Some context: Miranda was born Maria do Carmo Miranda da Cunha in Varzea da Ovelha e Aliviada, a village in the northern Portuguese municipality of Marco de Canaveses. She was the second daughter of Jose Maria Pinto da Cunha (17 February 1887 - 21 June 1938) and Maria Emilia Miranda (10 March 1886, Rio de Janeiro - 9 November 1971). 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.
Although Miranda's U.S. popularity continued to increase, she began to lose favor with some Brazilians. On 10 July 1940, she returned to Brazil and was welcomed by cheering fans. Soon after her arrival, however, the Brazilian press began criticizing Miranda for accommodating American commercialism and projecting a negative image of Brazil. Members of the upper class felt that her image was "too black", and she was criticized in a Brazilian newspaper for "singing bad-taste black sambas". Other Brazilians criticized Miranda for playing a stereotypical "Latina bimbo" in her first interview after her arrival in the U.S. In the New York World-Telegram interview, she played up her then-limited knowledge of English language: "I say money, money, money. I say twenty words in English. I say money, money, money and I say hot dog!"  On 15 July, Miranda appeared in a charity concert organized by Brazilian First Lady Darci Vargas and attended by members of Brazil's high society. She greeted the audience in English, and was met with silence. When Miranda began singing "The South American Way", a song from one of her club acts, the audience began to boo her. Although she tried to finish her act, she gave up and left the stage when the audience continued to boo. The incident deeply hurt Miranda, who wept in her dressing room. The following day, the Brazilian press criticized her as "too Americanized".  Weeks later, Miranda responded to the criticism with the Portuguese song "Disseram que Voltei Americanizada" ("They Say I've Come Back Americanized"). Another song, "Bananas Is My Business", was based on a line from one of her films and directly addressed her image. Upset by the criticism, Miranda did not return to Brazil for fourteen years.  Her films were scrutinized by Latin American audiences for characterizing Central and South America in a culturally-homogenous way. When Miranda's films reached Central and South American theaters, they were perceived as depicting Latin American cultures through the lens of American preconceptions. Some Latin Americans felt that their cultures were misrepresented, and felt that someone from their own region was misrepresenting them. Down Argentine Way was criticized, with Argentines saying that it failed to depict Argentine culture. Its lyrics were allegedly replete with non-Argentine themes, and its sets were a fusion of Mexican, Cuban, and Brazilian culture. The film was later banned in Argentina for "wrongfully portraying life in Buenos Aires". Similar sentiments were voiced in Cuba after the debut of Miranda's Weekend in Havana (1941), with Cuban audiences offended by Miranda's portrayal of a Cuban woman. Reviewers noted that an import from Rio could not accurately portray a woman from Havana, and Miranda did not "dance anything Cuban". Her performances were arguably hybrids of Brazilian and other Latin cultures. Critics said that Miranda's other films misrepresented Latin locales, assuming that Brazilian culture was a representation of Latin America.
who was criticizing her
A: the Brazilian press

Some context: Antoine Dominique "Fats" Domino Jr. (February 26, 1928 - October 24, 2017) was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Between 1955 and 1960, he had eleven Top 10 hits. His humility and shyness may be one reason his contribution to the genre has been overlooked.
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville, Tennessee, rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis). Domino's long-term collaboration with the producer, arranger, and frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end. Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.  Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records, where he delivered a live album and two singles. A studio album was planned but stalled with just four tracks recorded . Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), featured many contemporary Soul infused sides but an album was released overseas in 1971 to fulfill his Reprise Records contract. He shifted to that label after Broadmoor and had a Top 100 single, a cover of the Beatles' "Lady Madonna".  Domino appeared in the Monkees' television special 33 1/3  Revolutions per Monkee in 1969. He continued to be popular as a performer for several decades. He made a cameo appearance in Clint Eastwood's movie Any Which Way You Can, filmed in 1979 and released in 1980 singing the country song "Whiskey Heaven" which later became a minor hit. His life and career were showcased in Joe Lauro's 2015 documentary The Big Beat: Fats Domino and the Birth of Rock 'n' Roll.
What did Fats record after leaving Imperial?
A:
He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963).