Drag artist Dusty Mae has posed for a tribute shoot with photographer Joseph Adivari, wearing Marilyn’s own clothes (courtesy of collector Greg Schreiner), reports Out magazine.
“I’ve always believed that she has endured because of her authenticity and personality. Beauty can make someone famous, but it can’t make them into a cultural icon who is still celebrated over 50 years after their death. She had almost no family, and she struggled with poverty, abuse, sexism, and much more, yet she never let it stop her, and she still became Marilyn Monroe. Everyone who knew her talks about how she always came from a true place of love and generosity. If someone said, ‘Oh I love your sweater!’ she would give it to them without a second thought. She wasn’t materialistic, even though people might assume she was. My friends and I love to imagine what Marilyn Monroe would have been like in the 70s and 80s. She had the ability to reinvent herself, which is why so many people see parts of themselves in her, or feel that they identify with her on a deeper level. I think the world really missed out on some amazing things because of her death, but it speaks to her talent as an actress, and charm as a person, the fact that she is still celebrated today, and will be remembered forever as a definitive icon of the silver screen.”
Aleshia Brevard, the pioneering transgender actress, model and writer, has died aged 79, reports the Telegraph. She was born Alfred Brevard Crenshaw to Southern fundamentalist parents and grew up in abject poverty on a farm in the Appalachian Mountains. From an early age, Alfred dreamed of movie stars – and at 15 he took a Greyhound to California. So far, so Cherie in Bus Stop – but by the late 1950s, inspired by George Jorgensen aka Christine, America’s first transsexual, Alfred was working as a female impersonator at San Francisco nightclub Finocchio’s, and had begun the surgical transition process.
In 1960, during a break from filming The Misfits, Marilyn saw Aleshia impersonate her onstage at Finocchio’s. One of Monroe’s early biographers, Fred Lawrence Guiles, first told the story in Norma Jean (1969.)
“Finocchio’s in San Francisco is one of the few tourist attractions of that city of special interest to show folk. It features some of the best female impersonators in the business. Marilyn had expressed an interest in seeing the show when others of The Misfits company came back talking about the place. Now it had been rumoured that one of the boys was impersonating her. She had seen and laughed at Edie Adams, a good friend, in her celebrated parody of Marilyn, but the Finocchio act was something special she would go out of her way to see.
Everyone in her party was a little tense as they took their ringside table at the club. [Allan ‘Whitey’] Snyder was frankly apprehensive and kept reminding Marilyn that she should keep in mind it was all in fun. And then the breathless moment arrived. The man was gusseted in a skin-tight sequinned gown, a wind-blown platinum wig on his head. The resemblance was uncanny. [Ralph] Roberts observed Marilyn’s eyes widening in recognition, and then she grinned. Her mimic was undulating his lips in the familiar insecure smile and cupping his breasts, taking little steps around the floor, wiggling his rear.
‘You’re all terribly sweet,’ the mimic said in a little-girl voice. Marilyn put her hand to her mouth. ‘I love you all!’ the man was saying as he began to point at the men in the audience in turn. ‘You … and you …’
While Marilyn might have worn her black wig and tried to control the fits of girlish laughter that would give her away, this night she had not wanted anonymity. She had told the others she might leave them later on and wander down to Fisherman’s Wharf to visit DiMaggio’s Restaurant and then perhaps Lefty O’Doul’s. Neither establishment would find a Marilyn incognito especially amusing.
The mimic, discovering his model, could not avoid playing to her. There was a rising buzz of whispers around them as the audience saw the rapt and smiling original. Regretfully, Marilyn suggested they leave. The impersonator rushed to finish his turn. It was a short one anyway. No one could sustain such a parody for very long. As Marilyn and her friends were leaving, the man, blowing kisses to the audience and then to Marilyn removed his silvery wig.”
The Telegraph reports that Marilyn wrote in her diary that evening that the experience was ‘like seeing herself on film.’ However, Marilyn did not keep a regular diary and this remark doesn’t appear in her private notes, so it’s more likely that she said this to one of her friends. Aleshia would share her own account in her 2001 memoir, The Woman I Was Not Born to Be: A Transsexual Journey.
“Newspaper columnists touted me as Marilyn’s double. That was flattering, but it was only good publicity. Mr Finocchio paid for such fanfare. I was young, professionally blonde, and sang, ‘My Heart Belongs to Daddy’ in a red knit sweater, but that does not a legend make. I knew the difference. Marilyn was the epitome of everything I wanted to become.
The nation’s favourite sex symbol came to Finocchio’s to catch my act. She must have read the publicity.
‘Marilyn left after your number,’ I muttered to myself.
That was true. I might be reacting to the pre-op medication, but I wasn’t hallucinating. Miss Monroe had watched me perform her song from Let’s Make Love – and fled.
‘Well, I wouldn’t be sittin’ my famous ass in some nightclub watching a drag queen sing my number,’ I mused. ‘Not if I was Marilyn Monroe! No way, darlin’, I’d have better things to do with my life.”
When Marilyn died, Aleshia was recovering from her long-awaited operation and would recall, ‘I felt as though I’d lost a close, personal friend.’ She later became a Playboy Bunny, and appeared in a film produced by Robert Slatzer, a man notorious for his exaggerated stories about Marilyn, claiming they were secretly married and linking her death to the Kennedys.
“Most of my audition time had been wasted by Slatzer’s bragging about his marriage to Marilyn Monroe,” she wrote. “‘Joe DiMaggio maybe; Bob Slatzer, never,’ I thought. My Marilyn, I believed, would never have married the man I personally regarded as a blustering, rotund, B-grade movie maker. I didn’t believe a word he said.'”
Nonetheless, Slatzer gave Aleshia a part in his 1970 film, Bigfoot – as a seven-foot mother ape! “A munchkin from The Wizard of Oz would play my Sasquatch child,” Aleshia cringed. “There would be no Academy Award for this acting stint. In film history, no Sasquatch has ever received the coveted statuette. The only appeal to the potboiler was its cast. John and Chris Mitchum, brother and son of screen luminary Robert Mitchum, were in the debacle … John Carradine taught me to play poker – and I paid dearly for the privilege.” After enduring long days in full gorilla makeup without filming a scene, Aleshia contacted her agent and, much to Slatzer’s chagrin, the Screen Actors’ Guild intervened.
Aleshia went on to work in television, and after earning a master’s degree, she taught film and theatre studies to supplement her income. She was married four times, and followed her successful autobiography with a novel and further memoir. After her death on July 1, author Gary Vitacco-Robles, who interviewed Aleshia for his 2014 biography, Icon: The Life, Times and Films of Marilyn Monroe, paid tribute on Facebook: “She was a brave and lovely woman. May Aleshia’s memory be eternal.”
In an interview with San Antonio Current, female impersonator Jimmy James recalls how seeing a picture of Marilyn inspired him to start an acclaimed career. (Although he no longer performs as MM, photos such as the one posted above are still mistaken for Marilyn, and are regularly used for tattoos and iphone covers.)
“What was your initial spark to start impersonating Marilyn Monroe?
I was studying theatrical makeup at San Antonio College, and I was studying facial bone structures … I was skimming through a book called Life Goes to the Movies and it struck me — a photograph of Marilyn Monroe, who I had always heard about but didn’t really know much about. The way her face was in this photograph reminded me of my face, and I know that sounds presumptuous, but again, I was a makeup artist so I knew about facial structure. And I was doing theater that never paid anything, and I knew that the drag queens in the clubs got paid money [so] I thought, ‘What if I could present this as an actor playing the part of Marilyn Monroe on stage in a club?’ And that’s how it started. But it took about three years of hard work and research to figure out who and what she was.
So once you got that act together, what did it consist of?
I would lip-sync a little bit … I could do ‘Happy Birthday’ live because I could sing that a cappella. And I would seek out instrumentals in thrift shops … you know there was no karaoke back then and there was no way of paying someone to make the music.”
Every few years, a rumour that Some Like it Hot will be remade surfaces. In the 1980s, Mick Jagger, David Bowie and Madonna were mooted for the leads. More recently, Lindsay Lohan was said to be interested in reprising Marilyn’s role as Sugar Kane.
The latest story comes from America’s ubiquitous ‘scandal sheet’, the National Enquirer, which claims,
“After cross-dressing for his latest ‘Sherlock Holmes’ movie, Robert Downey Jr plans to film a remake of the classic gender-bending comedy ‘Some Like It Hot’! Downey has even recruited British heartthrob Jude Law, his co-star in the upcoming sequel ‘Sherlock Holmes: A Game of Shadows,’ to join him in the drag extravaganza.”
“Robert is set to take Tony Curtis‘ role of Joe, and Jude will have Jerry, Jack Lemmon‘s part.”
While they’re still looking for someone to play Monroe’s role of singer Sugar Kane, the Enquirer says Downey and Law “have asked ‘Holmes’ director Guy Ritchie to helm the ‘Hot’ remake.”
However, according to Gossip Cop, the story is untrue:
“Here’s what’s true: Downey and Law can be seen in the upcoming Sherlock Holmes: A Game of Shadows.
Here’s what’s false: The entire Enquirer article.
A source close to Downey tells Gossip Cop that he and Law are NOT doing a remake of Some Like It Hot.
The only drag here is the reporting from the Enquirer.”
Andrej Pejic – an androgynous, 20 year-old Australian male model of Bosnian descent – appears as Marilyn in ‘Norma Jean’, a risque short film styled by Patricia Field, who comments, “It looks at Marilyn’s status as a sexual icon and explores the societal implications of the sex-kitten femme.”