Forever Doo-Wop: Race, Nostalgia, and Vocal Harmony

INDEX

acoustemology, 161n.77 acoustic spaces, 59, 62, 161n.71 African Americans: barbershop quartets, 24–27, 153n.7; as consumers, 39, 157n.56; in doo-wop audience, 97–99; increasing white access to culture of, 8; Italian Americans associate with, 66–67; migration north, 33, 34, 80; minstrelsy, 25; new urban identity for, 36; political radicalism associated with, 10, 150n.20; sacred and secular music come together, 8; vocal harmony in daily life of, 5, 40. See also race; segregation Albanese, Rob, 132, 133 Allen, Ray, 170n.10 American Bandstand (television program), 66–67, 135 American Graffiti (film), 77–78, 79 “American Pie” (McClean), 78–79 Andrews Sisters, 39 Angels, 136 Anka, Paul, 58 Apollo Theatre (Harlem): Atkins works at, 54; black audience at, 98; on chitlin’ circuit, 37; fervent performance styles at, 34, 87; Freeman frequents, 104; Italian Americans attend, 65; revue format of shows at, 86; rhythm and blues at, 35; sacred and secular music come together at, 8; white groups at, 67 Armstrong, Louis, 171n.13 Artists Rights Enforcement Corporation , 124 Atkins, Cholly, 53–54, 55, 73, 114 Atlantic Records, 46, 125 “attainable happy ending” message, 6, 7 audience, 96–100; African American, 97–99; age of, 99; demographic characteristics of, 80, 96, 97; enthusiastic responses to subpar performances, 135; European, 99–100; identification with singers, 97, 98–99; in music making process, 146; political sentiment of, 96; vocal behavior to, 121, 122–23; why they like doo-wop, 97 authenticity: group membership and name ownership and, 92; Nader on, 91; versus nostalgia, 91, 97; oldies work adds to, 104; race and, 99; record collectors on, 70; Sha Na Na claims, 79; of Charlie Thomas’s Drifters, 130 authorship, 49–51 Avalon, Frankie, 73, 74 Averill, Gage, 151n.27, 153n.5, 154n.18, 166n.57 Azusa Street Revival, 32 “Baby It’s You” (Shirelles), 119 Bailey, J. R., 165n.46 Balsamo, Vito, 50, 64, 89 Baltimore, 40 bands, 100–107; composition of, 100; freelance lifestyle of, 106–7; hierarchy in, 100; in musician class, 105–7; “next gig” anxiety in, INDEX 176 index bands (cont.) 107; pay scale for, 101; of Shirley Alston Reeves, 119–21; working hours of, 105–6; as younger than the singers, 103 Baptista, Todd, 95–96 barbershop quartets, 23–27, 80, 81 Barnes, Prentiss, 155n.41 Barnes, Reggie, 127–28, 137 Barrett, Richard, 168n.29 Barrett Sisters, 39 Basie, Count, 137, 147 basing, 51 Basin Street Boys, 31 Bassett, Clarence, 99 Bauman, Jon “Bowser,” 79, 94 Beatles, 4, 72, 73 Becker, Howard S., 152n.42, 169n.52 “Be My Baby” (Ronettes), 172n.24 Bennett, Jean, 94, 95 Berry, Chuck, 73, 78, 88, 119 “Better than Ever” (Cadillacs), 145 between-song patter, 114, 115, 116, 120, 121, 138, 139 big band music, 68 Big Five, 138 Big Town Review (magazine), 77 Billboard (magazine), 7, 13–14, 35, 56 Bim Bam Boom (magazine), 77 blackface, 25, 154n.15 Blacking, John, 141 Blavat, Jerry, 135–36, 137, Fig. 9 blow harmonies, 44, 49, 79, 158n.25 blues, 3, 4, 5, 36, 52, 60 Bobbettes, 43, 44, 111, 119, 160n.52 Bonds, Gary US, 102 booking agents, 89, 90 Boone, Pat, 57 Bop-Chords, 42 Boswell Sisters, 39 Boys and Girls High School (Brooklyn ), 98 bridge, the, 52–53 Bridges, 125 British invasion, x, 4, 72 Brooklyn Bridge, 136 Brooklyn Reunion, 134 Brothers, Elaine, 46–47 Brown, Charles, 36, 49, 117 Brown, Johnny, 111, 170n.9 Browne, Al, 168n.29 Brown v. Board of Education (1954), 7 Butler, Jerry, 43, 157n.5 Cadillacs author’s involvement with, ix–x, 110–14, 123, 129, 146; interviews, xi–xiii; as musical director, xiv, 114, 129 characteristics of: choreography, 111, 114, 134, 137; drummer’s role, 134–35; as entertainers first and foremost, 87; high price, 136–37; horn arrangements, 137–38; instruments’ role, xi; “Las Vegas showbiz” associated with, 87; performance style, 8, 150n.16; Pioneer Award from Rhythm and Blues Foundation, 82; tuxedos, 55, 86–87; weekly earnings, 73 history of: under Cholly Atkins, 53–54, 114; break up in 1960s, 63, 74; break with Esther Navarro, 58; “Cadillac” name adopted, 46–47; hit-making period, 12; interracial audiences in 1950s, 8; Navarro claims songwriting credit, 50; Navarro’s affair with Jessie Powell, 132; novelty songs, 63, 74, 115; personnel changes, 47; publicity photo from mid-1950s, Fig. 1; record labels of, 75; reunion in 1970s, 82; significance of “Speedo and the Cadillacs” name, 92; trajectory of career, 83–84 [18.190.217.134...