Carmen Miranda, was a Portuguese-born Brazilian samba singer, Broadway actress, film star, popular from the 1930s to the 1950s. Nicknamed "The Brazilian Bombshell", Miranda is noted for her signature fruit hat outfit she wore in her American films; as a young woman, she designed hats in a boutique before making her first recordings with composer Josué de Barros in 1929. Miranda's 1930 recording of "Taí", written by Joubert de Carvalho, catapulted her to stardom in Brazil as the foremost interpreter of samba. During the 1930s Miranda performed on Brazilian radio and appeared in five Brazilian chanchadas, films celebrating Brazilian music and the country's carnival culture. Hello, Hello Brazil! and Hello, Carnival! Embodied the spirit of these early Miranda films; the 1939 musical Banana da Terra gave the world her "Baiana" image, inspired by African-Brazilians from the northeastern state of Bahia. In 1939, Broadway producer Lee Shubert offered Miranda an eight-week contract to perform in The Streets of Paris after seeing her at Cassino da Urca in Rio de Janeiro.
The following year she made her first Hollywood film, Down Argentine Way with Don Ameche and Betty Grable, her exotic clothing and Lusophone accent became her trademark. That year, she was voted the third-most-popular personality in the United States. In 1943, Miranda starred in Busby Berkeley's The Gang's All Here, noted for its musical numbers with the fruit hats that became her trademark. By 1945, she was the highest-paid woman in the United States. Miranda made 14 Hollywood films between 1940 and 1953. Although she was hailed as a talented performer, her popularity waned by the end of World War II. Miranda came to resent the stereotypical "Brazilian Bombshell" image she had cultivated, attempted to free herself of it with limited success, she became a fixture on television variety shows. Despite being stereotyped, Miranda's performances popularized Brazilian music and increased public awareness of Latin culture. In 1941 she was the first Latin American star to be invited to leave her hand and footprints in the courtyard of Grauman's Chinese Theatre, was the first South American honored with a star on the Hollywood Walk of Fame.
Miranda is considered the precursor of Brazil's 1960s Tropicalismo cultural movement. A museum was built in Rio de Janeiro in her honor, in 1995 she was the subject of the documentary Carmen Miranda: Bananas is My Business. Miranda was born Maria do Carmo Miranda da Cunha in Várzea da Ovelha e Aliviada, a village in the northern Portuguese municipality of Marco de Canaveses, she was the second daughter of Maria Emília Miranda. In 1909, when Miranda was ten months old, her father emigrated to Brazil and settled in Rio de Janeiro, where he opened a barber shop, her mother followed in 1910 with their daughters and Carmen. Although Carmen never returned to Portugal, she retained her Portuguese nationality. In Brazil, her parents had four more children: Cecília, Aurora and Óscar, she was christened "Carmen" by her father because of his love for Bizet's operatic masterpiece. This passion for opera influenced his children, Miranda's love for singing and dancing, at an early age, she was educated at the Convent of Saint Therese of Lisieux.
Her father did not approve of Miranda's plans to enter show business. Miranda's older sister, developed tuberculosis and was sent to Portugal for treatment, she worked in a boutique, opened a successful hat business. Miranda was introduced to Josué de Barros, a composer and musician from Bahia, while she was working at her family’s inn. With help from de Barros and Brunswick Records, she recorded her first single in 1929. Miranda's second single, "Prá Você Gostar de Mim", was a collaboration with Brazilian composer Joubert de Carvalho and sold a record 35,000 copies that year, she signed a two-year contract with RCA Victor in 1930. In 1933 Miranda signed a two-year contract with Rádio Mayrink Veiga, the most popular Brazilian station of the 1930s, was the first contract singer in Brazilian radio history, she signed a contract with Odeon Records, making her the highest-paid radio singer in Brazil at the time. Miranda's rise to stardom in Brazil was linked to the growing popularity of a native style of music: the samba.
The samba and Miranda's popularity enhanced the revival of Brazilian nationalism during the regime of President Getúlio Vargas. Her gracefulness and vitality in her recordings and live performances gave her the nickname "Cantora do It"; the singer was known as "Ditadora Risonha do Samba", in 1933 radio announcer Cesar Ladeira christened her "A Pequena Notável". Her Brazilian film career was linked to a genre of musical films which drew on the nation's carnival traditions and the annual celebration and musical style of Rio de Janeiro, Brazil's capital at the time. Miranda performed a musical number in O Carnaval Cantado no Rio (1932, the fi
A Cosmic Rhythm with Each Stroke is an album by trumpeter Wadada Leo Smith and pianist Vijay Iyer, released in March 2016 on ECM Records. At Metacritic, that assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 82, based on seven reviews, which indicates "universal acclaim". Thom Jurek in his review for Allmusic says that: The instincts these players offer in these works display the duo's mutual desire for intimate communication and spiritual trust through the medium of sound, their uncompromising movement toward them results in a shared musical mind that speaks in a distinctive, unique emotional language. They selected it as one of their Favorite Jazz Albums of 2016. In The Guardian, John Fordham gave this album four stars and says that: Smith’s tone and phrasing reflect mid-period Miles Davis, but he blends free jazz into those resources with a unique poetic focus. Long high squeals and tumbling unfold over Iyer’s humming electronics, a bright brass fanfare soars over a chordal rumble, a lamenting muted-trumpet descent invokes Sketches of Spain.
Iyer functions as a discreet foil, but this intimate conversation swells from interesting to enthralling as it unfolds. ECM Records – ECM 2420. All music is composed except where noted. Vijay Iyer – piano, fender rhodes, electronics Wadada Leo Smith – trumpet
The 22nd Congressional District of Illinois was a congressional district for the United States House of Representatives in Illinois. It was eliminated as a result of the 1990 Census, it was last represented by Glenn Poshard, redistricted into the 19th District. As of January 2020, one former member of the U. S. House of Representatives from Illinois's 22nd congressional district is alive; the most recent representative to die was Dan Crane on May 28, 2019. The most serving representative to die was Kenneth J. Gray on July 12, 2014. Martis, Kenneth C.. The Historical Atlas of Political Parties in the United States Congress. New York: Macmillan Publishing Company. Martis, Kenneth C.. The Historical Atlas of United States Congressional Districts. New York: Macmillan Publishing Company. Congressional Biographical Directory of the United States 1774–present