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Stylistic origins: Rhythm and blues [1] Cultural origins: 1940s–1950s, ... Doo-wop's style is a mixture of precedents in composition, orchestration, and vocals that ...
The term "doo-wop" was used by New Jersey's Mid-Atlantic Center for the Arts during the early 1990s to describe the unique, space-age architectural style. Many of Wildwood's Doo-Wop motels were built by Lou Morey, who specialized in such designs. [ 33 ]
Surf music (also known as surf rock, surf pop, or surf guitar) is a genre of rock music associated with surf culture, particularly as found in Southern California.It was especially popular from 1958 to 1964 in two major forms. [7]
Singing ensembles, with their harmonious doo-wop style, were also a popular feature of the era. Many of the classic songs of the 1950s not only defined an era but also paved the way for today’s ...
The "doo wop" groups were also noteworthy, including the Orioles, the Ravens and the Dominoes. [ 18 ] The term "rock and roll" had a strong sexual connotation in jump blues and R&B, but when DJ Alan Freed referred to rock and roll on mainstream radio in the mid-1950s, "the sexual component had been dialed down enough that it simply became an ...
Doo wop, a complex type of vocal music, also became popular during the 1950s, and left its mark on 1960s soul and R&B. The genre's exact origins are debatable, but it drew on groups like the Mills Brothers and The Ink Spots, who played a kind of R&B with smooth, alternating lead vocals. With the addition of gospel inflections, doo wop's ...
Beach music is most closely associated with the style of dance known as the shag, or the Carolina shag, which is also the official state dance of both North Carolina and South Carolina. Recordings with a 4/4 " blues shuffle " rhythmic structure and moderate-to-fast tempo are the most popular music for the shag, and the vast majority of the ...
Doo-wop (style of rhythm and blues music that often employs nonsense syllables) Scat singing influenced the development of doo-wop and hip hop. It was popular enough in doo-wop that Barry Mann and Gerry Goffin made it the subject of a 1961 song, Who Put the Bomp (in the Bomp, Bomp, Bomp)".