Her artistic career took place in Brazil and the United States between the 1930s and 1950s. She was considered by Rolling Stone magazine as the 15th greatest voice in Brazilian music, and is an international icon and symbol of Brazil abroad. Miranda began her singing career in Brazil in 1929 where she was a major star before moving to the United States. In 1939, she performed on Broadway on which led to a Hollywood film career in 1940, with her first film Down Argentine Way. Nicknamed "The Brazilian Bombshell", Miranda is noted for her signature fruit hat outfit she wore in her American films, particularly in 1943's The Gang's All Here. By 1945, she was the highest paid woman in the United States.
Miranda made a total of fourteen Hollywood films between 1940 and 1953. Though hailed as a talented performer, her popularity waned by the end of World War II. She later grew to resent the stereotypical "Brazilian Bombshell" image she cultivated and attempted to break free of it with limited success. Undaunted, Miranda focused increasingly on her nightclub appearances, also becoming a fixture on television variety shows—indeed, for all the stereotyping she faced throughout her career, her performances made huge strides in popularizing Brazilian music, while at the same time paving the way for the increasing awareness of all Latin culture.
Carmen Miranda was the first Latin American star to be invited to imprint her hands and feet in the courtyard of the Grauman's Chinese Theatre in 1941. She is considered the precursor of Brazil's Tropicalismo, cultural movement of the 1960s.
On 4 August 1955, Miranda unknowingly suffered a mild heart attack while performing during the taping of an episode of The Jimmy Durante Show. She finished the show but died the following morning after suffering a second heart attack.
A museum was later constructed in Rio de Janeiro in her honor, and in 1995 she was the subject of the acclaimed documentary Carmen Miranda: Bananas is My Business.
Bambu-Bambu
Carmen Miranda Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Fui a um banquete na casa do Zé Pequeno
A mesa tava no sereno
P'rá todo mundo caber
Tinha de toda qualidade de talher
Tinha mais home que mulher
Mas só não tinha o que comer (bambu)
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
E no tal banquete, dito cujo, referido
Mulher que tinha marido
Não passou aperto não
Pois as danada para não morrer de fome
Cada qual comeu seu home
Não tiveram indigestão (bambu)
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
Conheço um homem que tem 17 filhos
Que pôs tudo no desvio
P'rá polícia empregar
A mulher dele de beleza ainda promete
Dar à luz a 17
P'rá depois então parar (bambu)
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
The lyrics to Carmen Miranda's song "Bambu-Bambu" are somewhat nonsensical, but they appear to be a series of humorous observations and anecdotes. The first verse repeats the phrase "E olha o bambo de bambu" (And look at the bamboo cane) several times, followed by a call-and-response section where the singer urges the listener to repeat the phrases "bambu-lê, bambu-lá-lá" three times. The second verse describes a banquet at a man named Zé Pequeno's house, where there were more men than women and not enough food to go around. The third verse tells a story about a man with 17 children and a wife who promises to give birth to 17 more, so that they can all find jobs in the police department.
The lyrics of "Bambu-Bambu" are typical of the jovial, playful songs that Carmen Miranda was known for. In her movies and recordings, she often sang about everyday objects and activities, bringing a sense of fun and levity to mundane subjects. Interestingly, while Carmen was Brazilian, she recorded this song in Spanish, showing her versatility as a performer who could connect with audiences across Latin America and beyond.
Overall, "Bambu-Bambu" is a lighthearted song that doesn't take itself too seriously. Carmen Miranda's energetic performance and playful lyrics are sure to bring a smile to anyone's face.
Line by Line Meaning
E olha o bambo de bambu, bambu
Look at the bamboo stick made of bamboo
E olha o bambo de bambu, bambu-lê-lê
Look at the bamboo stick made of bamboo, lê-lê
E olha o bambo de bambu, bambu-lá-lá
Look at the bamboo stick made of bamboo, lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
I want to hear you say 'bamboo-lê, bamboo-lá-lá' three times
Fui a um banquete na casa do Zé Pequeno
I went to a banquet at Zé Pequeno's house
A mesa tava no sereno
The table was outside in the cool air
P'rá todo mundo caber
So that everyone could fit
Tinha de toda qualidade de talher
There were all kinds of quality utensils
Tinha mais home que mulher
There were more men than women
Mas só não tinha o que comer (bambu)
But there was nothing to eat (bamboo)
E no tal banquete, dito cujo, referido
And at that banquet, the said one, referred to
Mulher que tinha marido
Women who had husbands
Não passou aperto não
They didn't have any trouble
Pois as danada para não morrer de fome
So those women, not to starve
Cada qual comeu seu home
Each one ate her own man
Não tiveram indigestão (bambu)
They didn't have any indigestion (bamboo)
Conheço um homem que tem 17 filhos
I know a man who has 17 children
Que pôs tudo no desvio
Who put them all away
P'rá polícia empregar
For the police to employ
A mulher dele de beleza ainda promete
His wife promises beauty
Dar à luz a 17
To give birth to 17
P'rá depois então parar (bambu)
And then to stop (bamboo)
Writer(s): Traditional
Contributed by Charlotte S. Suggest a correction in the comments below.
pedro
(Estribilho)
E olha o bambo de bambu, bambu
E olha o bambo de bambu, bambu-lê-lê
E olha o bambo de bambu, bambu-lá-lá
Eu quero ver dizer 3 vezes bambu-lê, bambu-lá-lá
Fui a um banquete na casa do zé pequeno
A mesa tava no sereno
P'rá todo mundo cabê
Tinha de toda qualidade de talher
Tinha mais home que muié
Mas só não tinha o que comer (bambu)
(Estribilho)
E no tal banquete, dito cujo, referido
Mulher que não tinha marido
Não passou aperto não
Pois as danada para não morrer de fome
Cada qual comeu seu home
Não tiveram indigestão (bambu)
(Estribilho)
Conheço um home que tem 17 filho
Que pôs tudo no desvio
P'rá polícia empregá
A mulher dele de beleza ainda promete
Dar à luz a 17
P'rá depois então parar (bambu)
(Estribilho)(2x)
CarmenMiranda.FC
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TheRealRioll
Eu amo essa música,4 anos pra conseguir cantar kkk
☘︎𝙵𝙸𝙽𝙾 𝚂𝙴𝙽𝚘̃𝚁☘︎
Demorei 4 dias kkkk
o guy de la music
Já ouviu Rebola, Bola? 😂
Neide Aparecida Alves De Amorim
A Carmen Miranda cantava muito rápido! Mas era excelente!!!
NetRod
Que linda e que talento, pura graciosidade.
John Donovan Productions
I was just reading a little bit of a biographical story about this movie, and I just love the way that the author worded it that I wanted to share.
“In 1939 20th Century Fox Films premiered their first in what proved to be a long and successful series of technicolour musical films . It was called " Down Argentina Way " , and apart from the technicolour it was notable for giving her first big break to a cute blonde named Betty Grable , who was starred opposite Don Ameche in this otherwise routine story which , for all the local colour it provided , could just as easily have been called " Down Kentucky Way " - except for one thing . About half - way through the film there was a nightclub scene . The Master of Ceremonies of the floor show announced : " Ladies and Gentlemen - Carmen Miranda ! " and out samba'd a tiny figure with snapping dark eyes and an impossibly wide mouth , dressed in an outrageous outfit consisting of a turban bedecked with what appeared to be the entire contents of a fruit store and a scarlet two - piece gown with a bare midriff and slit in the skirt from ankle to thigh revealing , nine - inch platform - sole shoes , the whole ensemble decorated with so many baubles , bangles and beads that it appeared that she must at any moment collapse under the weight . This exotic creature proceeded to sing in a mixture of Portuguese and English that was not so much fractured as shattered . The words seemed to be something about " Souse American Way " , but if they weren't clear the flashing eyes , expressive hands and gyrating hips conveyed the meaning perfectly . She sang two more songs in Portuguese and that was all that we saw of her , but the rest of the film became a complete anti - climax . When " Down Argentina Way " was released , no - one cared very much about the horses , Don Ameche or even Betty Grable but everyone was talking about Carmen Miranda - " The Brazilian Bombshell " .”
antonio redator
Única. Genial. Luminosa manhã.
NahBrisa
Maravilhosa
Anna Gabriela
Aprendi a letra mas canto tudo embaralhado kkkk não sei como ela cantava rápido assim e conseguia ter una dicção tão boa