about Americaâs first sweethearts. On the set of Monkey Business reporters and publicists hounded her for a scoop, about possible marriage plans. Amused by the commotion, Marilyn would confide in Whitey Snyder about their escapades of the previous night. She would play the hit single âJoltinâ Joe DiMaggioâ on her old Victrola and sing the lyrics while Whitey applied makeup. She listened to the song over and over, laughing and reveling in her happiness. Before she and Whitey left the room she would carefully place the 78-r.p.m. record underneath a stack of singles just in case Joe showed up. Though truly in love with him, Marilyn didnât want him to know she fantasized about their future together.
Marilyn moved into her second luxury apartment on Doheny Drive bordering Beverly Hills, decorating her new home in white, cream, and beige. At an auction she was surprised to locate the very same white lacquered piano her mother had given her years before to grace her living room. She took immense pride in making a plush yet cozy nest for her man. During the filming of Monkey Business they would spend their nights together. In the morning, while she bathed languorously in her tub, her favorite pastime, he would go pick up coffee and doughnuts from a local restaurant. Arriving at 7 A.M. , Whitey would share the breakfast with Joe. This daily ritual provided Whitey with the opportunity to get to know Marilynâs new lover while they both waited for the mistress of the house. DiMaggioâs comfort in the flat was evident.
Occasionally Joe would appear on the set, but he felt awkward drawing cast and crew like a magnet for autographs and congratulations. He didnât want to embarrass or upstage Marilyn, so he attempted to stay in the background.
By the time of Marilynâs next film, Donât Bother to Knock , tension had become acute between Joe and Marilynâs acting coach, Natasha Lytess. Since early 1948 Natasha had been ingratiating herself more deeply with Marilyn. Lytess had fallen on hard times after her husbandâs death and she was left alone to support their daughter. At the suggestion of some writer friends in the local immigrant community, but without any formal training in the acting profession, she managed to convince studio executives at Columbia that she had studied extensively in the European school of drama, and was given her own office on the studio lot. In reality Lytess was familiar with classical literature and possessed an impressive library, which she offered to further Marilynâs quest for knowledge of the classical arts. Natasha was ostensibly brought onto the set of Ladies of the Chorus as Marilynâs acting coach, but Marilyn regarded her as more than that. After Ana Lowerâs death, Lytess had become her new surrogate mother.
At this time, Marilynâs renewed lack of funds made it expedient for her to move in with Natasha. Natasha began to exert increasing control over Monroeâs personal life and acting career. When Lytess complained about not having transportation, the good-hearted Marilyn handed over her 1941 Pontiac. When Lytess learned that the license fee had not been paid, she had the audacity to nag Monroe into taking care of it. Whitey Snyder was incensed by all of this manipulation. Division in the ranks was forming. Natasha had latched onto Marilyn as her only meal ticket. In addition, the acting coach began to imagine herself as Marilynâs live-in lover. Natasha had hopes that while she taught Marilyn to be vulnerable and tender in front of the camera, Marilyn would return the favor by supporting her and falling in love with her. Still earning only seventy-five dollars per week under contract, Marilyn couldnât possibly provide for Natasha, too. But Marilyn felt obliged to repay Natasha with a loverâs favors. Since Marilyn sought male companionship throughout the time she knew Natasha, any intimacy that developed between
Marilyn moved into her second luxury apartment on Doheny Drive bordering Beverly Hills, decorating her new home in white, cream, and beige. At an auction she was surprised to locate the very same white lacquered piano her mother had given her years before to grace her living room. She took immense pride in making a plush yet cozy nest for her man. During the filming of Monkey Business they would spend their nights together. In the morning, while she bathed languorously in her tub, her favorite pastime, he would go pick up coffee and doughnuts from a local restaurant. Arriving at 7 A.M. , Whitey would share the breakfast with Joe. This daily ritual provided Whitey with the opportunity to get to know Marilynâs new lover while they both waited for the mistress of the house. DiMaggioâs comfort in the flat was evident.
Occasionally Joe would appear on the set, but he felt awkward drawing cast and crew like a magnet for autographs and congratulations. He didnât want to embarrass or upstage Marilyn, so he attempted to stay in the background.
By the time of Marilynâs next film, Donât Bother to Knock , tension had become acute between Joe and Marilynâs acting coach, Natasha Lytess. Since early 1948 Natasha had been ingratiating herself more deeply with Marilyn. Lytess had fallen on hard times after her husbandâs death and she was left alone to support their daughter. At the suggestion of some writer friends in the local immigrant community, but without any formal training in the acting profession, she managed to convince studio executives at Columbia that she had studied extensively in the European school of drama, and was given her own office on the studio lot. In reality Lytess was familiar with classical literature and possessed an impressive library, which she offered to further Marilynâs quest for knowledge of the classical arts. Natasha was ostensibly brought onto the set of Ladies of the Chorus as Marilynâs acting coach, but Marilyn regarded her as more than that. After Ana Lowerâs death, Lytess had become her new surrogate mother.
At this time, Marilynâs renewed lack of funds made it expedient for her to move in with Natasha. Natasha began to exert increasing control over Monroeâs personal life and acting career. When Lytess complained about not having transportation, the good-hearted Marilyn handed over her 1941 Pontiac. When Lytess learned that the license fee had not been paid, she had the audacity to nag Monroe into taking care of it. Whitey Snyder was incensed by all of this manipulation. Division in the ranks was forming. Natasha had latched onto Marilyn as her only meal ticket. In addition, the acting coach began to imagine herself as Marilynâs live-in lover. Natasha had hopes that while she taught Marilyn to be vulnerable and tender in front of the camera, Marilyn would return the favor by supporting her and falling in love with her. Still earning only seventy-five dollars per week under contract, Marilyn couldnât possibly provide for Natasha, too. But Marilyn felt obliged to repay Natasha with a loverâs favors. Since Marilyn sought male companionship throughout the time she knew Natasha, any intimacy that developed between
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