“This retrospective includes both seminal projects and never-before-shown photographs, along with some of the artist’s most recent works. A member of the Six Nations Reserve, Bay of Quinte Mohawk, Turtle Clan, Niro combines beadwork designs, archival images, family pictures, videos, and installation to question traditional representations of Indigenous peoples, with a particular focus on womanhood. Challenging stereotypes, Niro’s portraits explore notions of culture and identity with sensitivity and humor.
She is most noted for her photographs using herself and female family members cast in contemporary positions to challenge the stereotypes and cliches of Native American women. Niro explored the oral history of the Iroquois people in general and the diaspora of Mohawk people in particular. She is known for her photography, which often combines portraits of contemporary Native women with traditional Mohawk imagery. She uses herself, friends, and family members as models. Her 1992 photographic series, ‘This Land Is Mime Land’ and ‘500 Year Itch’ employ humorous pop culture references, such as Elvis Presley and Marilyn Monroe. Niro often works in diptychs and triptychs, using photographic processes such as photo montage, hand tints, and sepia tones.
Shelly Niro is often compared to the artist Cindy Sherman because they both cast themselves in different roles in an attempt to break down various stereotypes. Niro, however never fully disguises herself. ‘She wants the viewer to recognize her within her manifestations.'”
Ron Fassler, author of Up in the Cheap Seats: A Historical Memoir of Broadway, has written an article, ‘A Sprinkling of Sugar‘, about the musical theatre adaptation of Some Like It Hot. Written by Peter Stone, with music by Gentlemen Prefer Blondes composer Jule Styne and lyrics by Bob Merrill, Sugar was first produced at the Majestic Theatre on West 44th St, NYC, running for 505 performances from 1972-73, and has since become a firm favourite in regional theatre and with amateur dramatics societies everywhere.
“David Merrick, a producer with an enviable track record, as well as a talent for alienating close to everyone he ever came in contact with, was the man behind figuring out a way to bring a musical version of Some Like It Hot to the Broadway stage — and it wasn’t easy …
Merrick optioned Fanfaren de Liebe, the German screenplay upon which Wilder and Diamond based Some Like It Hot. Unfortunately, this wouldn’t allow for Merrick to set the show in the Roaring Twenties, perfect for a musical, as that was an idea of Wilder and Diamond’s … But with Merrick not being the type to give up without a fight, he eventually nabbed the rights from United Artists to use Wilder and Diamond’s screenplay as the source for his musical.
When Sugar opened on Broadway forty-six years ago tonight at the Majestic Theatre, it featured a relative unknown, Elaine Joyce in the title part, the one first created by Marilyn Monroe in the film … Yet the show remained a bit of a disappointment creatively, even though it did good business.
As a teenager, I saw Sugar early in its run, and though intermittently entertaining on its own merits, the show was really all about the comedic skills, dazzling energy and one-of-a-kind charisma of Robert Morse. As Jerry and his female alter-ego, Daphne, Morse was the real deal.
With Some Like It Hot’s status as a film classic not only undiminished over the years, but continuing to grow, there have been numerous attempts to revive Sugar’s fortunes, in hopes of it maybe one day finding its way back to Broadway. One was a 1992 London version with British favorite Tommy Steele, and another was a U.S. touring production in 2002 with Tony Curtis, this time in the Joe E. Brown role of Osgood, the randy millionaire.
Of course, both productions took on a new title: Some Like It Hot.”
Thanks to Jackie at Marilyn Remembered
The latest Versace collection, which hit the catwalk in Milan this week, is nostalgic in more ways than one, as Vogue reports. Marking the 20th anniversary of Gianni Versace’s death, this ‘homage collection’ from his sister and successor, Donatella Versace, also reinvents one of his most iconic designs. The ‘Marilyn dress’ that supermodel Naomi Campbell first wore on the catwalk in 1991, as part of the ’92 collection (shown above left) makes a notable comeback (see right.) Based on the infamous Pop Art screen-prints by Andy Warhol, and also featuring James Dean, the much-imitated Marilyn dress epitomises the Versace brand’s postmodern fusion of glamour and excess, and the original now resides in New York’s Met Museum.
Many musicians have paid tribute to Marilyn over the years, and legendary folk-rocker Neil Young is no exception. ThePhotoNews.com reports that in a recent appearance at Bethel Woods – site of Woodstock – Young performed an old favourite, ‘From Hank to Hendrix’, from his 1992 album, Harvest Moon. His lyrics reference both MM and another iconic blonde, Madonna. You can listen to it here.
“From Marilyn to Madonna I always loved your smile
Now we’re headed for the big divorce California-style
I found myself singin’ like a long-lost friend
The same thing that makes you live can kill you in the end…”
Yesterday’s Hollywood Reporter contained allegations – not new, but still sensational – regarding the notorious ‘private eye’ Fred Otash’s alleged tapes of Marilyn and John F. Kennedy.
“Now unveiled for the first time to The Hollywood Reporter by the detective’s daughter, Colleen, and her business partner Manfred Westphal (a veteran publicist with APA, whose parents were Otash’s neighbors), the records fill 11 overflowing boxes that for two decades have been hidden inside a storage unit in the San Fernando Valley.”
In his 1985 book, Goddess: The Secret Lives of Marilyn Monroe, biographer Anthony Summers claimed that Otash began surveillance on her in 1961. And crime novelist James Ellroy is currently adapting his novella, Shakedown, for an HBO series about Otash’s exploits in 1950s Los Angeles.
Otash wrote a manuscript, Marilyn Monroe and the Kennedys, before his death in 1992. It has never been published.
Stephen Galloway, author of the article, doesn’t mention whether he actually listened to the tapes, or read Otash’s notes on the case. Without confirmation that the recordings exist – and hard evidence that they are, indeed, of Marilyn – I remain unconvinced.
I also think that her personal life should remain private – but as we all know, sex sells.
Here is an excerpt from yesterday’s article:
“TAPING MARILYN MONROE
‘Marilyn wanted a mini-phone listening device,’ Otash claims in the notes, adding that he spied on her even while she was paying him to install recording equipment so that she could tape her own phone calls. ‘You could hide it in your bra. The microphone was a wristwatch. You could also put a suction cup on the phone. Later on, she wanted a sophisticated system put in her house. We wired up her phone because it started looking stupid with a suction cup.’
Otash listened in on Marilyn having sex with Kennedy when he was watching Lawford’s house in Malibu, allegedly while working for Howard Hughes, who was seeking general information with which to discredit the Democrats. ‘When the original Lawford house was wired, Monroe was not part of the plan,’ Otash says in the files. ‘It was to find out what the Democrats were up to on behalf of Howard Hughes and Nixon. Monroe became a by-product.’
The files include notes that he left for Colleen, in which he says he was conducting surveillance of Marilyn Monroe on the day she died.
‘I listened to Marilyn Monroe die,’ he claims in the notes, without elaborating, adding that he had taped an angry confrontation among Bobby Kennedy, Lawford and Monroe just hours before her death: ‘She said she was passed around like a piece of meat. It was a violent argument about their relationship and the commitment and promises he made to her. She was really screaming and they were trying to quiet her down. She’s in the bedroom and Bobby gets the pillow and he muffles her on the bed to keep the neighbors from hearing. She finally quieted down and then he was looking to get out of there.’
Otash only learned that Monroe had died when Lawford called him in the early hours of the following day and asked him to remove any incriminating evidence from her house. There is no record of what was removed, and the alleged tapes have since disappeared.
Shortly before Otash’s death in 1992 at the age of 70, he told Vanity Fair: ‘I would have kept it quiet all my life. But all of a sudden, I’m looking at FBI files and CIA files with quotes from my investigators telling them about the work they did on my behalf. It’s stupid to sit here and deny that these things are true…'”
“Twenty years ago, for example, I began research for a life of Marilyn Monroe–the first such project authorized by her Estate, with no strings attached and unhindered access to a massive array of materials never before consulted. After conducting more than a hundred interviews and surveying an astonishing cache of primary material, something unexpected became clear. Monroe was not a dimwitted woman of easy virtue who spiraled downward into suicidal depression. She was something very different indeed from that popular misconception.”
Donald Spoto, author of Marilyn Monroe: The Biography (1992)
“Marilyn Monroe was the inspiration for the expression ‘arm candy’, which refers to any woman who decorates the arm of a man – to the envy of other men who see them together. Chicago journalist Marcia Froelke Coburn was commenting on Monroe’s appearance on the arm of actor George Sanders in the film All About Eve in a column in the early 1990s when she coined the phrase.”
Marilyn played an aspiring actress, Claudia Caswell, in the classic movie.
Definition from Wordspy:
“(ARM kan.dee) n. An extremely beautiful person who accompanies a member of the opposite sex to a party or event, but is not romantically involved with that person (cf. eye candy).
‘All About Eve’ (1950, FoxVideo). [Marilyn Monroe had] already had mini-roles in eight movies when she turned up as George Sanders’ arm candy in the party scenes of this film. But her jewel of a performance as an actress-on-the-make caught the public’s attention.
—Marcia Froelke Coburn, ‘Marilyn’s enduring appeal’, Chicago Tribune, August 21, 1992″
Coburn’s essay was a review of a VHS movie collection, and her comments on Marilyn’s acting were sensitive and insightful.
“As time goes by, she appears more gifted than we knew. Not that this is always apparent in her movies. More often than not, she was miscast, badly used or even made fun of (she was the original blond joke). When she shines, it is sometimes by default.”
You can read Marcia Froelke Coburn’s article in full here