Broadway are surely a portent. If many of the rich and 
successful figures in America were to question publicly the 
absolute value of money and success as means to happiness 
and human welfare, they would offer no more shattering a 
precedent than Marilyn Monroe. For nearly fifty years, Hollywood 
had offered “the fallen woman” a way to the top and a way to 
the hearts of all. Suddenly the love-goddess emits a horrible 
cry, screams that eating people is wrong, and utters 
denunciations of the whole way of life. This is exactly the mood 
of the suburban beatniks. They reject a fragmented and 
specialist consumer life for anything that offers humble 
involvement and deep commitment. It is the same mood that 
recently turned girls from specialist careers to early marriage 
and big families. They switch from jobs to roles.

     The same new preference for depth participation has also