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A style of pop music marked by the use of close harmony vocals using nonsense phrases, originating in the US in the 1950s.
- ‘His music ranges from boogie blues and doo-wop to jazz fusion.’
- ‘The song is a snappy blend of doo-wop, ska and rhythm and blues, with an uptempo dance-beat.’
- ‘Dance, jazz, be-bop, 50s doo-wop, and standard jangle-pop all get thrown into the mix at varying points, while remaining inimitably in the thrall of their particular brand of noise.’
- ‘Jump blues, country, gospel, western swing and pop - forget stereotypes, primal rock was more than just doo-wop and rockabilly.’
- ‘Taking on rock, jazz, blues, avant-garde, classical, doo-wop and all the other styles he incorporated in his compositions, they take it all in their stride and play just how he would have liked it.’
- ‘This is the high peak of their doo-wop, with tricky little rhythms on the falsetto lead line and some extremely beautiful lyrics that seem to go beyond high school puppy love into something more universal.’
- ‘Pop has always done this kind of thing - check back to the first half of the 60s when doo-wop, Motown and girl-groups turned the charts into a tub of sudsy glory.’
- ‘The whole album was explained as being both a tribute and a satire of doo-wop, the culmination of his live-hate relationship with it.’
- ‘More theatrical tricks and styles - the yodel, the spoken interlude, the intricate harmonies of doo-wop - fell away as the decade progressed.’
- ‘He had worked his way through the music business from doo-wop to folk, and saw the changing tides.’
- ‘These audio jump cuts and sudden changes in ambience were also reflected in the music, as doo-wop, pop songs, political commentary, fuzz guitar rock and cocktail jazz all piled up on each other.’
- ‘The band combines doo-wop with slacker rock for a truly unique recording.’
- ‘From barbershop quartets to gospel close-harmony groups to doo-wop to the kooky a cappella experiments, vocals-only pop music has a long history.’
- ‘Their jazz and doo-wop strains were definitely blurred in the translation of their recorded sound to the stage, and their robotic elements almost completely absent, which rubbed some fans the wrong way.’
- ‘Yet the music they played, fuzzed garage punk that lifted liberally from such diverse strands as doo-wop, vaudeville, blues and sugary teen pop, absolutely refused to take any prisoners.’
- ‘Real people, not models, danced dopey and devil-may-care in real, dirty streets and futzed over relationships, all intercut with name and no-name musicians singing original tunes-blues, doo-wop, rock, country.’
- ‘The songs do have some vocal basslines, nonsense syllables, and a cappella passages, but the harmonies rarely evoke '50s or early '60s doo-wop.’
- ‘Jump music, gospel, R & B, doo-wop, bebop, uptown soul, and the US response to the British invasion are all heavily featured.’
- ‘It's not as ambient but it still crosses many similar paths, from film score to a simple song with a whole bunch of twists in the middle, ranging from free jazz to good old doo-wop.’
- ‘Like a streetcorner serenade, it's got all the oooh's, aaah's, handclaps and snaps of classic doo-wop, and yet it somehow remains brilliantly, unwaveringly faithful to the original.’
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