A native New Orleanian, Jerome “PopAgee” Johnson was born in 1945 at a time when the country reveled in victory at the ending of the Second World War.  Young soldiers returned home to young wives and girlfriends and a generation known as the “baby boomers” happened on the scene at the time of the big bands and swing music.

The third oldest of six brothers and sisters, in 1945, PopAgee shared a home in the old Magnolia public housing development with his father Wellington, and his mother, Mama Nida, which is short for Onida.  The Johnsons were a typical African-American family of that era.  Wellington worked as a brick mason, a trade passed on from Grandpa Johnson, the family patriarch, and Mama Nida was a homemaker. PopAgee grew up on the rich sounds of rhythm and blues, as it was called back then, emanating from the world famous Frank Pannia’s “Dew Drop Inn” nightclub.  Up and coming entertainers such as Big Joe Turner, Etta James, Little Richard, Bobby Blue Bland, BB King, Ray Charles, and others performed frequently at “The Dew Drop.”  As a young boy, Popa was greatly influenced by these musical sounds that pervaded his youthful world.

In 1955, Mama Nida moved her children across town to the brand new Desire Housing Project.  She and Wellington had separated by this time. PopAgee was exposed to a world of loud recorded music blaring from opened windows,  of the many apartments that made up the court yard of his new environment, music from loud-speakers attached atop trucks belonging to street merchants selling 45 RPM records, music from the weekly record-hops in the driveways of the development, and music from the sweet shops blaring out the hits of the time – Marvin Gaye, Smokey Robertson and the Miracles, Little Stevie Wonder, Gladys Knight and the Pips, Martha and the Vandellas, the Supremes, and many others.  All the children of the neighborhood, which was many, would gather in the driveway to “swing out.”  As Jerome danced, it was reminiscent of an “old man” doing his thing. Thus he was nicknamed “PopAgee.”  The “Gee” is a derivative of Jerome, if Jerome is spelled G-E-R-O-M-E. The “P-O-P-A” is just another of the many examples of spelling phonetically.

 While in school, PopAgee regretfully did not learn to play a musical instrument. Thinking back now, he has often said if he had a choice, he would have liked to be a drummer. Instead, these days he describes himself as a SOLDIER of music,  a warrior who takes the lead to defend the rest of the music “army.”  PopAgee’s love for music has created a burning desire that began as a flickering spark, but has since grown into a raging passion and commitment to transform New Orleans into a Mecca of music business. 

Possessing an entrepreneur spirit in early in life, PopAgee was self-employed early on in life.  He was first featured in the Louisiana Times Picayune in 1977 as the first African-American sightseeing touring company operating in New Orleans.  He also owned and operated a music nightclub, promoted musical concerts, and served as the booking agent of musical talent for the Star Casino, and other venues around town.  In 1981, he founded the New Orleans Music Hall of Fame, Inc. with the idea of one day making a difference in the world of New Orleans music. 

In the world of music, people, and partying in general, PopAgee feels right at home. He has a natural inclination for people and socializing, and is a workaholic with seemingly limitless energy. His disarming smile belies his keen intuition and laser-like concentration. He has an ear for musical talent and a heart for artists – especially those “trying to make it.” He is a man driven by his ideals, and has a vision for the future. 

It was PopAgee who charmed his way into the life of Ms. Arlene Meraux, the St. Bernard Parish land baroness. When no other business in New Orleans or outside of the area could entice her to sell, PopAgee talked her into selling the New Orleans Music Hall of Fame three historically very important pieces of property – the Karnofsky Pawn Shop, the Iroquis Theater, and the Eagle Saloon.  All three properties have great historical impact – the Karnofsky Pawn Shop was the first store in the world to carry Jazz sheet music in inventory, the Iroquis Theater was well known as a vaudeville performing venue for musicians, and the Eagle Saloon has been recognized by John Edward Hasse, of the American Smithsonian, as “the most historically significant building as it relates to Jazz in the world.” The Eagle Saloon was a favorite haunt of early Jazz Musicians, possibly giving its name to the Eagle Band, the successor to Buddy Bolden’s band. Although it has not been documented with absolute certainty, the third floor of this building is widely believed to be the location of the famed Odd Fellows ballroom, an early Jazz venue where such musicians as Buddy Bolden and the Robichaux Orchestra played. 

PopAgee plans to preserve these precious national landmarks, restore them to their original condition, and reopen them as museums and venues for future generations to see and hear. He also envisions restoring the legendary South Rampart Street area to become a music and entertainment district connecting the Central Business District of New Orleans to the French Quarter.  These plans include a original New Orleans style restaurant and Jazz lounge, a dedicated apartment tower for musicians, artists, and chefs – subsidized to help bring them back to the city, and a mammoth hotel and Jazz performing center that reflects traditional Jazz and its impact on music worldwide.  This vision has connected him to Jazz supporters and fans internationally, including members of Congress, the President and First Lady, Prince Turki Al Fasad from Saudi Arabia, and musicians from all parts of the world, who have been influenced by the impact of New Orleans Jazz, Gospel Music, Hip-Hop, Cajun, Zydeko, and Rhythm and Blues. This mission occupies his life full time – he has dedicated his life to making this vision a reality – preserving New Orleans cultural and musical heritage.