marilyn monroe speech

• International edition
• Australia edition
• Europe edition

'When you're famous you run into human nature in a raw kind of way'

Ever since she was fired from Something's Got to Give, Marilyn Monroe has kept an almost disdainful silence. As far as her troubles with 20th Century Fox were concerned, she simply said she had been too sick to work - not wilfully tardy and truant as the producer charged. While 20th Century Fox and her lawyers were negotiating for her to resume work on the movie, Marilyn was thinking about broader aspects of her career - about the rewards and burdens of fame bestowed on her by fans who paid $200 million to see her films, about drives that impel her, and about echoes in her present life of her childhood in foster homes. She thought about these out loud in a rare and candid series of conversations with Life associate editor Richard Meryman. As a camera caught the warmth and gusto of her personality, Marilyn's words revealed her own private view of Marilyn Monroe ...

Sometimes wearing a scarf and a polo coat and no makeup and with a certain attitude of walking, I go shopping or just look at people living. But then you know, there will be a few teenagers who are kind of sharp and they'll say, "Hey, just a minute. You know who I think that is?" And they'll start tailing me. And I don't mind. I realise some people want to see if you're real. The teenagers, the little kids, their faces light up. They say, "Gee," and they can't wait to tell their friends. And old people come up and say, "Wait till I tell my wife." You've changed their whole day. In the morning, the garbage men that go by 57th Street when I come out the door say, "Marilyn, hi! How do you feel this morning?" To me, it's an honour, and I love them for it. The working men, I'll go by and they'll whistle. At first they whistle because they think, oh, it's a girl. She's got blond hair and she's not out of shape, and then they say, "Gosh, it's Marilyn Monroe!" And that has its ... you know, those are times it's nice. People knowing who you are and all of that, and feeling that you've meant something to them.

I don't know quite why, but somehow I feel they know that I mean what I do, both when I'm acting on the screen or when if I see them in person and greet them. That I really always do mean hello, and how are you? In their fantasies they feel "Gee, it can happen to me!" But when you're famous you kind of run into human nature in a raw kind of way. It stirs up envy, fame does. People you run into feel that, well, who is she who does she think she is, Marilyn Monroe? They feel fame gives them some kind of privilege to walk up to you and say anything to you, you know, of any kind of nature and it won't hurt your feelings. Like it's happening to your clothing. One time here I am looking for a home to buy and I stopped at this place. A man came out and was very pleasant and cheerful, and said, "Oh, just a moment, I want my wife to meet you." Well, she came out and said, "Will you please get off the premises?" You're always running into people's unconscious.

Let's take some actors or directors. Usually they don't say it to me, they say it to the newspapers because that's a bigger play. You know, if they're only insulting me to my face that doesn't make a big enough play because all I have to say is, "See you around, like never." But if it's in the newspapers, it's coast-to-coast and all around the world. I don't understand why people aren't a little more generous with each other. I don't like to say this, but I'm afraid there is a lot of envy in this business. The only thing I can do is stop and think, "I'm all right but I'm not so sure about them!" For instance, you've read there was some actor that once said that kissing me was like kissing Hitler. Well, I think that's his problem. If I have to do intimate love scenes with somebody who really has these kinds of feelings toward me, then my fantasy can come into play. In other words, out with him, in with my fantasy. He was never there.

It's nice to be included in people's fantasies but you also like to be accepted for your own sake. I don't look at myself as a commodity, but I'm sure a lot of people have. Including, well, one corporation in particular, which shall be nameless. If I'm sounding picked on or something, I think I am. I'll think I have a few wonderful friends and all of a sudden, ooh, here it comes. They do a lot of things. They talk about you to the press, to their friends, tell stories, and you know, it's disappointing. These are the ones you aren't interested in seeing every day of your life.

Of course, it does depend on the people, but sometimes I'm invited places to kind of brighten up a dinner table like a musician who'll play the piano after dinner, and I know you're not really invited for yourself. You're just an ornament.

When I was five I think, that's when I started wanting to be an actress. I loved to play. I didn't like the world around me because it was kind of grim, but I loved to play house. It was like you could make your own boundaries. It goes beyond house; you could make your own situations and you could pretend, and even if the other kids were a little slow on the imagining part, you could say, "Hey, what about if you were such and such, and I were such and such, wouldn't that be fun?" And they'd say, "Oh, yes," and then I'd say, "Well, that will be a horse and this will be ..." It was play, playfulness. When I heard that this was acting, I said that's what I want to be. You can play. But then you grow up and find out about playing, that they make playing very difficult for you. Some of my foster families used to send me to the movies to get me out of the house and there I'd sit all day and way into the night. Up in front, there with the screen so big, a little kid all alone, and I loved it. I loved anything that moved up there and I didn't miss anything that happened and there was no popcorn either.

When I was 11, the whole world was closed to me. I just felt I was on the outside of the world. Suddenly, everything opened up. Even the girls paid a little attention to me because they thought, "Hmmm, she's to be dealt with!" And I had this long walk to school, two and a half miles [there], two and a half miles back. It was just sheer pleasure. Every fellow honked his horn, you know, workers driving to work, waving, you know, and I'd wave back. The world became friendly. All the newspaper boys when they delivered the paper would come around to where I lived, and I used to hang from the limb of a tree, and I had sort of a sweatshirt on. I didn't realise the value of a sweatshirt in those days, and then I was sort of beginning to catch on, but I didn't quite get it, because I couldn't really afford sweaters. But here they come with their bicycles, you know, and I'd get these free papers and the family liked that, and they'd all pull their bicycles up around the tree and then I'd be hanging, looking kind of like a monkey, I guess. I was a little shy to come down. I did get down to the curb, kinda kicking the curb and kicking the leaves and talking, but mostly listening. And sometimes the family used to worry because I used to laugh so loud and so gay; I guess they felt it was hysterical. It was just this sudden freedom because I would ask the boys, "Can I ride your bike now?" and they'd say, "Sure." Then I'd go zooming, laughing in the wind, riding down the block, laughing, and they'd all stand around and wait till I came back. But I loved the wind. It caressed me. But it was kind of a double-edged thing. I did find, too, when the world opened up that people took a lot for granted, like not only could they be friendly, but they could suddenly get overly friendly and expect an awful lot for very little. When I was older, I used to go to Grauman's Chinese Theatre and try to fit my foot in the prints in the cement there. And I'd say, "Oh, oh, my foot's too big! I guess that's out." I did have a funny feeling later when I finally put my foot down into that wet cement. I sure knew what it really meant to me. Anything's possible, almost.

It was the creative part that kept me going, trying to be an actress. I enjoy acting when you really hit it right. And I guess I've always had too much fantasy to be only a housewife. Well, also, I had to eat. I was never kept, to be blunt about it; I always kept myself. I have always had a pride in the fact that I was my own. And Los Angeles was my home, too, so when they said, "Go home!" I said, "I am home." The time I sort of began to think I was famous, I was driving somebody to the airport, and as I came back there was this movie house and I saw my name in lights. I pulled the car up at a distance down the street; it was too much to take up close, you know, all of a sudden. And I said, "God, somebody's made a mistake." But there it was, in lights. And I sat there and said, "So that's the way it looks," and it was all very strange to me, and yet at the studio they had said, "Remember, you're not a star." Yet there it is up in lights. I really got the idea I must be a star or something from the newspapermen; I'm saying men, not the women who would interview me and they would be warm and friendly. By the way, that part of the press, you know, the men of the press, unless they have their own personal quirks against me, they were always very warm and friendly and they'd say, "You know, you're the only star," and I'd say, "Star?" and they'd look at me as if I were nuts. I think they, in their own kind of way, made me realise I was famous.

I remember when I got the part in Gentlemen Prefer Blondes. Jane Russell - she was the brunette in it and I was the blonde. She got $200,000 for it, and I got my $500 a week, but that to me was, you know, considerable. She, by the way, was quite wonderful to me. The only thing was I couldn't get a dressing room. Finally, I really got to this kind of level and I said, "Look, after all, I am the blonde, and it is Gentlemen Prefer Blondes!" Because still they always kept saying, "Remember, you're not a star." I said, "Well, whatever I am, I am the blonde!" And I want to say to the people, if I am a star, the people made me a star. No studio, no person, but the people did. There was a reaction that came to the studio, the fan mail, or when I went to a premiere, or the exhibitors wanted to meet me. I didn't know why. When they all rushed toward me I looked behind me to see who was there and I said, "My heavens!" I was scared to death. I used to get the feeling, and sometimes I still get it, that sometimes I was fooling somebody; I don't know who or what, maybe myself.

I've always felt toward the slightest scene, even if all I had to do in a scene was just to come in and say, "Hi," that the people ought to get their money's worth and that this is an obligation of mine, to give them the best you can get from me. I do have feelings some days when there are scenes with a lot of responsibility toward the meaning, and I'll wish, "Gee, if only I had been a cleaning woman." On the way to the studio I would see somebody cleaning and I'd say, "That's what I'd like to be. That's my ambition in life." But I think that all actors go through this. We not only want to be good, we have to be. You know, when they talk about nervousness, my teacher, Lee Strasberg, when I said to him, "I don't know what's wrong with me but I'm a little nervous," he said, "When you're not, give up, because nervousness indicates sensitivity." Also, a struggle with shyness is in every actor more than anyone can imagine. There is a censor inside us that says to what degree do we let go, like a child playing. I guess people think we just go out there, and you know, that's all we do. Just do it. But it's a real struggle. I'm one of the world's most self-conscious people. I really have to struggle.

An actor is not a machine, no matter how much they want to say you are. Creativity has got to start with humanity and when you're a human being, you feel, you suffer. You're gay, you're sick, you're nervous or whatever. Like any creative human being, I would like a bit more control so that it would be a little easier for me when the director says, "One tear, right now," that one tear would pop out. But once there came two tears because I thought, "How dare he?" Goethe said, "Talent is developed in privacy," you know? And it's really true. There is a need for aloneness, which I don't think most people realise for an actor. It's almost having certain kinds of secrets for yourself that you'll let the whole world in on only for a moment, when you're acting. But everybody is always tugging at you. They'd all like sort of a chunk of you.

I think that when you are famous every weakness is exaggerated. This industry should behave like a mother whose child has just run out in front of a car. But instead of clasping the child to them, they start punishing the child. Like you don't dare get a cold. How dare you get a cold! I mean, the executives can get colds and stay home forever and phone it in, but how dare you, the actor, get a cold or a virus. You know, no one feels worse than the one who's sick. I sometimes wish, gee, I wish they had to act a comedy with a temperature and a virus infection. I am not an actress who appears at a studio just for the purpose of discipline. This doesn't have anything at all to do with art. I myself would like to become more disciplined within my work. But I'm there to give a performance and not to be disciplined by a studio! After all, I'm not in a military school. This is supposed to be an art form, not just a manufacturing establishment. The sensitivity that helps me to act, you see, also makes me react. An actor is supposed to be a sensitive instrument. Isaac Stern takes good care of his violin. What if everybody jumped on his violin?

You know a lot of people have, oh gee, real quirky problems that they wouldn't dare have anyone know. But one of my problems happens to show: I'm late. I guess people think that why I'm late is some kind of arrogance and I think it is the opposite of arrogance. I also feel that I'm not in this big American rush, you know, you got to go and you got to go fast but for no good reason. The main thing is, I want to be prepared when I get there to give a good performance or whatever to the best of my ability. A lot of people can be there on time and do nothing, which I have seen them do, and you know, all sit around sort of chit chatting and talking trivia about their social life. Gable said about me, "When she's there, she's there. All of her is there! She's there to work."

I was honoured when they asked me to appear at the president's birthday rally in Madison Square Garden. There was like a hush over the whole place when I came on to sing Happy Birthday, like if I had been wearing a slip, I would have thought it was showing or something. I thought, "Oh, my gosh, what if no sound comes out!"

A hush like that from the people warms me. It's sort of like an embrace. Then you think, by God, I'll sing this song if it's the last thing I ever do, and for all the people. Because I remember when I turned to the microphone, I looked all the way up and back, and I thought, "That's where I'd be, way up there under one of those rafters, close to the ceiling, after I paid my two dollars to come into the place." Afterwards they had some sort of reception. I was with my former father-in-law, Isadore Miller, so I think I did something wrong when I met the president. Instead of saying, "How do you do?" I just said "This is my former father-in-law, Isadore Miller." He came here an immigrant and I thought this would be one of the biggest things in his life. He's about 75 or 80 years old and I thought this would be something that he would be telling his grandchildren about and all that. I should have said, "How do you do, Mr President," but I had already done the singing, so well you know. I guess nobody noticed it.

Fame has a special burden, which I might as well state here and now. I don't mind being burdened with being glamorous and sexual. But what goes with it can be a burden. I feel that beauty and femininity are ageless and can't be contrived, and glamour, although the manufacturers won't like this, cannot be manufactured. Not real glamour; it's based on femininity. I think that sexuality is only attractive when it's natural and spontaneous. This is where a lot of them miss the boat. And then something I'd just like to spout off on. We are all born sexual creatures, thank God, but it's a pity so many people despise and crush this natural gift. Art, real art, comes from it, everything.

I never quite understood it, this sex symbol. I always thought symbols were those things you clash together! That's the trouble, a sex symbol becomes a thing. I just hate to be a thing. But if I'm going to be a symbol of something I'd rather have it sex than some other things they've got symbols of! These girls who try to be me, I guess the studios put them up to it, or they get the ideas themselves. But gee, they haven't got it. You can make a lot of gags about it like they haven't got the foreground or else they haven't the background. But I mean the middle, where you live.

All my stepchildren carried the burden of my fame. Sometimes they would read terrible things about me and I'd worry about whether it would hurt them. I would tell them: don't hide these things from me. I'd rather you ask me these things straight out and I'll answer all your questions.

I wanted them to know of life other than their own. I used to tell them, for instance, that I worked for five cents a month and I washed one hundred dishes, and my stepkids would say, "One hundred dishes!" and I said, "Not only that, I scraped and cleaned them before I washed them." I washed them and rinsed them and put them in the draining place, but I said, "Thank God I didn't have to dry them."

I was never used to being happy, so that wasn't something I ever took for granted. You see, I was brought up differently from the average American child because the average child is brought up expecting to be happy. That's it: successful, happy, and on time. Yet because of fame I was able to meet and marry two of the nicest men I'd ever met up to that time.

I don't think people will turn against me, at least not by themselves. I like people. The "public" scares me, but people I trust. Maybe they can be impressed by the press or when a studio starts sending out all kinds of stories. But I think when people go to see a movie, they judge for themselves. We human beings are strange creatures and still reserve the right to think for ourselves.

Once I was supposed to be finished, that was the end of me. When Mr Miller was on trial for contempt of congress, a certain corporation executive said either he named names and I got him to name names, or I was finished. I said, "I'm proud of my husband's position and I stand behind him all the way," and the court did too. "Finished," they said. "You'll never be heard of."

It might be a kind of relief to be finished. You have to start all over again. But I believe you're always as good as your potential. I now live in my work and in a few relationships with the few people I can really count on. Fame will go by, and, so long, I've had you fame. If it goes by, I've always known it was fickle. So at least it's something I experienced, but that's not where I live.

· Copyright 1962 Life Inc. Reprinted with permission. All rights reserved.

• Marilyn Monroe
• Great interviews of the 20th century

Most viewed

The Reason Marilyn Monroe Developed Her Iconic Voice

Marilyn Monroe was a platinum-blond actress and singer who became a beloved American icon of the silver screen. She had a high-fashion Hollywood look –- glamorous dresses and red lipstick -– and a distinctive way of speaking and singing. But it was more than just traditional voice training that helped Monroe achieve the breathy voice she was known for.

In 1962, Monroe famously sang "Happy Birthday" to President John F. Kennedy in her signature breathless voice. It was one of her last appearances before she died just months later, and quickly became an unforgettable performance that was synonymous with Hollywood flair.

But Monroe wasn't always happy with how her voice sounded. Due to circumstances that shaped her as a child, Monroe had a stutter, according to The Stuttering Foundation .  Vogue reported she worked with a speech therapist to improve her stutter, and together they developed the breathy style of speaking that she continued to use into adulthood.

The true backstory to Monroe's voice

Monroe was placed with 12 different foster families throughout her youth, and this instability caused her to have physical and mental struggles. As she recounted her background with her recurring speech disorder, Monroe said, "First time was at the orphanage, and then later in my teens, I stuttered. And I was elected secretary of the minutes of the English class ... Then I'd say the minutes of the last meeting, I'd go m-m-m-m-m ... Oh, it's terrible," according to a 1960 interview (via YouTube ).

Her stutter returned occasionally when Monroe was an adult, too. When she was filming " Something's Got to Give ," she was so stressed by studio infighting and personal issues that her stutter came back. This led to Monroe botching lots of her lines and requiring multiple takes of her scenes, according to Vogue . 

At the same time, "Cleopatra," known as one of the most expensive movies ever filmed by Hollywood, was eating up the studio's budget. As the situation worsened, Marilyn Monroe was fired from the movie, reports Independent . After her co-star, Dean Martin, insisted the studio rehire Monroe, she was scheduled to re-join the film in October of 1962. 

But "Something's Got to Give" was the star's final movie: Monroe tragically overdosed on barbiturates and died on August 4, 1962. Even 60 years after her death, she is remembered as a true Hollywood icon who is still idolized by fans across the world.

To revisit this article, visit My Profile, then View saved stories .

• What Is Cinema?
• Newsletters

Marilyn Monroe Was “Never a Victim”: Seven Ways She Masterminded Her Career

By Julie Miller

All featured products are independently selected by our editors. However, when you buy something through our retail links, Vanity Fair may earn an affiliate commission.

Sixty years after Marilyn Monroe’s death, the blond bombshell is still remembered as a tragic figure—a passive victim of a patriarchal Hollywood. But as Monroe’s friend, 92-year-old Amy Greene, tells us, “She was never a victim, sweetheart. Never in a million years. She was a young, vital woman who loved life, loved parties, and had a good time.”

Greene has been saying this for about 60 years, since Monroe was her roommate, occasional babysitter to her son, Joshua, and muse to her late photographer husband, Milton. On Sunday, Greene, as well as Monroe biographer Sarah Churchwell and actors including Mira Sorvino, Amber Tamblyn, and Ellen Burstyn, looked back on Monroe’s life and career for a new CNN docuseries, Reframed: Marilyn Monroe, narrated by Jessica Chastain.  

Told through a female perspective—and an empathetic, post–#MeToo lens—the docuseries contends that contrary to the way she’s been depicted in the past, Monroe was a shrewd businesswoman who understood the industry’s misogynist rules and played them to her advantage. For executive producer Sam Starbuck, who has spent much of her career covering male subjects alongside male crew members, tackling Monroe’s life and legacy was a rare privilege and opportunity to reveal the real woman behind her sex-object status.

“She’s so much more interesting and smart and funny than I ever could have actually imagined,” says Starbuck. “She was a total power broker and trailblazer.”

Ahead, with the help of Starbuck and Greene, several examples that prove Monroe was an architect of her own fate.

She Helped Create Her Own Hollywood Image

Monroe, like many stars of her era, was a Hollywood product—her name, hair color, and origin story were changed in favor of a more marketable image. But Monroe, who was born Norma Jeane Mortenson, also had an active role in her movie-star metamorphosis. She signed her first contract at 20th Century Fox with executive Ben Lyon, who rechristened her “Marilyn.” The then model insisted she be able to use the surname “Monroe.” She later explained, “I wanted my mother’s maiden name because I felt that was rightfully my name. And true things rarely get into circulation.”

By that point in her life, at about 20, Monroe was already a survivor—of sexual abuse , a chaotic upbringing with a schizophrenic mother who spent years in and out of psychiatric hospitals, and a first marriage devised to keep her out of an orphanage when she was only 16. But she also knew what she wanted—a movie career—and chased it accordingly. After a photographer visited the munitions factory in Van Nuys where Monroe was working in the 1940s , she ultimately quit and signed with a modeling agency, divorced her first husband (who was not supportive of her career), and began approaching studios about acting.

When 20th Century Fox began publicizing Monroe, with her new name, they erased her complicated family history and active pursuit of a Hollywood acting career and created a more marketable origin story. Studio “flacks” advertised her as an orphan who was discovered after babysitting for a talent scout. Monroe not only signed off on the G-rated backstory, but posed for photos changing diapers and reading to children for a story that ran in 1947 under the headline “Pretty Sitter Sittin’ Pretty.”

Says Starbuck, “They took photographs of her with big bows in her hair and changing babies’ diapers. That was completely made up. But she understood what she needed to do to get herself where she wanted to go to.”

Making Powerful Male Allies

Monroe took acting classes and spent hours with photographers to learn about her best angles and refine her on-camera persona. But in the male-dominated studio system, there was only so much Monroe could do on her own. In the words of Mira Sorvino, who played Monroe in 1996’s Norma Jean and Marilyn: “I think Marilyn accepted that she was going to have to date people to get what she wanted. And I don’t think she ever should have had to choose that. But at least there was a decision in it on her part.”

By Savannah Walsh

By Matthew Jacobs

By Joy Press

At age 21, after 20th Century Fox decided not to renew her contract, Monroe formed what the docuseries describes as “an intimate relationship” with powerful film executive Joseph Schenck. Explains Churchwell in the docuseries, “[Monroe] understood that you either said, I don’t like these rules and therefore I’m not playing your game, and give up [my] dreams of a career, or you recognize that those are the rules of the game and you decide how you’re going to deal with it.” Schenck later convinced Harry Cohn, head of production at Columbia Pictures, to hire Monroe for a six-month contract , as Donald Spoto recounts in Marilyn Monroe: The Biography.

In the late 1940s, Monroe synched up with Johnny Hyde, her decades-older agent and lover. She moved in with him when she was in her 20s and he was in his 50s, and he scored her a seven-year contract with 20th Century Fox. From Barbara Leaming’s Marilyn Monroe biography :

Very much in love with Marilyn, the dwarf-like agent believed in her, and in her dream of being a star, as no one had done before. He was even rumored to have personally underwritten the new contract he had negotiated for her at Twentieth. Before meeting Johnny, Marilyn had briefly been under contract at both Twentieth and Columbia, but neither studio had kept her on. Hyde was determined that things were going to be different this time.

For a while, it seemed they would be. By 1950, Hyde’s efforts had begun to pay off. Marilyn attracted attention in small but showy roles in John Huston’s The Asphalt Jungle and Joseph Mankiewicz’s All About Eve . It was thanks to Johnny that she had an opportunity to work with the best directors; it was thanks to Johnny that she knew who the best directors were.

That being said, Monroe refused powerful men as well. While Monroe accepted Hyde’s career help, she reportedly would not take his money. While under contract at Columbia, studio head Cohn—a known womanizer, but one of the most powerful men in Hollywood at the time—invited Monroe on his yacht. She responded, “Will your wife join us?” When her contract was up, Cohn did not renew it.

Going Public About the Casting Couch

In 1952, before Monroe broke out as a movie star in Gentlemen Prefer Blondes, the actor boldly coauthored an article with journalist Florabel Muir called “Wolves I Have Known” about the predatory men she encountered in Hollywood. In it, Monroe wrote, “The first real wolf I encountered should have been ashamed of himself, because he was trying to take advantage of a mere kid.… He gave me a script to read and told me how to pose while reading it. All the poses had to be reclining, although the words I was reading didn’t seem to call for that position.”

Though Monroe did not namecheck any of the wolves, her decision to put her name on an article like this was a calculated risk. Sadly, this ahead-of-her-time outspokenness is a forgotten footnote that has been glossed over in favor of salacious tales of her sexual exploits with other stars.

Masterminding P.R. Ops

In 1949, Monroe was sent to New York during the summer to promote a small scene-stealing part in the Marx Brothers’ movie Love Happy. Monroe, who was born and raised in California, had never been to New York and imagined it would be the way it looked in pictures and movies: with snow on the ground. So she arrived wearing a wool suit and hat.

“She didn’t know it was going to be hot,” says Starbuck. “But instead of going off and buying new clothes, she made it into this kind of publicity moment.” Gamely, Monroe worked with the studio, posing for photos of her in New York in a wool suit and hat, huge smile on her face, holding ice cream cones and a fan, Starbuck says. (The hottest import from Hollywood!) Says Starbuck, “She was very witty and was able to come up with all of these kinds of interesting ways of presenting herself. She understood the power of the brand before branding was a thing.”

She earned a string of roles in the early ’50s that required her to appear in a swimsuit and play ditzy gold diggers or sexy arm candy—in Love Nest, We’re Not Married!, Monkey Business, and Let’s Make It Legal. But she was determined to become a star in spite of the dismissive roles and sidled up to publicists to learn the subtle art of stardom. She began showing up late to parties in skimpy dresses to get attention and created a sexy movie-star aura to match her parts onscreen. 

“She realized, ‘People want to come snap pictures of me, people want to know about me.’ She was sort of like an original Kardashian in that way,” says Tamblyn in the docuseries. “She created a narrative that was visual. She would have been huge on Instagram,” adds Sorvino. “Like, the biggest influencer of all time.” And she had a sense of humor about it all—even appearing in a potato sack in one photo shoot.

Taking Ownership of Her Nude Photos

After Monroe married Joe DiMaggio, the icon and American sports hero, her star exploded. (“A lot of people said it was a publicity stunt,” says Churchwell in the docuseries. “It very possibly was a publicity stunt. You leverage somebody else’s stardom to add to your own.”) Regardless of whether their love was real, the marriage was a professional home run for Monroe. With newfound mega fame, however, came scandal: Nude photos Monroe had shot as a struggling model (for only $50) surfaced, negating the studio’s G-rated backstory about Monroe being discovered while babysitting.

Instead of relying on the studio to handle the situation, Monroe went rogue—negotiating her own interview with journalist Aline Mosby. In the interview, Monroe explained her actual backstory and revealed that she only posed for the photos because she needed the money. “I was in debt,” Monroe told her. “I always supported myself. No one else ever supported me in my life. I had no family. And I had no place to go.”

She also said, “Besides, I’m not ashamed. I’ve done nothing wrong.”

“It was a genuinely risky move, and she didn’t know how this would turn out,” says Churchwell in the docuseries. The public, however, accepted the honest explanation, and Life magazine featured her on the cover afterwards. “We’re all sexual creatures,” Monroe says in an interview afterwards. “Thank God.”

Walking Off Set Upon Learning Her Male Costar Was Being Paid More

In 1954, 20th Century Fox forced Monroe into costarring in the musical The Girl in Pink Tights. Monroe considered the script garbage and wrote “trash” across her copy. By that point in her career, she had starred in multiple hits for the studio including Gentlemen Prefer Blondes, in which Monroe had insisted on delivering the line, “I can be smart when it’s important, but men don’t like it.”

When Monroe discovered that Frank Sinatra, her Girl in Pink Tights costar, would be making three times her salary , she simply walked off set and refused to return. The studio suspended her, but Monroe used the suspension like vacation days—even marrying DiMaggio that year, and reportedly tipping off photographers ahead of time so they could get pictures of their nuptials. 

“She knew the media needed her, and the media knew she needed them,” says Tamblyn in the docuseries of the reciprocal relationship. Photographers even trailed Monroe and DiMaggio on the jetway before they boarded a plane for their honeymoon. The front-page press coverage—which continued that year when she entertained the troops in Korea—gave her leverage in her negotiations.

Monroe and 20th Century Fox ultimately reconciled, as Spoto writes , with the studio dropping its demand for her to appear in Pink Tights and giving her a leading role on Billy Wilder’s The Seven Year Itch, with a bonus to go with it.

Breaking Her Contract to Start Her Own Production Company

When her marriage to DiMaggio fell apart—and Monroe felt like she still couldn’t get good parts, or respect, at 20th Century Fox—she went to New York to start over. She moved into the home of photographer and friend Milton Greene, his wife, Amy, and their toddler son, Joshua. During myriad photoshoots, Greene and Monroe worked together to refine her image and begin reflecting a more dignified and respectable Monroe in photos. Together, Monroe and Greene hatched a plan to step outside the studio system and create Marilyn Monroe Productions.

“The problem was that [20th Century Fox head] Darryl Zanuck really didn’t like Marilyn,” says Greene. “He had a bug up his ass about not absolutely giving her the right parts. She was not respected within the industry. And that’s what she wanted: respect.”

Monroe was hopeful that having her own production company would bring just that. But press did not take the endeavor seriously. One article, about Monroe’s announcement, was titled, “‘New’ Marilyn is Puzzled by Her Own Publicity.”

When she couldn’t get respect in the press, she maneuvered a sit-down interview with respected journalist Edward R. Murrow to discuss her company. “It’s not that I object to doing musicals or comedies. In fact I rather enjoy it. But I’d like to do dramatic parts too,” she told Murrow. Monroe’s company would later produce 1957’s The Prince and the Showgirl , costarring Laurence Olivier.

Speaking to Vanity Fair, Starbuck says that Monroe was “ahead of her time. I think the world wasn’t ready for her. I think the studio bosses really wanted to control her and went out their way to bully her and belittle her, and, and she fought back. That’s one of the most surprising things about her—how incredibly courageous she was. This woman has been underestimated and dismissed, but actually she should be celebrated as an active agent, trailblazer, whistleblower, and power broker.” Adds Greene, “She knew what she had to do—shake her ass. But she understood what she was doing when she did it.”

— TV Star Sarah Wynter’s Battle With Postpartum Psychosis — Caitríona Balfe’s Celtic Conquest , From Outlander to Belfast — The Best Movies and Shows Streaming on Netflix This Month — 21 Wardrobe Winners Inspired by And Just Like That… — What Vivian Vance Didn’t Love About I Love Lucy — The Life and Death of Rosanne Boyland , a Capitol Rioter — Insecure ’s Natasha Rothwell Can Do It All — From the Archive: Joan Didion, Our Lady of L.A. — Sign up for the “HWD Daily” newsletter for must-read industry and awards coverage—plus a special weekly edition of “Awards Insider.”

Julie Miller

Hollywood correspondent.

By Sam Kashner

By Lauren Le Vine

By Vanity Fair

By Kase Wickman

By Charlotte Klein

By Bess Levin

5 Things We Learned From Marilyn Monroe's Final Interview The Day Before She Died

Marilyn Monroe told photographer  Lawrence Schiller she had big plans to get Fox to stop paying attention to Elizabeth Taylor and start gazing her way. Well, it worked.  

Vanity Fair's June issue reveals details from Monroe's final interview with Schiller before passing August 5, 1962  ... along with some never-before-seen nude images.

Highlighted in the interview are her jealously of ever-popular Elizabeth Taylor, her hunger for fame, and deep-rooted insecurities.

1. Hugh Hefner paid $25,000 for a nude shot of Marilyn—the most money ever paid for a photograph by the magazine at the time.

“See what tits ’n’ ass can do? ... That’s how I got my house and swimming pool,” Marilyn said. “There isn’t anybody that looks like me without clothes on.”

Marilyn Monroe made 90 percent less for "Something's Gotta Give" than Elizabeth Taylor was paid for "Cleopatra."

While Taylor was earring a reported $1 million for the lead in "Cleopatra," Monroe earned $100,000 for "Something's Got To Give," her final never released film, except in an 87-minute 2001 documentary called " Marilyn: The Final Days. "

"Cleopatra" earned a total domestic gross of slightly more than $57.7 million . Monroe's "Some Like It Hot" earned $25 million .

3. Marilyn Monroe was extremely jealous of Elizabeth Taylor's success.

Monroe had one provision for her nude shoot:

"I want your guarantee that when your pictures appear on the covers of magazines Elizabeth Taylor is not anywhere in the same issue.” 

4. Marilyn had some serious self-esteem issues.

The star told Schiller she didn't feel successful. "Sometimes I feel my whole life has been one big rejection,” said Monroe .

After Schiller tried perking her up by pointing out the various number of magazines she graced, Monroe reminded him of her total Academy Award nominations — zero. 

Monroe also noted she never posed for stills without having a mirror nearby so she constantly knew how she appeared on camera.

5. She wanted to be a mom

However, this was also her biggest fear. 

“I’ve always wanted a baby,” she said . “Having a child, that’s always been my biggest fear. I want a child and I fear a child. Whenever it came close, my body said no and I lost the baby.”

Monroe, of course, is referencing claims to miscarriages she had throughout her life. 

Want more Marilyn?

Read more of Monroe's final interview with Schiller at Vanity Fair .

Marilyn had a not-so-secret affair with JFK ...

See inside Frank Sinatra's home where they used to rendezvous>

• Main content

• History Classics
• Your Profile
• Find History on Facebook (Opens in a new window)
• Find History on Twitter (Opens in a new window)
• Find History on YouTube (Opens in a new window)
• Find History on Instagram (Opens in a new window)
• Find History on TikTok (Opens in a new window)
• This Day In History
• History Podcasts
• History Vault

When Marilyn Monroe Sang ‘Happy Birthday, Mr. President’ to JFK

By: Jesse Greenspan

Updated: May 4, 2022 | Original: May 18, 2012

The May 19, 1962, fundraiser at New York City’s Madison Square Garden was billed as a 45th birthday celebration for President John F. Kennedy , even though his actual birthday was 10 days later. The White House, looking to erase Democratic Party debt incurred during the 1960 election, invited a number of celebrities to participate, including Marilyn Monroe, who was in Hollywood filming Something’s Got to Give .

Monroe traveled to New York against the wishes of her bosses at 20th Century Fox, who later fired her from the project. “Marilyn had already missed quite a bit of time on the set because of her illnesses,” explained Scott Fortner, a historian of the actress who has one of the world’s largest collections of Marilyn Monroe-owned memorabilia. Though she was eventually re-hired, her untimely death on August 5, 1962, prevented the movie from ever being completed.

Throughout her career, Monroe was known for constantly arriving late. So at the birthday gala, master of ceremonies Peter Lawford—a Rat Pack member and JFK’s brother-in-law—performed a running gag in which he continually introduced her, only to see no one come onstage. 

Finally, at the end of the evening, Monroe slithered out in an open-backed dress made of flesh-colored soufflé gauze encrusted with rhinestones. The gown was so tight that she reportedly had to be sewn into it. “Mr. President, the late Marilyn Monroe,” Lawford announced, referring yet again to the star’s habitual tardiness. As the audience cheered, Monroe closed her eyes and began to sing in a sultry voice:

Happy birthday to you Happy birthday to you Happy birthday, Mr. President Happy birthday to you

Thanks, Mr. President, For all the things you’ve done, The battles that you’ve won The way you deal with U.S. Steel And our problems by the ton We thank you so much Everybody, happy birthday

A giant cake was then brought out, and Kennedy took the stage. He thanked all of the celebrities who had performed, including Ella Fitzgerald, Maria Callas, Jack Benny, Peggy Lee and especially Monroe. “I can now retire from politics after having had ‘Happy Birthday’ sung to me in such a sweet, wholesome way,” Kennedy joked.

Monroe’s performance only lasted about a minute. But it caused an immediate sensation, in part because of rumors that she and the president were having an affair. One columnist wrote that the actress seemed to be “making love to the president in direct view of 40 million Americans.” Actress Joan Copeland, who attended the gala, said Monroe sounded breathy because she was anxious and winded from running around backstage. According to Fortner, however, “She knew exactly the way she wanted to sing it. She rehearsed it well in advance. It wasn’t an accident.”

The event turned out to be one of Monroe’s final public appearances—and, JFK biographer Michael O’Brien observed, the last time she saw the president. That August, she died at age 36 of an apparent drug overdose, and the following year Kennedy was assassinated in Dallas. Yet the aura surrounding them lives on, with Monroe’s dress selling for nearly $1.3 million at a 1999 auction. 

“You have the greatest sex symbol of her day singing ‘Happy Birthday’ to President Kennedy,” Fortner said. “It was just one of those moments in time that can never be repeated.”

Access hundreds of hours of historical video, commercial free, with HISTORY Vault . Start your free trial today.

Sign up for Inside History

Get HISTORY’s most fascinating stories delivered to your inbox three times a week.

By submitting your information, you agree to receive emails from HISTORY and A+E Networks. You can opt out at any time. You must be 16 years or older and a resident of the United States.

More details : Privacy Notice | Terms of Use | Contact Us

To revisit this article, visit My Profile, then View saved stories .

6 Things You Probably Didn’t Know About Marilyn Monroe

We’d be hard-pressed to find anyone who didn’t know that Marilyn Monroe was born in Los Angeles, California as Norma Jeane Mortenson (later baptized Norma Jean Baker), or about the famous men she married—James Dougherty, Joe DiMaggio, and playwright Arthur Miller. 

Most people know that the American sweetheart solidified her sex-symbol status with her femme fatale role in Niagara . In Gentlemen Prefer Blondes , with co-star Jane Russell, she flaunted her triple-threat versatility with an unforgettable performance of  “Diamonds Are a Girl’s Best Friend.” And, with features like How to Marry a Millionaire , The Seven Year Itch , The Prince and The Showgirl , and Some Like It Hot , she popularized the “dumb blonde” stereotype—for better or for worse. 

But there was much more to the bombshell than her well-known stage name, relationships, and the radical reinvention she underwent to become one of Hollywood’s most iconic (and marketable) stars. 

For instance, Monroe had a challenging childhood, spent in 10 foster homes and two orphanages; her mother, Gladys, suffered from paranoid schizophrenia and was admitted to a mental health facility for most of her adolescence. To escape her reality, the screen siren often sought solace at the cinema, harboring dreams of one day becoming an actor.

In honor of the legendary star, here, find six things you likely didn’t know about Marilyn Monroe.

1. Monroe’s signature breathy speaking voice was actually a tactic the actress used to overcome a childhood stutter. 

A speech therapist reportedly trained her to adopt the throaty style, and it ended up becoming one of her standout traits as an actress and singer. While Monroe was filming her final movie, Something’s Got to Give , her stutter returned, making it very difficult for the actress to deliver her lines . 20th Century Fox later fired her from the film.

2. Monroe was supposed to play Holly Golightly in 1961’s Breakfast at Tiffany’s . 

“She was Truman Capote’s first choice,” Sam Wasson, author of Fifth Avenue, 5 A.M.: Audrey Hepburn , Breakfast at Tiffany’s , and the Dawn of the Modern Woman , told ABC News . “Another thing you may not know: Marilyn didn’t take the part in part because Paula Strasberg, her advisor and acting coach, said she should not be playing a lady of the evening.” Capote, author of the 1958 novella, was reportedly very disappointed that the studio went with Hepburn, saying , “Paramount double-crossed me in every way and cast Audrey.”

3. The nude, crystal-covered gown Monroe wore to sing “Happy Birthday” to John F. Kennedy in 1962 was so tight, she had to be sewn into the dress. 

By Elise Taylor

By Margaux Anbouba

By Alexis Bennett Parker

“It was skin-colored, and it was skintight. It was sewn on, covered with brilliant crystals,” Life photographer Bill Ray said in 2014. “There was this long, long pause . . . and finally, she comes out with this unbelievably breathy, ‘Happy biiiiirthday to youuuu,’ and everybody just went into a swoon.” Monroe’s dress sold at auction in 1999 for $1.26 million, setting a record price for a single item of clothing .

4. Speaking of auctions, a number of celebrities have purchased Monroe mementos. 

Mariah Carey bought the actress’s white baby grand piano, which originally belonged to Monroe’s mother, for $662,500 in 1999. Tommy Hilfiger purchased the blue jeans Monroe wore in 1954’s River of No Return for $37,000. “They had a great fit, a great patina, a great fabric, a great hand feel—and she wore them while filming a great movie,” Hilfiger said . The designer also bought a pair of square-toe cowgirl boots for $75,000 that Monroe wore in The Misfits and gifted them to Demi Moore. “Demi [wanted] me to buy the boots so she can wear them,” Hilfiger said. The shoes were a little big for Moore, but the actress was committed to wearing them: “I’d make them work—stuff the toes or something.” Then, of course, there was Kim Kardashian wearing Monroe’s infamous “Happy Birthday, Mr. President” gown to the 2022 Met Gala —even if the piece was actually on loan from Ripley’s Believe It or Not! museum. 

5. Though Monroe appeared on the very first edition of Playboy , in 1953, the magazine’s silk robe–wearing founder never met the starlet. 

“She was actually in my brother’s acting class in New York. But the reality is that I never met her,” Hugh Hefner once said . “I talked to her once on the phone, but I never met her. She was gone, sadly, before I came out here.” In 1992, Hefner purchased the crypt next to Monroe’s for $75,000. “I will be laid to rest in a vault next to hers,” Hefner has said . “It has a completion notion to it. I will be spending the rest of my eternity with Marilyn.”

6. Monroe passed away en route to the hospital, not in her Brentwood home

Those who watched Emma Cooper’s The Mystery of Marilyn Monroe: The Unheard Tapes won’t be surprised by this revelation. Monroe's death was officially ruled a “probable suicide” due to her dependency on barbiturates and struggles with her mental health. But after a three-year investigation, Pulitzer Prize finalist Anthony Summers introduced a new timeline of events on that fateful night. According to his interview with ambulance company owner Walter Schaefer, Monroe was still alive on the ambulance’s arrival, but died in transit, leading them to bring her back home…? The finding only raises more more questions about Monroe’s purported drug overdose, but, as they say, there’s no business like show business…

More Great Culture Stories from Vogue

The Cast of Feud: Capote vs. The Swans Their Real-Life Counterparts

Why Do So Many Millennials Look and Seem So Much Younger Than They Are?

The Best True-Crime Podcasts to Listen to Now

The Best Books of 2024 So Far

The True Story of Catherine Dior, Christian Dior’s Renegade Younger Sister

Listen to The Run-Through with Vogue , a weekly podcast featuring the most exciting stories and hot takes from the worlds of culture, politics, sports and–of course–fashion

Never miss a Vogue moment and get unlimited digital access for just $2 $1 per month.

Get updates on the Met Gala

By signing up you agree to our User Agreement (including the class action waiver and arbitration provisions ), our Privacy Policy & Cookie Statement and to receive marketing and account-related emails from Vogue. You can unsubscribe at any time. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

Marilyn Monroe's chilling final 18 words to friend on phone call before tragic death

Marilyn Monroe' s last 18 words to a close friend before her death were heartbreaking.

Actor Peter Lawford, who was married to Bobby Kennedy's sister Pat Lawford, said he spoke to Marilyn on August 4, 1962, and invited her to dinner. When she didn't show up, he called her again. He noticed her speech was "slurred" and she sounded "despondent" about her personal life and career. She told him she was "tired and would not be coming" to dinner.

Her final 18 words to him were: "Say goodbye to Pat. Say goodbye to Jack [President Kennedy]. And say goodbye to yourself, because you're a nice guy." Peter admitted in a police report that he had a "gut feeling" something was wrong and blames himself for not going to her home.

Click here to follow the Mirror US on Google News to stay up to date with all the latest news, sport and entertainment stories.

READ MORE: Matthew Perry death probe finally concluded three months after actor found unresponsive

Marilyn Monroe was one of the most iconic names in Hollywood. Her tragic death has caused ripples around the world for decades. Her death still to this day remains a mystery. Known by her real name, Norma Jeane Mortenson, she had been struggling privately, having spent time in a psychiatric clinic in 1961. She died on August 4, 1962, under the constant care of a doctor and psychiatrist.

The model was taking several prescription medications for insomnia and mental health issues at the time. Sadly, she overdosed on the drugs, ending her life prematurely. One of her last conversations was reportedly with her hairdresser, Sydney Guilaroff, around 9.30pm on August 4. Marilyn allegedly told Sydney that Bobby Kennedy had visited her home earlier that day and "threatened" her.

However, Attorney John Bates disputed this claim, telling reporters that the Attorney General had been in Northern California with his family all weekend. Marilyn's death was eventually ruled a "probable suicide." Over the years, questions have arisen about the possible involvement of the Kennedy family in her death due to rumors of an affair with both President John F. Kennedy and his brother, Attorney General Robert F. Kennedy.

* An AI tool was used to add an extra layer to the editing process for this story.

Marilyn Monroe and Her Secret Speech Challenges

Marilyn Monroe’s public life was one of fascination and intrigue. From challenging beginnings, she rose to the top of the film industry.

Dubbed a sex symbol, she had high-profile marriages and romances, but she left this world way too young. Six decades after her death, Marilyn Monroe still holds a place in the hearts of many.

One of her trademarks was a distinctive breathy style of speaking. But not many people know that this was how she coped with a stutter that developed during her high school years. A speech therapist taught her to use deliberate breathing before speaking. 

But her stuttering resurfaced after years of drug use to deal with the mental and physical pain that came from a demanding career, several health problems, and a problematic personal life that included heartbreaking divorces.

She hid her speech difficulties from the public, but she struggled behind the scenes. While shooting her last movie, those on the set reported her difficulties with delivering lines. Leaked outtakes confirmed this. 

It’s not hard to understand why Marilyn’s stuttering returned. Acute stress, emotional or psychological trauma, and heavy use of prescription drugs can all exacerbate stuttering.

Treatment for stuttering varies greatly. The breathing strategy Marilyn used is one option, but a large part of a stuttering management plan will also address feelings associated with a person’s speech. 

It’s unclear how much support Marilyn had for dealing with her issues later in life. Despite her very public persona, a lot of her life remains shrouded in mystery. Books and movies are shedding some light on her struggles. 

If we could turn back time, maybe Marilyn could have benefited from the great strides made in stuttering research since the 1950s and ’60s.

Still, there’s much to learn from her difficulties that could help people who stutter today.

For more about Marilyn Monroe, her stuttering, and references to the latest media aimed at telling her story, read here:

https://www.express.co.uk/life-style/health/1641930/marilyn-monroe-health-stuttering-symptoms-treatment

PLEASE SHARE OUR CONTENT

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

6 Chapter 6: Informative Speaking

Tammera Stokes Rice, College of the Canyons, Version B

Adapted by Jamie C. Votraw, Professor of Communication Studies, Florida SouthWestern State College

Figure 6.1 : Princess Reema 1

Introduction

You may have watched a YouTube tutorial to learn how to make or do something, like learning how to make a quiche or how to change a tire on your car. Or, you may have watched a TedTalk in one of your classes that provided factual information about the topic you are learning about, like Nancy Duarte’s 2011 presentation on “ The secret structure of great talks. ” (Google Duarte’s videos; you won’t regret it!) These are samples of informative speeches.

Speaking to Inform

When you inform an audience, your primary goal is to teach them about a topic that is important to you. In fact, there are likely scenarios where you acted as an informative speaker already. Have you ever given a factual presentation in a classroom? Have you ever shown a group of friends how to use a new app on your phone? Have you ever trained a new employee at work? These are all examples of informative speaking.

When delivering formal informative speeches, however, there are additional expectations for the composition and structure of your speech.  For instance, you might begin your speech by telling a story to attract the attention of your audience, and you might ask them a personal question to demonstrate that the topic relates to them. Throughout this chapter, we discuss the purpose of informative speaking, types of informative speeches, organizational speech patterns, and lastly, describe how informative speaking is distinctly different than persuasive speaking.

Informative Speaking Goals

The most fundamental purpose of informative speaking is to teach an audience something. Remember, an informative speech is not opinion-based. It provides factual information that is meaningful to your audience. Thus, your primary purpose is to teach. You ARE NOT trying to change their beliefs or behaviors (that is persuasive speaking, which we cover in chapter 10). Nevertheless, as audience-centered speakers (recall Chapter 5), several audience-specific elements are necessary for effective informative speaking.

Audience Attention

Audience-centered speakers care about their audience and should work to gain and maintain the attention of their audience throughout the speech. In the introduction, it is imperative that public speakers incorporate an attention-grabbing strategy, such as an intriguing story (discussed in greater detail in Chapter 9), and explicitly relate the topic to the audience. When introducing the topic to an audience, effective informative speakers connect the topic to the audience by answering the question, why should you care?

Narratives, found from credible sources, are one way to keep your audience engaged and listening to your speech. Stories help provide a basis for your main points within the speech. Humans are natural storytellers as we want to tell and listen to stories.

Audience Needs

Once your audience recognizes the significance of your topic and how it relates to them, an informative speaker should then strive to provide the audience with information that meets their needs. Consider the classroom, for example. If your algebra teacher tells you that quadratic equations will be on the next exam, what information do you as an audience member need or want? Likely, you’re looking for information to help you succeed on the exam. It would be insufficient to merely provide you with the quadratic formula, ax 2 + bx + c = 0. Instead, as an effective informative speaker, the math teacher would likely demonstrate problem-solving steps and offer examples. When you are the speaker, you must also consider what information your audience needs.

While crafting the informative speech, you want to select the information you will be communicating to the audience carefully.  You’ve already learned how to narrow down your topic, but now you want to make sure your explanation of the narrowed topic accomplishes the speech goal in the time parameters of the speech. An effective informative speaker determines which information is imperative for inclusion in the speech given the time limit. You should not feel pressured to include every piece of information you find. You wouldn’t expect a speaker to discuss everything about Disneyland in seven minutes, right? So, instead, stay focused on the speech goal and audience needs. Maybe you choose to present to the audience just one aspect of Disneyland – The types of rides.

Audience Knowledge

A third key feature of effective informative speaking is audience knowledge. What does your audience already know about the topic? The level of complexity you will be using to inform your audience depends on the audience’s knowledge about your topic, the time allowed for your speech, and its purpose. As we discussed in chapter five, you need to know your audience. It is crucial to always give new information to your audience by relating it to what they already know, and by combining the general information with specific information to keep the attention of your audience throughout the speech. This is why an audience analysis can be so important. You are not going to use architectural or engineering terms to describe the invention of Space Mountain to an audience of high school students, but you might use technical terms when speaking to architecture and engineering students at a college.

Types of Informative Speeches

When you inform, you either describe something, define something, or demonstrate a process. Therefore, there are three different types of informative speeches. This includes:

1. D escriptive speeches (about objects, people, places, or events)

2. Process speeches (also called “how-to” or demonstration speeches)

3. Concept speeches (also called idea speeches)

All three types of informative speeches have the general purpose of “to inform.” However, each type of informative speech maintains a different specific purpose, and therefore, the organizational structure of the speeches can vary. So, before we dive into the specifics of each type of informative speech, let’s review four organizational speech patterns that you could use to structure the content of your speech.

Organizational Speech Patterns

When composing your speech, there are four organizational patterns you can adopt to structure your speech content, including topical, spatial, chronological (temporal), and causal format. The organizational pattern you choose will depend on the topic of the speech and the speech content. Although some organizational patterns are more commonly used for certain types of informative speeches than others, the organization pattern you select should be the one that best fits your speech content.

• A topical layout arranges the information of the speech into different categories. Each main point of the speech is a subtopic of the broader topic.
• A spatial pattern looks at how your ideas are arranged according to their physical or geographic relationships.
• A chronological pattern organizes a speech based on time or sequence.  Some of your instructors might use the term temporal to explain main points ordered in a specific sequence of time.
• A causal pattern of organization can be used to describe the causes and effects of something that occurred.

It is important to remember to choose an organizational pattern that logically aligns with the speech goal and the main points of your speech. For example, a process speech on “how to apply for financial aid” might best be organized chronologically: Step 1, Step 2, Step 3… A chronological pattern for this topic would be most effective for helping the audience follow along.

Let’s take a deeper look at the three major types of informative speeches and some commonly used approaches to organizing the respective speech content . 

Descriptive Speeches

A descriptive speech is given to describe an object, person, place, or event. Descriptive speeches about an “object”  refer to anything tangible; something that can be seen or touched. When organizing an object speech, you might use a spatial, chronological, or topical organizational pattern. The following are some sample topics – Arabian horses, astrology, Bible, boats, career services, drag racing, Ford Mustang, Florida oranges, Godfather trilogy, Golden Gate Bridge, hurricanes, iguanas, surfboards, tattoos, and tornadoes to name a few.

Figure 6.2 : Tattoo 2

Here is an example of how you might set up a speech on an object using a chronological organization pattern:

Topic: Tattoos

General Purpose: To inform

Specific Purpose: To inform my audience about the history of tattoos in the United States.

Central Idea/Thesis : Tattoos originated in the United States in the 19th century before becoming a staple of fashion trends today.

Preview of Main Points : First, we will look at the history of the word tattoo. Then, we will learn how tattoos became fashionable. Thirdly, we examine the role tattoos have played in the circus. Finally, we will cover tattoos on public figures today.

• Explorer Captain James Hook is credited for the word tattoo after his sailing voyages led him to Tahitian and Polynesian cultures.
• Tattoos became fashionable in the 19th century.
• Tattoos used in sideshow acts in the early 20th century were an integral part of a circus’ success.
• Tattoos are now worn by public figures such as celebrities, athletes, and people within the fashion industry.

This category applies both to specific individuals or to specific roles. When discussing people, you may want to describe them in a chronological (temporal) or topical layout. Here are some sample topics on people: Albert Einstein, Barack Obama, Bruce Lee, CEO of Google, Donald Trump, Ron DeSantis, First Lady of the United States, Henry Ford, Jackie Chan, Miley Cyrus, Malala Yousafzai, Marilyn Monroe, Oprah Winfrey, Pope of the Catholic Church, Sacagawea, and Walt Disney to name a few.

Figure 6. 3: Marilyn Monroe 3

Here is an example of how you might set up a speech about Marilyn Monroe using a topical organizational pattern:

Topic: Marilyn Monroe

Specific Purpose: To inform my audience about Marilyn Monroe’s interesting love life during the creation of her most famous films.

Central Idea/Thesis : Marilyn Monroe is known for her famous love life and films.

Preview of Main Points : First, we will explore her intriguing love life and marriages. Last, we will examine her various films.

• First, we will examine Marilyn Monroe’s infamous love life.
• Lastly, let’s discuss her most famous films.

Depending on the timeframe allowed for your speech, you might consider the example above, which used a topical order. Another way to organize the main points of the same topic could be in a chronological (temporal) pattern.

Specific Purpose : To inform my audience about the childhood, professional career, and death of Marilyn Monroe.

Central Idea/Thesis : Marilyn Monroe’s early childhood influenced her professional career and ultimately her untimely death.

Preview of Main Points : First, we will examine how Marilyn’s childhood influenced her career. Secondly, we will examine her professional life. Finally, we will discuss her untimely death.

• First, we will discuss Marilyn’s birth and early childhood.
• Second, we will learn about her professional life, and the impact her upbringing had on her career.
• Lastly, we will better understand her untimely death.

You will notice the two speeches above about Marilyn Monroe have many similarities, and both speeches would include details about her professional life. However, the first speech is focused on categories related to her professional life, while the second speech looks at her professional life as one period of time in her life overall. The result is two very different final speeches. This example highlights how you structure your speech should depend on the narrowed focus of your speech topic.

A speech about a place can range from a historic location to a vacation spot. However, you should make sure to check with your instructor because very few speeches should focus on your own personal journey. Rather, the focus should be based on a place you can research. When discussing places, you may want to describe them in a spatial, temporal, or topical layout. Here are some sample places you might do an informative speech on – Alaska, Albania, Australia, Catalina, Ukraine, Honolulu, Lake Okeechobee, Las Vegas, Museum of Tolerance, Sanibel Island, Sri Lanka, Singapore, Stonehenge, and Yosemite to name a few.

Figure 6. 4: Kauai 4

Here is an example of how you might set up a speech about a place:

Topic: The island of Kauai, Hawaii

Specific Purpose : To inform my audience about Kauai’s regions and locations to explore.

Central Idea/Thesis : Kauai has five regions and many beautiful areas to explore.

Preview of Main Points: First, I will break down the five major regions of the island. Lastly, I will share tips for exploring the Hawaiian Islands.

• Five regions (subpoints could be broken down in a spatial pattern of the regions).
• Tips for a Hawaiian exploration

An event can be something that occurred only once or can be a repeated event. When discussing events, you will most likely use a chronological (temporal) or topical layout. Here are some sample events you might do an informative speech on – Academy Awards, Christmas, Coachella, Los Angeles Marathon, Quinceañera, Rose Parade, Stagecoach, or World War II.

Figure 6. 5 : Los Angeles Marathon 5

Here is an example of how you might set up a speech about an event:

Topic: Los Angeles Marathon

Specific Purpose: To inform my audience about the timeline of events of the L.A. Marathon.

Central Idea/Thesis : The L.A. Marathon consists of three days of events.

Preview of Main Point:  First, I will explain the day of orientation for the race. Second, I will discuss the main event day. Lastly, I will talk about the clean-up and breakdown of the event.

• The first day of the event is Friday, which is Expo Day & Bib pick-up.
• Second, the main event is on Saturday, which is the 5K and 1/2K kids’ run.
• Lastly, Sunday involves marathon running from 3:00 am – 3:00 pm, and ends with the finish festival.

Now that you have a good idea about what comprises a descriptive speech, let’s look at process speeches.

Process Speeches

A process speech is commonly referred to as a “how-to” or demonstration speech. It intends to teach the audience how something works or how to complete a task through step-by-step instructions. It generally uses a chronological (temporal) pattern with each “step” of the process taking the audience through a sequence of time. Here are some sample process speech topics – (How to) avoid ID theft, bake a cake, bath a dog, build a website, change car oil, color Easter eggs, meditate, make ice cream, play tennis, register to vote, snowboard, tie a tie, and write a resume to name a few.

Figure 6. 6 : Bakers 6

Here is an example of how you might set up a process speech:

Topic : Baking a cake

Specific Purpose : To inform my audience how to bake a cake in 30 minutes with the right equipment and ingredients.

Central Idea/Thesis : Baking a cake in 30 minutes is easy with the right equipment and ingredients.

Preview of Main Points: First, I will review the preparation process. Then, I will provide the steps involved in making the cake. Finally, I will explain the process of decorating the cake.

• First, preset the oven and gather other equipment and ingredients.
• Next, mix the dry ingredients with the wet ingredients to specification before putting them in the pan to bake.
• Finally, let the cake cool and decorate.

You’ve learned about both descriptive and process speeches. Let’s discuss the last type of informative speech, a concept speech.

Concept Speeches

A concept speech deals with explaining a concept or idea. A concept is an idea, belief, principle, or theory. Unlike object speeches which involve tangible things, concept speeches are abstract or general ideas. As a result, speeches about concepts need to be grounded in clear examples. Generally, it is laid out in a topical or chronological (temporal) format. Here are some sample definitive speech topics – Artificial Intelligence, Buddhism, cultural diversity, Democracy, femininity, freedom, hatred, love, respect, Selfie, and Socialism to name a few.

Figure 6. 7 : Music and Dance of Ghana 7

Here is an example of a concept speech:

Topic: Culture

Specific Purpose : To inform my audience about the concept of culture.

Central Idea/Thesis : Culture consists of beliefs, values, norms, and ways of behaving.

Preview of Main Points : First, I will explain what beliefs are. Second, I will discuss various values. Third, I will share different cultural norms. Finally, I will explain various ways of behaving within cultures.

• First, I will explain the role of beliefs within culture.
• Second, I will discuss the role of values in culture.
• Third, I will share different cultural norms.
• Finally, we will put these all together and examine the different ways of behaving in cultures.

Informative vs. Persuasive Speaking

In Chapter 10, we will discuss persuasive speaking in detail, including common organizational patterns and strategies for effective persuasive speaking. But for now, you must be clear on what distinguishes an informative speech and a persuasive speech. By now, you know that you should select a topic that is significant to you and useful for your audience. As a result, there is a good chance you are passionate about the topic and have a personal opinion on the subject matter. Your views are important, but personal opinions are inappropriate for informative speeches.

In an informative speech, you are a teacher, an educator, an informer. Whereas in persuasive speeches, you are an advocate. The information you share in an informative speech should be objective, unbiased, and balanced. It is not the time to argue for a particular viewpoint, advocate for a position, or try to convince the audience to do or believe something. If you are taking a public speaking course, it is likely that you will have an opportunity to do a persuasive speech assignment.

Staying objective and unbiased can be a big challenge, especially if you are passionate about the topic or the topic is controversial. To maintain your role as an educator and not an advocate, you should be especially cognizant of the language you use in your delivery. Focus on explaining the topic with objective language and work hard to avoid using evaluative terms such as good/bad, right/wrong, and moral/immoral. Consider the topic of abortion. Even the framing of the title of your speech can be suggestive. Does the speech title “Female Reproductive Healthcare” communicate the same message as “Women’s Reproductive Rights”? The language you use when composing and delivering your speech will convey certain messages to your audience. When dealing with a controversial issue, a good strategy to prevent interjecting your personal views is to explain to the audience that “some people believe ‘x’ and others believe ‘y’. If relevant and time permits, it is useful to explain the various viewpoints on your topic. If you are successful, at the end of your speech, the audience will be informed about your topic, but they will decide on their own what to think or do.

A variety of different topics can be utilized for informative speaking. If you are educating your audience about a particular topic by describing, demonstrating, or defining it, you are giving an informative speech. It is crucial to always give new information to your audience by relating it to what they already know, and by combining the very general information with very specific information to keep the attention of your audience throughout the speech. We are informative speakers quite often, even if it is to inform a friend about our day.

Reflection Questions

• What is the purpose of an informative speech?
• How can you determine the best pattern of organization for your informative speech topic?
• What do you need to keep in mind about your audience to develop your informative speech?
• How do you distinguish an informative speech from storytelling, even though you may use stories in your speech?

Chronological (temporal)

Concept Speech

Descriptive Speech

Informative speech

Process Speech

Introduction to Public Speaking Copyright © by Jamie C. Votraw, M.A.; Katharine O'Connor, Ph.D.; and William F. Kelvin, Ph.D.. All Rights Reserved.

Share This Book

Marilyn Monroe

• Parents of Preschoolers
• Parents of School-Age Children
• Just for Kids
• Speech-Language Pathologists

From Edward S. Herrington's letter to Southcoasttoday.com

I am writing in response to "The importance of voice" (May 29), which mentioned that famous actor James Earl Jones struggled with stuttering. Another famous voice that you cited was the trademark breathy voice of Marilyn Monroe; however, you did not make mention of the fact that Marilyn Monroe also struggled with stuttering at various points in her life, sometimes very painfully.

Actually, her famous breathy voice came as a result of her childhood stuttering. The actress stuttered as a child, and yet the stuttering returned to plague her speech for two years in high school. A speech therapist taught her how deliberate breathing prior to speaking could guide her to fluency, and the rest is history.

Believe it or not, Monroe's stuttering would affect her life in her final days. During the filming of her last movie, the unfinished "Something's Got to Give" from which she was fired, the troubled actress was under so much stress from her personal life, not to mention the abuse of prescription drugs, that her stuttering returned, sometimes forcing her to not be able to deliver her lines at all. Tapes from the outtakes of "Something's Got to Give" have circulated in the underground for decades, and it is said that her stuttering is quite noticeable at times.

I am surprised that you did not give proper credit to Marilyn Monroe's famous voice as being one that was cultivated in response to stuttering. When young people who stutter see famous names such as Marilyn Monroe and James Earl Jones, they can see that they too can strive to have the same kind of important voice, whether they choose acting or any other profession.

• Bipolar Disorder
• Therapy Center
• When To See a Therapist
• Types of Therapy
• Best Online Therapy
• Best Couples Therapy
• Best Family Therapy
• Managing Stress
• Sleep and Dreaming
• Understanding Emotions
• Self-Improvement
• Healthy Relationships
• Student Resources
• Personality Types
• Guided Meditations
• Verywell Mind Insights
• 2023 Verywell Mind 25
• Mental Health in the Classroom
• Editorial Process
• Meet Our Review Board
• Crisis Support

How to Use the 'Marilyn Monroe Effect' to Exude Confidence

The psychological phenomenon that can make you more magnetic

Toketemu has been multimedia storyteller for the last four years. Her expertise focuses primarily on mental wellness and women’s health topics. 

Rachel Goldman, PhD FTOS, is a licensed psychologist, clinical assistant professor, speaker, wellness expert specializing in eating behaviors, stress management, and health behavior change.

Alice Morgan for Verywell Mind / Getty Images

• Who Came Up With the Term 'The Marilyn Monroe Effect'?

What the Marilyn Monroe Effect Looks Like in Action

• Does the 'Fake It Until You Make It' Mindset Really Help Boost My Confidence?

How Does Building Confidence Improve Your Mental Health?

Can the marilyn monroe effect backfire on you, how to improve your self-confidence—authentically.

The Marilyn Monroe Effect refers to the enchanting blend of confidence, sensuality, and timeless beauty that the legendary Hollywood actress Marilyn Monroe personified.

Born Norma Jeane Mortenson in 1926, Marilyn Monroe grew into an American cultural icon whose influence spans across decades.

Her striking appearance, characterized by platinum blonde hair, red lips, and an hourglass figure, was only part of her allure. Marilyn exuded a magnetic charisma and a flirtatious vulnerability that made her both revered and relatable. None of that is new information—so why is the Marilyn Monroe Effect suddenly a thing? As with most trends, social media is heavily involved.

Who Came Up With the Term 'The Marilyn Monroe Effect'?

Today, the love of Marilyn Monroe continues to transcend generations, capturing the hearts of Gen Z. They've re-popularized the Marilyn Monroe Effect through the lens of modern feminism and body positivity .

Platforms like Instagram and TikTok are flooded with young influencers recreating Monroe's iconic looks and adapting her style to modern fashion. Moreover, as advocates for body positivity, Gen Z embraces Monroe’s fuller figure as a symbol of natural beauty and self-acceptance.

Her unabashed confidence and sensuality are admired by a generation that values authentic self-expression and empowerment. Through fashion, art, and social discourse, Gen Z has reintroduced Marilyn Monroe’s alluring persona to the digital age.

However, the term "The Marilyn Monroe Effect" can't be attributed to a specific person. It evolved as a way to describe the lasting impact of Marilyn's persona on popular culture and individual self-expression. The term likely came into everyday use in the late 20th century as Marilyn's legend endured.

It was an attempt to categorize the enduring appeal and the inspiring aspects of her image, which seemed to empower people to embrace their femininity, sexuality, and self-confidence unabashedly.

When a person channels their inner Marilyn Monroe, it is apparent in both their appearance and demeanor. They exude confidence, grace, and glamour, often with a touch of sensuality. Some of the characteristics include:

• Appearance : Often, this includes adopting a more glamorous style reminiscent of the 1950s – think red lips, winged eyeliner, and vintage dresses that emphasize your curves.
• Confidence : There's an unmistakable air of self-assurance. This doesn't mean being extroverted or brash but having a sense of self-worth and poise in your carriage and demeanor. It also isn't just about how you look but how you carry yourself—with your head held high and a belief in your worth.
• Sensuality and femininity : Marilyn Monroe oozed charisma and was unafraid of her sensuality. This is about embracing and owning your sexuality without being defined by it. Just like Marilyn, a person embracing this effect might display an unapologetic embrace of their sensuality and femininity.
• Vulnerability : Unlike her dominant image, Marilyn Monroe was also known for her vulnerability. Being honest about your imperfections and emotions is a key element. It makes you more relatable and genuine.

Does the 'Fake It Until You Make It' Mindset Really Help Boost My Confidence?

The “fake it till you make it” philosophy is a widely recognized approach that involves adopting a certain facade or attitude, even when it might not feel genuine initially, in the hope that with time it becomes part of your actual persona.

Research suggests that this method can be effective to an extent. Acting confidently can change how others perceive you, which in turn can affect how you perceive yourself . For instance, by maintaining eye contact, standing tall, and speaking with assertiveness, others may view you as confident.

This positive feedback can be internalized, gradually making you actually feel more self-assured. However, it's essential to maintain authenticity and not let this turn into a mask that disconnects you from your true self.

A "Fake it until you make it" mindset can certainly help boost your confidence, but it should be used in tandem with other tools to ensure a lasting outcome. These include learning from self-help books, hiring a coach, and/or working with a therapist, which can ultimately help understand the underlying causes that are inhibiting confident behavior,  Janae Kim , a licensed psychotherapist specializing in trauma and anxiety, says.

Boosting your confidence has several mental health benefits, including:

• Reducing anxiety : Being confident means you're not constantly worried about judgment or failure, which can reduce anxiety.
• Improving relationships : Confidence makes you more likely to open up to others and form meaningful relationships. Being confident also helps in social situations, making it easier to meet new people.
• Achieving a sense of accomplishment : Confident people are more likely to set and achieve goals, which creates a sense of accomplishment and purpose.

Building confidence can improve your mental health by reducing feelings of self-doubt and anxiety. When you believe in yourself, you're more likely to tackle challenges, handle stress better, and have a positive outlook. Increased confidence can also lead to better relationships and a greater sense of happiness and well-being, says  Elizabeth Campbell,  PhD, a licensed psychologist.

If taken to an extreme, trying to embody the Marilyn Monroe Effect can backfire. For instance, trying too hard to emulate someone else can cause you to lose touch with who you genuinely are.

Marilyn Monroe's image is also a product of the times and the Hollywood sheen. Trying to live up to such an image could cause you to set unrealistic standards of beauty and behavior for yourself.

Striving for an unattainable ideal could lead to issues like anxiety, depression , or low self-esteem when there is a failure to measure up to that ideal.

Here are some scenarios and tips for authentically boosting your self-confidence:

• Facing a job interview : Prepare by researching the company and role. Practice answering common questions. Dress in a way that makes you feel confident but is also appropriate for the position.
• Entering a crowded room : Before entering, take deep breaths to calm yourself. Remind yourself that you have a right to be there. Maintain good posture as you walk in; this simple physical adjustment can enhance your confidence.
• On a date : Be yourself. Share your genuine interests and listen actively. Wear something that makes you feel good but is also comfortable. 
• Public speaking : Know your material inside and out. Practice, but don't memorize your speech word for word. Practicing in front of a mirror or recording yourself can help. As you speak, engage with the audience by making eye contact. Focus on the message you are sharing rather than on yourself.
• Entering a social gathering : Have a few conversation topics ready. Focus on others by asking them about themselves. Remember, not everyone has to like you, and that's okay.

To improve your self-confidence authentically, focus on your strengths and accomplishments. We can actually grow in the areas of our greatest strengths rather than our weaknesses. So acknowledge your flaws without dwelling on them. Set realistic goals and celebrate your successes. Surround yourself with positive people who believe in you. And most importantly, be true to yourself, Campbell adds.

While the Marilyn Monroe Effect can inspire confidence and glamour, it is essential to adapt these qualities in a way that remains true to one's authentic self. Balance is key: take inspiration but weave it into the fabric of your unique personality and identity. By embracing both the allure of Marilyn's persona and the authenticity of your character, you can find an empowering path to self-confidence.

Feuerherd P. The many meanings of marilyn monroe. JSTOR Daily.

Mann DL. F ake it till you make it . JACC: Basic to Translational Science. 2022;7(1):99-100. doi:10.1016%2Fj.jacbts.2021.12.004

Miragall M, Etchemendy E, Cebolla A, Rodríguez V, Medrano C, Baños RM. Expand your body when you look at yourself: The role of the posture in a mirror exposure task . Costantini M, ed. PLoS ONE. 2018;13(3):e0194686.

By Toketemu Ohwovoriole Toketemu has been multimedia storyteller for the last four years. Her expertise focuses primarily on mental wellness and women’s health topics.

• AI Assistant
• AI Business
• AI Detector
• AI Education
• AI Marketing
• Top AI Tools

Marilyn Monroe AI Voice Generator Text To Speech

Are you ready to experience the enchantment of Marilyn Monroe’s iconic voice like never before? With the Marilyn Monroe AI Voice Generator , you can now infuse your projects with the magic and allure of this legendary Hollywood icon. Whether you’re creating videos, audio content, or presentations, this cutting-edge technology allows you to bring Marilyn Monroe’s voice to life in a way that captures the essence of her timeless charm. Get ready to unleash the power of Marilyn Monroe’s AI-generated voice and let your creativity soar.

The Evolution of AI Voice Generation

To understand the evolution of AI voice generation, you need to examine the advancements made in the field over the years. It is a journey filled with wonder and excitement, as technology has transformed the way we experience sound and voice in entertainment. The impact of AI voice generation on the entertainment industry cannot be overstated. It has opened up new possibilities, allowing creators to bring characters to life in ways never before imagined.

Imagine watching a film or playing a video game where the characters speak with voices indistinguishable from real human voices. AI voice generation has made this a reality, immersing us in stories that evoke genuine emotions and captivating our hearts. The power of AI voice replication technology has given birth to a new dimension of storytelling, where the boundaries of imagination are pushed further than ever before.

However, with great power comes great responsibility. Ethical concerns surround AI voice replication technology. The ability to replicate anyone’s voice with just a few samples raises questions about consent, privacy, and the potential for misuse. We must tread carefully and ensure that the freedom of expression and creativity are balanced with the respect for individual rights and the preservation of personal identity.

As we continue to witness the evolution of AI voice generation, let us embrace the freedom it offers us in the world of entertainment. Let us also remain vigilant, ensuring that the ethical concerns are addressed, and that this technology is used responsibly. The future of AI voice generation holds immense promise, and it is up to us to shape it in a way that values both artistic expression and personal freedom.

Unleashing Marilyn Monroe’s Iconic Voice

Have you ever wondered what it would be like to hear Marilyn Monroe’s iconic voice brought back to life through AI voice generation technology? Imagine being able to experience the sultry tones that captivated audiences and made Marilyn Monroe a timeless icon. Her voice, like her beauty, possessed a unique power that resonated with people across generations. It’s no surprise that her voice had a profound impact on pop culture, leaving an indelible mark that continues to influence artists today.

Analyzing the impact of Marilyn Monroe’s voice on pop culture reveals its significance in shaping the entertainment industry. Her breathy, alluring voice became synonymous with sensuality and femininity. Through movies and interviews, Monroe’s voice enchanted listeners, igniting a sense of desire and fascination.

But what lies behind the curtain of this remarkable AI voice generator that brings Marilyn Monroe’s voice back to life? Uncovering the technology behind it unveils a sophisticated system that meticulously analyzes Monroe’s speech patterns, intonations, and nuances. By combining deep learning algorithms and neural networks, this AI voice generator recreates her voice with astonishing accuracy.

This technology not only pays homage to a legendary figure but also grants us the freedom to experience Monroe’s voice in ways we never thought possible. It allows us to revisit her interviews, hear her recite famous lines, and immerse ourselves in her enchanting aura.

As we delve into the realm of AI voice generation, we unlock the ability to relive iconic moments from the past. The resurrection of Marilyn Monroe’s voice through this AI technology evokes a sense of nostalgia, reminding us of the power of her presence and the enduring impact she has had on popular culture.

Exploring the Features of the Marilyn Monroe AI Voice Generator

You can explore the features of the Marilyn Monroe AI Voice Generator to experience the captivating allure of her voice like never before. It’s a technology that harnesses the power of artificial intelligence to recreate Marilyn Monroe’s iconic voice, allowing you to immerse yourself in her world of romance, emotions, and empathy.

To understand the technology behind AI voice generation, you need to delve into the complexities of machine learning and natural language processing. The Marilyn Monroe AI Voice Generator uses deep learning algorithms to analyze her speech patterns, intonations, and unique vocal characteristics. By feeding it with a vast amount of Monroe’s recorded audio, the AI model becomes capable of generating her voice, capturing her essence in every word spoken.

The impact of AI-generated voices in the entertainment industry is profound. It offers a new realm of possibilities for filmmakers, game developers, and voice-over artists. With the Marilyn Monroe AI Voice Generator, filmmakers can bring her back to life, seamlessly incorporating her voice into movies, documentaries, or even commercials. Game developers can create interactive experiences where players can engage with characters voiced by Marilyn Monroe herself. Voice-over artists have a powerful tool at their disposal, enabling them to lend their voices to characters that possess the charm and charisma of the iconic legend.

Through the Marilyn Monroe AI Voice Generator, freedom is bestowed upon those who yearn to hear her voice once again. It allows us to relive the magic of Marilyn Monroe’s golden era, capturing the essence of her passion and vulnerability. With each word spoken, her voice resonates, igniting the flames of desire and reminding us of the timeless beauty and power she possessed. So dive into this technological marvel and let Marilyn Monroe’s voice transport you to a world where dreams come true.

Using the Marilyn Monroe AI Voice Generator in Your Projects

Immerse yourself in the captivating allure of Marilyn Monroe’s voice by incorporating the Marilyn Monroe AI Voice Generator into your projects. With its romantic and emotional tone, this AI voice generator allows you to bring the iconic voice of Marilyn Monroe to life in various applications within the entertainment industry. Whether you are working on a film, a documentary, or a video game, the Marilyn Monroe AI voice can add a touch of nostalgia and authenticity to your project, captivating your audience and creating a truly immersive experience.

But the benefits of using the Marilyn Monroe AI voice generator extend beyond the realm of entertainment. In marketing campaigns, where captivating and persuasive voices are essential, Marilyn Monroe’s voice can bring a sense of familiarity and trust. By incorporating this AI voice into your advertisements, radio spots, or phone greetings, you can create a connection with your target audience, leaving a lasting impression and increasing brand recall.

Imagine the impact of Marilyn Monroe’s seductive voice promoting your products or services. It evokes a sense of freedom and empowerment, appealing to an audience that desires to break free from the ordinary. The Marilyn Monroe AI voice generator offers endless possibilities for your creative projects, enabling you to harness the power of Marilyn Monroe’s voice to captivate, engage, and inspire your audience.

Incorporating the Marilyn Monroe AI voice generator in your projects not only adds a touch of glamour but also creates an emotional connection that resonates with your audience. Whether you are in the entertainment industry or running a marketing campaign, this AI voice generator can elevate your projects to new heights, leaving a lasting impression and enticing your audience to come back for more. So, unlock the enchanting power of Marilyn Monroe’s voice and let it bring your projects to life.

Embracing the Magic of Marilyn Monroe’s AI-Generated Voice

Experience the enchantment of Marilyn Monroe’s AI-generated voice and let it captivate you. In the realm of entertainment, the impact of AI-generated voices is undeniable. It opens up a world of possibilities, allowing us to recreate the iconic voices of beloved figures from the past. However, this technological advancement also raises ethical questions about the authenticity and integrity of these recreations.

The power of Marilyn Monroe’s voice is legendary, and now, through AI, we can hear her speak once again. It is a bittersweet moment, as we indulge in the nostalgia and glamour she exudes, while also questioning the ethics of resurrecting her voice in this manner. Can technology truly capture the essence of her intonation, her emotions, and her unique charm?

As we embrace the magic of Marilyn Monroe’s AI-generated voice, we must approach it with a sense of reverence and caution. We must remember that she was more than just a voice; she was a person, with hopes, dreams, and a complex inner world. While this technology allows us to relive moments from the past, we must strive to preserve her legacy and honor her memory.

In a world that desires freedom, we must navigate the fine line between innovation and exploitation. It is our responsibility to ensure that AI-generated voices are used ethically and respectfully. Let us appreciate the beauty and wonder they bring to our lives while remaining mindful of the impact they have on the individuals they seek to emulate.

Frequently Asked Questions

How long does it take to generate marilyn monroe’s voice using the ai voice generator.

To generate Marilyn Monroe’s voice using the AI voice generator, it takes time and effort. The challenges lie in capturing the essence of her unique vocal characteristics, such as her breathy tone and seductive inflections. Moreover, there are ethical considerations in using AI to imitate famous voices, as it raises questions about consent and the potential misuse of someone’s identity. It’s important to approach this technology with caution and respect for the freedom and rights of individuals.

Can the Marilyn Monroe AI Voice Generator Imitate Other Famous Voices?

Can the Marilyn Monroe AI voice generator imitate other iconic voices like Elvis Presley or Audrey Hepburn? How accurate is the Marilyn Monroe AI voice generator in capturing the unique tone and cadence of Marilyn Monroe’s voice? You might be wondering if this incredible technology can transport you to the era of legends. Well, the answer is yes! The Marilyn Monroe AI voice generator has the ability to imitate other famous voices, allowing you to experience the magic of Elvis Presley’s melodies or Audrey Hepburn’s elegance. It captures Marilyn Monroe’s essence with astonishing accuracy, bringing her iconic voice back to life. Get ready to be captivated by the voices of legends.

Is the Marilyn Monroe AI Voice Generator Compatible With All Operating Systems?

Is the Marilyn Monroe AI voice generator compatible with all operating systems? Well, let me tell you, this incredible AI creation knows no boundaries. It seamlessly blends with any operating system, giving you the freedom to enjoy Marilyn Monroe’s enchanting voice on any device. You can now listen to her iconic words and feel the emotions she evokes, all at your fingertips. Experience the accuracy and power of this AI, and let Marilyn’s voice captivate your heart.

Can the Marilyn Monroe AI Voice Generator Be Used for Commercial Purposes?

Yes, you can use the Marilyn Monroe AI voice generator for commercial purposes. However, it’s important to consider the potential ethical implications of using her voice in this way. AI-generated voices raise questions about the authenticity of Marilyn Monroe’s legacy and the impact on her image. While it may be tempting to utilize this technology, it’s crucial to approach it with sensitivity and respect for her memory. Freedom comes with responsibility, and we must tread carefully when dealing with such iconic figures.

What Are the Limitations of the Marilyn Monroe AI Voice Generator in Terms of Language and Accent?

When it comes to the limitations of the Marilyn Monroe AI voice generator, there are a few things to keep in mind. Firstly, in terms of language, the generator might not support multiple languages, limiting its versatility. Additionally, capturing Marilyn Monroe’s unique voice and accent accurately using AI technology poses its own challenges. But don’t let these limitations discourage you. Remember, freedom lies in exploring new possibilities and embracing the beauty of human expression.

AuThor AI Nguyen is an expert in the field of artificial intelligence. Currently living in San Jose, California, United States. With more than 5 years of experience working in the AI ​​Voice Generator research center