Girl next door
During World War II, American propaganda often invoked her as the symbol of all things American. Songs on the armed forces request radio programs were not of Rosie the Riveter but of women waiting for soldiers. Many such songs were also popular at the home front. Themes of love, loneliness, and separation were given more poignancy by the war. Hugh Hefner required Playboy centerfolds to be portrayed in this specific manner, telling photographers in a 1956 memo that reads, "[the] model must be in a natural setting engaged in some activity 'like reading, writing, mixing a drink... [and] should have a healthy, intelligent, American look—a young lady that looks like she might be a very efficient secretary or an undergrad at Vassar.'"
- Meghan K. Winchell, Good Girls, Good Food, Good Fun. p. 73. ISBN 978-0-8078-3237-0.
- John Costello. Virtue Under Fire. p. 125 ISBN 0-316-73968-5.
- William L. O'Neill. A Democracy At War: America's Fight At Home and Abroad in World War II. p. 262. ISBN 0-02-923678-9.
- Robert Heide and John Gilman. Home Front America: Popular Culture of the World War II Era. p. 116. ISBN 0-8118-0927-7. OCLC 31207708.
- "Playboy: The Hugh Hefner Story". n+1. January 13, 2009. Retrieved January 24, 2009.
- Deborah Jermyn, "'Death of the Girl Next Door': Celebrity, Femininity, and Tragedy in the Murder of Jill Dando", Feminist Media Studies, Vol. 1 No. 3 (Nov. 2001)
- Michael Levine, "Feeling for Buffy—The Girl Next Door" in Michael Levine and Steven Schneider, Buffy and Philosophy, Open Court Press 2003
- Frank Rich, "Journal: The Girl Next Door", The New York Times, Feb. 20, 1994
- Michael Walker, "SHE SPITS ON THE GIRL NEXT DOOR", Los Angeles Times, Feb. 6, 1994
- Elizabeth Wurtzel, "Women: Read my lips: Are you a girl next door or a second wife?", The Guardian, Dec. 22, 1998
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