The Female Impersonators. By Ralph Werther (Jennie June). New York. The Medico-Legal Journal, 1922. Pp. 295. Price not stated.

1923 ◽  
Vol 69 (285) ◽  
pp. 239-241
Author(s):  
M. Hamblin Smith
Keyword(s):  
New York ◽  
Female Impersonators

Carmen Miranda: Race, Gender, and Camp Culture

2020 ◽  
Author(s):  
Kathryn Bishop-Sanchez
Keyword(s):  
New York ◽  
North America ◽  
20Th Century ◽  
Rio De Janeiro ◽  
Brazilian Music ◽  
Male And Female ◽  
Female Impersonators

Carmen Miranda (b. 1909–d. 1955) was a Brazilian singer and actress who made her debut on the radio in the late 1920s and soon became one of the most popular voices in Brazil. She recorded close to 250 singles, many of which were major hits, starred in five films (four with the Cinédia studio and one with Sonofilms), and gave innumerous performances on the most elite stages of Rio de Janeiro, such as the Urca and Copacabana casinos. Her signature look was a stylized version of the typical Bahian woman’s outfit, known as the baiana, complete with an abundance of bracelets and necklaces, platform shoes, and a whimsical turban that served as a base for all kinds of adornments. In 1939, she was invited by the Broadway impresario Lee Shubert to perform in his musical review The Streets of Paris and moved to New York with her band Bando da Lua to bring authentic Brazilian music to North America. A success overnight, Miranda would then be invited to star in her first US film, Down Argentine Way (1940), with 20th Century Fox, and would be cast in thirteen subsequent films. Carmen Miranda’s iconic look was immediately recognizable and became prime material for imitations by both male and female impersonators in theater, film, and cartoon media. Her excessive femininity, imbued with style, exaggeration, and playful deception, and her inclusion in musicals governed by theatricality and artifice, made her a productive site for camp interpretations that have remained in vogue to this day.

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