Welcome to the Creative Age: Bananas, Business and the Death of Marketing


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Carmen Miranda

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Train Scheduling with Smalltalk. One or two of his dance spectacles seem to stem straight from Freud. The film was poorly received; according to the New York Times , "Technicolor is the picture's chief asset, but still worth a look for the presence of 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. Miranda's third film was Something for the Boys , a musical comedy based on the Broadway musical with songs by Cole Porter and starring Ethel Merman.

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Zanuck as producer. The producer was Irving Starr, who oversaw the studio's second-string films. According to Time magazine, the film "turns out to have nothing very notable for anyone". A monochrome Carmen Miranda reduced the box-office appeal of the backstage musical, Doll Face , in which she was fourth on the bill. Miranda played Chita Chula, billed in the show-within-the-film as "the little lady from Brazil"—a cheerful comic sidekick to leading lady Doll Face Vivian Blaine with one musical number and little dialogue. The innovation is not a success, but the fault is the director's not Carmen's.

In If I'm Lucky , her follow-up film for Fox when she was no longer under contract, Miranda was again fourth on the bill with her stock screen persona firmly in evidence: heavily-accented English, comic malapropisms , and bizarre hairstyles recreating her famous turbans. Miranda's ambition was to play a lead role showcasing her comic skills, which she set out to do in Copacabana , an independent production released by United Artists starring Groucho Marx. Although Miranda's film career was faltering, her musical career remained solid and she was still a popular nightclub attraction.

Their first single, "Cuanto La Gusta", was the most popular and reached number twelve on the Billboard chart. In the first production MGM wanted to portray a different image, allowing her to remove her turban and reveal her own hair styled by Sydney Guilaroff and makeup by Jack Dawn. Miranda's wardrobe for the film substituted elegant dresses and hats designed by Helen Rose for "baiana" outfits. She was again fourth on the bill as Rosita Cochellas, a rumba teacher who first appears about 40 minutes into the film and has little dialogue. Despite MGM's efforts to change Miranda's persona, her roles in both productions were peripheral, watered-down caricatures relying on fractured English and over-the-top musical and dance numbers.

Returning full-circle to her first Hollywood film, Down Argentine Way , she had virtually no narrative function. Miranda played Carmelita Castilha, a Brazilian showgirl on a cruise ship, with her costumes and performances bordering on self-parody.


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  5. In April , she began a four-month European tour. While performing in Cincinnati in October, Miranda collapsed from exhaustion; she was rushed to LeRoy Sanitarium by her husband, Dave Sebastian, and canceled four following performances. According to Bananas Is My Business , Miranda's family blamed her troubled, abusive marriage for her nervous breakdown which forced her to return to Rio de Janeiro for four months to recuperate.

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    She returned to the US on 4 April Desiring creative freedom, Miranda decided to produce her own film in and played opposite Groucho Marx in Copacabana. The film's budget was divided into about ten investors' shares. Sebastian befriended her, and they began dating. Concannon officiating.

    sobellisol.tk Although the marriage was brief, Miranda who was Catholic did not want a divorce. Her sister, Aurora , said in the documentary Bananas is My Business : "He married her for selfish reasons; she got very sick after she married and lived with a lot of depression". Miranda was discreet, and little is known about her private life. Miranda performed at the New Frontier Hotel in Las Vegas in April , and in Cuba three months later before returning to Los Angeles to recuperate from a recurrent bronchial ailment.

    According to Durante, Miranda had complained of feeling unwell before filming; he offered to find her a replacement, but she declined. After completing "Jackson, Miranda, and Gomez", a song-and-dance number with Durante, she fell to one knee. Durante later said, "I thought she had slipped. She got up and said she was outa 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 gave an impromptu performance on the set for the cast and technicians.

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    The singer took several cast members and some friends home with her for a small party. She went upstairs to bed at about 3 a. Miranda undressed, placed her platform shoes in a corner, lit a cigarette, placed it in an ashtray and went into her bathroom to remove her makeup.


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    She apparently came from the bathroom with a small, round mirror in her hand; in the small hall which led to her bedroom, she collapsed with a fatal heart attack. Miranda was 46 years old. In accordance with her wishes, Miranda's body was flown back to Rio de Janeiro ; the Brazilian government declared a period of national mourning. For her contributions to the entertainment industry, Miranda has a star on the Hollywood Walk of Fame at the south side of the block of Hollywood Boulevard. Miranda's Hollywood image was that of a generic Latina, blurring distinctions between Brazil, Portugal, Argentina, and Mexico and samba, tango and habanera music.

    It was stylized and flamboyant; she often wore platform sandals and towering headdresses made of fruit , becoming known as "the lady in the tutti-frutti hat". Brazilian musician Caetano Veloso wrote about Miranda's legacy in a New York Times essay, "For generations of musicians who were adolescents in the second half of the s and became adults at the height of the Brazilian military dictatorship and the international wave of counterculture - my generation - Carmen Miranda was first a cause of both pride and shame, and later, a symbol that inspired the merciless gaze we began to cast upon ourselves; Carmen conquered 'white' America as no other South American has done or ever would, in an era when it was enough to be 'recognizable Latin and Negroid' in style and aesthetics to attract attention.

    Miranda helped establish and transform the relationship between Brazilian musicians and American producers that now has created several remarkable transnational collaborations To think of her is to think about the complexity of this relationship". Although she was more popular abroad than in Brazil at her death, Miranda contributed to Brazilian music and culture.

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    She was accused of commercializing Brazilian music and dance, but Miranda can be credited with bringing its national music the samba to a global audience. She introduced the baiana , with wide skirts and turbans, as a Brazilian showgirl at home and abroad. The baiana became a central feature of Carnival for women and men.

    Since her death, Miranda is remembered as an important Brazilian artist and one of the most influential in Hollywood. She was one of stars nominated for the American Film Institute 's 50 greatest screen legends. Marie Therese Dominguez, vice president of government relations and public policy for the postal service, said: "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".

    The song describes the chaos that ensues when the singer's ghost appears on a space station.

    Welcome to the Creative Age: Bananas, Business and the Death of Marketing Welcome to the Creative Age: Bananas, Business and the Death of Marketing
    Welcome to the Creative Age: Bananas, Business and the Death of Marketing Welcome to the Creative Age: Bananas, Business and the Death of Marketing
    Welcome to the Creative Age: Bananas, Business and the Death of Marketing Welcome to the Creative Age: Bananas, Business and the Death of Marketing
    Welcome to the Creative Age: Bananas, Business and the Death of Marketing Welcome to the Creative Age: Bananas, Business and the Death of Marketing
    Welcome to the Creative Age: Bananas, Business and the Death of Marketing Welcome to the Creative Age: Bananas, Business and the Death of Marketing
    Welcome to the Creative Age: Bananas, Business and the Death of Marketing Welcome to the Creative Age: Bananas, Business and the Death of Marketing
    Welcome to the Creative Age: Bananas, Business and the Death of Marketing Welcome to the Creative Age: Bananas, Business and the Death of Marketing

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