Would it be better if Winslow refused to let White DJ’s read his scripts?
Vernon Winslow was an art professor at Dillard University. (Welch) In the late 1940′s, he began sending scripts to the New Orleans radio station, WJMR. (Welch) The station’s White owners could not ignore the quality of these scripts, especially during a time when Black DJ’s and Rock n’ Roll were becoming evermore popular, but refused to concede and let Winslow on the air. (Hilmes, 175) The station decided to employ Winslow for the use of his scripts as well as to train White DJ’s how to “fake an African-American accent and dialect on air.” (Welch) The character these “racial ventriloquists” depicted was named “Poppa Stoppa” and was portrayed by a myriad of DJ’s (Hilmes, 175), such as Clarence Harmon (Barlow, 166) and Duke Thiele. (Welch)
Poppa Stoppa’s show, Jam, Jive, and Gumbo, first aired in 1947 and became a huge hit in the area. (Barlow, 166) Winslow would continue to write for the show until he was fired one night for taking the mic when one of his White apprentices had not shown up. (Barlow, 166) Though that may seem unfortunate, this turn of events would actually benefit Winslow’s career as a rival station, WWEZ, would pick him up in 1950, and under his new pseudonym, “Dr. Daddy-O,” Winslow began his own show with his own scripts and his own voice. (Welch)
“Despite how distasteful this all may sound, Winslow seemed to realize the end game would make it worth it: more Blackness on the air, one way or another.” (Welch) By paying his dues and letting White men voice his words, Winslow was eventually able to break a racial boundary by becoming the first Black DJ on the air in New Orleans (Welch) (notably, other Black DJ’s, such as Jack L. Cooper and Nat D. Williams, had made it on the air in areas like Chicago and Memphis, respectively). (Hilmes, 174) Therefore, by letting White DJ’s use his scripts, Winslow was able to integrate New Orleans radio and will be remembered as a progressive figure for civil rights.
Hilmes, Michele. Only Connect: a History of Broadcasting in the United States, 3rd ed. Boston: Wadsworth, 2014. Print.
Barlow, William. Voice Over: The Making of Black Radio. 1999. Google Books. Web. 12 Sep. 2016.
https://books.google.com/books?id=gJuIHrKBONMC&pg=PA166&lpg=PA166&dq=voice+over+the+making+of+black+radio+vernon+winslow&source=bl&ots=3U_kAECF8c&sig=Wg_k35gvUrF8MlZrqjuRrYUS3fI&hl=en&sa=X&ved=0ahUKEwiQyve7t4rPAhWE_R4KHSuFAa4Q6AEIKDAA#v=onepage&q=voice%20over%20the%20making%20of%20black%20radio%20vernon%20winslow&f=false
Welch, Michael P. “Making the music spin in New Orleans.” Louisiana Weekly. 9 May 2016. Louisianaweekly.com. Web. 12 Sep. 2016.
http://www.louisianaweekly.com/making-the-music-spin-in-New-Orleans/