Description:

Monroe, Marilyn (1926-1962) A document twice signed by Marilyn Monroe for her 1952 appearance with the equally beloved Charlie McCarthy and Edgar Bergen! A rider in the original contract was specifically aimed at keeping the sexually charged starlet in check, and preventing her from doing anything that might "insult or offend the community or public morals or decency."

Endorsement Signed, "MM" (twice), on a Typed Document, 1 page, 8.5" x 11", [Los Angeles, October 7, 1952], countersigned "EB" (twice, each below Monroe's), being a portion of a contract concerning Monroe's radio appearance on The Charlie McCarthy Show, recorded on October 18, 1952, accompanied by color copies of the entire original contract, included for reference. File holes at top, minor staple holes at top left, usual folds, else fine condition.

The original contract underscored Monroe's rapid rise to stardom in 1952 as she assumed more substantial film roles. In April 1952 she appeared on the cover of Life, who billed her as "The Talk of Hollywood." Briefly on loan to RKO, she appeared in Clash by Night with Barbara Stanwyick, which was released in June 1952. The following month, two films featuring Monroe appeared including We're not Married! and Clash by Night. In September 1952, Fox released Monkey Business, in which she appeared with Cary Grant and Ginger Rogers. It was in that film that Monroe appeared with her signature platinum-blond hair.

The heavily-edited original contract required that Monroe and Bergen initial all of the changes. Revisions were required to note that the program was recorded as opposed to live. Monroe also had to agree to mention the show's sponsor, which in this case was changed from Coca-Cola to "Richard Hudnut Products". In a testament to her growing influence, an entire provision making her liable for breaches of contract was crossed out. Monroe also insisted on a rider prohibiting the use of her likeness or name in connection with a product for the purpose of an endorsement.

Another rider, attached to page four of the original, addresses Monroe's reputation for sex appeal, in which she agreed Bergen could cancel the appearance, "if I conducted or do conduct myself without due regard to public conventions and morals or have done or do anything which will tend to disgrace me in society or bring me into pubic disrepute, contempt, scorn or ridicule, or that will tend to schock [sic], insult or offend the community or public morals or decency or prejudice agency or sponsor or the entertainment industry in general." This rider was especially important in light of the recent fracas concerning her nude photographs that had surfaced earlier in the year and threatened to derail her fledgling career. The same rider also reminds the reader of the high pitch of anti-communist hysteria at the time. Not only did Monroe agree not to offend any moral sensibility during the program, she also agreed that her appearance could be terminated in the event she was "...held in contempt by any Congressional committee or other governmental body and any refusal to testify before any such committee or governmental body, whether for legally justifiable reasons or otherwise." The language obliquely referred to the House Un-American Activities Committee (HUAC), which had become infamous after it began investigating Hollywood in 1947. Those who refused to testify before the committee were blacklisted by the industry, including Charlie Chaplain, Orson Welles, Paul Robeson and other greats. The activities of HUAC would be mimicked by another McCarthy, Senator Joe McCarthy, who, beginning in 1953, chaired the Senate Permeant Subcommittee on Investigations. The senator's well-publicized hearings and the aggressive methods employed to badger and intimidate witnesses became known as "McCarthyism."

Judging from contemporary media reports, Monroe's appearance with Charlie McCarthy (no relation) was an enormous hit. During the program, the pair announced their engagement, much to the consternation of Edgar Bergen who "admitted that losing Charlie would be like having his pocket picked." McCarthy, for his part, assured listeners that he would allow Ms. Monroe to continue her screen career. "'Certainly I'm gonna let her work. I love the girl. I don't want to interfere with her career - or her income.'" (Charles Denton, "Charlie McCarthy Captures Heart of Marilyn Monroe," United Press, October 31, 1952)

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