Editing Doo-wop (section)

==Popularity==
[[File:The-Cleftones-Pittsburgh.jpg|thumb|left|240px|[[The Cleftones]] during their participation in the doo-wop festival celebrated in May 2010 at the [[Benedum Center]].]]
Doo-wop groups achieved 1951 R&B chart hits with songs such as "[[Sixty Minute Man]]" by [[Billy Ward and His Dominoes]], "Where Are You?" by [[the Mello-Moods]], "[[Glory of Love (Peter Cetera song)|The Glory of Love]]" by [[the Five Keys]], and "Shouldn't I Know" by [[the Cardinals]].

Doo-wop groups played a significant role in ushering in the [[rock and roll]] era when two big [[rhythm and blues]] hits by vocal harmony groups, "[[Gee (The Crows song)|Gee]]" by [[the Crows]], and "[[Sh-Boom]]" by [[The Chords (American band)|the Chords]], [[crossover (music)|crossed over]] onto the [[pop music]] charts in 1954.<ref name="MooreCross2002" /> "Sh-Boom" is considered to have been the first rhythm-and-blues record to break into the top ten on the [[Billboard charts|''Billboard'']] charts, reaching number 5; a few months later, a white group from Canada, the [[The Crew-Cuts|Crew Cuts]], released their cover of the song, which reached number 1 and remained there for nine weeks.<ref name="Koskoff2017">{{cite book|author=Ellen Koskoff|title=The Garland Encyclopedia of World Music: The United States and Canada|url=https://books.google.com/books?id=Eh03DwAAQBAJ&pg=PT591|date=25 September 2017|publisher=Taylor & Francis|isbn=978-1-351-54414-6|page=591}}</ref> This was followed by several other white artists covering doo-wop songs performed by black artists, all of which scored higher on the Billboard charts than did the originals. These include "[[Hearts of Stone]]" by [[the Fontaine Sisters]] (number  1), "[[At My Front Door]]" by [[Pat Boone]] (number  7), "[[Sincerely (song)|Sincerely]]" by [[the McGuire Sisters]] (number  1), and "[[Little Darlin']]" by [[the Diamonds]] (number  2). Music historian [[Billy Vera]] points out that these recordings are not considered to be doo-wop.<ref>The Doo-Wop Box I, Rhino Records Inc., liner notes by Bob Hyde, Billy Vera and others, 1993</ref>

"[[Only You (And You Alone)|Only You]]" was released in June 1955 by pop group [[the Platters]].<ref>{{Cite news|url=https://www.nytimes.com/1994/05/29/arts/pop-view-the-deep-forbidden-music-how-doo-wop-casts-its-spell.html|title=POP VIEW; 'The Deep Forbidden Music': How Doo-Wop Casts Its Spell|last=Holden|first=Stephen|date=29 May 1994|work=The New York Times|access-date=26 September 2017|language=en-US|issn=0362-4331}}</ref> That same year the Platters had a number one pop chart hit with "[[The Great Pretender]]", released on 3 November.<ref name=pc5>{{Pop Chronicles| 5| 3|Buck Ram (manager of Penguins and Platters)}}</ref> In 1956, [[Frankie Lymon]] and [[the Teenagers]] appeared on the [[Frankie Laine]] show in New York, which was televised nationally, performing their hit "[[Why Do Fools Fall in Love (song)|Why Do Fools Fall in Love?]]". Frankie Laine referred to it as "rock and roll"; Lymon's extreme youth appealed to a young and enthusiastic audience. His string of hits included: "[[I Promise to Remember]]", "[[The ABC's of Love]]" and "[[I'm Not a Juvenile Delinquent]]".

Up tempo doo-wop groups such as [[the Monotones]]",<ref>{{cite web|author=The Monotones |url=http://www.allmusic.com/artist/the-monotones-mn0000406898 |title=The Monotones {{pipe}} Biography, Albums, Streaming Links |publisher=AllMusic |access-date=2019-10-10}}</ref> [[the Silhouettes]], and the Marcels had hits that charted on Billboard. All-white doo-wop groups would appear and also produce hits: [[The Mello-Kings]] in 1957 with "Tonight, Tonight", [[the Diamonds]] in 1957 with the chart-topping cover song "Little Darlin'" (original song by an African American group), [[the Skyliners]] in 1959 with "[[Since I Don't Have You]]", [[the Tokens]] in 1961 with "The Lion Sleeps Tonight".

The peak of doo-wop might have been in the late 1950s; in the early 1960s the most notable hits were [[Dion DiMucci|Dion's]] "[[Runaround Sue]]", "[[The Wanderer (Dion song)|The Wanderer]]", "[[Lovers Who Wander (song)|Lovers Who Wander]]" and "[[Ruby Baby]]"<ref name="Whitburn2010">{{cite book|author=[[Joel Whitburn]]|title=The Billboard Book of Top 40 Hits|url=https://books.google.com/books?id=EW9RsB0a0oAC&pg=PA190|year=2010|publisher=Billboard Books|isbn=978-0-8230-8554-5|page=190}}</ref> and [[the Marcels]]' "[[Blue Moon (1934 song)|Blue Moon]]".<ref name="Whitburn2010880">{{cite book|author=[[Joel Whitburn]]|title=The Billboard Book of Top 40 Hits|url=https://books.google.com/books?id=EW9RsB0a0oAC&pg=PA880|year=2010|publisher=Billboard Books|isbn=978-0-8230-8554-5|page=880}}</ref> There was a revival of the nonsense syllable form of doo-wop in the early 1960s, with popular records by [[the Marcels]], [[the Rivingtons]], and Vito & the Salutations. The genre reached the [[self-reference|self-referential]] stage, with songs about the singers ("Mr. Bass Man" by [[Johnny Cymbal]]) and the songwriters ("[[Who Put the Bomp (in the Bomp, Bomp, Bomp)|Who Put the Bomp?]]" by [[Barry Mann]]), in 1961.