Congressman Tony Cardenas has confirmed his proposal to name a Van Nuys post office after Marilyn (first mentioned here in 2015), and another for Pacoima-born musician Ritchie Valens, the Los Angeles Post-Examiner reports. (Only last year, the neighbourhood council suggested here that a statue of Marilyn be built at Van Nuys City Hall.)
“During this awards season, I am proud to introduce two bills renaming post offices on Van Nuys Boulevard after two of the San Fernando Valley’s most famous and celebrated artists, Ritchie Valens and Marilyn Monroe. Forty-six of my colleagues from California joined me in honoring these amazing talents from our great state.
Marilyn Monroe was and remains one of the most famous models and actresses in American culture. She attended Van Nuys High School and was discovered by an army photographer while she was working at the Radioplane Munitions Factory during World War II. Her films grossed the equivalent of $2 billion, before like Valens she passed away way too soon.”
The celebrated English singer Kate Bush has just shared the unreleased video for her 1991 single, ‘Rocket Man’, with fans, the NME reports ( a bootleg version was previously available.) A cover of Elton John’s 1972 hit, she chose to cover his tribute to Marilyn, ‘Candle in the Wind’, for the B-side. Both tracks were recorded by Kate for the all-star album, Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin. They will now be reissued as part of her new compilation, The Other Sides, due for release in March.
What’s doubly interesting about the ‘Rocket Man’ video is that during the chorus, it appears to reference Marilyn’s performance of ‘Running Wild’ in Some Like It Hot (complete with black dress, backing band and even a ukulele!)
If you’re in Tucson and looking for a St. Valentine’s Day treat, With Love, Marilyn – the touring one-woman show starring actress and singer Erin Sullivan – is playing at the Temple of Music and Art through to Sunday, February 17.
You may have heard of the ‘Marilyn Monroe Towers’ apartment complex at Mississauga in Ontario, Canada. But as Steven Sharp reports for Urbanize Los Angeles, another architectural tribute is being planned right in Marilyn’s hometown.
“A proposed high-rise development in Downtown’s booming South Park neighborhood takes inspiration from California’s famed Redwood trees.
The project, the first in Los Angeles by the Australian developer Crown Group, would replace a mid-century warehouse at the southwest corner of 11th and Hill Streets … A revised plan, calls for a larger 70-story edifice designed by Sydney-based Koichi Takada Architects.
The tower would greet the corner of 11th and Hill with an undulating canopy, a reference to the blowing skirt of actress Marilyn Monroe in the film The Seven Year Itch. The project from Crown Group is one of four potentially skyline-altering developments planned for the 11th Street corridor …”
Marilyn may never have won, or even been nominated for an Oscar, but the Academy Museum of Motion Pictures (set to open in 2019) will pay tribute to her star power, as Gregg Kilday reports for the Hollywood Reporter.
“There will be the expected crowd-pleasers: a gallery devoted to the making of The Wizard of Oz, complete with Dorothy’s ruby slippers; a backdrop from Singin’ in the Rain; and spotlights on screen icons from Humphrey Bogart to Marilyn Monroe … ‘It’s really important that it’s a full history and that we give the visitor the opportunity to learn about that history in all its aspects,’ says Kerry Brougher, the museum’s director, who on Dec. 4 offered the first look at what visitors can expect to encounter inside the $388 million museum that the Academy of Motion Picture Arts and Sciences is building on the site of the old May Company building at the corner of Wilshire Boulevard and Fairfax Avenue.
Now scheduled to open in late 2019 (a specific date has not yet been set), the museum will devote two floors in the Saban Building — as the May Company building has been rechristened in recognition of a $50 million gift from Cheryl and Haim Saban — to a 30,000-square-foot permanent exhibition tentatively titled Where Dreams Are Made: A Journey Inside the Movies. And, in contrast to the brightly lit galleries found in a traditional museum, Brougher says, ‘We kind of exist in the dark. It’s rather beautiful to have a transition from the reality of daylight to twilight into the darkness of the exhibition, just as the lights come down in a movie theater.'”
Madonna’s 1985 video for ‘Material Girl’ – in which she recreated Marilyn’s ‘Diamonds Are a Girl’s Best Friend’ video from Gentlemen Prefer Blondes – tops a chronological list of videos referencing Hollywood classics, compiled by Kyle Munzenrieder for W magazine.
“Like so many other pages in the modern pop star playbook, this one was polished and perfected by Madonna. The second single off her star-cementing second album Like a Virgin, ‘Material Girl’ is among a handful of the star’s hits she didn’t co-write herself. At the time she seemed pretty eager to point out that she herself was not actually that materialistic when it came to finding a man (she had been dating broke musicians, DJs and artists on the Lower East Side just a few years before), and wanted to frame the song as something cheeky and ironic. So she adapted the guise of Marilyn Monroe’s unabashed gold digger character Lorelei Lee from Gentlemen Prefer Blondes and recreated the ‘Diamonds are a Girls Best Friends’ scene, and the balanced it with scenes of her off the set.
This wouldn’t be the last time Madonna paid homage to specific movies in her music videos, but it may be her poppiest. Later in her career she’d stick to recreating film school syllabus canon like Metropolis and Maya Deren’s At Land.”
Yesterday, the Marilyn Remembered fan club hosted their annual service at Westwood Memorial Park in Los Angeles. Among this year’s speakers were actresses Kathleen Hughes and Terry Moore; author Lois Banner; Juliet Hyde-White (daughter of Marilyn’s Let’s Make Love co-star, Wilfrid Hyde-White); Susan Bernard (author, and daughter of photographer Bruno Bernard); and the advice columnist Jeanne Phillips (known to millions as ‘Dear Abby’.)
On August 4th, 1962 – a balmy Saturday evening not unlike this one – Marilyn Monroe bid her housekeeper goodnight and retired to the bedroom of her modest Los Angeles home. She would never wake again, and on Sunday morning, the world learned of her death. On this sad anniversary, here’s an ode to America’s dream girl from an indigenous poet.
drives herself to the reservation. Tired and cold,
she asks the Indian women for help.
Marilyn cannot explain what she needs
but the Indian women notice the needle tracks
on her arms and lead her to the sweat lodge
where every woman, young and old, disrobes
and leaves her clothes behind
when she enters the dark of the lodge.
Marilyn’s prayers may or may not be answered here
but they are kept sacred by Indian women.
Cold water is splashed on hot rocks
and steam fills the lodge. There is no place like this.
At first, Marilyn is self-conscious, aware
of her body and face, the tremendous heat, her thirst,
and the brown bodies circled around her.
But the Indian women do not stare. It is dark
inside the lodge. The hot rocks glow red
and the songs begin. Marilyn has never heard
these songs before, but she soon sings along.
Marilyn is not an Indian, Marilyn will never be an Indian
but the Indian women sing about her courage.
The Indian women sing for her health.
The Indian women sing for Marilyn.
Finally, she is no more naked than anyone else.
As Marilyn’s birthday month draws to a close, here’s a look back at ‘The Burlesque of Marilyn Monroe‘, an insightful tribute from author and vaudeville historian Trav S.D.
“Monroe’s persona was an invention, an act of self-creation. From a poverty stricken, neglected background, she went on to transform herself into the ultimate symbol of luxury (‘Diamonds are a Girl’s Best Friend’).
Monroe was never in burlesque but as she began to develop her screen persona and gradually got more attention, burlesque comedy was the natural touchstone for her talents … Later comedies and musical comedies all riff on the idea of her either as the comically ‘dumb blonde’ and/or some degree of burlesque style glamour.
While she is usually cast as a wide-eyed innocent who was vulnerable and easily taken advantage of, on occasion, she went against type as a psycho or femme fatale … Most of her work as a print model gives off this quality as well, and I frankly find her far more beguiling and alluring in photographs than her film work … but even that could revert to burlesque.
And yet we all know, the story of Marilyn Monroe is ultimately a tragedy rather than a burlesque sketch. She spent all this time creating an artificial self, and then became trapped in a reality where people could only see that creation …”