Note: this post includes some graphically sexual sketches drawn by Nelson Eddy so please be warned if you think you might be offended. The fourth photo shows sex with a woman with possibly the initials “JM” skillfully woven into the drawing!

Updated August 11, 2015:

In the candid mid 1940s photo above, Jeanette MacDonald and Nelson Eddy are on a radio show together, Nelson in particular “beaming like a headlight” (his mother’s words) at the manilla folder with a heart drawing pierced by Cupid’s arrow and their initials N – J written inside. Very teenager-ish and telling…but Nelson’s arm is around her waist (visible in a different shot from this same show) and his relaxed, big ol’ smile shows that he doesn’t care “if the whole world knows.” This is a very interesting and telling moment for a man who craved privacy in his personal life.

And yet, here is a quote from Nelson Eddy’s 1948 letter to his mother, excerpted in Sweethearts, describing how the apparently very proper and gentlemanly Nelson Eddy slipped away unnoticed from his hiding place backstage at the Hollywood Bowl where Jeanette had just sung to a sold-out crowd:

“That night I left a pink rose tucked in her bag to tell her I had gone. Of course I could not be at the reception but I could well afford to have her public have her for a little while – soon she would be with me to open the portals of her plentiful love to me alone. All mine!”

Well, folks, we seem to have survived the recent post discussing Nelson’s obsessive and possessive sexual issues regarding Jeanette and his occasional losing his temper. While there is no documentation of him ever acting out like that in the 1940s or later, the subject of demonstrating “portals” and “plentiful love” is certainly something Nelson himself illustrated – by doodling on his sheet music!

Below is a closeup of some drawings Nelson made on his sheet music for “Captain Stratton’s Fancy.” This is a “drinking and debauchery” song that Nelson sang occasionally on the radio.  As was his habit, Nelson re-wrote the original lyrics a bit, in his radio version of August 1944, for example, his version substituted lines about a girl fond of dancing…red lips…and a pretty lass’s eyes. (You can listen to the song at this link.)

Below is a closeup of exactly what Nelson drew on his sheet music (stored with his sheet music collection at Occidental College in Los Angeles).

Since he drew this with a pencil and it’s difficult to see, Angela Messino was kind enough to “translate”  the five numbered points Nelson illustrates above:

(No, we don’t know what the thing is below the girl, it has a particular suggestive shape…but we’re not going there…)

But look VERY closely at the girl again. I darkened the photo (thanks for thinking of this, Angela!) and as you can see from the photo above, it appears there is a backwards or sideways letter “J” on top of her head. And her open legs have been drawn over again – clearly making the letter “M”.

I don’t think there’s any question as to who “JM” is, do you?

And Angela has just noted that that the “M” could also be a second pair of legs atop her although there doesn’t seem to be anymore to the second body if that is the case.

In the photo above, Nelson has drawn a satisfied, happy girl with a halo above her head.  And here too Nelson may have a double meaning (if this indeed is supposed to be Jeanette) – not only her bliss but the fact that Nelson often referred to Jeanette as “My Angel Wife”.

And by the way…the word written underneath her is: “This!”

Above, where the drawing was done on the sheet music. In our excitement, the four of us who were at Occidental took several closeup shots but no full cover shot.

There are some questions remaining…some have suggested that the unidentified item next to the girl in photo #4 is a swaddled baby and the word “This!” is showing what will result when they have sex. And Angela posted an interesting take on it:

“I have a theory about the girl in the “hat” – drawing 2. To me, it looks like a closed flower or a bud. She is all closed up in her mind, the liquor loosens her inhibitions and she opens like a flower in drawing 3. Three is circled so that’s important and there is a faint line between 3 and 4. Everyone sees something a little different in 4 but we all agree is obviously sexual, the conclusion I came to is the girl opens her legs as a result of opening her mind and loosing her inhibitions. I don’t know what those circles are off to the side. I personally don’t feel he’d draw a baby here, it’s out of place and the rest of it is in a jokey/wry vein. I don’t think he’d joke about that. And if you really want to blow your mind, consider this – what if in drawing 4 the line represents not a halo and bed board or a reversed J but a threshold the woman passes (wink) which results in a halo/fully opened mind/bliss? That would be consistent with the having a thing over each person’s head. The circle in drawing 5 maybe the opened mind/threshold/happy guy = This! Maybe Nelson is illustrating how pleasing your woman will please yourself to some 1940s type guys who needed a lesson! Fifty ways to please your lover!”

Alisa emailed me to add this comment: “It dawned on me today that the answer to the riddle can be found in Nelson’s letters:

“Our spirits met first and the ancient wine kindles a fire that can never die. When once that wine is tasted the soul cannot exist without it…” And, regarding Jeanette’s loss of a baby, “Not for nothing has God suffered you to be in pain and taken from you the tiny rose bud of his heaven…”

Alisa continues: “I think it is his declaration of love and eternal bondage between them. Nelson at least once in another letter written to JAM referred to “potential’ baby as “rose bud.”

Even with some of these questions unanswered, one thing is clear. Nelson’s drawings demonstrate yet again what we already knew, that this man was no “Singing Capon.” Quite the opposite, in fact!

Thanks to Angela Messino for elaborating on Nelson’s “Step by Step Guide,” Maria Escano for the photo of Nelson and Jeanette together, Katie Gardner for the closeup shot of Nelson’s drawings, Alisa for her comments and Lorraine Dmitrovic for identifying Jeanette’s initials! The book excerpt is from Sweethearts (© 1994, 2001, 2014 by Sharon Rich) with ordering details at the link above.

The photo above shows Nelson Eddy live on the radio with his “Electric Hour” script girl, Norma Nelson. But this radio show is NOT “The Electric Hour”, it’s Art Linkletter’s “House Party.” This was the venue chosen to introduce Norma as a singer and Nelson endorsed and introduced her as his protege. Smart move because had her debut been on Nelson’s radio show, the already rampart rumors about them might have escalated even further…angering both Jeanette and Ann Eddy for sure.

We met Norma Nelson (married name McDaniel) in the late 1970s. She had a difficult life, living alone with her young son who had Down Syndrome. I never met her older daughters. Her son was a very sweet and affectionate childlike young man but Norma had very little social life. She appreciated that we were relaxed around her son and so we became friends. Norma spoke candidly about Nelson, even to telling us that she’d asked Nelson to be his godfather at birth but that Nelson had declined.

Norma agreed to speak at an early club meeting and came to several others and enjoyed being important again with Nelson’s fans. She gave us a copy of her radio appearance on “House Party” so that we could put that out on LP. And we still have it on this on our CD JN128A at this link.

Norma also wrote an article for Journal #4 of Mac/Eddy Today, see below. (The original magazine is re-published here.)

Norma also had a great idea to put together a Mac/Eddy cookbook with theme foods from their films. It WAS a great idea, she had fun putting Volume 1 together and we were able to give her money from the proceeds of which she was most appreciative.  See the photos below.

Norma was a very sweet lady but I fear that once I let her know that I would use her original interview with us in Sweethearts – she did give us permission after all and was glad to talk about it at early LA club meetings – suddenly she realized that it would be her admitting that she “messed around” a bit with Nelson who was after all, a married man! (No, they didn’t have sex, we asked point blank about that.) She had never minded people knowing this before and also admitted with no reservation some details of Nelson’s life that his voice teacher Eduoard Lippe told her!

The facts are that Nelson arranged for her to study with Lippe and at some point, Nelson showed up at Lippe’s for her voice lessons..and here I quote exactly what I wrote in Sweethearts which was basically transcribed from what Norma told me and Diane Goodrich:

Before the lesson, Lippe left them alone to ‘talk.’ Norma admitted that they kissed and there was some ‘petting’ but it didn’t progress beyond that. Lippe told her that Nelson and Jeanette were lovers but when she asked Nelson about it, he denied it saying they were just friends. Lippe also told Norma that Nelson’s marriage was a mess and that he should have married someone like Norma.

Norma had a front row seat in the audience for each broadcast and soon the trades were commenting on the “romance.” Later on, their relationship waned. Nelson became furious when Lippe tried to tell Norma she was a mezzo and he found another teacher for her, Major Herbert Wall, with whom Nelson had just begun his training.

I moved to New York in the mid ’80s so I don’t know what happened to Norma in later years except that she also moved out of state at some point to live with her family. We were out of touch except for letters here and there. It would appear that she had second thoughts about going on record as I never heard from her again after I wrote her letting her know Sweethearts was coming out in 1994.

It seems she wrote a letter to Gene Raymond dated August 24, 1994 in which she basically grovels and apologizes to him for having ever spoken to me or having anything to do with our group.  This was literally about a month or so before Sweethearts hit bookstores. Damage control, anyone?

Lest anyone be annoyed at her trying to publicly backpedal on what she’d said before, please note that there were several sources who freaked out once they were questioned or attacked for their statements. Some were vaguely threatened with lawsuits from the Jeanette fan club. It took a lot of courage to speak the truth! Norma’s original article that she wrote for us was in 1978…it was published in 1978…that’s 1978, folks!…Twelve years before I ever laid eyes on any 1940s correspondence of Isabel Eddy’s where she describes her son “beaming like a headlight” when Jeanette was with him. Twelve years before I saw written documentation also from the 1940s by Lucille Mereto covering all of Nelson’s radio shows and noting the drastic difference in Nelson’s demeanor when Jeanette was his guest.

And yes, Norma’s information and observations ring true. Readers today can appreciate that Norma Nelson was cautiously honest when she wrote about Jeanette’s appearances on “The Electric Hour”:

“She was gorgeous. When she walked into a room, heads turned. Nelson was very proud of her, proud to be associated with her. He positively beamed. His solicitousness with her was a pleasure to behold. He’d hold her script, hold her hand, and see to her every comfort. This treatment was never enjoyed by any of his other guest stars that I noticed.”

PS: Norma told us that she believed what Lippe told her, that Nelson and Jeanette were lovers. When Nelson denied it, Norma assumed – hoped – that maybe there was a chance for her to be in his life. Who can blame her? But she learned (also from Lippe) that Nelson had a wife he couldn’t get rid of.  Norma was finally realistic enough to understand there was no future on a personal front with Nelson. She moved on with her life.

We are grateful to Norma for the information she freely shared. Every piece of information has helped to put together the bigger picture of how the Jeanette-and-Nelson story played out.