Music can be a storehouse for emotional, social, and cultural experiences that deepen and acquire greater value over time. This is a book about a particular genre of vocal harmony music called doo-wop that has accrued deep meaning and affective power among Americans since its inception in the aftermath of World War II. Although the first doo-wop singers were primarily young black males in major American cities, it wasn't long before white working-class teenagers began emulating their rhythm-and-blues harmonies. The racial exchange of this distinctive genre and the social bonding it engendered have had a significant and lasting impact on American musical culture. In Forever Doo-Wop, John Runowicz traces the history of this music from its origins in nineteenth-century barbershop quartets through its emergence in the postwar era to its nostalgic adulthood from the mid- 1960s to today. The book is based on interviews he has conducted and observations he has made over the last twenty-two years working as guitarist, musical director, and second tenor with one of the legendary doo-wop groups, the Cadillacs, on what is popularly known as the ""oldies circuit."" As a graduate student, he broadened his research to include the wider doo-wop community. Forever Doo-Wop invites readers to gaze through a window on our society and culture where certain truths are revealed about how white and black Americans coexist and interact, about how popular music functions as a vehicle for nostalgia, and about the role of music making over a long lifetime.
Publisher: University of Massachusetts Press
Number of pages: 224
Weight: 367 g
Dimensions: 228 x 154 x 15 mm
"Runowicz strives to reveal and explain to larger America exactly what doo-wop is, from what cultural arena it springs, and what its musical value, importance, and legacy is. And he succeeds on all counts." -- Robert Pruter
"Forever Doo-Wop is really a pioneering work--the first full-length analytical scholarly book on the entire range of doo-wop's history, from its roots in the late 1800s to its modern iterations as a species of collective mourning for a lost/imagined past." -- Jeffrey Melnick