Norma Jeane Becomes Her Dreams - Notes aaaaaaaaaaaaaaaaaaaaaaaaaaaa Text a Home

Bill Dorris

© 2009

(1) All of the Text and Notes contained in this draft are identical to those in two earlier drafts © 2002 and 2004

Quotes and information from “What would it take…” to “…create a Marilyn Monroe” come from Rosen, 1974, pp 284-86; Dyer, 1993, pp 36, 45; and Haskell, 1975, p254. See also Haskell, 1975, pp 254-58, and Dyer, 1993, pp20-23, for summary of Marilyn’s film roles; and Dyer, pp27-42, for discussion of Marilyn as sex symbol, in particular of how Marilyn was the first “female star image” to combine “naturalness and overt sexuality” (p35). Re the contrast in reactions of middle, upper-middle class college/university bound girls of the 1950s generation to Marilyn (cf Friedan, 1979, p47; Haskell; 253-4) to those from blue-collar and upwardly mobile, lower middle class families (a la Madonna Ciccone’s parents’ generation), see the discussion in Note (39) below..

In order to maintain the flow of the writing here (and in the rest of the book), quotes which are used are sometimes changed slightly - eg, "producing" changed to "produce"; “is” changed to “was”, ". . ." omitted, etc.

(2)Quotes and information from “Two key characteristics …” to “…insatiable hunger for love” come from Rosen, 1974, pp 139, 140-1, 156-8, 259, 261, 282-3; Dyer, 1993, p45; Rollyson, 1986, pp 52, 78; Spoto, 1993, p151-2; Haskell, 1975, p113.

(3)Quotes and information from “And beyond this creating…” to “…recesses of her private fantasy life” come from Rollyson, 1986, pp24, 56-8; Spoto, 1993, pp 148, 221; Rosen, 1974, p284; Haskell, 1975, p256.

Marilyn’s “sensational cameo role” was in Love Happy, 1949. Her “first major film”, Niagara , 1953, "made her face, her figure, her voice, and the way she employed them, the subject of the screen" (p56 Rollyson). It was the image of Marilyn singing 'Kiss' in this film that Warhol later used in his famous pop art work. (p57-8 Rollyson)

(4)Quotes and information from “And in the role which…” to “…all any woman was’” come from Rollyson, 1986, pp62-3; Spoto, 1993, pp230-32.

Gentlemen Prefer Blondes was released in 1953.

(5)Quotes and information from “By this point in her career…” to “…Norma Jeane’s perfect self doubt.” come from Rollyson, 1986, pp 24, 65; Spoto, 1993, pp 155, 199, 231, 233, 238; Guiles, 1992, pp 136, 167.

Re Marilyn never being able to escape her ‘dumb blonde’ roles, see, for example,Rosen, 1974, pp286+, re Marilyn Monroe as the “biggest business boom” of the 1950s film industry.

(6)Quotes and information from “And creating Marilyn required…” to “…her survivor morality” come from Spoto, 1993, pp 90, 104, 127-8, 146, 270; Guiles, 1992, pp 121, 125; Rollyson, 1986, pp 34, 66; Monroe , 1976, p 20.

(7) Information and quotes in this section (“Some people say. . .” to “. . .would ever come true”) come from Spoto (1993), pp 9, 12-26, 63, 102-05, 207; Guiles (1992), pp 27-8, 31-37, 43, 157, 173-4; Monroe (1976), pp9-12, 16, 24; Rollyson (1986), pp9-13; Summers (1990), pp6, 44; Miller (1988) pp9, 379-80, 415, 418, 423; Goodman (1961) pp225-6; Rosen (1974) pp 290-91; Dyer (1993) p48; Haskell (1975) p 255; Skolsky (1975), p220-222.

(8) The interpersonal quality of NJ’s 7 1/2 years with the Bolenders had many of the characteristics described in research on maternal deprivation, institutional care, and childhood antecedents of borderline personality [minus the physical and sexual abuse, eg, Herman et al (1989), pp490-92, Ogata et al (1990), pp1009-11, Zanarini et al (1997), pp1101, 03]. See Rutter (1979), pp285-8, re lack of “sensitive responsiveness”; Tizard & Rees (1975), pp70-1, re institutions with high staff-child ratio but “rather detached” caretaking; Gunderson & Englund (1981), pp165-6, re “neglect and poor nurturance in the early mother-child interaction”; Zanarini et al (1989), pp22-4, re “history of emotional neglect” and “loss”; Zanarini et al (1997), pp1101, 1103-5, re “neglect by caretakers of both genders”.

(9) Re genetic biases, Trull (1992), p556-8, shows strong and consistent correlations between ratings on borderline personality and 2 of Costa & McCrae’s (1985) 5 personality factors, ie Neuroticism and Antagonsim. Unfortunately for this genetic argument, these factors also correlate almost as strongly & consistently with several other personality disorders, ie narcissistic, compulsive, dependent (for N), paranoid, schizotypal, antisocial, and passive-aggressive (for A). More to the point, reports of Norma Jeane’s behavior during her early years while indicating some features of Neuroticism (eg, vulnerability, impulsiveness) do not show others (eg, depression, hostility). Nor does she show any features of Antagonism (eg, rude, vengeful, irritable, unco-operative) (cf Pervin, 1996, p44). What she clearly does show in these early years is strong evidence of a 3rd of the 5 factors, ie Openness to Experience (eg, curious, creative, imaginative), a factor which Trull found to have only a very weak and inconsistent correlation with borderline personality. See also Soldz et al (1993), esp p48, and Clarkin et al (1993), esp p476. For egs of Norma Jeane’s Openness to Experience see, eg, Spoto (1993) p20, 21, 25; Guiles (1992), pp31-2; Monroe (1976), p9.

(10) Dissociative experiences, common to NJ’s childhood, are characterized by, eg, absorption in imaginary activity so as to be completely unaware of surroundings, depersonalization or experiencing events as if you were a 3rd party observer, and creating “imaginary companions” to help cope with developmental tasks (eg, “maintainence of self-esteem and love”) in traumatic childhood environments. See, eg, Putnam (1989), pp52-4; Bliss (1986), pp126-8; Irwin (1998), pp240-43. Re dissociation being associated with “family related loss in childhood”, “removal of child from home”, “absence of natural mother”, “frightening parent”, “disorganized attachment”, and “self fragmentation” see, eg, Anderson & Alexander (1996), pp240-43, Ogawa et al (1997), Main & Hesse (1990), Liotti (1992). See Richardson (1998), p70-1, 74-77, and Lawrence et al (1995), pp209-10, re other related research.

(11) See Bossard & Boll (1966), pp126-8, re functions pet dogs often play in lives of “unloved” children.

(12) Re “powerful fantasies of reunion with biologic parent” common to children who feel abandoned see, eg, Simon & Senturia (1966), p864. See also, Note (10) above.

(13) Re NJ/MM’s adult life being plagued by a “hunger for love”, see research on borderline personality re, eg, “intolerance of aloneness”, Gunderson (1996), pp752-3; “unstable/ intense relationships”, Modestin (1987), pp400-01; painful proneness to “separation-abandonment conflicts”, Perry & Cooper (1986), pp871-2, 877, 880-86; “desperation in relation to attachment figures”, Westen et al (1992), pp382, 89. See Chessick (1972), p768, re eg of an “exceptionally beautiful, intelligent” 27 year old woman who “radiated an immediate attractiiveness” and left any man who responded to her feeling as though he had “tried to embrace a rainbow”. See Laing (1965), pp54-8, re Mrs. R, an eg of “ontological insecurity” with some striking parallels to MM. Rollyson (1986), pp12-13, analyzes relevant aspects of NJ/MM with reference to both Laing (1965 & 1971) and Alice Miller (1981).

Norma Jeane/Marilyn could perhaps be termed a “borderline borderline”, in that like a “borderline trait patient” she had the “same types of affective, cognitive, & interpersonal problems” as a borderline personality - eg “troubled interpersonal relationships” marred by "manipulation and extreme dependency”, “transient paranoid/ dissociative experiences”, “chronic dysphoria” (emptiness, loneliness, boredom) “impulsivity in a number of self destructive areas” - but without the same degree of impairment. The reasons for this no doubt include a lack of severe/ chronic physical & sexual abuse in her childhood, the absence of a “triggering event” after adolescence, and the presence of a continual stream of mentors, coaches, and nurturing relationships which sustained her in her early years in Hollywood. See Zanarini & Frankenburg (1997), esp pp95-6, 98-101.

(14) Information and quotes in this section (“That dream, that hope. . .” to “. . .shadows were too dark”) come from Spoto (1993), pp16-17, 21-5, 64, 92, 200-01, 230-33, 241-2; Guiles (1992) pp 28-9, 31, 34-5, 42, 55, 113-4, 128, 160-1, 187, 193; Rollyson (1986), pp9-13, 28, 42-3; Miller (1988), pp371-2, 380, 435-6; Rosen (1974), pp290-1; John (1963), p182.

(15) Re Norma Jeane experiencing herself as “never quite right” & developing a “perfect self doubt”, see research on early parental relationships of female borderline personalities re “chronically devaluative and/or blaming statements” (Zanarini et al, 1989, pp20-23); “frequent experience of being shamed or humiliated” (Zanarini et al, 1997, pp1103-04); “hostile rejection of ‘badness’” leading to an intensification of “negative self-image” in the child (Shapiro et al, 1975, pp399-402); overall pattern of “intrusive controlling” mothers and distant or hostile fathers (Soloff & Millward, 1983, pp576-7, 82-3, 85-6). Re general analyses of development of negative/ unacceptable self, see Erikson (1959), pp65-70, 80-82; Epstein (1980), esp pp103-07; Harter, 1978, esp pp38, 47, 51, 57. Re adult experience of self rejection in borderline personality, see Westen et al, 1992, esp pp388-89, re “markedly inconstant” and negative self-concept/esteem; Perry & Cooper, 1986, pp872, 77, 79, re “own needs and anger being unacceptable” & “pervasive sense of self loathing” whenever aware of them. See Lindsay-Hartz, 1984, p694, re shame making the person feel “small and worthless” with a “shrunken self”.

(16) Information and quotes in this section (“By 7 & 1/2. . . “ to “. . .perfect fairytale ending”) come from Spoto (1993), pp 21-5, 27-56; Guiles (1992), pp39-55, 66; Monroe (1976), pp 13-4, 16-21, 25-27, 39-40, 72; Rollyson (1986), pp 9-13, 34, 36-7; Summer (1990), pp 25-7, 31; Miller (1988), pp370-1; Clarke (1989), pp 47, 101, 927.

(17) Re Norma Jeane’s “absorption” in color fantasies/ films/ music as a mechanism for protecting the “integrity of the self” against psychological disruption/ trauma, see Ogawa et al, 1997, esp pp855-59, 871-77.

(18) Re various factors which would have contributed to Norma Jeane’s sense of being vulnerable, out of control, “last in line/ first to get dumped”, and learning to cope by playing the “waif”/ ”little lost kitten”, see Conger et al (1993), esp pp211-218, re important influence of economic hardship demoralizing parents, esp mother (Grace), disrupting parenting and undermining early adolescent girls “sense of personal worth, control and self-efficacy”; Hodges & Tizard (1989), p 78, Rutter (1979), p 289, Tizard & Hodges (1978), pp 104-07, re ex-institutional eight year olds showing “overfriendliness” and a “great desire for adult attention”; Zanarini et al (1989), re latency experiences of neglect (emotional withdrawal/ inconsistent treatment) and sexual abuse among borderline patients; Brown & Finkelhor (1986), esp pp 66-8, 70, 73, re review of literature suggestive re how attempts at sexual abuse (Doc, esp) would have enhanced Norma Jeane’s sense of shame, vulnerability, and lack of control. See Harter (1978), esp pp38, 56-9, re conceptual model relevant to Norma Jeane’s development of “need for external approval”, “perceived lack of competence”, “external locus of control”, etc. Re cultural/ sex role socialization influences on development of Norma Jeane as a “little lost kitten”, see, eg, Sharpe (1981), pp66-82; Golombok & Fivush, 1994, pp18-32.

(19) Re Norma Jeane developing a “whatever works” morality, appropriate to a world where “nothing’s real and nothing lasts”, see, eg, Wise (1986), pp363-65; Durkin (1996), esp p475, re parallels to Peck’s “Expedient” and Kohlberg’s “Preconventional, Stage 2” levels of moral development in which the 4-7 year old child is coping with a similarly unstable world, only for internal (ie, lack of sufficient cognitive development) rather than external reasons. See also Tizard &Hodges (1978), pp 106-7, re lying, disobedience, etc among ex-institutional 8 year olds. Re Norma Jeane’s lack of bonding experience/ years of living in a world characterized by “emotional neglect” (see Note 8 above) resulting in her being unable to experience a “shared reality”, to view others in terms of “empathy”, “reciprocity”, or an “integration of needs”, and hence learning to anticipate/ control/ manipulate the behavior of others in order to protect herself in an “unfathomable world”, see Kegan’s (1982) analysis of “the Imperial Self”, esp pp89-95.

(20) Information and quotes in this section (“But first she needed. . .” to “. . . little Norma Jean Harlow”) come from Spoto (1993), pp 10-11, 33-39, 45-6, 49, 54, 56; Guiles (1992), pp 46, 50-54; Rollyson (1986), p2.

(21) Re Grace’s frustrated ambitions being crucial to Norma Jeane’s development, see writings on ‘stage mothers’, eg Holt et al (1988), pp 15, 47, 235-55; Black (1989), pp 1,2, 5, 6, 8, 12-16, 20-1, 29, 32-3; Waterbury & Arceri (1982), pp 2, 11-13, 20; Braun (1991), pp28-9, 32, 38. See also Albert (1980), esp pp 93-5, and Sloane (1985), pp440-46, re children as carriers of parental values/ identity.

(22) Re Norma Jeane learning to be “the new Jean Harlow”, see Allen (1994), pp164-5, and Erikson (1959), pp82-88, re Erikson’s “I am what I learn” stage; Sloane (1985), pp 447-53, re introducing child to a talent area & providing instruction; Golombok & Fivush (1994), pp83-8, re imitation of same-sex and powerful models; Amabile (1983), pp146-9, re role models as motivators; Simonton (1978), pp189-90, re imitation of eminent role models; Stacey (1991), esp pp 146-57, re girls identifying with female film stars. See Haskell (1975), pp113-15, and esp Rosen (1974), pp155-59, re characteristics of the ‘blonde bombshell’ Grace and Norma Jeane identified with.

(23) Information and quotes in this section (“And so by the fall of ‘38. . .” to “. . .going for it”) come from Spoto (1993), pp 56-69; Guiles (1992), pp 53, 55-7, 59-60, 66-7; Monroe (1976), pp 19, 22-7, 39-40, 72; Rollyson (1986), pp 13-5; Summers (1990), p28; Clarke (1989), pp 47, 101, 798-9; Goodman (1961), p222; Haskell (1975), p259; Dyer (1993), p50.

(24) Early maturation played a crucial role in Norma Jeane/Marilyn’s development by making her immensely popular with older males and focussing her self definition around her body image and relationships with the opposite sex. Instead of experiencing rejection by her peers for being different, early maturation transformed Norma Jeane from an outsider/ loner into a magnet for male attention (attention she had been craving for years). Instead of pressurizing her to engage in behaviors well beyond her experience, early maturation gave Norma Jeane the perfect outlet for her years of training with makeup/ self-display in the safe, stable, conservative school environment of pre-War L.A. . See Durkin (1996), p510; Silbereisen et al (1989), pp248, 263-5; Simmons & Blyth (1987), pp161-65; Graver et al (1997), esp p 1774; Caspi & Moffitt (1991), pp158, 166; Caspi et al (1993), esp pp26-8, re specific effects of early maturation.

(25)Re the crucial role of Aunt Ana in providing “psychological safety/ freedom” to facilitate Norma Jeane learning/ risking her creative self-display, and essential parental “collusion” in undercutting the objections of school authorities; and in the process cushioning Norma Jeane against overinvolvement with deviant peers, see Rogers (1969), pp106-123; Rogers (1982), pp146-49; Palazzoli et al (1978), pp135-6; Caspi & Moffitt(1991)pp158, 166; Silbereisen (1989), p261, Re egs of Norma Jeane’s relationships to Aunt Ana, school authorities, and deviant peers, see eg, Spoto (1993), pp57, 63-7; Guiles (1992), pp56, 76; Monroe (1976), p26.

(26) Adolescence is characterized by intense involvment with peer groups relevant to sorting out the huge amount of uncertainty and change, esp in the area of interpersonal relationships and intimacy for females. (cf Durkin (1996), pp508, 517, 525-6, 528-9). This would have been especially true for Norma Jeane given her ‘perfect self doubt’ (Note 15), ‘hunger for love’ (Note 13), early physical maturation (Note 24), expertise in self presentation (eg Spoto (1993), pp 45, 64; Guiles (1992), pp50-1; Monroe (1976), pp23-4), and her severe deficits in educational/ cultural areas (eg Spoto (1993), pp60-1, 65; Monroe (1976), p22). Not surprisingly Norma Jeane quickly “foreclosed” re an identity status (“the Mmmm girl”), thus fulfilling a multitude of social psychological functions (eg continuity, coherence, purpose, direction, differentiation, etc). Given her developmenal history Norma Jeane’s pursuit of this identity was a perfect eg of Kegan’s “imperial self” in action (“one’s own needs, interests, and wishes are the self”); and it had all the characteristics of Marcia’s “identity diffusion” (eg lack of commitment/ any real sense of self, stereotyped in dealings with others, etc). See Kroger (1996), pp34-9, 155-7; Waterman & Archer (1990), pp35-6, 39-40; Kegan (1982), 89-95.

In a paradoxical variation of the research on “loss of voice” in adolescent females (with con-sequences for self-esteem, etc), Norma Jeane gained voice for the first time in her life due to the fit between her physical appearance, concerns with makeup, clothing, etc, and her lifelong history of “lack of authenticity” as a survival mechanism. See Harter et al (1997), esp pp154-56, 168-9; Gilligan (1993), See also Graber et al (1997), p1774, and Silbereisen et al (1989), pp261, 263-5.

(27) Information and quotes in this section (“15 and Norma Jeane. . .” to “. . .and a new name”) come from Spoto (1993), pp69-115; Guiles (1992), pp61-3, 67-70, 73-81, 83-104; Summers (1990), pp13-8, 20-4, 26, 30, 32-3, 36-8; Rollyson (1986), pp15-21; Monroe (1976), pp 27-30; Dyer (1993), pp32-5.

(28) Re Norma Jeane’s involvement with an older male (Jim D) and expectations that she could somehow adjust to marriage at 16, see eg, Caspi & Moffitt (1991), p158; Simmons & Blyth (1987), p162-3; Spoto (1993), p71-4; Guiles (1992), pp61-3; Monroe (1976), p24.

(29) Jim Dougherty’s insistence that Norma Jeane not get pregnant when he went overseas was of course crucial to NJ/Marilyn’s future. (eg, see Guiles, 1992, p95-6). See, eg, Elder (1987) pp449-50, 456-7, re effects of War mobilization on delayed entry into family roles.

(30) For egs of Norma Jeane/ Marilyn “giving of herself” to the camera, see,eg, The Marilyn Pages, 1998.

Re Attachment history and relationships: Given Norma Jeane’s “perfect self doubt” (Note 15), “hunger for love” (Note 13), and history of extreme vulnerability in relation to attachment (Note 18), her relationships with men, not surprisingly, showed characteristics of 2 conflicting attachment styles, ie “Preoccupation” (with relationships) and “Fearful” (of intimacy). See Bartholomew (1990), esp pp163-4, for theoretical analysis; also Bartholomew & Horowitz (1991), pp227, 238-9. For elaboration and refinement of characteristics of “Preoccupied” and “Avoidant” attachment styles, and data relevant to Norma Jeane’s sizable hesitancy as well as capacity for ‘casual sex’, see Brennan & Shaver (1995), esp pp272, 275, 280. For egs of Norma Jeane’s sexual orientation, see Spoto (1993), pp100-104. Re related research on Lee’s (1973) “Ludus” lovestyle (low intimacy, viability, commitment, etc; high conflict, ambivalence) and Levy & Davis’ “Mania/Anxious-Avoidant” Factor (high passion, conflict; low viability, satisfaction, etc), see Levy & Davis (1988), esp pp442, 458, 464, 466. See Also Modestin (1987), esp pp400-01, re “intense/ unstable relationships” as being the defining characteristic of borderline personality disorder.

(31)Information and quotes in this section (“A year later and. . .” to “. . .mogul, Joe Schenck”) come from Spoto (1993), pp 13-4, 108-10, 118-22, 126-32, 160; Guiles (1992), pp121-5, 153, 156; Monroe (1976), pp 54-5, 61-2, 72, 87-8, 105-6; Summers (1990), pp23-4, 39, 46; Rollyson (1986), pp 2, 19-21, 27; Miller (1988), p359; Davis (1993), p27.

(32) Re playing the “little lost kitten” and “working the boulevard again”, see research on borderline personality re use of manipulation, helplessness, sexuality, and indiscriminate/ short-lived attachments to cope with conflicts between intense yearning for emotional involvement and an overwhelming fear of it. See Chessick (1972), esp pp 764-5, 768-70; Perry & Cooper (1986), pp 871-2, 880-86; Kernberg (1985), pp 14-16; Gunderson (1996), pp752-3; Zanarini & Frankenberg (1997), pp 98-100; Modestin (1987). See also Brennan & Shaver (1995), pp272, 275, 280, re avoidant/ ambivalent/ insecure attachment styles and nonintimate sexuality; Brown & Finkelhor (1986), pp69-72, re childhood sexual abuse and adult self-esteem, promiscuity, etc. Re moral, cognitive, emotional logic of Marilyn’s manipulation and sexuality, see Kegan (1982), esp pp 89-95, 172-3, 175, re the “Imperial Self”. Re how social context of Hollywood and Marilyn’s prior models of self presentation might have contributed to her “working the boulevard”, see van Ijzendoorn (1997), pp 719-22.

(33) Information and quotes in this section (“Joe Schenck. . .” to “. . . Schenck’s girlfriend’”) come from Spoto (1993), pp 15, 116, 132-4, 167, 170-2, 176, 237; Guiles (1992), pp 109-13, 117, 119; Summers (1990),pp 48-52; Monroe (1976), p61-3; Friedrick (1986), pp 14-5, 61-8; Rollyson (1986), p22; Davis (1993), pp28-9; Goodman (1961), p223, 234; Miller (1988), p359.

(34) Information and quotes in this section (“Not quite 22. . . “ to “. . . men are following me’”) come from Spoto (1993), pp 134-41, 148-9, 155-6, 170-1, 182-3, 188, 195-6, 233; Guiles (1992), pp 113-4, 131-4, 138, 141-2, 160-1, 167, 193-4, 208, 212; Rollyson (1986), pp 2, 22- 24; Summers (1990), pp 53-4, 64, 70, 72; Goodman (1961), pp 223-4, 229; Monroe (1976), pp 72, 77, backcover.

(35) Information and quotes in this section (“22 and back. . .” to “. . .ready to move on”) come from Spoto (1993), pp 141-5, 147, 151, 231; Guiles (1992), pp 126-9, 134-7, 139, 152, 171, 215; Summers (1990), pp 55-62; Monroe (1976), pp 74-9, 83, 95; Rollyson (1986), pp22-4; Skolsky (1975), p223; Clarke (1989), p1058.

(36) Information and quotes in this section (“What Marilyn needed now. . .” to “. . .to die for her”) come from Spoto (1993), pp 63, 102-3, 126, 133, 145-50, 155-7, 160-5, 169-70, 174-6, 182-83; Guiles (1992), pp 137-9, 142, 145-61, 163-5, 167-9; Monroe (1976), pp 80-1, 87, 92-6, 104-5, 107-8; Summers (1990), pp 47, 51, 61, 63-7, 69; Rollyson (1986), pp 27-38; Goodman (1961), pp 219, 223; Dyer (1993), p21.

(37) Information and quotes in this section (“And Marilyn needed publicity. . .” to “. . . off the screen”) come from Spoto (1993), pp 155, 177, 179-83, 187-94, 198-200, 213, 217, 220-1, 229-31, 243; Guiles (1992), pp 163-5, 177-9, 181-2, 185-7, 195, 213-4; Rollyson (1986), pp 40-3, 52-4, 59-65; Monroe (1976), pp 113, 122-4, 133-5, 137-9; Summers (1990), pp 40- 41, 69-72; Rosen (1974), pp 284-7; Miller (1988), pp 366-7, 428-9; Goodman (1961), pp 219-20; Skolsky (1975) pp219-220; Cahn (1951), p50; Dyer (1993), pp 23, 57; Harris (1991).

(38) Information and quotes in this section (“What Marilyn needed. . .” to “. . . licking cream”) come from Spoto (1993), pp 172-4, 207, 209-14, 216, 219-20, 224-5; Guiles (1992), pp 132, 142-3, 182, 191, 200; Rollyson (1986), pp xi, 2-3, 25-6, 36-7, 46, 69, 82, 124; Summers (1990), pp 38-9, 72, 80-2, 89-93, 97, 113-4; Monroe (1976), pp 23, 52, 81, 115-6, 125, 131, 141; Goodman (1961), pp 21-9, 46-8, 219, 224, 230; Skolsky (1975) pp42-45, 211-15, 217-19, 222; Dyer (1993), pp 29-31, 35-6, 63-4, Miller (1988), pp 366-7, 369, 398, 415.

(39) Information and quotes in this section (“What Marilyn needed was the 50s. . .” to “while they sizzled”) come from Hewlett (1988), pp 181-202, 206-7, 212-16, 218-22, 225; Chafe (1979), pp 174-195, 212-218; Dyer (1991), pp58-9; (1993), pp 19-66; Friedan (1974), pp28-61, 142-80, 197-223; Rosen (1974), pp 259-82, 291; Haskell (1975), pp 235, 254-58; Rothman (1978), pp 222-31; Baxandall, Gordon, & Reverby (1976), pp 299-312; Spoto (1993), pp 210-11, 213, 229-31; Guiles (1992), pp 213-5; Rollyson (1986), pp 62-8; Miller (1988), pp 366-7, 374, 428-9.

The women who preferred 'one blonde' were of course working class women. Well "blue collar and upwardly mobile, lower middle class" girls and women to be precise (Rubin, 1976, p8)They were the millions of women who in the aftermath of World War II were being "dumped from the labor force, pressured out of the employment market and into conjugal bliss"; who overnight were trading in their pop riveters and hard hats for corsets, falsies and poodle cuts; the millions of girls who would be "marrying younger than at any previous time during the 20 th century", who suddenly realized that "if a girl didn't catch her man early, she might never own that vine-covered cottage somewhere between Yalta and my blue heaven". They were the millions of girls who knew that Gentlemen Prefer Blondes, girls who dying to figure out How to Marry a Millionaire. (all quotes from Rosen, 1974, pp 259-60, 282)

Marilyn's female fans were women who lived lives like the 'Rose Loomis' she played in her "runaway hit" of 1953, Niagara . Women who were themselves often "unfulfilled wives attempting to cope with brooding husbands they no longer love". Women, and girls, who fantasized about living the life of 'Lorelei', "sewn into her red-sequined gown" looking like "she would glow in the dark"; Lorelei, lighting up the stage with that "chorus of tuxedoed boys dancing " to match her every step; Lorelei, wide-eyed & "breathless" & singing; singing ‘bout diamonds, singing ‘bout what every Lorelei, and Rose Loomis, and Norma Jeane soon comes to know -- that "diamonds are a girl's best friend". (quotes from Guiles, 1992, pp 211, 212, 215, 218, 465)

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