Editing Doo-wop (section)

== Revivals ==
[[File:EarthAngels-with-KathyYoung.jpg|thumb|225px|left|[[Kathy Young]] with [[the Earth Angels]] performing Kathy's hit "[[A Thousand Stars]]" during the festival of this genre celebrated at the [[Benedum Center|Benedum Center for the Performing Arts]] in [[Pittsburgh]], [[Pennsylvania]], in May 2010]]

Although the ultimate longevity of doo-wop has been disputed,<ref>{{cite news|last=Applebome|first=Peter|title= A Doo-Wop Shop Prepares to Close, Signaling the End of a Fading Genre|work=[[The New York Times]]|date=29 February 2012|url=https://www.nytimes.com/2012/03/01/nyregion/as-ronnie-is-closes-sounds-of-doo-wop-fade-away.html?_r=2&emc=eta1/ |access-date=5 March 2012}}</ref><ref>{{cite web|last=Levinson|first=Paul|title= Doo Wop Forever|work=Infinite Regress|date= 4 March 2012|url=http://paullevinson.blogspot.com/2012/03/doo-wop-forever.html |access-date=21 March 2012}}</ref> the genre saw revivals at various times from the 1970s through the 1990s; the artists reviving the scene were concentrated in urban areas, mainly in New York City, Chicago, Philadelphia, [[Newark, New Jersey|Newark]], and Los Angeles. Revival television shows and boxed CD sets such as the "Doo Wop Box" set 1–3 have rekindled interest in the music, the artists, and their stories.

''[[Cruising with Ruben & the Jets]]'', released in late 1968,<ref name=pc11>{{Gilliland |url=https://digital.library.unt.edu/ark:/67531/metadc19759/m1/ |title=Show 11 – Big Rock Candy Mountain: Early rock 'n' roll vocal groups & Frank Zappa |show=11 |track=5}}</ref> is a concept album of doo-wop music recorded by [[Frank Zappa]] and [[the Mothers of Invention]] performing as a fictitious [[Chicano]] doo-wop band called Ruben & the Jets. In collaboration with Zappa, singer Ruben Guevara went on to start a real band called [[Ruben and the Jets]].<ref name="Guevara2018">{{cite book|author=Rubén Funkahuatl Guevara|title=Confessions of a Radical Chicano Doo-Wop Singer|url=https://books.google.com/books?id=eqhSDwAAQBAJ&pg=PA81|date=13 April 2018|publisher=University of California Press|isbn=978-0-520-96966-7|page=81−83}}</ref> An early notable revival of "pure" doo-wop occurred when [[Sha Na Na]] appeared at the [[Woodstock Festival]]. Soul group the Trammps recorded "[[Zing! Went the Strings of My Heart]]" in 1972.

Over the years other groups have had doo-wop or doo-wop-influenced hits, such as [[Robert John]]'s 1972 version of "[[The Lion Sleeps Tonight]]", [[Darts (band)|Darts]] successful revival of the doo-wop standards "[[Daddy Cool (The Rays song)|Daddy Cool]]" and "[[Come Back My Love]]" in the late 1970s, [[Toby Beau]]'s 1978 hit "My Angel Baby", and [[Billy Joel]]'s 1984 hit "[[The Longest Time]]". Soul and funk bands such as [[Zapp (band)|Zapp]] released the single ("[[Doo Wa Ditty (Blow That Thing)/A Touch of Jazz (Playin' Kinda Ruff Part II)]]"). The last doo-wop record to reach the top ten on the U.S. pop charts was "It's Alright" by [[Huey Lewis and the News]], a doo-wop adaptation of [[the Impressions]]' 1963 Top 5 [[It's All Right (The Impressions song)|smash hit]]. It reached number 7 on the U.S. ''[[Billboard magazine|Billboard]]'' [[Adult contemporary music|Adult contemporary]] chart in June 1993. Much of the album had a doo-wop flavor. Another song from the ''By the Way'' sessions to feature a doo-wop influence was a cover of "Teenager In Love", originally recorded by [[Dion and the Belmonts]]. The genre would see another resurgence in popularity in 2018, with the release of the album "Love in the Wind" by Brooklyn-based band, the Sha La Das, produced by [[Thomas Brenneck]] for the [[Daptone Records|Daptone Record]] label.

Doo-wop is popular among [[Barbershop quartet|barbershoppers]] and [[collegiate a cappella]] groups due to its easy adaptation to an all-vocal form. Doo-wop experienced a resurgence in popularity at the turn of the 21st century with the airing of PBS's doo-wop concert programs: ''[[Doo Wop 50]]'', ''Doo Wop 51'', and ''Rock, Rhythm, and Doo Wop''. These programs brought back, live on stage, some of the better known doo-wop groups of the past. These programs were organized by Herman Lubinsky's grandson [[TJ Lubinsky]].<ref name=":1">{{Cite web |last=Owen |first=Rob |date=2023-11-28 |title=TV Talk: T.J. 'Doo Wop' Lubinsky finally got to make his dream music show |url=https://triblive.com/aande/movies-tv/tv-talk-t-j-doo-wop-lubinsky-finally-got-to-make-his-dream-music-show/ |access-date=2024-11-04 |website=TribLIVE.com |language=en-US}}</ref> In addition to [[the Earth Angels]], doo-wop acts in vogue in the second decade of the 2000s range from the Four Quarters<ref name="4Quarters">{{cite news|url=http://www.yourottawaregion.com/what's%20on/article/404758--four-quarters-on-a-roll|title=Four Quarters on a roll|last=Newman|first=Steve|date=13 January 2010|publisher=YourOttawaRegion.com|access-date=29 April 2012}}</ref> to Street Corner Renaissance.<ref name="SCR">{{cite web|url=http://miamitimesonline.com/street-corner-renaissance-takes-%E2%80%98doo-wop%E2%80%99-to-new-levels/|title=Street Corner Renaissance takes 'doo-wop' to new levels|last=McNeir|first=D. Kevin|date=26 April 2012|work=The Miami Times|access-date=29 April 2012|url-status=dead|archive-url=https://archive.today/20130128150806/http://miamitimesonline.com/street-corner-renaissance-takes-%E2%80%98doo-wop%E2%80%99-to-new-levels/|archive-date=28 January 2013}}</ref>
[[Bruno Mars]] and [[Meghan Trainor]] are two examples of current artists who incorporate doo-wop music into their records and live performances. Mars says he has "a special place in [his] heart for old-school music".<ref>{{cite web|author= Mikael Wood|url=https://www.latimes.com/entertainment/music/posts/la-et-ms-review-bruno-mars-staples-center-20130728-story.html |archive-url=https://web.archive.org/web/20130918091159/http://articles.latimes.com/2013/jul/28/entertainment/la-et-ms-review-bruno-mars-staples-center-20130728 |url-status=live |archive-date=18 September 2013 |title=Review: Bruno Mars brings Moonshine Jungle to Staples Center |work=Los Angeles Times |date=28 July 2013 |access-date=4 June 2014}}</ref>

The Broadway musical ''[[Jersey Boys]]'' spawned two touring doo-wop groups featuring former members of the show's casts: The Midtown Men featuring the Broadway cast,<ref>{{cite web |date=July 13, 2010 |title=Hoff, Longoria, Reichard, and Spencer Counter-Sue JERSEY BOYS Producers and Four Seasons |url=http://broadwayworld.com/article/Hoff-Longoria-Reichard-and-Spencer-CounterSue-JERSEY-BOYS-Producers-and-Four-Seasons-20100713 |access-date=February 1, 2013 |publisher=BroadwayWorld}}</ref> and Under the Streetlamp featuring the Chicago and touring cast.<ref>{{Cite web |last= |first= |date=February 1, 2017 |title=Former Jersey Boys shine in Under the Streetlamp |url=https://www.newsherald.com/story/entertainment/local/2017/02/01/former-jersey-boys-shine-in-under-streetlamp/22563487007/ |access-date=2025-02-08 |website=Panama City News Herald |language=en-US}}</ref> The musical was based on the Four Seasons' real-life rise from streetcorner doo-wop singers, under the influential arrangement work of [[Nick Massi]],<ref name="overshadow">{{Cite web |last=Pinchot |first=Joe |date=December 28, 2000 |title=Valli's unusual falsetto didn't overshadow Four Seasons' sound |url=http://www2.sharonherald.com/localnews/recentnews/0012/ln122800k.html |access-date=2024-06-03 |website=The Sharon Herald}}</ref> to the pop-rock band that went on to international fame.

The formation of the hip-hop scene beginning in the late 1970s strongly parallels the rise of the doo-wop scene of the 1950s, particularly mirroring it in the emergence of the urban street culture of the 1990s. According to Bobby Robinson, a well-known producer of the period:
<blockquote>Doo-wop originally started out as the black teenage expression of the '50s and rap emerged as the black teenage ghetto expression of the '70s. Same identical thing that started it{{snd}}the doowop groups down the street, in hallways, in alleys and on the corner. They'd gather anywhere and, you know, doo-wop doowah da dadada. You'd hear it everywhere. So the same thing started with rap groups around '76 or so. All of a sudden, everywhere you turned you'd hear kids rapping. In the summertime, they'd have these little parties in the park. They used to go out and play at night and kids would be out there dancing. All of a sudden, all you could hear was, hip hop hit the top don't stop. It's kids{{snd}}to a great extent mixed-up and confused{{snd}}reaching out to express themselves. They were forcefully trying to express themselves and they made up in fantasy what they missed in reality.<ref name="PotterPress2000">{{cite book|author=David Toop|editor1=John Potter|editor2=Jonathan Cross|title=The Cambridge Companion to Singing|chapter-url=https://books.google.com/books?id=8T73OnRmIVIC&pg=PA43|date=13 April 2000|publisher=Cambridge University Press|isbn=978-0-521-62709-2|page=43|chapter=4 The evolving language of rap}}</ref></blockquote>