Los Angeles City Council Acts to Spare Marilyn Monroe House from Demolition

The official poster of the 65th Cannes Film Festival featuring US actress Marilyn Monroe is seen on the facade of the Festival Palace in Cannes May 14, 2012. (Reuters)
The official poster of the 65th Cannes Film Festival featuring US actress Marilyn Monroe is seen on the facade of the Festival Palace in Cannes May 14, 2012. (Reuters)
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Los Angeles City Council Acts to Spare Marilyn Monroe House from Demolition

The official poster of the 65th Cannes Film Festival featuring US actress Marilyn Monroe is seen on the facade of the Festival Palace in Cannes May 14, 2012. (Reuters)
The official poster of the 65th Cannes Film Festival featuring US actress Marilyn Monroe is seen on the facade of the Festival Palace in Cannes May 14, 2012. (Reuters)

The Los Angeles City Council voted on Friday to launch a process to designate actress Marilyn Monroe's former home, where she died of a drug overdose in 1962, a historic and cultural monument, blocking plans to demolish the property.

The motion to initiate consideration of the Spanish Colonial-style house in L.A.'s Brentwood section for historic preservation was introduced by Councilwoman Traci Park and approved unanimously the same day, according to her spokesperson Jamie Paige.

In response to the 12-0 vote, the city's Board of Building and Safety Commissioners immediately revoked a demolition permit that had been issued a day earlier. The City Council motion itself also bars major alterations to the property while review of its potential status as a landmark is under way.

Paige said she visited the house on Thursday and that no work had been done at the site, currently owned by a little-known entity called Glory of the Snow Trust.

Monroe purchased the single-story, 2,900-square-foot (270-sq-meter) house in the early 1960s for $75,000 after the end of her third marriage, to playwright Arthur Miller, according to the Los Angeles Times. It was the only residence the actress, who spent part of her childhood in an orphanage and foster care, ever independently owned.

The screen legend, star of such films as "Gentlemen Prefer Blondes," "Some Like It Hot" and "The Misfits," was found dead in a bedroom of the home in August 1962 at the age of 36. The cause of death was ruled to be acute barbiturate poisoning.

The Times reported that the half-acre (0.20-hectare) property, which included a swimming pool and guest house, was purchased in 2017 for $7.25 million by Glory of the Snow LLC, then managed by a hedge fund executive. It was sold to the Glory of the Snow Trust for $8.35 million earlier this year.

No representatives for the trust have been identified by Councilwoman Park, and the reason for the planned demolition remained unclear, Paige said. The Times said the trust is not listed in property records alongside any person's name.

Word that the gated, four-bedroom hacienda at the end of a cul-de-sac was slated to be torn town sparked expressions of outrage on social media, the Times reported. Park, whose council district includes Brentwood, said her office had received hundreds of calls urging her to take action to spare the house.

"For people all over the world, Marilyn Monroe was more than just a movie icon," Park said at a news conference, calling the performer "a shining example of what it means to overcome adversity.

The actress named the home Cursum Perficio, a Latin phrase meaning "My journey ends here," which adorned tiles on the home's front porch.



Beyonce and the Grammys: A Tense Relationship again at a Head

Beyonce, shown here performing with her daughter Blue Ivy during an NFL game on Christmas Day 2024, is the artist with the most Grammys ever. Alex Slitz / GETTY IMAGES NORTH AMERICA/AFP/File
Beyonce, shown here performing with her daughter Blue Ivy during an NFL game on Christmas Day 2024, is the artist with the most Grammys ever. Alex Slitz / GETTY IMAGES NORTH AMERICA/AFP/File
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Beyonce and the Grammys: A Tense Relationship again at a Head

Beyonce, shown here performing with her daughter Blue Ivy during an NFL game on Christmas Day 2024, is the artist with the most Grammys ever. Alex Slitz / GETTY IMAGES NORTH AMERICA/AFP/File
Beyonce, shown here performing with her daughter Blue Ivy during an NFL game on Christmas Day 2024, is the artist with the most Grammys ever. Alex Slitz / GETTY IMAGES NORTH AMERICA/AFP/File

Beyonce is the most decorated artist in Grammys history, and her album releases have both triggered cultural earthquakes and reshaped music industry norms.

But few artists have ever been snubbed so conspicuously by the Recording Academy -- for all her trailblazing accomplishments, Beyonce has never won the prestigious prizes for best album or record, said AFP.

Once again on Sunday, she will head to the Grammys gala with the most chances to win, after "Cowboy Carter" -- her genre-spanning, sociopolitically charged conversation piece of an album -- dropped last spring to critical acclaim.

It earned her a fifth nomination for Album of the Year: in years past, she has lost to Taylor Swift, Beck, Adele and, most recently, Harry Styles.

As for Record of the Year, this is her ninth shot at a golden gramophone.

And in a glaringly consistent pattern, nearly all of Beyonce's losses have been to white pop and rock artists.

"If she wins the Album of the Year category for 'Cowboy Carter,' it would be -- for me, personally -- similar to when Barack Obama won the presidency," said Birgitta Johnson, a professor of African American studies and music history at the University of South Carolina.

To explain the parallel, Johnson said that upon Obama's victory, "as a Black person in America... I was totally shocked."

'Fault lines'

For Johnson, Grammy voters tend to dismiss collaborative projects, which is Beyonce's bread and butter: the megastar showcases Black music and traditions while elevating fellow artists.

Musicologist Lauron Kehrer seconded that point, citing Beyonce's 2015 loss to Beck for Album of the Year; the chatter afterwards was that while Beyonce worked with a team, Beck put the album together himself.

Voter "values have been more aligned with white-dominated genres like rock and alternative," said Kehrer.

"When we look at pop and R&B and other genres, they take a more collaborative approach -- but that approach to collaboration hasn't really been valued by Grammy voters."

Kehrer said Beyonce's career is emblematic of "fault lines in how organizations think about style and think about genre, especially around race and gender lines."

And though the Grammys have increased the number of contenders in the top categories -- it used to be five, was bumped to 10, and is currently eight -- in a bid to promote diversity, the change has actually meant votes are split to a degree that people of color and less conventional artists still rarely win.

"All those things are coming into play when it comes to Beyonce, this iconic global star that keeps missing this particular brass ring," Johnson said.

No 'one-trick pony'

Beyonce's work is difficult to define -- beyond the top categories, her 11 Grammy nominations this year span Americana, country, pop and rap.

She has previously scooped awards for dance and electronic music.

"She refuses to be a one-trick pony," Kehrer said.

"It does feel like 'Cowboy Carter' especially was a project to show, among other things, that she's a versatile artist who can't be pigeon-holed, and to kind of force institutions in the industry to pay attention to that."

Beyonce has thus challenged the Recording Academy to keep up with her by improving on its categorization of music to better reflect industry trends -- something that the Grammy organizers have indeed endeavored to do.

In the end, the Grammys need Beyonce a whole lot more than she needs the Grammys, Johnson says.

Her touch is vital to the gala "so they can seem not only relevant, but as inclusive as they claim they have been trying to be," she told AFP.

'Litmus test'

As for winning prizes, if that were Beyonce's primary concern, she would write music tailored for that, Johnson notes.

Instead, "she's trying to do more work around narratives and identity," the professor said.

"She's one of those rare artists who are free creatively, but also has the wealth to propel her vision."

That vision trickles down to the artists who routinely win the big prizes, Johnson said, pointing to Grammys darling Billie Eilish as an example of how younger generations take inspiration from Beyonce to work across genres.

Ultimately, even if Queen Bey doesn't need institutional approval, wins matter for fans -- and, in turn, representation.

"It's hard to get around the fact that it's such a significant recognition," Kehrer said, calling the Grammys a "litmus test for where we are on race and genre in the music industry."