Editing Doo-wop (section)

==Doo-wop influence on punk and proto-punk rockers==
The R&B and doo-wop music that informed early rock 'n' roll was racially appropriated in the 1970s just as blues-based rock had been in the 1950s and 1960s. Generic terms such as "Brill Building music" obscure the roles of the black producers, writers, and groups like [[the Marvelettes]] and [[the Supremes]], who were performing similar music and creating hits for the Motown label, but were categorized as soul. According to ethnomusicologist Evan Rapport, before 1958 more than ninety percent of doo-wop performers were African-American, but the situation changed as large numbers of white groups began to enter the performance arena.<ref name="Rapport2020">{{cite book|author=Evan Rapport|title=Damaged: Musicality and Race in Early American Punk|url=https://books.google.com/books?id=tSkGEAAAQBAJ&pg=PA105|year=2020|publisher=University Press of Mississippi|isbn=978-1-4968-3123-1|pages=105–107}}</ref>

[[File:Ramones Toronto 1976.jpg|thumb|The Ramones in Toronto (1976)]]
This music was embraced by punk rockers in the 1970s, as part of a larger societal trend among white people in the US of romanticizing it as music that belonged to a simpler (in their eyes) time of racial harmony before the social upheaval of the 1960s. White Americans had a nostalgic fascination with the 1950s and early 1960s that entered mainstream culture beginning in 1969 when Gus Gossert started to broadcast early rock and roll and doo-wop songs on New York's [[WCBS-FM]] radio station. This trend reached its peak in racially segregated commercial productions such as ''[[American Graffiti]]'', ''[[Happy Days]]'', and ''[[Grease (film)|Grease]]'', which was double-billed with [[the Ramones]]' B-movie feature ''[[Rock 'n' Roll High School]]'' in 1979.<ref name="Rapport2020" />

Early punk rock adaptations of the 12-bar ''aab'' pattern associated with California surf or beach music, done within eight-, sixteen-, and twenty-four bar forms, were made by bands such as the Ramones, either as covers or as original compositions. Employing stylistic conventions of 1950s and 1960s doowop and rock and roll to signify the period referenced, some punk bands used call-and-response background vocals and doo-wop style [[Non-lexical vocables|vocables]] in songs, with subject matter following the example set by rock and roll and doo-wop groups of that era: teenage romance, cars, and dancing. Early punk rockers sometimes portrayed these nostalgic 1950s [[Trope (literature)|trope]]s with irony and sarcasm according to their own lived experiences, but they still indulged the fantasies evoked by the images.<ref name="Rapport2020116">{{cite book|author=Evan Rapport|title=Damaged: Musicality and Race in Early American Punk|url=https://books.google.com/books?id=tSkGEAAAQBAJ&pg=PA116|date=24 November 2020|publisher=University Press of Mississippi|isbn=978-1-4968-3123-1|pages=116–117}}</ref>

By 1963 and 1964, [[proto-punk]] rocker Lou Reed was working the college circuit, leading bands that played covers of three-chord hits by pop groups and "anything from New York with a classic doo-wop feel and a street attitude".<ref name="Dogget2013">{{cite book|author=Peter Doggett|title=Lou Reed: The Defining Years|url=https://books.google.com/books?id=iDT_AgAAQBAJ&pg=PT46|date=25 November 2013|publisher=Omnibus Press|isbn=978-1-78323-084-6|page=46}}</ref>

[[Jonathan Richman]], founder of the influential proto-punk band [[the Modern Lovers]], cut the album ''[[Rockin' and Romance]]'' (1985) with acoustic guitar and doo-wop harmonies. His song "Down in Bermuda" for example, was directly influenced by "Down in Cuba" by the Royal Holidays. His album ''[[Modern Lovers 88]]'' (1987), with doo-wop stylings and [[Bo Diddley]] rhythms, was recorded in acoustic trio format.<ref name="BogdanovWoodstra2002942">{{cite book|editor1=Vladimir Bogdanov|editor2=Chris Woodstra|editor3=Stephen Thomas Erlewine|title=All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul|url=https://books.google.com/books?id=1-pH4i3jXvAC&pg=PA942|year=2002|publisher=Backbeat Books|isbn=978-0-87930-653-3|page=942}}</ref>