Jimbo's Bop City - Revision history

Ccarlsson at 06:32, 22 October 2021

2021-10-22T06:32:25Z

← Older revision		Revision as of 23:32, 21 October 2021
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	Opened up to the public from 2:00 to 6:00 AM, musicians were admitted free, but everyone else had to pay $1. Jimbo continues: "So then I got me a neon sign and put it out there and everybody started coming. In the meantime, me and Billy Eckstine was friends. And I got him to come and hang out in my little joint. And after Billy Eckstine made it, then here come Miles [Davis]. Here come Diz (Dizzy Gillespie], And here come Charlie Parker."'		Opened up to the public from 2:00 to 6:00 AM, musicians were admitted free, but everyone else had to pay $1. Jimbo continues: "So then I got me a neon sign and put it out there and everybody started coming. In the meantime, me and Billy Eckstine was friends. And I got him to come and hang out in my little joint. And after Billy Eckstine made it, then here come Miles [Davis]. Here come Diz (Dizzy Gillespie], And here come Charlie Parker."'

			[[Image:Jimbos-Bop-City-on-Post-Street-c-1959 Phil-Palmer.jpg]]

			'''Jimbo's Bop City on Post Street, c. 1959.'''

			''Photo: Phil Palmer''

	On the outside at 1690 Post Street, loud signs proclaimed that bebop lived here. At the brightly painted entrance were double doors; one led to the minuscule cafe, the other into Bop City itself. Jimbo sat at the entrance to the back room, collecting one dollar per person, except from musicians. If your attitude wasn't right, you didn't get in, dollar or no. Jimbo ran a tight ship. That's why no one I've spoken with can ever remember any fights or problems in Bop City. Problems were ejected from the inner sanctum, swiftly and permanently...		On the outside at 1690 Post Street, loud signs proclaimed that bebop lived here. At the brightly painted entrance were double doors; one led to the minuscule cafe, the other into Bop City itself. Jimbo sat at the entrance to the back room, collecting one dollar per person, except from musicians. If your attitude wasn't right, you didn't get in, dollar or no. Jimbo ran a tight ship. That's why no one I've spoken with can ever remember any fights or problems in Bop City. Problems were ejected from the inner sanctum, swiftly and permanently...
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	Patricia Nacey sums it up nicely: "Jimbo's was more than just a place to gather to hear great sounds. It was like a snapshot of your soul or a snapshot of the soul of the community. I think in the early dawn of the civil rights movement, it was 3:00 AM at Jimbo's."		Patricia Nacey sums it up nicely: "Jimbo's was more than just a place to gather to hear great sounds. It was like a snapshot of your soul or a snapshot of the soul of the community. I think in the early dawn of the civil rights movement, it was 3:00 AM at Jimbo's."

	~~[[Image:Jimbos-Bop-City-on-Post-Street-c-1959 Phil-Palmer.jpg]]~~

	~~'''Jimbo's Bop City on Post Street, c. 1959.'''~~

	~~''Photo: Phil Palmer''~~

	It was even earlier in the dawn of the women's liberation movement—the 1950s jazz scene was a boys club if ever there was one. Most of the female population at Bop City was in the audience. Some were students and waitresses, some were working girls, and others were aspiring singers. At one time or another, all the top female jazz singers in America made it to Jimbo's Bop City, including Billie Holiday, Ella Fitzgerald, Dinah Washington, and Sarah Vaughn. But relatively few women instrumentalists were to be seen and heard in the jam sessions.		It was even earlier in the dawn of the women's liberation movement—the 1950s jazz scene was a boys club if ever there was one. Most of the female population at Bop City was in the audience. Some were students and waitresses, some were working girls, and others were aspiring singers. At one time or another, all the top female jazz singers in America made it to Jimbo's Bop City, including Billie Holiday, Ella Fitzgerald, Dinah Washington, and Sarah Vaughn. But relatively few women instrumentalists were to be seen and heard in the jam sessions.

Ccarlsson: added photo

2021-10-22T06:31:29Z

added photo

← Older revision		Revision as of 23:31, 21 October 2021
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	Patricia Nacey sums it up nicely: "Jimbo's was more than just a place to gather to hear great sounds. It was like a snapshot of your soul or a snapshot of the soul of the community. I think in the early dawn of the civil rights movement, it was 3:00 AM at Jimbo's."		Patricia Nacey sums it up nicely: "Jimbo's was more than just a place to gather to hear great sounds. It was like a snapshot of your soul or a snapshot of the soul of the community. I think in the early dawn of the civil rights movement, it was 3:00 AM at Jimbo's."

	It was even earlier in the dawn of the women's liberation ~~movement--the~~ 1950s jazz scene was a boys club if ever there was one. Most of the female population at Bop City was in the audience. Some were students and waitresses, some were working girls, and others were aspiring singers. At one time or another, all the top female jazz singers in America made it to Jimbo's Bop City, including Billie Holiday, Ella Fitzgerald, Dinah Washington, and Sarah Vaughn. But relatively few women instrumentalists were to be seen and heard in the jam sessions.		[[Image:Jimbos-Bop-City-on-Post-Street-c-1959 Phil-Palmer.jpg]]

			'''Jimbo's Bop City on Post Street, c. 1959.'''

			''Photo: Phil Palmer''

			It was even earlier in the dawn of the women's liberation movement—the 1950s jazz scene was a boys club if ever there was one. Most of the female population at Bop City was in the audience. Some were students and waitresses, some were working girls, and others were aspiring singers. At one time or another, all the top female jazz singers in America made it to Jimbo's Bop City, including Billie Holiday, Ella Fitzgerald, Dinah Washington, and Sarah Vaughn. But relatively few women instrumentalists were to be seen and heard in the jam sessions.

	'''The Fall '''		'''The Fall '''
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	Jimbo's Bop City closed its doors in 1965, just when the [[The Fillmore: Black SF \| Fillmore]] entered a period of drastic physical change.		Jimbo's Bop City closed its doors in 1965, just when the [[The Fillmore: Black SF \| Fillmore]] entered a period of drastic physical change.

	''~~--Excerpted~~ from "The House That Bop Built" by Carol Chamberland, from ''California History Magazine'', Spring 1997''		''—Excerpted from "The House That Bop Built" by Carol Chamberland, from ''California History Magazine'', Spring 1997''

Ccarlsson: fixed broken link

2012-05-17T18:24:17Z

fixed broken link

← Older revision		Revision as of 11:24, 17 May 2012
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	On the outside at 1690 Post Street, loud signs proclaimed that bebop lived here. At the brightly painted entrance were double doors; one led to the minuscule cafe, the other into Bop City itself. Jimbo sat at the entrance to the back room, collecting one dollar per person, except from musicians. If your attitude wasn't right, you didn't get in, dollar or no. Jimbo ran a tight ship. That's why no one I've spoken with can ever remember any fights or problems in Bop City. Problems were ejected from the inner sanctum, swiftly and permanently...		On the outside at 1690 Post Street, loud signs proclaimed that bebop lived here. At the brightly painted entrance were double doors; one led to the minuscule cafe, the other into Bop City itself. Jimbo sat at the entrance to the back room, collecting one dollar per person, except from musicians. If your attitude wasn't right, you didn't get in, dollar or no. Jimbo ran a tight ship. That's why no one I've spoken with can ever remember any fights or problems in Bop City. Problems were ejected from the inner sanctum, swiftly and permanently...

	With compassion, dignity and diligence, Jimbo maintained a unique climate within his domain. Black discrimination against white players occasionally became an issue on the bandstand, but Jimbo tolerated no [[Racism in the Clubs ~~-- excerpted from "The House That Bop Built" by Carol Chamberland, from California History Magazine, spring 1997~~ \|racial discrimination]] whatsoever in his establishment, a rule that he vigorously enforced in those days, and by which he still abides today. At Jimbo's Bop City, the intense music served as a binding agent, uniting the audience and musicians in a shared passion that transcended ethnic considerations. Vocalist Bobbe Norris recalls her days as a young, attractive, white woman at Bop City. "We really had a good scene. People weren't prejudiced, there wasn't any of that going on. It was just like you were either good or you were bad. And that was how people judged you. I never felt the color thing or any of that. I was just accepted as a singer and a young person who was talented. And that was wonderful."		With compassion, dignity and diligence, Jimbo maintained a unique climate within his domain. Black discrimination against white players occasionally became an issue on the bandstand, but Jimbo tolerated no [[Racism in the Clubs\|racial discrimination]] whatsoever in his establishment, a rule that he vigorously enforced in those days, and by which he still abides today. At Jimbo's Bop City, the intense music served as a binding agent, uniting the audience and musicians in a shared passion that transcended ethnic considerations. Vocalist Bobbe Norris recalls her days as a young, attractive, white woman at Bop City. "We really had a good scene. People weren't prejudiced, there wasn't any of that going on. It was just like you were either good or you were bad. And that was how people judged you. I never felt the color thing or any of that. I was just accepted as a singer and a young person who was talented. And that was wonderful."

	Singer Mary Stallings comments on the jazz they were playing at Bop City, from her black perspective: "It's such a spiritual music, it really binds people together. And for that time, people that had any kind of prejudice or any kind of hang-ups, they don't even feel it. They'll sit next to each other, drink out of the same glass and won't feel a thing. I mean, that's from the heart."		Singer Mary Stallings comments on the jazz they were playing at Bop City, from her black perspective: "It's such a spiritual music, it really binds people together. And for that time, people that had any kind of prejudice or any kind of hang-ups, they don't even feel it. They'll sit next to each other, drink out of the same glass and won't feel a thing. I mean, that's from the heart."

Ccarlsson at 07:03, 11 May 2009

2009-05-11T07:03:02Z

← Older revision		Revision as of 00:03, 11 May 2009
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	[[SF's Jazz Scene \|Prev. Document]] [[~~PUNK ROCK~~ \|Next Document]]		[[SF's Jazz Scene \|Prev. Document]] [[Mel Lewis, Big Band Singer \|Next Document]]

	[[category:Music]] [[category:African-American]] [[category:Western Addition]] [[category:1950s]] [[category:1960s]]		[[category:Music]] [[category:African-American]] [[category:Western Addition]] [[category:1950s]] [[category:1960s]]

Ccarlsson: Protected "Jimbo's Bop City": finished essay [edit=sysop:move=sysop]

2008-12-31T04:20:53Z

Protected "Jimbo's Bop City": finished essay [edit=sysop:move=sysop]

← Older revision	Revision as of 21:20, 30 December 2008
(No difference)

Ccarlsson: PC and protected

2008-12-31T04:20:40Z

PC and protected

← Older revision		Revision as of 21:20, 30 December 2008
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			'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

			''by Carol Chamberland''

	[[Image:music1$wailing-at-jimbos.jpg]]		[[Image:music1$wailing-at-jimbos.jpg]]

Lisaruth: changed category from Af-Am to African-American

2008-10-21T05:33:40Z

changed category from Af-Am to African-American

← Older revision		Revision as of 22:33, 20 October 2008
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	Jimbo's Bop City closed its doors in 1965, just when the [[The Fillmore: Black SF \| Fillmore]] entered a period of drastic physical change.		Jimbo's Bop City closed its doors in 1965, just when the [[The Fillmore: Black SF \| Fillmore]] entered a period of drastic physical change.

	--Excerpted from "The House That Bop Built" by Carol Chamberland, from ''California History Magazine'', ~~spring~~ 1997		''--Excerpted from "The House That Bop Built" by Carol Chamberland, from ''California History Magazine'', Spring 1997''


	[[SF's Jazz Scene \|Prev. Document]] [[PUNK ROCK \|Next Document]]		[[SF's Jazz Scene \|Prev. Document]] [[PUNK ROCK \|Next Document]]

	[[category:Music]] [[category:Af-Am]] [[category:Western Addition]] [[category:1950s]] [[category:1960s]]		[[category:Music]] [[category:African-American]] [[category:Western Addition]] [[category:1950s]] [[category:1960s]]

Ccarlsson: moving Cab Calloway to another page

2008-08-07T21:54:37Z

moving Cab Calloway to another page

← Older revision		Revision as of 14:54, 7 August 2008
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	It was even earlier in the dawn of the women's liberation movement--the 1950s jazz scene was a boys club if ever there was one. Most of the female population at Bop City was in the audience. Some were students and waitresses, some were working girls, and others were aspiring singers. At one time or another, all the top female jazz singers in America made it to Jimbo's Bop City, including Billie Holiday, Ella Fitzgerald, Dinah Washington, and Sarah Vaughn. But relatively few women instrumentalists were to be seen and heard in the jam sessions.		It was even earlier in the dawn of the women's liberation movement--the 1950s jazz scene was a boys club if ever there was one. Most of the female population at Bop City was in the audience. Some were students and waitresses, some were working girls, and others were aspiring singers. At one time or another, all the top female jazz singers in America made it to Jimbo's Bop City, including Billie Holiday, Ella Fitzgerald, Dinah Washington, and Sarah Vaughn. But relatively few women instrumentalists were to be seen and heard in the jam sessions.

	~~[[Image:Cab-calloway.jpg]]~~

	~~'''Cab Calloway'''~~

	~~''Photo: Kurt Bank''~~

	'''The Fall '''		'''The Fall '''

Ccarlsson: categories and links

2008-08-07T00:19:22Z

categories and links

← Older revision		Revision as of 17:19, 6 August 2008
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	'''Wailing at Cousin Jimbo's in the 1950's. Vince Wallace on sax, Frank Jackson on piano, Alfred 'Smitty' Smith on drums, "Bear" on bass.'''		'''Wailing at Cousin Jimbo's in the 1950's. Vince Wallace on sax, Frank Jackson on piano, Alfred 'Smitty' Smith on drums, "Bear" on bass.'''

			''Photo: Jimbo, via Carol Chamberland''

	Opened up to the public from 2:00 to 6:00 AM, musicians were admitted free, but everyone else had to pay $1. Jimbo continues: "So then I got me a neon sign and put it out there and everybody started coming. In the meantime, me and Billy Eckstine was friends. And I got him to come and hang out in my little joint. And after Billy Eckstine made it, then here come Miles [Davis]. Here come Diz (Dizzy Gillespie], And here come Charlie Parker."'		Opened up to the public from 2:00 to 6:00 AM, musicians were admitted free, but everyone else had to pay $1. Jimbo continues: "So then I got me a neon sign and put it out there and everybody started coming. In the meantime, me and Billy Eckstine was friends. And I got him to come and hang out in my little joint. And after Billy Eckstine made it, then here come Miles [Davis]. Here come Diz (Dizzy Gillespie], And here come Charlie Parker."'
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	On the outside at 1690 Post Street, loud signs proclaimed that bebop lived here. At the brightly painted entrance were double doors; one led to the minuscule cafe, the other into Bop City itself. Jimbo sat at the entrance to the back room, collecting one dollar per person, except from musicians. If your attitude wasn't right, you didn't get in, dollar or no. Jimbo ran a tight ship. That's why no one I've spoken with can ever remember any fights or problems in Bop City. Problems were ejected from the inner sanctum, swiftly and permanently...		On the outside at 1690 Post Street, loud signs proclaimed that bebop lived here. At the brightly painted entrance were double doors; one led to the minuscule cafe, the other into Bop City itself. Jimbo sat at the entrance to the back room, collecting one dollar per person, except from musicians. If your attitude wasn't right, you didn't get in, dollar or no. Jimbo ran a tight ship. That's why no one I've spoken with can ever remember any fights or problems in Bop City. Problems were ejected from the inner sanctum, swiftly and permanently...

	With compassion, dignity and diligence, Jimbo maintained a unique climate within his domain. Black discrimination against white players occasionally became an issue on the bandstand, but Jimbo tolerated no [[Racism in the Clubs -- excerpted from "The House That Bop Built" by Carol Chamberland, from California History Magazine, spring 1997 racial discrimination]] whatsoever in his establishment, a rule that he vigorously enforced in those days, and by which he still abides today. At Jimbo's Bop City, the intense music served as a binding agent, uniting the audience and musicians in a shared passion that transcended ethnic considerations. Vocalist Bobbe Norris recalls her days as a young, attractive, white woman at Bop City. "We really had a good scene. People weren't prejudiced, there wasn't any of that going on. It was just like you were either good or you were bad. And that was how people judged you. I never felt the color thing or any of that. I was just accepted as a singer and a young person who was talented. And that was wonderful."		With compassion, dignity and diligence, Jimbo maintained a unique climate within his domain. Black discrimination against white players occasionally became an issue on the bandstand, but Jimbo tolerated no [[Racism in the Clubs -- excerpted from "The House That Bop Built" by Carol Chamberland, from California History Magazine, spring 1997 \|racial discrimination]] whatsoever in his establishment, a rule that he vigorously enforced in those days, and by which he still abides today. At Jimbo's Bop City, the intense music served as a binding agent, uniting the audience and musicians in a shared passion that transcended ethnic considerations. Vocalist Bobbe Norris recalls her days as a young, attractive, white woman at Bop City. "We really had a good scene. People weren't prejudiced, there wasn't any of that going on. It was just like you were either good or you were bad. And that was how people judged you. I never felt the color thing or any of that. I was just accepted as a singer and a young person who was talented. And that was wonderful."

	Singer Mary Stallings comments on the jazz they were playing at Bop City, from her black perspective: "It's such a spiritual music, it really binds people together. And for that time, people that had any kind of prejudice or any kind of hang-ups, they don't even feel it. They'll sit next to each other, drink out of the same glass and won't feel a thing. I mean, that's from the heart."		Singer Mary Stallings comments on the jazz they were playing at Bop City, from her black perspective: "It's such a spiritual music, it really binds people together. And for that time, people that had any kind of prejudice or any kind of hang-ups, they don't even feel it. They'll sit next to each other, drink out of the same glass and won't feel a thing. I mean, that's from the heart."
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	It was even earlier in the dawn of the women's liberation movement--the 1950s jazz scene was a boys club if ever there was one. Most of the female population at Bop City was in the audience. Some were students and waitresses, some were working girls, and others were aspiring singers. At one time or another, all the top female jazz singers in America made it to Jimbo's Bop City, including Billie Holiday, Ella Fitzgerald, Dinah Washington, and Sarah Vaughn. But relatively few women instrumentalists were to be seen and heard in the jam sessions.		It was even earlier in the dawn of the women's liberation movement--the 1950s jazz scene was a boys club if ever there was one. Most of the female population at Bop City was in the audience. Some were students and waitresses, some were working girls, and others were aspiring singers. At one time or another, all the top female jazz singers in America made it to Jimbo's Bop City, including Billie Holiday, Ella Fitzgerald, Dinah Washington, and Sarah Vaughn. But relatively few women instrumentalists were to be seen and heard in the jam sessions.

			[[Image:Cab-calloway.jpg]]

			'''Cab Calloway'''

			''Photo: Kurt Bank''

	'''The Fall '''		'''The Fall '''
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	Jimbo Edwards tells how he experienced the end of that era: "The time had ran out. I was there fifteen years from 1950 to 1965 and the time was over. It was all over. The Blackhawk was closed. The Say When was closed. All the clubs was closed and the musicians didn't come to San Francisco. So then I was sitting with an empty club and nobody to draw from."...		Jimbo Edwards tells how he experienced the end of that era: "The time had ran out. I was there fifteen years from 1950 to 1965 and the time was over. It was all over. The Blackhawk was closed. The Say When was closed. All the clubs was closed and the musicians didn't come to San Francisco. So then I was sitting with an empty club and nobody to draw from."...

	Jimbo's Bop City closed its doors in 1965, just when the [[The Fillmore: Black SF Fillmore]] entered a period of drastic physical change.		Jimbo's Bop City closed its doors in 1965, just when the [[The Fillmore: Black SF \| Fillmore]] entered a period of drastic physical change.

	~~Contributors to this page include:~~

	''~~Jimbo - Publisher or Photographer~~ ''		--Excerpted from "The House That Bop Built" by Carol Chamberland, from ''California History Magazine'', spring 1997

	~~California Historical Society,San Francisco,CA - Publisher or Photographer~~

	~~Chamberland,Carol - Writer~~		[[SF's Jazz Scene \|Prev. Document]] [[PUNK ROCK \|Next Document]]

	[[~~SF's Jazz Scene \|Prev. Document~~]] [[~~PUNK ROCK \|Next Document~~]]		[[category:Music]] [[category:Af-Am]] [[category:Western Addition]] [[category:1950s]] [[category:1960s]]

Admin: 1 revision(s)

2007-10-07T22:08:36Z

1 revision(s)

← Older revision	Revision as of 15:08, 7 October 2007
(No difference)