I am now convinced the song was written by Maschwitz as an Ode to Anna May Wong and to no-one else.
The time lines don't work to support anyone else. The words of Ms. Gee Salisbury, re-read, convince me.
The assertions by an Oxford "Dictionary" of Biographies that the lyric poem are insufficiently based in fact. The perseverate efforts on-line to assert that the lyrics were written for Jean Ross are not fact-based.
This is based on careful re-reading of Maschwitz's book, "No Chip on My Shoulder" and after reading this blog post again.
This is based also on listening to the first recorded version of the song, by Leslie Hutchinson. Review of Parlophone records indicate the song was recorded in February, 1936. Review of numerous sources indicates that the Parlophone catalogue number was F 373, and the "F" reflects recorded in February. 1936.
Based on review of the original, complete, lyrics, "Hutch", as recounted by more than one source, and balked at singing the words "silk stockings thrown aside" in his, the first recorded version, in February 1936. He was fearful of censorship.
In fact, he substituted the words "two lovers on the street" for "silk stockings...." then followed by "dance invitations" in that February 1936 recording. Consistent with his censorship concerns.
Of great import are other clues. Maschwitz, in his book, indicates that he had originally written the song for a BBC radio revue, apparently only broadcast once, about early 1934. Not in a subsequent _stage_ revue, "Spread It Around". in 1936, as widely reported.
This is supported by Maschwitz's recollection that the song, with Jack Strachey musical score, was found by "Hutch", gathering literal dust, on top of the piano in Maschwitz's BBC offices, approximately two years after written. Consistent with an early 1934 writing.
The song did, in fact, gain almost immediate traction in the States after Hutchinson's February 1936 recording.
On June 15, 1936 it was recorded by Benny Goodman's Orchestra, vocal by Helen Ward, Victor Record 25351-"B", and soon rose high on the weekly US radio show, "Your Hit Parade". The song was, in view of communications at the time, an almost immediate hit.
Ms. Gee Salisbury's recounting of the first meeting of Wong and Maschwitz indicates it to be in spring 1931. Wong returned to LA, with a Paramount contract, not later than the beginning of June, 1931.
The song mentions daffodils blooming; they are an early spring flowers in New York. Mid-April, certainly. Again, consistent with whatever time they may have had together in 1931.
Wong and Maschwitz met again in person not later than fall, 1933. We know that because Wong was doing her cabaret tour of Europe at that time, and specifically the British Isles in October, 1933.
More specifically, she took time off to see a revue in Leeds. Maschwitz participated in the performance. She was an inveterate collector of show programs [see, the massive collection at the Billy Rose Library at Lincoln Center, New York].
She obtained autographs of many of the performers, which are written carefully, or scribbled in the margins.
After consulting with Michelle Yim of Red Dragonfly Productions in Great Britain, who has performed numerous recreations of Wong's cabaret performances, the location of Maschwitz's signature in the very center is indicative that he was first to sign the program.
Furthermore, he used his pseudonym, "Holt Marvell" for his autograph; it was an inside joke, showing familiarity. When the song was recorded, she would immediately know the lyricist. When almost all others would not.
Ms. Gee Salisbury also recounts how, in Maschwitz's book, he pairs his last farewell to Wong in California at a train station in conjunction with and proximity to the lyrics of the song.
Further careful review of his words about that departure may be warranted.
A second or third review of Ms. Gee Salisbury's words, my own research, and the research and insights of Michelle Yim leads me to agree there is no reasonable possibility that Maschwitz wrote the lyrics as an Ode to anyone but Wong.
It is further buttressed by my review of Wong's personal collection of musical scores at the Houghton Library at Harvard and the Wong Theater Collection at the Billy Rose.
I was assisted in review of the documentary evidence by Michelle Yim, who may or may not agree with all of my conclusions.
The conclusions of the Oxford "Dictionary" of Biography about Maschwitz's lyrics is, at best, fundamental error.
The perseverate rewriting of the story of the song in a major on-line encyclopedia indicates, to me, a rigid adherence to a narrative that careful review and consideration of newly presented facts shows to be untrue.
The song is not to "nobody in particular", it is not "for" Jean Ross [aka "Sally Bowles" of "Cabaret"]. Did Maschwitz tell others it was for them, not Anna May Wong? Certainly. Truth will out. He knew when he wrote his book that Wong would know it was a lyrical poem to her.
The predictions of a journalist in a San Francisco in 1921 would, with this song, become a fundament truth of her life.
She would learn the "mysteries of traveling by night". And in the lyrics, immortalized.
I am now convinced the song was written by Maschwitz as an Ode to Anna May Wong and to no-one else.
The time lines don't work to support anyone else. The words of Ms. Gee Salisbury, re-read, convince me.
The assertions by an Oxford "Dictionary" of Biographies that the lyric poem are insufficiently based in fact. The perseverate efforts on-line to assert that the lyrics were written for Jean Ross are not fact-based.
This is based on careful re-reading of Maschwitz's book, "No Chip on My Shoulder" and after reading this blog post again.
This is based also on listening to the first recorded version of the song, by Leslie Hutchinson. Review of Parlophone records indicate the song was recorded in February, 1936. Review of numerous sources indicates that the Parlophone catalogue number was F 373, and the "F" reflects recorded in February. 1936.
Based on review of the original, complete, lyrics, "Hutch", as recounted by more than one source, and balked at singing the words "silk stockings thrown aside" in his, the first recorded version, in February 1936. He was fearful of censorship.
In fact, he substituted the words "two lovers on the street" for "silk stockings...." then followed by "dance invitations" in that February 1936 recording. Consistent with his censorship concerns.
Of great import are other clues. Maschwitz, in his book, indicates that he had originally written the song for a BBC radio revue, apparently only broadcast once, about early 1934. Not in a subsequent _stage_ revue, "Spread It Around". in 1936, as widely reported.
This is supported by Maschwitz's recollection that the song, with Jack Strachey musical score, was found by "Hutch", gathering literal dust, on top of the piano in Maschwitz's BBC offices, approximately two years after written. Consistent with an early 1934 writing.
The song did, in fact, gain almost immediate traction in the States after Hutchinson's February 1936 recording.
On June 15, 1936 it was recorded by Benny Goodman's Orchestra, vocal by Helen Ward, Victor Record 25351-"B", and soon rose high on the weekly US radio show, "Your Hit Parade". The song was, in view of communications at the time, an almost immediate hit.
Ms. Gee Salisbury's recounting of the first meeting of Wong and Maschwitz indicates it to be in spring 1931. Wong returned to LA, with a Paramount contract, not later than the beginning of June, 1931.
The song mentions daffodils blooming; they are an early spring flowers in New York. Mid-April, certainly. Again, consistent with whatever time they may have had together in 1931.
Wong and Maschwitz met again in person not later than fall, 1933. We know that because Wong was doing her cabaret tour of Europe at that time, and specifically the British Isles in October, 1933.
More specifically, she took time off to see a revue in Leeds. Maschwitz participated in the performance. She was an inveterate collector of show programs [see, the massive collection at the Billy Rose Library at Lincoln Center, New York].
She obtained autographs of many of the performers, which are written carefully, or scribbled in the margins.
After consulting with Michelle Yim of Red Dragonfly Productions in Great Britain, who has performed numerous recreations of Wong's cabaret performances, the location of Maschwitz's signature in the very center is indicative that he was first to sign the program.
Furthermore, he used his pseudonym, "Holt Marvell" for his autograph; it was an inside joke, showing familiarity. When the song was recorded, she would immediately know the lyricist. When almost all others would not.
Ms. Gee Salisbury also recounts how, in Maschwitz's book, he pairs his last farewell to Wong in California at a train station in conjunction with and proximity to the lyrics of the song.
Further careful review of his words about that departure may be warranted.
A second or third review of Ms. Gee Salisbury's words, my own research, and the research and insights of Michelle Yim leads me to agree there is no reasonable possibility that Maschwitz wrote the lyrics as an Ode to anyone but Wong.
It is further buttressed by my review of Wong's personal collection of musical scores at the Houghton Library at Harvard and the Wong Theater Collection at the Billy Rose.
I was assisted in review of the documentary evidence by Michelle Yim, who may or may not agree with all of my conclusions.
The conclusions of the Oxford "Dictionary" of Biography about Maschwitz's lyrics is, at best, fundamental error.
The perseverate rewriting of the story of the song in a major on-line encyclopedia indicates, to me, a rigid adherence to a narrative that careful review and consideration of newly presented facts shows to be untrue.
The song is not to "nobody in particular", it is not "for" Jean Ross [aka "Sally Bowles" of "Cabaret"]. Did Maschwitz tell others it was for them, not Anna May Wong? Certainly. Truth will out. He knew when he wrote his book that Wong would know it was a lyrical poem to her.
The predictions of a journalist in a San Francisco in 1921 would, with this song, become a fundament truth of her life.
She would learn the "mysteries of traveling by night". And in the lyrics, immortalized.
I misspoke. Wong and Maschwitz met in 1932. Not 1931. Ms. Gee Salisbury knew that. My error.
Interesting article and enjoyed it. Thank you.