Carmen Miranda height - How tall is Carmen Miranda?

To date (2016), she was the only Brazilian to have their hand - and footprints in the forecourt of Grauman's Chinese Theater.

Pictured on one of five nondenominated USA commemorative stamps honoring Latin Music Legends, issued on 16 March 2011; price on day of issue was 44¢. The other stamps honored Tito Puente, Selena, Carlos Gardel and Celia Cruz.

The intersection of Hollywood Boulevard and Orange Drive was named Carmen Miranda Square. [September 1998]

Jimmy Buffett made her the subject of a song called "They Don't Dance Like Carmen No More". The song appeared on his album "A White Sport Coat and a Pink Crustacean" (1973).

She was posthumously awarded a Star on the Hollywood Walk of Fame at 6262 Hollywood Boulevard in Hollywood, California on February 8, 1960.

Once again didn't make a film for several years, returning with Scared Stiff (1953). She did stay busy, singing on the nightclub circuit and appearing on the relatively new medium of television. However, "Scared Stiff" was her final performance on the silver screen.

After that she didn't make a film for two years, until Nancy Goes to Rio (1950), a production for MGM.

Carmen made one film each in 1945, '46, '47 and '48.

1944 saw her in three films: Something for the Boys (1944), Four Jills in a Jeep (1944) and Greenwich Village (1944). The first two did well at the box-office, but the last one left a lot to be desired. It was her last busy year in film.

In 1942 Carmen starred in Springtime in the Rockies (1942) with Betty Grable and Cesar Romero, both of whom she had worked with before. It was shortly after this that America began adopting her style of dress as the latest fad.

In 1941 she was, again, teamed with Ameche in addition to Alice Faye in That Night in Rio (1941). The film was extremely popular with the theater patrons. Her unique songs went a long way in making her popular.

It was after Week-End in Havana (1941) that American cartoon artists began to cash in on Carmen's ever-growing popularity.

In 1940 Carmen was signed to appear in the Twentieth Century-Fox production Down Argentine Way (1940), with Betty Grable and Don Ameche. The only complaint that critics had was the fact that Carmen was not on the screen enough.

Although there was three years between "Alo, Alo Carnaval" and Banana-da-Terra (1939), Carmen continued to churn out musical hits in Brazil. The latter film would be the last in her home country.

In late 1939 Carmen arrived, with much fanfare in the press, in New York City. She was now ready to capture Americans' hearts with her talent. She appeared in some musical revues on Broadway and, just as everyone thought, was a huge hit.

Two years later she appeared in her first feature film, Alô, Alô, Brasil (1935). However.

it was Estudantes (1935) that seemed to solidify Carmen in the minds of the Brazilian movie audiences. Now they realized she could act as well as sing.

She made her debut in the Brazilian documentary A Voz do Carnaval (1933).

In the 1930s and 1940s cartoons were sometimes shown as a prelude to whatever feature film was showing. Sure enough, the cartoon version of Carmen came wriggling across the screen, complete with her trademark fruit hat and wide, toothy grin.

By 1928 she was a genuine superstar in Brazil. As with other popular singers of the era, she eventually made her way into the film world.

Sister of actress Aurora Miranda (born 1915), Olinda da Cunha (born 1907), Amaro da Cunha (born 1911), Cecília da Cunha (born 1913) and Oscar da Cunha (born 1916).

Carmen Miranda was born Maria do Carmo Miranda da Cunha on February 9, 1909, near Porto, Portugal, in the town of Marco de Canavezes. Not long after her birth her family moved to Brazil, where her father was involved in the produce business. The family settled in the then-capital city of Rio de Janeiro. After leaving school, Carmen got a job at a local store, and often began singing on the job. Before long she was discovered and got a singing job on a local radio station. She ultimately got a recording contract with RCA.

Daughter of José Maria Pinto da Cunha (1887-1938) and Maria Emília Miranda (1886-1971).