Marilyn Monroe Body Quotes

The body is meant to be seen, not all covered up.

A l'intérieur de ce corps vivait l'âme d'une intellectuelle et poète dont personne n'avait le soupçon. Within this body lived the soul of an intellectual and poet, which nobody had suspected.

We were scared. I guess when you're in your twenties, that's how it is. You've got an adult body, but you're trying to make it work with a kid's emotions. With Marilyn and me, it was worse. Our kid emotions didn't even work. We'd been treated too poorly.

To all the girls that think you’re ugly because you’re not a size 0, you’re the beautiful one. It’s society who’s ugly.

From the first time I set eyes on Marilyn, I thought she was just wonderful. On the silver screen, her lovely skin and platinum hair were luminescent and fantastic. I loved the fantasy of it. In the fifties, when I grew up. Marilyn was an enormous star, but there was such a double standard. The fact that she was such a hot number meant that many middle-class women looked down on her as a slut. And since the publicity machine behind her sold her as a sex idol, she wasn’t valued as a comedic actor or given credit for her talent. I never felt that way about her, obviously. I felt that Marilyn was also playing a character, the proverbial dumb blonde with the little-girl voice and big-girl body, and that there was a lot of smarts behind the act. My character in Blondie was partly a visual homage to Marilyn, and partly a statement about the good old double standard.

March 9: With Schenck’s help, Marilyn obtains a contract with Columbia Pictures for $125 a week. The studio puts her up at the Hotel Bel-Air. Ed Cronenwerth shoots her in various exercise positions, toning and stretching her body. She is also shown seated on steps, her right elbow on her raised right thigh and her right hand on her chin next to the sign “Los Angeles City Limits.” He also photographs makeup sessions. Marilyn applies lipstick, looking into a hand-held mirror, and is shot sitting while Helen Hunt styles her hair.

tablespoons, if you’d care to indulge). Will the body composition outcomes be the same? Of course not. Rule #2: The hormonal responses to carbohydrates (CHO), protein, and fat are different. There is no shortage of clinical studies to prove that beef calories7 do not equal bourbon calories. One such study, conducted by Kekwick and Pawan, compared three groups put on calorically equal (isocaloric) semistarvation diets of 90% fat, 90% protein, or 90% carbohydrate. Though ensuring compliance was a challenge, the outcomes were clearly not at all the same: 1,000 cals. at 90% fat = weight loss of 0.9 lbs. per day 1,000 cals. at 90% protein = weight loss of 0.6 lbs. per day 1,000 cals. at 90% carbohydrate = weight gain of 0.24 lbs. per day Different sources of calories = different results. Things that affect calorie allocation—and that can be modified for fat-loss and muscle gain—include digestion, the ratio of protein-to-carbohydrates-to-fat, and timing. We’ll address all three. Marilyn Monroe building her world-famous sex appeal. More than 50% of the examples in this book are of women. Marketers have conditioned women to believe that they need specific programs and diets “for women.” This is an example of capitalism at its worst: creating false need and confusion. Does this mean I’m going to recommend that a woman do exactly the same thing as a 250-pound meathead who wants 20-inch arms? Of course not. The two have different goals. But 99% of the time both genders want exactly the same thing: less fat and a bit more muscle in the right places. Guess what? In these

I remember when Elvis died. I wrote my sentiments with words of a little girl in my dear diary, "Many people wanted to see his body. They literally wanted to dig his bones out just to make sure that he was being buried. And I could not understand why. Why people could not leave him alone and let his soul rest in peace." I couldn't get it. I didn't grasp it at that time. In a head of a little girl it was hard to believe that there were mysteries to be solved. That there ruled a conspiracy theory that people thought it was odd that he was buried and the casket was never opened. They didn't believe he was dead! Oh yes. Elvis Lives! And as the world needs his songs, his words, his thoughts, his love, his light more than ever before.

1. Omnipresent and Omnipotent Authoritarianism: Authoritarian Media vs. Social Media?2. Istanbul Mobil'ized: Mobile Phones' Contribution to Political Participation and Activism in Istanbul Gezi Park Protests and Onwards. 3. The Gezi Park Protest and #resistgezi: A Chronicle of Tweeting the Protests. 4. Peace Journalism: Urgently and Desperately Needed in Post-Election Turkey.5. Critical Thinking Skills on Social Media: A Blooming Season Or A Period Of Decline? 6. Social media, blended learning and constructivism: A jigsaw completed by the uses and gratifications theory? 7. Educational uses of social media and problem-based learning. 8. The future of the new media: The mobile generation and interpersonal communication. 9. "Keep in E-Touch" Personality and Facebook use (with Ng)10. Of Kate Moss & Marilyn Monroe: Body Dissatisfaction and its Relation to Media (with Dev)11. Media psychology and intercultural communication: The social representations of Vietnam on Turkish newspapers. 12. Regional Journalism in Southeast Asia and ASEAN Identity in Making

When a Single Glance Can Cost a Million Dollars Under conditions of stress, the human body responds in predictable ways: increased heart rate, pupil dilation, perspiration, fine motor tremors, tics. In high-pressure situations, such as negotiating an employment package or being cross-examined under oath, no matter how we might try to play it cool, our bodies give us away. We broadcast our emotional state, just as Marilyn Monroe broadcast her lust for President Kennedy. We each exhibit a unique and consistent pattern of stress signals. For those who know how to read such cues, we’re essentially handing over a dictionary to our body language. Those closest to us probably already recognize a few of our cues, but an expert can take it one step further, and closely predict our actions. Jeff “Happy” Shulman is one such expert. Happy is a world-class poker player. To achieve his impressive winnings, he’s spent much of his life mastering mystique. At the highest level of play, winning depends not merely on skill, experience, statistics, or even luck with the cards, but also on an intimate understanding of human nature. In poker, the truth isn’t written just all over your face. The truth is written all over your body. Drops of Sweat, a Nervous Blink, and Other “Tells” Tournament poker is no longer a game of cards, but a game of interpretation, deception, and self-control. In an interview, Happy says that memorizing and recognizing your opponent’s nuances can be more decisive than luck or skill. Imperceptible gestures can reveal a million dollars’ worth of information. Players call these gestures “tells.” With a tell, a player unintentionally exposes his thoughts and intentions to the rest of the table. The ability to hide one’s tells—and conversely, to read the other players’ tells—offers a distinct advantage. At the amateur level, tells are simpler. Feet and legs are the biggest moving parts of your body, so skittish tapping is a dead giveaway. So is looking at a hand of cards and smiling, or rearranging cards with quivering fingertips. But at the professional level, tells would be almost impossible for you or me to read. Happy spent his career learning how to read these tells. “If you know what the other player is going to do, it’s easier to defend against it.” Like others competing at his level, Happy might prepare for a major tournament by spending hours reviewing tapes of his competitors’ previous games in order to instantly translate their tells during live competition.

February 8: Marilyn does her “black sitting” session with Milton Greene. Marilyn poses in black hat and fishnet stockings, her face partially in shadow. She also appears in a shot where she lies down, her left leg extended in the air, as she covers part of her face with her hands. She also kneels, drink in hand, smiling. She props herself up with her arms and draws her knees into her body, with half her face in the dark—a study in moody bifurcation. Greene’s photographs will eventually punctuate the text of Norman Mailer’s Of Women and Their Elegance. In the evening Marilyn, wearing a white fur coat over a low-cut dress, long black gloves, and jeweled earrings that stretch all the way down her neck, attends the premiere of Middle of the Night, a Paddy Chayefsky play directed by Josh Logan.

February 9: Gladys enters Rockhaven Sanitarium. Marilyn pays $250 a month to support her mother. Marilyn is honored as “A Rising Star” at the Photoplay Awards Dinner at the Crystal Room of the Beverly Hills Hotel. Sidney Skolsky accompanies her after Joe DiMaggio refuses to do so. Her gold lamé dress causes a sensation. Columnist Florabel Muir writes that the dress seems painted onto Marilyn’s body and is so striking (photographs of it are often reproduced) that Joan Crawford and Lana Turner were hardly noticed at the event.

February 26: Picture Week features a smiling Marilyn in black-and-white, dressed casually in a loose blouse, resting the right side of her face on her hands and her upper body on her elbows. “A Glimpse into Marilyn’s Future” is the promising headline. Joe DiMaggio takes Marilyn to a birthday party for Jackie Gleason at Toots Shor’s restaurant. Marilyn is photographed signing autographs, laughing with Gleason and DiMaggio, and with a very satisfied looking Milton Berle. She gets a splinter when she sits on a wooden chair, and actress Audrey Meadows removes the splinter with a straight needle sterilized with a cigarette lighter.

Richard Avedon photographs Marilyn, her torso covered in feathers (her sexual plumage) and wearing high heels, her left leg bent and brought up to her body so that the leg projects outward horizontally. Her right arm stretches out diagonally and clutches a fan, and her head is tilted right with her eyes half closed and her mouth wide open, suggesting the dynamism of her erotic allure. Another Avedon shot shows her in a spangled dress. She wraps herself in a silver fur stole that seems almost to waft out of the frame in her extended right arm, while her left hand touches her shoulder and she projects one of those dreamy poses with half-closed eyes—although this time with a closed mouth that suggests a little more mystery and not quite so much availability.