William Jerome

William Jerome – Life, Career, and Notable Songs

Explore the life and work of William Jerome (1865–1932), the American Tin Pan Alley lyricist behind hits like Chinatown, My Chinatown, Bedelia, and Get Out and Get Under the Moon.

Introduction

William Jerome (born William Jerome Flannery; September 30, 1865 – June 25, 1932) is remembered not as a performer so much as a prolific lyricist during the golden era of Tin Pan Alley and early American popular song. Though less visible today than some contemporaries, Jerome collaborated on many songs that became standards of their time and influenced later generations of composers and lyricists. His partnership with composer Jean Schwartz, in particular, yielded enduring hits and helped define the soundscape of early 20th-century American popular music.

This article traces Jerome’s life, his songwriting career, key works, and his legacy.

Early Life and Background

William Jerome Flannery was born in Cornwall-on-Hudson, New York on September 30, 1865, to Irish immigrant parents Mary Donnellan and Patrick Flannery.

From a young age, Jerome was drawn to performance and the theatrical milieu. By age 17, he was already singing and dancing in vaudeville, touring in minstrel shows, and even performing in blackface (a regrettable yet historically common practice of that era).

He also worked at venues like Tony Pastor’s as a parody singer in the late 1880s. Early on, he honed both lyric writing and performance skills, bridging the divide between songwriter and stage artist.

Sometime in the early 1890s, he married Maude Nugent, herself a singer and composer (famous for Sweet Rosie O’Grady). They had at least one daughter, Florence (born 1896).

Career and Songwriting Achievements

Jerome’s most fruitful period came in the first decade of the 1900s, especially in partnership with Jean Schwartz. Their collaboration shaped a number of popular songs and musical shows, many of which were interpolated into Broadway and touring productions.

Partnership with Jean Schwartz

Jerome’s first collaboration with Schwartz occurred in 1901 on a “coon song” titled When Mr. Shakespeare Comes to Town.

Some of their notable songs include:

• Mr. Dooley — interpolated into A Chinese Honeymoon (1902) and later into The Wizard of Oz. It reportedly sold over a million copies.

• Bedelia (1903) — a hugely popular number, recorded by multiple artists.

• My Irish Molly-O (1905)

• Handle Me With Care (1907)

• Meet Me in Rose Time, Rosie (1908)

• Chinatown, My Chinatown (1906) — though initially not a huge success, over time it became one of their most enduring standards and a jazz staple.

In 1911, Jerome and Schwartz formed their own sheet-music publishing company. While Schwartz composed many of the musicals’ scores, Jerome contributed lyrics for many.

Over time, their collaboration waned and both explored other partnerships.

Later Collaborations & Solo Work

After the split with Schwartz, Jerome worked with other prominent musicians and lyricists. Some of his later works include:

• That Old Irish Mother of Mine (1920) with Harry Von Tilzer, dedicated to his mother.

• Old King Tut (1923), in collaboration with Von Tilzer.

• Get Out and Get Under the Moon (1928) with Charles Tobias and Larry Shay.

He also contributed lyrics to other works: e.g. Row, Row, Row (music by James V. Monaco) for the Ziegfeld Follies in 1912.

Jerome also sold the rights to Over There (written for George M. Cohan) to Leo Feist in what was then a record sum (~$25,000) for a song.

Additionally, he got involved in the early film/motion picture industry via Mack Sennett’s Keystone Film Company.

He was also an early board member (1914–1925) of ASCAP (American Society of Authors, Composers and Publishers).

Historical Context & Influence

Jerome’s career unfolded during a transformative period for American popular music. The Tin Pan Alley era (late 19th century through early 20th) emphasized sheet music sales, live performances, interpolation into theatrical productions, and early phonograph recordings. Jerome’s songs were part of this fabric.

Some contextual points:

• The nature of popular song at that time often involved interpolation — adding new songs into existing musicals or revues to boost their appeal. Many of Jerome & Schwartz’s songs followed this model.

• Jazz and ragtime were rising in popularity; Chinatown, My Chinatown in particular became a jazz standard over time.

• The sheet-music publishing business was highly competitive; forming their own publishing company allowed Jerome & Schwartz more control and profit share.

• Recording technology was in its infancy: many of Jerome’s works were among early commercial recordings. The Discography of American Historical Recordings shows entries of his lyrics from 1895 onward.

Jerome contributed to the bridge between the 19th-century parlor-song tradition and the evolving popular music forms of the 20th century.

Personality, Style & Artistic Traits

Though less is documented about Jerome’s personal reflections, certain traits emerge from his career:

• Versatility: He wrote both sentimental and humorous lyrics; he tackled Irish-themed songs, novelty numbers, romantic ballads, and more.

• Collaborative spirit: He worked with many composers and lyricists, adapting his style to different partners.

• Commercial acumen: He understood the business side — publishing, interpolation, and rights — which helped sustain his career.

• Performance roots: Having begun in vaudeville and performance himself, Jerome’s lyric writing was grounded in what works in live show and theatrical context.

• Adaptability: Over decades, he evolved from minstrel/vaudeville roots to Tin Pan Alley pop, to jazz-standard territory.

Notable Songs & Legacy

Some of Jerome’s most enduring songs (many still covered, recorded, or referenced) include:

• Chinatown, My Chinatown (with Jean Schwartz)

• Bedelia

• Mr. Dooley

• Get Out and Get Under the Moon

• And the Green Grass Grew All Around

• That Old Irish Mother of Mine

• Old King Tut

• Row, Row, Row (in the popular song sense)

While Jerome is not a household name today, his work, especially via Chinatown, My Chinatown, entered into the repertoire of jazz and popular music and influenced the standards of early popular American songwriting.

His role with ASCAP and his business moves show that he had influence not only artistically but structurally in the music publishing world.

Death

In the spring of 1932, Jerome was struck by a car. He died on June 25, 1932, in Newburgh, New York.