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"Mon Homme" (French pronunciation: [mɔ̃n‿ɔm]), also known by its English translation, "My Man", is a popular song first published in 1920. The song was originally composed by Maurice Yvain with French lyrics by Jacques-Charles (Jacques Mardochée Charles) and Albert Willemetz. The English lyrics were written by Channing Pollock.[1]

History

[edit]

"Mon Homme" was copyrighted in France by Maurice Yvain, Albert Willemetz and Jacques-Charles (Jacques Mardochée Charles) in 1920 and was introduced to Parisian audiences in the revue Paris qui Jazz at the Casino de Paris.[2] The song was performed by revue star Mistinguett and her stage partner American dancer Harry Pilcer.

Although the song originated in France –where it was a hit for Mistinguett– it was popularized in the English-speaking world in the 1920s with the 1921 recording by Ziegfeld Follies singer Fanny Brice.[2] The song was a hit, and the record eventually earned a Grammy Hall of Fame Award for Brice in 1999. Brice also sang the song during one of the sound sequences of the part-talkie film My Man (1928).

Alice Faye sang it in the musical film Rose of Washington Square (1939), a thinly veiled biography of Fanny Brice.[3][a]

The ballad version recorded by Brice was modified by Billie Holiday, who introduced a jazz/blues recording of "My Man" in 1937. Holiday's version was also successful,[4] although the song continued to be associated with Brice. Over the years, other artists from both the United States and abroad covered the song, though none of the artists achieved as much success as Brice and Holiday. Holiday's version of the song was added to the Grammy Hall of Fame in 2018.[5]

Notable cover versions

[edit]
1921 instrumental cover by Jack Hylton's Jazz Band

Notes

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mon Homme

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"Mon Homme" (English: "My Man") is a French popular song composed in 1920 by Maurice Yvain with lyrics by Albert Willemetz and . Originally titled as a for , it was first recorded and performed by the iconic Parisian star that same year, quickly becoming her signature song. The lyrics express a woman's unwavering devotion to her flawed lover, blending themes of love, loyalty, and hardship in a style that captured the era's spirit. The song premiered in the revue Paris qui jazz at the Casino de Paris on October 6, 1920, where 's charismatic delivery helped establish it as a hit in French music halls. , born Jeanne Bourgeois and known for her extravagant performances and long legs insured for a record sum, embodied the song's playful yet poignant tone, performing it with dramatic flair that included gestures like . Its immediate success reflected the post-World War I cultural shift toward lighthearted escapism in French entertainment, solidifying 's status as a leading figure in the city's vibrant nightlife. In 1921, an English adaptation with lyrics by Channing Pollock was introduced in the United States during the Ziegfeld Follies of 1921 at the , where comedian and singer delivered a heartfelt, Yiddish-inflected rendition that transformed it into an American standard. Brice, born Fania Borach to Jewish immigrant parents on New York's , infused the song with emotional depth drawn from her own experiences of personal turmoil, making "My Man" one of her defining performances. Her 1921 recording, preserved in the of the , exemplifies early 20th-century vaudeville's blend of humor and pathos, influencing the trajectory of . Over the decades, "Mon Homme" and "My Man" have been covered extensively, evolving into a and pop staple that highlights themes of complex relationships, including elements of domestic tension. Notable interpretations include Billie Holiday's 1937 ballad version, which added a layer of bluesy melancholy, and Barbra Streisand's portrayal of Brice in the 1968 film Funny Girl, where the song underscored the biopic's narrative of resilience and stardom. The enduring appeal of the piece lies in its adaptability across genres and its reflection of women's voices in music, from Mistinguett's revue exuberance to Brice's intimate vulnerability, cementing its place in both French chanson and American musical theater history.

Origins and Composition

Creation and Debut

"Mon Homme" was composed by Maurice Yvain with French lyrics written by Albert Willemetz and Jacques-Charles (real name Jacques Mardochée Charles). The song was copyrighted in in 1920 by its creators. It premiered on October 6, 1920, in the Paris qui Jazz at the Casino de , where it was performed as a by the star (born Jeanne Bourgeois) and her stage partner, American dancer Harry Pilcer. This debut occurred amid the exuberant post-World War I Parisian cabaret scene, which embraced American jazz influences to infuse nightlife with rhythmic vitality and escapism from wartime scars. Mistinguett's charismatic delivery established "Mon Homme" as her signature piece, propelling it to immediate success across French music halls and cementing its place in the era's tradition.

Musical Structure and Lyrics

"Mon Homme," composed by Maurice Yvain with lyrics by Albert Willemetz and Jacques-Charles, follows a strophic verse-chorus form common to early 20th-century popular songs, featuring repeating verses that build emotional intensity leading into a . The piece is written in 4/4 time, evoking a rhythm that lends a rhythmic, danceable quality while maintaining a melancholic tone suitable for settings. The vocal line accommodates a or range, spanning approximately B3 to C5, with piano accompaniment or small orchestral support that incorporates influences such as subtle tango-like phrasing for added sensuality. Chord progressions are straightforward, relying on I-IV-V patterns in a major key (often in arrangements) interspersed with minor chords to heighten the of the narrative.) The center on themes of obsessive, unconditional devotion to a flawed lover, portraying a woman's inescapable attachment despite and hardship, blending wry humor, emotional , and sensual undertones. This perspective, sometimes interpreted as that of a performer enduring a turbulent romance, underscores the song's exploration of love's irrational power and the suffering it entails. The emphasizes the protagonist's total surrender—"Je l'ai tellement dans la peau" (I have him so under my skin)—capturing the blend of ecstasy and torment. Below is the full original French lyrics:
Sur cette terre, ma seule joie, mon seul bonheur
C'est mon homme.
J'ai donné tout ce que j'ai, mon amour et tout mon cœur
À mon homme
Et même la nuit,
Quand je rêve, c'est de lui,
De mon homme.
Ce n'est pas qu'il est beau, qu'il est riche ni costaud
Mais je l'aime, c'est idiot,
Il me fout des coups
Il me prend mes sous,
Je suis à bout
Mais malgré tout
Que voulez-vous
Je l'ai tellement dans la peau
Que j'en deviens marteau,
Dès qu'il s'approche c'est fini
Je suis à lui
Quand ses yeux sur moi se posent
Ça me rend toute chose
Je l'ai tellement dans la peau
Qu'au moindre mot
Je me ferais faire n'importe quoi
Je tuerais, ma foi
Je sens qu'il me rendrait infâme
Mais je ne suis qu'une femme
Et, je l'ai tellement dans la peau... Pour le quitter c'est fou ce que m'ont offert
D'autres hommes.
Entre nous, voyez-vous ils ne valent pas très cher
Tous les hommes
La femme à vrai dire
N'est faite que pour souffrir
Par les hommes.
Dans les bals, j'ai couru, afin de l'oublier j'ai bu
Rien à faire, j'ai pas pu
Quand il me dit : "Viens"
Je suis comme un chien
Y a pas moyen
C'est comme un lien
Qui me retient.
Je l'ai tellement dans la peau
Que j'en suis dingo.
Que celle qui n'a pas aussi
Connu ceci
Ose venir la première
Me jeter la pierre.
En avoir un dans la peau
C'est le pire des maux
Mais c'est connaître l'amour
Sous son vrai jour
Et je dis qu'il faut qu'on pardonne
Quand une femme se donne
À l'homme qu'elle a dans la peau...
For reference, a full English translation follows, preserving the structure and tone:
On this earth, my only joy, my only happiness
Is my man.
I've given everything I have, my love and all my heart
To my man.
And even at night,
When I dream, it's of him,
Of my man.
It's not that he's handsome, that he's rich or strong
But I love him, it's stupid,
He hits me
He takes my money,
I'm at the end
But despite everything
What do you want
I have him so under my skin
That I go crazy,
As soon as he approaches it's over
I am his
When his eyes rest on me
It makes me all weak
I have him so under my skin
That at the slightest word
I'd do anything
I'd kill, my faith
I feel he would make me infamous
But I'm just a woman
And I have him so under my skin... To leave him, it's crazy what they've offered me
Other men.
Between us, you see, they aren't worth much
All the men
Woman, to tell the truth
Is made only to suffer
From men.
In the dances, I ran, to forget him I drank
Nothing doing, I couldn't
When he says to me: "Come"
I'm like a dog
No way
It's like a bond
That holds me.
I have him so under my skin
That I'm nuts.
Let she who hasn't also
Known this
Dare to be the first
To throw the stone at me.
To have one under your skin
Is the worst of ills
But it's to know love
In its true light
And I say we must forgive
When a woman gives herself
To the man she has under her skin...

English Adaptation

Translation Process

The English adaptation of "Mon Homme," titled "My Man," was crafted by Channing Pollock, a prominent Broadway and who contributed to revues like the . Commissioned specifically for American audiences in 1921, Pollock's version was intended for the of 1921, where it would align with the show's format. Drawing from the original French lyrics by Albert Willemetz and , Pollock reworked the text to sync seamlessly with Maurice Yvain's existing melody, making no significant musical alterations while ensuring the phrasing fit English rhythmic and idiomatic patterns. Pollock's emphasized and natural flow, transforming the French's gritty, streetwise tone into a poignant declaration suited for Broadway intimacy. For instance, lines like "It's cost me a lot / But there's one thing that I've got / It's my " capture the possessive devotion central to the theme. This retained the core of unwavering despite hardship but appealed to a broader audience, amplifying the raw intensity of the woman's attachment. The English version was published in 1921 by Leo Feist Inc. in New York, securing copyright for the adapted lyrics while crediting the original French creators. This publication marked the song's formal entry into American popular music, facilitating its integration into and early recordings without disrupting Yvain's compositional structure.

Initial American Performances

Florenz Ziegfeld acquired the rights to the French chanson "Mon Homme" during a trip to Paris and commissioned English lyrics for inclusion in his revue. The song debuted in the United States as "My Man" during tryouts for the Ziegfeld Follies of 1921, first performed by Fanny Brice on June 14, 1921, in Atlantic City, before its Broadway premiere on June 21, 1921, at the Globe Theatre in New York City. Brice, already an established Follies star, introduced the number in a staging that showcased the revue's signature extravagance, with no major alterations to the original French musical structure. Brice's portrayal emphasized a blend of heartfelt emotion and subtle comedic delivery, as Ziegfeld directed her to perform it seriously despite her initial intent for a humorous interpretation. This rendition transformed "My Man" into Brice's signature song, captivating audiences with its poignant storytelling of devotion and hardship. The English adaptation by Channing Pollock facilitated this seamless integration into American and Broadway contexts. Early recordings followed the stage debut, including an instrumental version by Jack Hylton's in July 1921, which captured the melody's jazzy potential for dance bands. Brice's live performances drove a surge in sales, as the song's popularity spread rapidly through theaters and print media. The reception was immediate and enthusiastic, establishing "My Man" as an instant hit that exemplified the influx of European immigrant influences into American theater, with Ziegfeld's German heritage and Brice's Jewish background contributing to the revue's cosmopolitan appeal. The production ran for 119 performances, solidifying the song's place in early Broadway.

Notable Versions

Original and Early French Recordings

Mistinguett first recorded "Mon Homme" in October 1920 for the label on disque Pathé S 4480, marking the song's debut as a commercial release. This acoustic-era recording featured a modest orchestral accompaniment and showcased 's theatrical delivery, emphasizing the intimate atmosphere through her expressive phrasing and dramatic pauses. The performance helped establish "Mon Homme" within the chanson réaliste genre, characterized by raw emotional narratives of love and hardship drawn from everyday life. Nearly two decades later, re-recorded the song on April 4, 1938, for Columbia (DF 2390), accompanied by the Orchestre Marcel Pagnoul under conductor Marcel Pagnoul. This version benefited from electrical recording technology, allowing for richer orchestral textures and fuller sound capture compared to the 1920 original, while retaining her signature interpretive flair with elongated vowels and emphatic gestures that evoked hall's vibrant energy. The re-recording reflected 's enduring association with the piece, which she had performed extensively in Parisian revues throughout the . Due to the limitations of early 20th-century recording technology, such as acoustic horns and short playing times, commercial releases of "Mon Homme" remained scarce in the 1920s and 1930s, with the song's popularity sustained largely through live and performances across . These venues, including the Casino de Paris and , amplified the track's reach, where artists like delivered it with personal intensity, fostering its status as a staple of French popular song before wider disc dissemination.

Mid-Century Jazz and Pop Interpretations

In the 1930s and 1940s, jazz vocalists began reinterpreting "Mon Homme" (known in English as "My Man") by incorporating swing rhythms and elements, moving away from its original format toward more expressive, ensemble-driven arrangements. Billie Holiday's seminal 1937 recording, accompanied by the Orchestra and released on the Brunswick label, exemplified this transition with its buoyant swing backing and Holiday's nuanced phrasing that conveyed quiet resignation and emotional nuance. This track, captured on November 1, 1937, in New York, was later honored with induction into the in 2018 for its historical and artistic significance. Building on Fanny Brice's earlier 1921 influence as a staple, Holiday's version helped establish the song as a . Holiday returned to the tune in 1952 for a Clef Records session, producing a slower, more introspective rendition that amplified the inflection through her weathered and subtle vocal bends, reflecting her personal hardships and adding layers of raw vulnerability to the ' themes of devotion and despair. This take, recorded on July 27, 1952, contrasted the earlier swing energy with a chamber-like intimacy, prioritizing emotional over danceable tempos. The and saw further diversification in pop-jazz styles, with artists extending instrumental solos and improvisational flourishes to deepen the song's interpretive range. Ella Fitzgerald's 1941 Decca recording with her Famous Orchestra, cut on March 31, 1941, in New York and released as Decca 4291, infused lively scat-like embellishments and upbeat swing propulsion, transforming the into an energetic showcase for big-band dynamics. By the late , Peggy Lee's 1959 Capitol version from the album I Like Men!, arranged with subtle orchestral swells, adopted a cool, seductive pop-jazz veneer that highlighted ironic detachment in the narrative of . Sarah Vaughan's 1967 Mercury recording, featured on the album It's a Man's World and produced with arranger Hal Mooney, pushed boundaries with advanced and harmonic explorations, incorporating bebop-inspired improvisations that elevated the song's emotional complexity through vocal agility and slower, deliberate pacing. These mid-century renditions collectively shifted "Mon Homme" from intimate confession to a versatile vehicle, enriched by extended solos and varied tempos that underscored its enduring thematic depth. performed a notable live version of "My Man" in 1991 during her tour, bringing a soulful, interpretation to the standard.

Later Covers and Revivals

recorded an English-language version of "My Man" in 1965 for her album , where it served as a showcase for her emerging dramatic vocal style, emphasizing emotional depth and powerful delivery. This recording preceded her portrayal of in the 1964 Broadway production of Funny Girl, for which the song became a signature number, and was later reprised in the 1968 film adaptation, further cementing its association with Streisand's belting interpretation. In 1970, Diana Ross, then transitioning from the Supremes, performed "My Man" live during the group's final concert at the Frontier Hotel in Las Vegas, captured on the Motown album Farewell. The rendition reflected Ross's soulful phrasing, influenced by jazz precedents like Billie Holiday's earlier takes on the standard. Eydie Gormé offered a revival-style interpretation in 1958 on her album Eydie Gormé Vamps the Roaring 20's, infusing the tune with a nostalgic, cabaret-inflected energy that echoed its vaudeville roots. Dee Dee Bridgewater recorded "Mon Homme (My Man)" in 2005 for her album J'ai Deux Amours, blending elements with French influences in a style that highlighted her versatile scat and improvisational approach during her post-1980s return to jazz. Italian singer included "Mon Homme" on a 1961 single, performing the original French version with a dramatic, theatrical flair suited to her multilingual repertoire in the 1960s. The song experienced renewed theatrical prominence in the 2022 Broadway revival of Funny Girl at the August Wilson Theatre, where it was integrated into the score as a climactic moment for the lead performer, notably during Lea Michele's tenure, culminating in an encore performance at the production's closing on September 3, 2023. Contemporary jazz vocalist Stella Heath has covered "My Man/Mon Homme" in live settings, such as her 2024 performance with the Stella Heath Sextet at SFJAZZ, paying homage to its jazz heritage through intimate, standards-focused arrangements.

Cultural Impact

In Film and Theater

The song "Mon Homme," known in English as "My Man," first appeared on screen in the part-talkie sound film My Man, a production starring in the lead role. Brice, who had popularized the English adaptation in the of 1921, performed the song as a central element of the plot, portraying a vaudeville performer navigating romance and career ambitions. The film, directed by , highlighted Brice's comedic and vocal talents, cementing the song's association with her persona. In 1939, the musical drama Rose of Washington Square featured singing "My Man" in a storyline loosely inspired by Brice's life and her tumultuous marriage to gambler . Directed by for 20th Century Fox, the film depicted Faye as Rose Sargent, a rising star entangled with a , mirroring Brice's real experiences despite changed names and details. filed a in 1940 against the studio for of privacy and libel, alleging the unauthorized biographical elements; the case was settled out of court. The song gained renewed prominence in the 1964 Broadway musical Funny Girl, a biographical portrayal of Brice's life starring Barbra Streisand, though it was not part of the original score by Jule Styne and Bob Merrill. Streisand performed "My Man" as an encore during her final Broadway curtain call on December 26, 1965, echoing Brice's signature style. The 1968 film adaptation, directed by William Wyler, interpolated the song into the finale, with Streisand reprising her 1965 album recording for emotional impact. A 1975 CBS television special, : Funny Girl to Funny Lady, showcased Streisand performing "My Man" live, drawing on influences from French chanteuse Édith Piaf's raw emotional delivery of the original "Mon Homme." The special bridged the Funny Girl and films, emphasizing the song's ties to Brice's legacy while incorporating Piaf-like intensity in Streisand's interpretation. The 2022 Broadway revival of Funny Girl at the August Wilson Theatre, directed by Michael Mayer with a revised book by , concluded select performances with "My Man" as an encore, notably by during the final show on September 3, 2023. This tradition paid homage to Streisand's earlier renditions, reinforcing the song's role in Brice's dramatized biography. The song has appeared briefly in documentaries focused on Brice and Piaf, such as the 2004 PBS special Broadway: The American Musical episode "Give My Regards to Broadway," which includes restored footage of Brice performing "My Man" from her Ziegfeld era. Similar archival clips feature in Piaf biographies like the 2007 film La Môme, underscoring the song's cross-cultural significance without major unrelated cinematic integrations.

Legacy and Influence

"Mon Homme" exerted significant influence on the development of the and genres, bridging French traditions with American standards through its adaptation and widespread performance in the early . Originally popularized by in Parisian revues, the song's themes of obsessive devotion established key tropes of unrequited or all-consuming love that resonated across genres, inspiring later torch ballads by artists like Edith Piaf. This cross-cultural adaptation, facilitated by Fanny Brice's English version "My Man" in the 1921 , helped integrate European sensibilities into the American songbook, influencing mid-century interpretations. The song's recordings have received prestigious recognition for their enduring artistic value. Fanny Brice's 1921 version was posthumously inducted into the in 1999, honoring its role as a cornerstone of history. Similarly, Billie Holiday's 1937 rendition earned induction in 2018, underscoring the track's evolution into a that captured raw emotional depth. Culturally, "Mon Homme" symbolizes the flapper era's bold expressions of femininity and independence, embodied in Brice's vaudeville-style delivery that highlighted women's multifaceted roles in entertainment amid shifting social norms. Its narrative of female devotion has sustained relevance in interpretations, particularly through the tradition's exploration of marginalized emotional experiences in revivals. In modern contexts, the song maintains relevance through numerous covers—over 150 documented versions worldwide—and occasional sampling or reinterpretation in 21st-century , such as Liz Ogumbo's 2019 rendition framing it as a and a 2025 Motown-style cover. While it has not achieved recent chart dominance, its themes continue to inform feminist discussions on dynamics and romantic dependency in .

References

  1. https://www.songfacts.com/facts/fanny-brice/my-man
  2. https://www.spanishpoplyrics.wordpress.com/2020/06/16/mon-homme-by-mistinguett/
  3. https://www.connexionfrance.com/news/a-brief-history-of-the-original-mistinguett/400654
  4. https://www.nytimes.com/1998/10/18/theater/music-sighing-a-french-sound-endures.html
  5. https://www.loc.gov/static/programs/national-recording-preservation-board/documents/MyMan_SecondHandRose.pdf
  6. https://talkinghumanities.blogs.sas.ac.uk/2020/11/13/domestic-abuse-in-popular-music-from-ma-rainey-to-rhianna/
  7. https://www.vancouversignaturesounds.com/hits/my-man-by-peggy-lee/
  8. https://www.cambridge.org/core/journals/journal-of-the-society-for-american-music/article/id-rather-sound-blue-listening-to-agency-hybridity-and-intersectionality-in-the-vocal-recordings-of-fanny-brice-and-barbra-streisand/9D4F86EB44E01490FBCAAB52F4A8CE81
  9. https://secondhandsongs.com/work/121444
  10. https://doncharisma.org/2020/03/31/mon-homme-my-man-mistinguett-1938/
  11. https://myprivateparis.com/history-of-the-jazz-music-in-paris/
  12. https://bonjourparis.com/archives/paris-jazz-age-new-generation-1920s/
  13. https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0070721
  14. https://levysheetmusic.mse.jhu.edu/collection/156/099
  15. https://www.frmusique.ru/texts/m/mistinguett/monhomme.htm
  16. https://lyricstranslate.com/en/mon-homme-my-man.html-2
  17. https://digitalcollections.nypl.org/items/510d47e3-f0a9-a3d9-e040-e00a18064a99
  18. https://americanhistory.si.edu/collections/object/nmah_739095
  19. https://www.pbs.org/wnet/broadway/stars/fanny-brice/
  20. https://www.ibdb.com/broadway-production/ziegfeld-follies-of-1921-12593
  21. https://www.jackhylton.com/discography
  22. https://musicbrainz.org/work/e9cef1a1-73fa-37d1-983d-622dbba5e04c
  23. https://www.youtube.com/watch?v=BP55EBbV1CM
  24. https://www.radiofrance.fr/franceculture/podcasts/entendez-vous-l-eco/chanson-realiste-et-entre-deux-guerres-8072117
  25. https://adp.library.ucsb.edu/index.php/date/browse?date=1938-04-04&Matrix_sort=MasterSize.desc
  26. https://www.youtube.com/watch?v=BFvYjlgqh4Q
  27. https://ia600409.us.archive.org/29/items/mat-bib_201710/Capturing-sound-how-technology-has-changed-music.pdf
  28. https://www.youtube.com/watch?v=ASZlcUoYuyg
  29. https://secondhandsongs.com/performance/521841
  30. https://www.songfacts.com/facts/barbra-streisand/my-man
  31. https://www.discogs.com/release/12010242-Milva-Le-Cinque-Della-Sera-Mon-Homme
  32. https://www.nytimes.com/2023/09/03/theater/lea-michele-funny-girl.html
  33. https://www.sfjazz.org/tickets/productions/25-26/stella-heath-sextet/
  34. https://www.nytimes.com/1928/12/21/archives/screen-notes.html
  35. https://www.imdb.com/title/tt0031877/
  36. https://archive.org/download/variety134-1939-06/variety134-1939-06.pdf
  37. https://www.playbill.com/article/the-screening-room-march-the-band-out-funny-girl-turns-52-video-com-216491
  38. https://forum.broadwayworld.com/thread/My-ManWritten-for-Funny-Girl-Film
  39. https://www.barbra-archives.info/funny-girl-to-funny-lady-1975-tv-special
  40. https://www.broadwayworld.com/article/Watch-as-Lea-Michele-Surprises-Final-FUNNY-GIRL-Audience-with-My-Man-Encore-20230903
  41. https://www.imdb.com/title/tt1060973/
  42. https://dokumen.pub/paris-blues-african-american-music-and-french-popular-culture-1920-1960-9780226138954.html
  43. https://www.pbs.org/wnet/broadway/positions/performers/page/2/
  44. https://www.grammy.com/awards/hall-of-fame-award
  45. https://altrockchick.com/2025/07/02/hits-and-misses-from-the-1920s-part-1-1920-1924-classic-music-review/
  46. https://www.stagingdecadence.com/blog/the-mythical-decadence-of-weimar-cabaret
  47. https://www.youtube.com/watch?v=FpVL2NXvhJc
  48. https://www.youtube.com/watch?v=tstBlnaJr8E
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