (Seiler), 103, 104, 107, 110, 115, 122, 139–40
Dorsey, Tommy, 191
Doty, Alexander, 156
Dowling, Eddie, 74
Down Argentine Way (Cummings): comparison to Miranda’s Broadway shows, 99; confusion of nationalities in, 87, 248n9; costumes in, 113, 119; and escapism, 241n1; filming in New York for, 7, 246n113; finale of, 144; Miranda’s performance in, 29, 95, 113, 121, 137, 149–50, 173; music of, 249n26, 251n24; publicity for, 105, 107, 242n20, 246n109, 246n113; trailer for, 109; See also Hollywood musical; Zanuck, Darryl F.
Downey, Wallace, 8, 36–37, 40, 57, 228n1, 231n58
Drake, Herbert, 73, 78–79, 234–5n34
Duarte, Durvalina, 231n50
Dubin, Al, 87
Dunn, Christopher, 87, 206, 211–12, 238n78, 255n25, 255n30, 256n31
Durante, Jimmy, 1, 90, 182, 198, 205, 253n75. See also Jimmy Durante Show, The
Dyer, Richard, 5, 102, 108, 110, 247n1
Dyke, Dick van, 200
Easy to Wed (Buzzell), 192, 252n60
Eaton, Kent, 227n15
Eckert, Charles, 242n10
Edwards, Gregory, 242n19, 242n28
Ed Wynn Show, 190
Eells, George, 123
Efegê, Jota, 230n46
Ellis, John, 4–5, 102–3, 108, 123, 242n13, 242n21
Ellison, James, 155
Endres, Stacey, 224
Enloe, Cynthia, 201
Estado Novo / New State, 8, 24, 32. See also Vargas, Getúlio
Está tudo aí (Mesquitinha), 41, 59, 232n82
Estudantes (Downey), 7, 37, 231nn58–59
Etling, Laurence, 231n60
Everyone Says I Love You (Allen), 254n80
exaltation samba, 25, 197. See also “Aquarela do Brasil” (Barroso); Barroso, Ari
exoticism: of the baiana, 16, 26, 76; of Brazilian pavilion (New York World’s Fair), 90–91; in cartoons, 193, 197–98, 200; and fashion, 115–19; and Hollywood musicals, 9, 87, 100, 109, 122, 136, 173; and Latinidade, 89, 99, 120, 167; marketing Miranda’s, 76–78, 86, 95, 105–6, 109, 126, 128–29; of Miranda on Broadway, 43, 70, 77, 89, 94–96, 99; of Miranda’s costumes, 79, 96, 110, 113, 115, 140; of Miranda’s image, 69, 94, 100, 113, 115, 127–30, 183; of Miranda’s performance, 3, 75–77, 81, 89, 106, 120, 144, 148; as spectacle, 10, 81, 83
Exposição Histórica do Mundo Português (1940), 14
Fain, Sammy, 96
Falabella, Miguel, 207
Falk, Peter, 200
“Falsa baiana” (song; Pereira), 17–18, 229n18
falsa baiana (trend), 17
fan magazines, 86, 102, 122–30, 246nn105–6
Faria, Betty, 65
Farrés, Osvaldo, 252n60
fashion: in film, 110–11, 117–20; Miranda’s impact on trends in, 27, 39, 115–20; See also Miranda, Carmen, costumes
Faye, Alice: and baiana costume, 117; costumes of, 113–14, 145; as Fox’s leading lady, 120, 135; in The Gang’s All Here, 154–55, 163–65; interviewed in Bananas Is My Business, 220; as Miranda’s costar, 9, 125; in That Night in Rio, 107, 109, 120, 192; Vivian Blaine compared to, 150; in Weekend in Havana, 108, 113–14, 145
Faylen, Frank, 177
Félix, Regina, 256n45
Felix, Seymour, 150
Fenwick, Millicent, 173
Fernandes, Florestan, 48–50, 233n8, 233n10
Fernandes, Mateus, 224
Ferreira, Suzana Cristina de Souza, 35
filhas de santo (spiritual daughters, worshipers), 15, 228n8
Finch, Christopher, 124, 246n106
Fitzgerald, F. Scott, 192, 253n62
Flora, Djanira, 23
Flying Down to Rio (Freeland), 23
Foi Carmen (Antunes Filho), 217
“Follow the Band” (Myrow and De Lange), 110
Fon (West African ethnic group), 15
Fontenot, Chester J., 61
Footlight Parade (Berkeley and Bacon), 135, 249n23
Foster, Gwendolyn, 55
Foucault, Michel, 228n10
Four Jills and a Jeep (Seiter), 122, 140
Freire-Medeiros, Bianca, 88, 238n83, 253n71
Frente Negra Brasileira (FNB, Brazilian Negro Front), 44, 48
Freyre, Gilberto, 7, 45–46, 49–50, 233n5
Friesner, Esther, 214
Fritsch, Willy, 62
From Vienna (Refugee Artists Group), 73
Frost, Jennifer, 123
gafieiras (black nightclubs), 49
Gaines, Jane, 101–2, 111, 118, 243n37
Galhardo, Carlos, 234n28
Galm, Eric A., 198
Gang’s All Here, The (Berkeley): Alice Faye in, 154–55, 163–65; and banana extravaganza, 39, 209; camp in, 11, 132, 138, 151, 154–66, 206; costumes in, 106, 111, 113, 138, 140, 157–58, 160–64; in The Great Carmen Miranda Look-Alike Contest, 213, 256n32; Miranda in, 154–66, 157, 201; in Myra Breckinridge, 192–93; parody of, 209; publicity for, 106, 242n27; review of, 111; success of, 110; trailer for, 109; See also Berkeley, Busby; “Lady in the Tutti Frutti Hat, The” (Warren and Robin)
Gangster Squad (Fleischer), 183
Garber, Marjorie, 52, 62–63, 169–70, 173, 250n11
Garbo, Greta, 169
Garcia, Tânia da Costa, 25, 30, 210, 224, 229n19, 230n36, 231n54, 231n58, 256n48
Gardner, Ava, 190
Garland, Judy, 32, 135, 174; in Babes on Broadway, 174–75; as camp icon, 155, 247n1, 248nn19–20
Garrick Gaieties, The (Rodgers and Hart), 248n13
Geraghty, Christine, 5
Ghost of Carmen Miranda and Other Spooky Gay and Lesbian Tales, The (Trevelyan and Brassart), 214
Gibbs, Rob, 202
Gilman, John, 242n20
Gil-Montero, Martha, 9, 20, 29, 229n19
Gilroy, Paul, 234n21
Gish, Lillian, 91
“Give Me a Band and a Bandana” (Brown and Robin), 149–50
Gledhill, Christine, 5, 104, 206
Glyn, Elinor, 230n47
Gold Diggers of 1933 (LeRoy), 135, 154, 249n35, 249nn37–38
Gold Diggers of 1935 (Berkeley), 135
Gomes, Tiago de Melo, 23, 229n27
Gonzaga, Adhemar, 8, 35–37, 231n59, 232n65
Gonzaga, Alice, 37, 231n56, 232n63
“Good Bye!” (Valente), 36
Goodman, Benny, 109, 135, 162–63, 165, 191
Good Neighbor Policy: in fan magazines, 126; in Hollywood, 7–9, 84, 119; Miranda as muse of, 7, 9, 86, 98, 126, 141, 186, 238n72; at New York World’s Fair, 91; in Sons O’ Fun, 98; and “South American Way,” 192; in Springtime in the Rockies, 141, 146
Gordon, Mack, 248n16
Grable, Betty: costarring with Miranda, 9; in Down Argentine Way, 109, 119, 249n26; leading Fox actress, 9, 87, 135, 150, 242n18; in Springtime in the Rockies, 146–47
Graham, Richard, 228n6, 229n23
Great Carmen Miranda Look-Alike Contest and Other Bold-faced Lies, The (A. Hirsch), 213
Great Ziegfeld, The (Leonard), 249n29
Green, James, 17, 229n15, 229n17
Green, Seth, 191
Green, Stanley, 235nn10–11
Greenstreet, Sydney, 196
Greenwich Village (Lang): camp in, 141, 143–44, 147–50, 248n14; marketing of, 101–2, 107; Miranda’s costumes in, 107, 113–15, 119–20, 138–40, 139, 143, 148–50, 152; Miranda’s performance in, 114, 121, 141, 253n63; and “O que é que a baiana tem?,” 107, 150
Greenwood, Charlotte, 87, 143, 147, 162, 165, 248n9
Greneker, C. P., 94, 96, 116, 236n30, 236n33, 240n114, 240n122, 241n129
Grimes, Gary, 192
Grünwaldt, Lilian, 218
Gruzinski, Serge, 233n16, 233n20
Gypsy Wildcat (Neill), 137
Halberstam, Judith, 179, 250n15, 251n34
Hamilton, Marybeth, 255n28
Hanchard, Michael, 233n6
Handel, Leo, 241n1, 242n16, 243n36
Haralovich, Mary Beth, 104, 108
Hardy, Oliver, 64
Harrison-Kahan, Lori, 235n30
Harvard Hasty Pudding Club, 173
Hasenbalg, Carlos, 233n3
Haskell, Molly, 121
Havana Casino Orchestra (with Don Azpiazú), 87
Hays Production Code, 103, 114, 156, 171, 177, 245n92, 248n14, 248n17
Hayward, Susan, 92
Head, Edith, 248n19
headdresses: of baiana, 27; on Broadway, 77, 97; and camp, 132, 138–41, 145–46, 149, 151–52, 158–63, 248n7; in cartoons, 193–200, 202–4, 254n78, 254n83; emblematic of Miranda, 88, 99, 209; and fashion, 80, 117; in fiction, 214–17, 219, 224; fruit-laden, 2, 86; in Hollywood, 103, 104, 110–11, 114–15, 119, 242n14; in imitations, 170, 175, 177–78, 181–89, 254n80; at live performances, 126, 251n42; in publicity materials, 107
Heide, Robert, 242n20
Helena, Heloísa, 24
Hellzapoppin’ (Olsen and Johnson), 72–73, 95, 235n10, 240n117
Herren, Roger, 193
Hershfield, Joanne, 5
Hertzman, Marc, 18, 50, 229n28
Hess, Thomas, 132
Hi, Yank! (Loesser and North), 184
Hirsch, Foster, 74, 171, 235n2
Hirschfeld, Al, 77
Hobsbawm, Eric, 21
Hogan, Ernest, 61
Hollywood musical: and baiana, 98; book numbers in, 135, 138, 142, 150; camp in, 134–37, 144–69; and chanchada, 223; and costume designers, 29, 111, 113, 118–20; decline of, 121–22, 130; and escapism, 241n1; and gay audience, 168–69; and gender, 121, 133, 137, 147–48, 158, 169; heteronormativity of, 108, 133, 146, 158; heyday of, 2, 9, 118, 122, 169, 187, 205; and Latin America, 9, 174–77; and Miranda, 2, 9, 98, 122, 169, 205; and posters, 106–7; racial bias in, 108; revival periods of, 205–6; staged numbers in, 135; Technicolor in, 136–37, 142, 154, 159, 164; during wartime, 2, 9, 192
Hollywood Victory Caravan (Russell), 190, 252n57
hooks, bell, 50, 68–69, 233n19
Hoover, Herbert, 8
Hope, Bob, 167, 177–80, 179, 197, 251n30, 251n32, 252n48, 253n70
Horton, Edward Everett, 90, 142–43, 147, 162, 165
House Across the Bay, The (Mayo), 173
Houser, Jerry, 192
Houston, Elsie, 21, 92, 239n102
Huggan, Graham, 245n87
Hutcheon, Linda, 250n9
“I, Yi, Yi, Yi, Yi (I like you very much)” (Warren and Gordon), 109, 176, 187–90, 200, 203, 253n61
Ice Fire Water (Epstein), 214–16
icon, definition of, 227n9. See also camp icons; gay icons
If I’m Lucky (Seiler): “Batucada” in, 151, 153; Miranda in, 245n80; Miranda’s costumes in, 113, 118–19, 139, 185; posters of, 107; production of, 237n63; reviews of, 108; trailer for, 110
“I Like to be Loved by You” (Warren and Gordon), 149, 248n16
“I’m Just Wild about Harry” (Sissle and Blake), 194, 253n63
Império Serrano (samba school), 18, 229n20
“I Only Have Eyes for You” (Warren and Dubin), 249–50n38
Isfahani-Hammond, Alexandra, 47
Jackson, Paul, 250n13
James, Harry, 107–8, 135, 153–54
Jimmy Durante Show, The, 1, 205, 218
Johnson, Chic, 73, 95–96, 240n118, 251n40
Johnson, Van, 192
Jolson, Al, 62, 194, 252n50, 252n52
Jones, Chuck, 194
Joujoux e balangandãs (film; Castelaneto), 59, 234n27
“Joujoux e balangandãs” (song; Babo), 234n27
“Journey to a Star, A” (Warren and Robin), 162–65
Jurca, Catherine, 247n140
Kent, Arnold, 87
Kermit the Frog, 200, 254n77. See also Muppets, the
Kerr, Deborah, 192
Kirk, Kris, 170
Kjellman-Chapin, Monica, 136
Klein, Norman F., 253n65
Kobal, John, 241n7
Kongo (West-Central African group), 15
Korman, Harvey, 187
Kukkonen, Karin, 256n41
Labronici, Priscila, 218
Ladeira, Cesar, 31–32, 36, 88, 234n28
Ladies’ Man (Russell), 180
“Lady in the Tutti Frutti Hat, The” (Warren and Robin): and camp, 138, 155–64; and Carmen Miranda (Arto Lindsay) segment at the BAM, 209; and “Dames,” 249n27; emblematic of Miranda, 39, 69; and Fruta Manzana segment, 201; gender-bending in, 193; in Myra Breckinridge, 192–93; success of, 110
La Guardia, Fiorello, 91
Lamour, Dorothy, 110, 177, 198, 246n109, 252n59
Landes, Ruth, 14
Lane, Virginia, 65
Lang, Walter, 1
Lange, Edgar de, 153
Lapa neighborhood (Rio de Janeiro), 6, 55–56
Laranja da China (Costa), 42, 232n71
Latinidade: in cartoons, 196; in Hollywood films, 104–5, 107, 146; marginalized, 247n3; and Miranda, 5, 9, 88–89, 123, 129, 133, 167, 171–73, 205; stereotypical images of, 85–86, 89, 107, 115, 166; in vogue in US, 3, 8–9, 87, 107, 120
Laurel, Stan, 64
Lawrence Welk Show, The, 187
Leonard, Robert Z., 155
Leu, Lorraine, 255n27
Lewitt, S. N., 214
Lindsay, Arto, 209
Linstead, Stephen, 136
Lipovetsky, Gilles, 124, 241n4, 243n41
Liszt, Franz, 130
Lody, Raul, 228n4
Lombard, Carole, 118
López, Ana M., 3, 84, 158, 247n5
Luís, Washington, 8
macumba/candomblé, 14–16, 214, 228n2
Macy’s Department Store, 116, 118
Mahar, William, 62–63, 234nn31–33
“Mamá yo quiero” (Jararaca, Paiva, and Stillman), 175, 180–83, 186, 199, 251n24
Mand, Mary, 214
Mandrell, James, 88, 159, 193, 227n12
maracatu (pageant), 234n29
Marco de Canaveses (Portugal), 6
Marília Pêra canta Carmen Miranda (Gadelha), 207, 255n7
Marshall, David, 5, 21, 29, 32, 35, 77, 99, 124, 210, 230n44, 255n23
Martelli, Renata, 217
Martins, João, 62
Martins, Roberto, 229n20
Marx, Walter Burle, 91, 239n94
Matory, James Lorand, 228nn3–4
Maupassant, Guy de, 250n10
Mauro, Humberto, 35
Max, Margarida, 23
Max Fleischer Studios, 194, 196
Mbundu (ethnolinguistic group from Angola), 15
McCann, Bryan, 24–25, 229n18, 230nn33–34
McHugh, Jimmy, 87
McLeod, Elizabeth, 64
McNamara, Brooks, 73
Mellencamp, Patricia, 166
Meltsner, Paul, 94, 130, 247n142
Mendonça, Ana Rita, 33, 230n42, 255n22, 255n24
Mesquitinha, 37
Meyer, Moe, 169
Meyler, Jason Blake, 201
MGM Studios, 41, 106, 137, 174, 190, 192, 194, 238n79, 242n18, 249n33
Mildred Pierce (Curtiz), 175, 177
Milland, Ray, 196
Miller, Ann, 190
“Minha terra tem palmeiras” (Barro and Ribeiro), 26
“Minnie from Trinidad” (Stothart), 155
Miranda, Aurora: in Alô, alô, Brasil!, 36, 231n53; in Alô, alô, carnaval!, 7, 37–38, 38; in Bananas Is My Business, 220; in Estudantes, 37; as interpreter of black music, 56; at Lincoln Center, 209; in Lindsay’s Carmen Miranda (BAM), 209; in media, 25, 33; as national singer, 7, 25, 56; and New York World’s Fair, 90; at 1941 Academy Awards ceremony, 112; singing voice, 32; in The Three Caballeros, 198
Miranda, Carmen: acting roles of, 108, 120–22, 137; and Afro-Brazilianness, 5, 26, 34, 43, 47–48, 52–56, 61, 65–69; in Alô, alô, Brasil!, 36; in Alô, alô, carnaval!, 37–39, 38; as ambassadress of Brazil, 1–2, 6, 32, 88, 90, 223; and baiana, 13–19, 26–27, 41, 44, 55, 66–68, 76, 88–89, 99, 107, 137–38, 222; in Banana da terra, 39–41, 57–59, 66, 232n63; biography of, 6–9, 30–31, 127–28, 206, 220; in blackface, 57–63, 65–68; in brownface, 60, 66–67, 234n34; as camp icon, 3, 5, 131–44, 134, 159–65, 169, 204, 212, 218, 221–22; and Carnival, 6, 39, 223, 229n19; and commercial tie-ins, 100–101, 128–30; and cooking, 126–27, 247n129; death of, 1–2, 7, 170, 205–6, 216, 218–20, 222–23, 226, 227nn1–3; in Doll Face, 103–4, 103, 107, 110, 115, 122, 139–40; and doll industry, 170; and English language, 80–85, 95, 129, 222; in Estudantes, 37; in fan magazines, 123–30; as fictional character, 213–19; in film posters, 105–8; in film trailers, 108–9; in Four Jills and a Jeep, 122, 140; in The Gang’s All Here, 39, 106, 109, 154–66, 157; as gay icon, 167–70, 213; and gender-toying, 133–34, 134, 171, 194, 247n6; given name, 6; as good will ambassadress, 9, 86–87, 92, 98; at Grauman’s Chinese Theatre, 111, 126, 130, 224; impact on fashion, 27, 115–20; as “it” girl, 33, 120, 191, 230n47; in Laranja da China, 42; and Latinidade, 5, 76–80, 84–89, 104–8, 111, 115, 120, 129, 133, 166–67, 190–93, 201; legacy of, 223–24; in media, 1–2, 30, 33, 36–37, 40, 77–85, 122–30; and national music, 8, 25–26, 29, 31–32, 37, 88; at 1941 Academy Awards ceremony, 111, 112; and Pan-Americanism, 91–92, 98, 119, 171, 186; performance style, 6, 32, 39, 43, 105, 115, 132–33, 206; performative wink, 3, 28, 132, 157, 210; publicity for films, 104–10; on radio (Brazil), 6, 13, 25, 30, 33, 38, 56, 69, 206, 218–19, 221, 225; on radio (US), 89–90, 117, 184–85, 191, 193; reception in US, 94, 99, 120, 130; as representative of South America, 9, 88, 95, 98–99, 194; singing style, 6, 30, 32, 36–37; in Sons O’ Fun, 94–99, 97, 251n40; stardom of, 1–7, 29–47, 54, 71–72, 80–82, 95, 104, 110, 120–22, 129–30, 223; in The Streets of Paris, 13, 70–83, 75, 86, 88–89, 92–98, 129, 170, 246n113; symbol of Twentieth Century-Fox musical, 9, 169, 201; in Vai dar o que falar, 34
Miranda, Carmen, compared to: Acquanetta, 252n59; Alves, Francisco, 30, 56; Garland, Judy, 32, 155; Lamour, Dorothy, 110; Miranda, Aurora, 25, 32, 56; Montez, María, 137, 190; Reis, Mário, 30, 56
Miranda, Carmen, costumes, 110–20; in Bonwit Teller (New York), 116; on Broadway, 72, 75, 76–80, 88–89, 93, 96–99, 97; camp reading of, 132–53, 152, 156, 160, 204, 221; compared to authentic baiana, 20; created by J. Luiz, 66; and Delman Shoes, 117; as exotic statement, 79, 96, 110, 113, 115, 140; and fashion, 115–20; in film advertising, 106–7, 113; and gender-toying, 133–34, 137, 170; gifted to Annabella, 71; gifted to Sonja Henie, 71; and Good Neighbor Policy, 119; as homogenized image of Latin America, 89, 190–92, 211; legacy of, 205–6; and Macy’s, 116, 118; selling films, 110–11; as signature look, 2, 13, 107, 110–15, 133–39, 152; spectacularization of, 110, 113, 120, 133, 137, 141; as street clothes, 111–12; stylized, 19, 23, 27, 44, 55, 65–66, 99, 137; and Technicolor, 110, 136; See also baiana costume; headdresses
Miranda, Carmen, impersonations: by Anacani, 187; by Arthur Blake, 183; by Bob Hope, 167, 177–80, 179, 197, 251n30, 251n32; by Carol Burnett, 167, 187–90, 189; by Carol Channing, 187; in cartoons and children’s programming, 193–204, 253n75; by Cass Daley, 180; in film, 167, 170–204; gender-toying and, 171; in GI shows, 183–85; by Harvard Hasty Pudding Club, 173; by Imogene Coca, 171, 172; by Jane Withers, 175–76; by Jerry “Curly” Howard, 173–74; by Jerry Lewis, 181–82; and Latinidade, 171, 173, 196; by Lucille Ball, 167, 180–81; by Mickey Rooney, 171, 174–75, 176, 182; in Mildred Pierce, 175, 177; by Milton Berle, 185–86; by Ritz Brothers, 173–74; by Sascha Brastoff, 184–85, 245n79; by Yvette Tucker, 183
Miranda, Carmen, nicknames: “A ditadora risonha do samba” (smiling dictator of samba), 31; “A pequena notável” (remarkable young girl), 6–7, 32; “Brazilian Bombshell,” 82–83, 86, 111, 217, 226, 237n68, 246n109; “rainha do samba” (queen of samba), 26
Miranda, Carmen, performance venues: on Broadway, 8, 13, 71–80, 99; at Chez Paris (Chicago), 95; at Club Versailles, 93–95; at Copacabana Casino, 31; at New York World’s Fair, 89–93, 92; on The Rudy Vallee Hour, 90; on The Texaco Star Theater show, 185–86; at Urca Casino, 7, 13, 19, 23–25, 29, 31, 35, 40–44, 54, 66–67; at Waldorf-Astoria, 93–95
Miranda, Carmen, and samba: and Afro-Brazilianness, 53–55, 57; as an ambassadress abroad, 5, 71, 88–90, 96; Americanized versions of, 150–51, 227n16, 248n18; in Brazilian films, 36–37; as national singer of, 1–2, 18, 25–26, 30–31, 248n8; See also “O que é que a baiana tem?” (song; Caymmi); Urca Casino
Miranda por Miranda (Stella Miranda), 208
Miss Brasil (Peixoto and Porto), 22
“Miss Lucy Long,” 63
Mixed Blood (Morrissey), 207
Mizejewski, Linda, 248n20, 249n21, 249n23
“Moleque indigesto” (Babo), 36
Monarezzi, Ana, 21
Moon, Michael, 250n7
Moon Over Miami (Lang), 242n18
Moraes, Vinicius de, 32
Morin, Edgar, 5
Mother Knows Best (Blystone), 62
Munich, Adrienne, 243n38
Muppets, the: Kermit the Frog, 200, 254n77; Miss Piggy, 200; Muppets Go Hollywood, The (Harris), 200; Muppet Show, The (Henson), 187, 200; Muppets Tonight (Henson), 254n77; Muppet Treasure Island Sing-Alongs (Gumpel), 254n77; Sesame Street, 200–201, 254n77
Myra Breckinridge (Sarne), 193
Myrow, Josef, 153
“Na baixa do sapateiro” (Barroso), 57–59
Nancy Goes to Rio (Leonard), 140, 241n1, 248n7
Nascimento, Abdias do, 51
national identity: and Carmen Miranda, 69; and culture, 46; and Getúlio Vargas government, 24, 32, 45; and music, 24–25, 56; See also race
nega maluca, 58. See also blackface
Negra, Rosa, 23
Newton, Esther, 135, 165, 170, 248n15, 250n3, 251n36, 254n84, 255n26
New York World’s Fair (1939): Brazilian music at, 239n94; Brazilian Pavilion, 90–92; Miranda at, 72, 89–93, 92; Pan-Americanism and, 91–92; The Streets of Paris at, 235n12
Nicholas Brothers, 108, 135, 220
nicknames. See Miranda, Carmen, nicknames
Niebylski, Dianna C., 227n9
Niesen, Gertrude, 91
Nimmo, Harry, 174
Noriega, Chon A., 85
“Nós temos balangandãs” (Costa Lima), 234n27
Nunes, Mário, 34
O bendegó (Pederneiras and Coimbra), 21
O’Connor, Patrick, 227n9
Oliveira, Aloísio de: in Alô, alô, Brasil!, 36; in Banana da terra, 40; describes Miranda’s opening night, 74; in The Gang’s All Here, 165; interviewed in Bananas Is My Business, 220–21; singing “Brasil,” 165, 197; at Urca Casino, 58; See also Bando da Lua
Olsen, Ole, 73, 95–96, 240n118, 251n40
O’Neil, Brian, 245n89
O que é que a baiana tem? (exhibition; Salvador, Bahia), 257n55
“O que é que a baiana tem?” (song; Caymmi): in Banana da terra, 13, 26, 29, 58–59; on Broadway, 87; as exaltation of baiana, 27; in Greenwich Village, 107, 150; as inspiration for O que é que a Carmen Miranda tem?, 217; lyrics of, 26–27; in the media, 40; Miranda’s performance of, 13, 26–28, 66–68, 230n35; and representation of race, 66–68; See also Banana da terra (Costa); Caymmi, Dorival
O que é que a Carmen Miranda tem? (Martelli), 217
Ortiz, Fernando, 6
Ovalle, Priscilla Peña, 133
“Paducah” (Warren and Robin), 162–63, 165
Paiva, Salvyano Cavalcanti de, 50
Pan, Hermes, 145
Pan-Americanism, 91–92, 119, 146–47
“Pan-American Jubilee” (Warren and Gordon), 146
pastiche, 211
Payne, John, 85, 108–9, 140–41, 145–46, 165
Paz, Nílton, 234n22
Pederneiras, Oscar, 21
Peixoto, Afrânio, 233n2
Peixoto, Luiz, 34
“Pelo telefone” (Donga), 17
Pereira, Geraldo, 17
performative race: and Afro-Brazilianness, 10, 56, 69; at casinos, 34–35, 47, 67–68; definition of, 47; Miranda’s, 5, 10, 26, 34–35, 47–48, 52–56, 63, 66–69; renegotiation of, 23
Perón, Eva, 208
Pierson, Donald, 14–15, 45, 228nn4–5, 228n7
Pieterse, Jan Nederveen, 61
Pins and Needles, 235n11, 240n117
Pinto, Luiz de Aguiar Costa, 49, 229n21
“Pirolito” (Barro), 57–59, 234n22
Pixar studios, 202
Pixinguinha (Alfredo da Rocha Viana Filho), 34
“Polka Dot Polka” (Warren and Robin), 162–65
Pongetti, Henrique, 59
Power, Tyrone, 27, 40, 71, 183
Praça Onze (Rio de Janeiro), 13, 16–17, 20
Pratt, Mary Louise, 238n83
Prazeres, Heitor dos, 229n14
Presley, Elvis, 252n48
“Primavera no Rio” (Barro), 36
Production Code. See Hays Production Code
Puente, Tito, 191
Pullen, Kirsten, 227n11
Pully, B. S., 147
“Querido Adão” (Lacerda and Santiago), 38
Querino, Manoel, 45
quitandeira, 228n12
race: and appropriation of black culture, 53; Brazil compared to US, 45, 50, 53; and casinos, 34–35, 47, 67–68; and culture, 46–48, 53, 65; in film, 108; and intersection with gender, 50; and miscegenation, 45; and national identity, 56; as national problem, 44–46; and performance, 34–35, 44–48, 50–57, 61, 64–65, 67; power and, 61; and social integration, 44–46, 48–50; theoretical inclusion of, 44–46; and whitening ideal, 43–46, 50; See also Afro-Brazilianness; blackface; performative race; racial discrimination
racial democracy (myth of), 44–49, 52–53, 58
racial discrimination: and Brazilian law, 48–49; denial of, 49; and Negro-rights movements, 48–49; and social whiteness, 48–49, 233n11; on the stage, 50–52, 61; See also Freyre, Gilberto
radio: and Afro-Brazilianness, 65, 69; and Broadway, 90, 117; and cinema, 7–8, 35–38, 102, 104, 231n60, 231n62; and gender bias, 30, 53; and Getúlio Vargas, 8; golden era of, 3, 191–93, 253n61; Latin music on, 87, 120; and live programs in Brazil, 230n33; and Miranda in Brazil, 2–3, 6–8, 13, 25–26, 30–34, 41, 56, 59, 65, 69, 71; and Miranda in US, 83, 89–95, 117, 128–29, 184–85, 191–93, 206, 218–21, 225; and national identity, 24, 30; publicity for, 128–29; and the democratization of samba, 24–25; symbol of united Brazil, 8; white monopoly of, 53; See also Allen, Woody; Almirante (Henrique Foréis Domingues); Amos ’n’ Andy; “Cantoras do rádio” (Ribeiro, Barro, and Babo); Ladeira, Cesar; Maia, Deo; Miranda, Aurora
Raft, George, 173
Ramalho, Elba, 209
Rameau, Emil, 149
Ramírez, Carlos, 252n60
Ravenle, Soraya, 207
Rebello, Stephen, 104–7, 241n7, 242n11
“Rebola-bola” (Oliveira, Amaral, and Horta), 96
Regina, Elis, 208
Reidy, Afonso Eduardo, 226
Reis, Raul, 197
Rescala, Tim, 208
“Rhumboogie” (Raye and Prince), 151, 174
Ribeiro, Alberto, 58
Ribeiro, Joaquim, 14–15, 19–20, 228n5
Rice, Maxwell Jay, 70–71, 80, 235n4, 236n45
Rice, Thomas D., 66
Rio, João do, 45
Ritz Brothers (Jimmy, Harry, and Al), 173–74
Road to Rio (McLeod), 167, 177–81, 179, 196–97, 251n32, 253n70
Road to Singapore (Schertzinger), 177
Road to Zanzibar (Schertzinger), 177
Roberts, John Storm, 174
Roberts, Shari, 83–84, 133, 247n2, 252n59
Robertson, Pamela, 249n31
Robinson, David, 242n15, 242n30
Rocha, Fernando, 134
Rodrigues, Nina, 45
Roen, Paul, 131, 135, 137, 148, 154, 156, 248n10
Rogers, Ginger, 23, 135, 244n76, 249n38
Rolla, Joaquim, 55
“Romance and Rhumba” (Monaco and Gordon), 109
Romay, Lina, 190
Rome, Harold, 235n11
Romero, Cesar, 87, 108–9, 128, 143, 145–47, 220, 243n34, 243n45
Romero, Sílvio, 45
Rooney, Mickey, 171, 174–75, 176, 182, 190
Roosevelt, Franklin D., 8, 86, 183
Roquette-Pinto, Edgar, 48
Rosenkrantz, Linda, 124, 246n106
Ross, Shirley, 248n19
Rubin, Martin, 155, 161–62, 249n28, 249n35
Rudy Vallee Hour, The, 90
Ruiz, Pepa, 21
Ruiz, Roberto, 62
Russell, Rosalind, 112
Rutherford, Anne, 91
Sá, Simone Pereira de, 211
Sadlier, Darlene, 146
Saludos Amigos (Jackson), 25, 197, 253nn72–73
samba: and Afro-Brazilianness, 45, 53–55, 233n17; and Araci Cortes, 41; birth place of, 13, 16–17; and Brazilian national identity, 7, 24–25, 53, 167, 197; and Carnival, 36, 39; democratization of, 7, 24; and Dircinha Batista, 40; in early Brazilian cinema, 35, 37; in fiction, 214; in film, 146, 150, 177, 251n30; and Heloísa Helena, 24; and Miranda. See Miranda, Carmen, and samba; and Olga San Juan, 252n58; and Popeye, 197; and rebolar, 232n67; and Romeu Silva, 91; sanitized, 8, 25, 53; and Synval Silva, 221; in The Three Caballeros, 197–98; in US, 87–90, 102, 136, 146, 248n12, 249n25; whitening of, 25, 31, 53–54, 68; See also Barroso, Ari; exaltation samba; Miranda, Carmen, and samba; “Pelo telefone” (Donga)
“Samba-Boogie” (McHugh and Adamson), 110, 151–52. See also Andrews Sisters (Maxine, Patty, and LaVerne)
Samba Dreamers (K. Azevedo), 216–217
“Sambaiana” (Amaral, Herrera and Banzato), 196
samba schools, 8, 14, 18, 20, 228n13
Sanders, George, 127
Sandoval-Sánchez, Alberto, 82, 99
San Juan, Olga, 190, 252nn57–58
Santiago, Oswald, 40
Santos, Ascendina dos, 50
Santos, Lidia, 136
Sayão, Bidu, 91
Scared Stiff (Marshall), 140, 181–82, 227n10
Schapiro, Steve, 242n28
Schwartz, Arthur, 73
Schwarz, Roberto, 211
Schweitzer, Marlis, 243n39
scientific racism, 44
Scott, Lizabeth, 181
Scott, Melissa, 214
Sebastian, David, 7, 128, 218, 220
Sedgwick, Eve Kosofsky, 178
Seigel, Micol, 23, 229n27, 239n102, 254n76
Select Theatres Corporation, 70, 235n3, 239n99
Senna, Nelson de, 45
Sennett, Richard, 247n145
Sennett, Ted, 24, 122, 134, 144, 162, 249n22
Sert, José Maria, 93
Sert Room (Waldorf-Astoria), 93
Sesame Street, 200–201, 254n77
Setta, António, 17
Sforza, John, 250n21
Shaw, Lisa: on Brazilian cinema, 37–38, 231n52, 231n62, 232n68, 232n70, 256n49; on Miranda’s impact, 201, 248n19, 252n59; on Miranda’s stardom, 71–72, 83–85, 119–20, 245n87; on Miranda’s US films, 227n8; on race in theater, 51, 229n27; on samba, 229n31
Sheridan, Ann, 246n109, 253n64
Shohat, Ella, 249n24
Shubert, Lee: and Bando da Lua, 239n91; correspondence with Jay Rice, 70–71, 235n4, 236n45; discovery of Miranda, 7, 29, 43, 55; Miranda’s contract with, 13, 70–71, 81, 90–91, 94, 235nn2–3; and Sons O’ Fun, 94; and The Streets of Paris, 70, 74, 76, 88, 91, 94, 116; at Urca Casino, 7, 13, 19, 29, 40, 42–43, 55
Shubert brothers, 71–73, 76–78, 95, 171–72
Shubert Company, 88, 115–17, 123. See also Select Theatres Corporation
Shubert Theatre (Boston), 73, 81, 95
Silva, Nelson do Valle, 233n3
Silva, Walfrido, 248n8
Silvers, Phil, 252n48
Simon, Simone, 94
Sinatra, Frank, 135, 196, 198, 252n48
Sinhô, 22
Sisson, Cecilia, 187
Skidmore, Thomas, 44, 233n1, 233n4, 233n9, 233n15
Slide, Anthony, 122, 124, 246n104
Small Town Deb (Schuster), 175–76
“social race,” 49
Sociedade Litero-Dramático Gastão Tojeiro, 256n39
Solberg, Helena, 9, 14, 58, 83, 208–9, 219–23. See also Bananas Is My Business (Solberg)
Soler, Raúl, 253n60
Something for the Boys (Seiler): costumes for, 111, 113–15, 140, 151–52; finale of, 151; in General Electric advertising, 129; Miranda’s acting in, 121, 201; publicity for, 107; reception of, 121; review of, 243n40; trailer for, 110
“Sonho de papel” (Ribeiro), 231n58
Sons O’ Fun (Dowling), 10, 94–99, 97, 251n40
Sotiropoulos, Karen, 53
“South American Way” (song; McHugh and Dubin): in Baby Puss, 199; in Class of ’44, 192; in Daffy’s Southern Exposure, 195; frequently imitated, 87, 183; in Hollywood Canine Canteen, 198; at Madison Square Garden, 94; in Mildred Pierce, 175, 177; mispronunciation of, 81, 149, 151, 171, 195, 214; as a national trend, 98; and “O que é que a baiana tem?,” 29; in Radio Days, 191–92; in The Streets of Paris, 82, 87, 237n54
South American Way (trend): as cooking vogue, 126; Milton Berle segment, 186; Miranda and, 29, 76, 98, 109, 116–20, 126, 224; in store displays, 116
“South American Way” (working title for Down Argentine Way), 246n109
South American Way: The Carmen Miranda Musical (Falabella and Barbosa), 207
Souto, Gilberto, 127
Spilker, Eric, 256n32
Spíndola, Dalva, 23
Springtime in the Rockies (Cummings): costumes in, 111, 114, 141–43, 146; and escapism, 241n1; and “I Like to be Loved by You,” 94; Miranda’s acting in, 121, 141–43; VHS format of, 227n10
Stanwyck, Barbara, 248n19
star system, 3, 9, 90, 102–5, 122–25, 130, 242n10; parody of, 196
Stempel, Tom, 243n35
Straw Hat Revue, The (L. and J. Shubert), 171–73, 172
Streets of Paris, The (Dowling): caricature of, 77; cast of, 73–74; costumes in, 97, 129, 236n39; creation of, 73–74; Miranda’s contract for, 7, 43, 70–71, 94; Miranda’s performance in, 82, 89, 95, 97–98; Miranda’s success in, 13, 70, 74–77, 98, 109, 172; and Pan-American relations, 86–87, 92; publicity for, 71, 73, 75; samba in, 88; Sons O’ Fun compared to, 95–96; on tour in Chicago, 95
“Taí” (Carvalho), 6, 18, 26, 30, 39, 227n13, 229n20, 231n51
teatro de revista (revue theater): and baiana, 21–22, 52; blackface in, 50, 62, 66; and cinema, 35; compared to casino, 34; compared to teatro vernáculo (Cuba), 50–51; Diz isso cantando, 62; Guerra ao mosquito, 62; music of, 229–30n32; as popular entertainment, 50; and popular music, 26; racial dynamics of, 50–51; See also Cortes, Araci
Teatro Experimental do Negro (TEN; Negro Experimental Theater), 51
Teatro Popular do Negro (Negro Popular Theater), 51
Technicolor, 2, 13, 88, 109–10, 120, 129–30, 136–37, 142, 154–55, 159, 164
“Tempo bom” (Barro and Helena), 24
Terrell, Nena, 222
Texaco Star Theater, The (Berle), 185–86, 252n46
“Thank You, North America” (Fain and Yellen), 96, 98
“Thank You, South America” (Fain and Yellen), 98
That Night in Rio (Cummings): in Beloved Infidel, 192; and “Chica Chica Boom Chic,” 142, 144, 194; and cooking “South American Way,” 126–27; costumes in, 118–19, 140, 144–45; and Darryl Zanuck, 237n63; and escapism, 241n1; and Good Neighbor Policy, 119; Miranda’s first character role in, 84–85, 105, 120–21; Miranda’s performance in, 95, 108, 113, 121, 125, 144–45, 229n20, 246n113, 248n11; in Myra Breckinridge, 193; opening number of, 144–45, 193; and Pan-Americanism, 119; publicity for, 105, 107, 118, 120, 125–26; release date of, 253n62; reviews of, 119–20; soundtrack from, 176–77, 229n20; trailer for, 109
This Is the Army (Broadway show; Ston), 184
This Is the Army (film; Curtiz), 62
Thorp, Margaret Farrand, 241n5, 245n92
Three Caballeros, The (Ferguson), 197–98, 209, 253n72
Three Sable Sisters, 63
Three Stooges (Larry Fine, Moe Howard, and Jerry “Curly” Howard), 173–74; cross-dressing scenes, 250–51n23; Curly as Miranda, 174
Thrill of Brazil, The (Simon), 190
“Tico tico no fubá” (Abreu), 191–92, 251n42
“Tic-tac do meu coração” (Vermelho and Silva), 143
Time Out for Rhythm (Salkow), 174
Tim-tim por tim-tim (Bastos), 21
Tinhorão, José Ramos, 21, 36, 227n14, 229n25, 232n72
“Tirolesa” (Santiago and Barbosa), 40
Totem International (doll company), 170
“Touradas em Madri” (Barro), 87
Towne, Charles Hanson, 93
Trevelyan, Julie, 214
Tribute to Carmen Miranda, A (Lincoln Center), 207
Trinidad, Solano, 51
“Tropicália” (song; Veloso), 211–12
“Tropical Magic” (Warren and Gordon), 109
“True to the Navy” (McHugh and Adamson), 104, 242n14
Tucker, Sophie, 63
Tucker, Yvette, 183
Tudo preto (De Chocolat), 23
Uma certa Carmen (Ciambrone), 217–19
Umbanda (religion), 53
United Fruit Company, 201
Urca Casino: artists from, 39, 41; in Bananas Is My Business, 220–22; and Carnival 1939, 40–41; in cartoons, 197; compared to other venues, 34–35, 41; discovery of Carmen Miranda at, 7, 13, 43; Miranda’s cold reception at, 210, 221; Miranda’s contracts at, 31, 35, 54; Miranda’s performance at, 13, 19, 23–25, 29, 40–44, 54–55, 58, 66–67, 89; racial politics of, 44, 54–55; tourists at, 40–41, 43
Vague, Vera, 117
Vai dar o que falar (Peixoto and Porto), 34
Valente, José de Assis, 6, 34, 36
Valentino, Rudolph, 87
Vargas, Alberto, 242n18
Vargas, Alzira, 90
Vargas, Darcy, 197
Vargas, Getúlio: and cultural patriotism, 91; and daughter Alzira, 90; and Estado Novo, 8, 24, 32, 45, 87; as fictional character, 215, 218–19; image abroad, 24, 32; and Miranda, 32, 86–87, 230n42; and national agenda, 7–8; and national identity, 24, 45; as populist politician, 32; on racial politics, 45; and radio, 8; as sponsor for Miranda and band, 7, 90, 227n14
Vasconcelos, Naná, 209
vaudeville, 8, 35, 50, 61, 159, 184–85. See also teatro de revista (revue theater)
Veiga, Andrea, 225
Velloso, Monica Pimenta, 228n11
Veloso, Caetano, 160, 205, 211–12, 249n32, 254n2, 255n27
Vermelho, Alcyr Pires, 248n8
Villa-Lobos, Heitor, 91
Vitale, Joseph, 177
“Você já foi a Bahia?” (Caymmi), 197
“Você só . . . mente” (Noel Rosa), 209
“Voltei pro morro” (Peixoto and Paiva), 210
Voz do carnaval!, A (Gonzaga), 35–36
Waggoner, Lyle, 187
Wagley, Charles, 49
Wakeling, Gwen, 113
Waldorf-Astoria, 93–95, 171, 173, 240n113, 241n132
Walker, Alexander, 105, 243n33
Walker, George, 61
Walters, Debra, 142
Warner Brothers, 135, 162, 173, 186, 192, 194–96, 242n18, 253n64
Warren, Harry, 248n16
Weekend in Havana (Lang): and escapism, 100, 104, 241n1; female audience of, 101; Miranda’s acting part in, 120–21; Miranda’s costumes in, 113–14, 121, 140–41, 145; Miranda’s performance in, 87–88, 95, 120–21; and Miranda’s star status, 128; “Ñango” finale in, 108–9, 145; opening scene of, 100, 104; publicity for, 108, 128, 242n20; reception of, 120; scandalous photograph, 123; trailer for, 109
“Weekend in Havana” (Warren and Gordon), 100, 146
Week of Modern Art (São Paulo), 45–46
Welch, Raquel, 193
West, Mae, 118, 169, 193, 250n10
“Whispering” (J. and M. Schonberger), 149–50
whitening ideal, 10, 43–47, 50, 233n1
Wicker, Irene, 91
Wiest, Dianne, 191
Williams, Bert, 61
Williams, Judith Michelle, 50
Williamson, Judith, 247n139
Wilson, V. A., 241n7
Winged Victory (Cukor), 184–85, 245n79
Wood, Yvonne, 111, 140, 149, 157–58
Xuxa, 65
“Yayá baianinha” / “Yaya” (Humberto Porto), 22, 234n27
Yellen, Jack, 96
Yip, Yip, Yaphank (Berlin), 184
Yokel Boy (Brown), 73
Yoruba (West African ethnic group), 15, 228n8
Young, Loretta, 112
You Were Never Lovelier (Seiter), 190
Zanuck, Darryl F., 84, 156, 237nn63–64
Ziegfeld Follies (film; Ayers, et al.), 156
Ziegfeld Follies (show; Ziegfeld), 97, 147, 242n18
Ziegfeld Girl (Leonard), 154–55, 241n132, 248nn19–20, 249n21, 249n23