Question: Coed Records produced many songs from a genre of music developed in African-American cities in the 1940s.

full_context: Document 1: Rapping: Rapping (or rhyming, spitting, emceeing, MCing ) is a musical form of vocal delivery that incorporates "rhyme, rhythmic speech, and street vernacular", which is performed or chanted in a variety of ways, usually over a backbeat or musical accompaniment. The components of rap include "content" (what is being said), "flow" (rhythm, rhyme), and "delivery" (cadence, tone). Rap differs from spoken-word poetry in that rap is usually performed in time to an instrumental track. Rap is often associated with, and is a primary ingredient of hip-hop music, but the origins of the phenomenon predate hip-hop culture. The earliest precursor to the modern rap is the West African griot tradition, in which "oral historians", or "praise-singers", would disseminate oral traditions and genealogies, or use their formidable rhetorical techniques for gossip or to "praise or critique individuals." Griot traditions connect to rap along a lineage of Black verbal reverence that goes back to ancient Egyptian practices, through James Brown interacting with the crowd and the band between songs, to Muhammad Ali's quick-witted verbal taunts and the palpitating poems of the Last Poets. Therefore, rap lyrics and music are part of the "Black rhetorical continuum", and aim to reuse elements of past traditions while expanding upon them through "creative use of language and rhetorical styles and strategies. The person credited with originating the style of "delivering rhymes over extensive music", that would become known as rap, was Harlem, New York native, Anthony "DJ Hollywood" Holloway.
Document 2: Hip hop: Hip hop or hip-hop is a subculture and art movement developed in South Bronx in New York City during the late 1970s. While people unfamiliar with hip hop culture often use the expression "hip hop" to refer exclusively to hip hop music (also called "rap"), Hip hop is characterized by nine distinct elements or expressive realms, of which hip hop music is only four elements (rapping, djaying, beatboxing and breaking). Afrika Bambaataa of the hip hop collective Zulu Nation outlined the pillars of hip hop culture, coining the terms: "rapping" (also called MCing or emceeing), a rhythmic vocal rhyming style (orality); DJing (and turntablism), which is making music with record players and DJ mixers (aural/sound and music creation); b-boying/b-girling/breakdancing (movement/dance); and graffiti art, which he called "aerosol writin'", although many say that the graffiti that hip hop adopted had been around years earlier, and had nothing to do with hip hop culture. (visual art). Other elements of hip hop subculture and arts movements beyond the main four are: hip hop culture and historical knowledge of the movement (intellectual/philosophical); beatboxing, a percussive vocal style; street entrepreneurship; hip hop language; and hip hop fashion and style, among others.
Document 3: Hip hop in Washington, D.C.: Hip hop music in Washington, D.C. has been an important part of the culture of the area. The traditional style of hip hop in the city has been described as not quite the same as New York City hip hop and not quite the same as Southern hip hop. Rather, it has been influenced by both regions to form its own unique style of music. The population of D.C. is not large enough to support as many distinct subgenres of rap as other metropolitan areas, and as a result, the sound and style of D.C. hip hop is very mixed and blended. Prominent D.C. based hip hop artists include Wale, Oddisee, Fat Trel, Shy Glizzy, Lightshow, Ant Glizzy, Percy Jonez & Santino Ranks of YNWV and a few newcomers , GoldLink, Chaz French & Jay IDK. Many of these newcomers are typically featured on local radio stations such as 93.9 WKYS. 20bello a rapper, director and promoter was the original founder of the DMV (DC area moniker) Music movement. He remains to this day very instrumental in creating a music scene where young upcoming artist could thrive hence the recent article in the Washington Examiner
Document 4: Gospel music: Gospel music is a genre of Christian music. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music usually has dominant vocals (often with strong use of harmony) with Christian lyrics. Gospel music can be traced to the early 17th century, with roots in the black oral tradition. Hymns and sacred songs were often repeated in a call and response fashion. Most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. Most of the singing was done a cappella. The first published use of the term "gospel song" probably appeared in 1874. The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. Gospel music publishing houses emerged. The advent of radio in the 1920s greatly increased the audience for gospel music. Following World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate.
Document 5: George Paxton: George Paxton (24 March 1914 – 19 April 1989 Indian River, Florida0 was an American big band leader, saxophonist, composer, publisher, and arranger of swing jazz music from the 1930s to the late 1940s; as well as president and producer of Coed Records, primarily a doo-wop label, from the late 1950s to the mid-1960s.
Document 6: Soul blues: Soul blues is a style of blues music developed in the late 1960s and early 1970s that combines elements of soul music and urban contemporary music. Singers and musicians who grew up listening to the traditional electric blues of artists such as Muddy Waters, Bo Diddley, Jimmy Reed and Elmore James; soul singers such as Sam Cooke, Ray Charles and Otis Redding; and gospel music wanted to bridge their favorite music together. Bobby Bland was one of the pioneers of this style. This is a subgenre of blues that is very popular with African American audiences but less known by white audiences. The style continues to be popular in the new millennium.
Document 7: Doo-wop: Doo-wop is a genre of music that was developed in African-American communities of New York City, Philadelphia, Chicago, Baltimore, Newark, Pittsburgh, Cincinnati, Detroit, Washington, D.C. and Los Angeles in the 1940s, achieving mainstream popularity in the 1950s and early 1960s. Built upon vocal harmony, doo-wop was one of the most mainstream, pop-oriented R&B styles of the time. Singer Bill Kenny (1914–1978) is often called the "Godfather of Doo-wop" for his introducing the "top and bottom" format which featured a high tenor singing the lead and a bass singer reciting the lyrics in the middle of the song. Doo-wop features vocal group harmony, nonsense syllables, a simple beat, sometimes little or no instrumentation, and simple music and lyrics.
Document 8: Little Anthony and the Imperials: Little Anthony and the Imperials is an American rhythm and blues/soul vocal group from New York City, first active in the 1950s. Lead singer Jerome Anthony "Little Anthony" Gourdine was noted for his high-pitched voice, influenced by Jimmy Scott. The other original members were: Clarence Collins (group founder), Ernest Wright, Glouster "Nate" Rogers and Tracey Lord, the last two of whom were replaced by Samuel "Sammy" Strain. The group was one of the very few doo-wop groups to maintain success on the R&B and pop charts throughout the 1960s. They were inducted into the Rock and Roll Hall of Fame on April 4, 2009, 23 years after the group's first year of eligibility for induction.
Document 9: Gordon Keith (producer): Gordon Keith (1939-), was the first person to sign a recording contract with the Jackson 5 and release their records.In 1966, he and four friends founded Steeltown Records in Gary, Indiana, with each able to manage, record, and sign local talent themselves in and around Gary. The quality of the music and dance scene was high in and near Gary. Vivian Carter, founder of VeeJay Records, and The Spaniels, a prominent Doo-wop group, are examples of Gary's musical culture. Keith states that each Steeltown partner individually discovered, signed, and took the responsibility and any profit for each signed individual or group, using Steeltown Records (Steeltown label) as an umbrella to promote name recognition. Keith points out that he had himself went solo as a vocalist in the 1960s because he wearied of the lack of discipline and commitment of so many of the young singers he sang doo-wop songs with. Therefore, he was looking not only for talent, but talent with a disciplined professional attitude and commitment.
Document 10: Johnny Montagnese: Johnny Montagnese, a professional drummer for over thirty five years, has traveled the world extensively with many well known bands which enhanced his ability to play exceptionally well in a wide spectrum of music styles. He is also the owner and manager of Carriage House Studios in Stamford, CT, and a trusted and talented producer of many exceptional artists, from the Stylistics, Meatloaf, Beyoncé to Diana Ross, Pantera, and the Pixies to the Harlem Boys Choir to name just a few. . . Montagnese is also educated as a child psychologist which supports his desire to help young upstarts to get off the streets and into the studio. Carriage House Studios in Stamford, Connecticut has been nominated for two Grammy Awards and Johnny has offered Crescendo Productions Summer Rock Band Program the opportunity to study at the Studios and have at the students’ disposal, both analog and digital equipment.
Document 11: Music of the African diaspora: Music of the African diaspora was mostly refined and developed during the period of slavery. Slaves did not have easy access to instruments, so vocal work took on new significance. Through chants and work songs people of African descent preserved elements of their African heritage while inventing new genres of music. The culmination of this great sublimation of musical energy into vocal work can be seen in genres as disparate as Gospel Music and Hip-Hop. The music of the African diaspora makes frequent use of ostinato, a motif or phrase which is persistently repeated at the same pitch. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody. The banjo is a direct decedent of the Akonting created by the Jola people, found in Senegal, Gambia and Guinea-Bissau in West Africa. Hence, the melodic traditions of the African diaspora are probably most alive in Blues and Jazz.
Document 12: ABKCO Records: ABKCO Music & Records, Inc. (ABKCO acronym of Allen & Betty Klein and COmpany) is an American major independent record label, music publisher, and film and video production company. It owns and or administers the rights to music by Sam Cooke, the Rolling Stones, the Animals, Herman's Hermits, Marianne Faithfull, Dishwalla, the Kinks as well as the Cameo Parkway label, which includes recordings by such artists as Chubby Checker, Bobby Rydell, the Orlons, the Dovells, Question Mark & the Mysterians, the Tymes and Dee Dee Sharp. Until 2009, ABKCO administered Philles Records and its master recordings, including hits by the Righteous Brothers, the Ronettes, the Crystals and others (via a licensing deal with EMI Music Publishing, which owned the Philles catalog since the mid-1990s).
Document 13: Gee Records: Gee Records was a New York-based American record label formed as a subsidiary to George Goldner's Tico Records and Rama Records labels in 1953 to honor the million selling hit song "Gee" (1953). Sometime in 1955 Goldner (an inveterate gambler) sold 50% of Gee to Joe Kolsky who was a business partner of Morris Levy. Kolsky and Goldner then opened another label Roulette Records in 1957 with Levy as president. A few months later, Goldner sold his shares of Roulette, Rama, Gee, and Tico to the Morris Levy Combine. Goldner then proceeded that year to open two new companies Gone Records and End Records. Gee Records eventually became deactivated. When Gee Records was reactivated as a division of Roulette Records by president Morris Levy in early April 1961, The Cleftones' hit "Heart and Soul" (1961) became Gee Records first release.
Document 14: Era Records: Era Records was an independent American record label located in Hollywood, California. It was founded by Herb Newman and Lou Bedell in 1955 as a pop, country and western and jazz label. Era had a #1 hit in 1956 with Gogi Grant's "The Wayward Wind", written by Newman. In 1959 Bedell sold his interest in the label to Newman. Artists who experienced hits on Era include Ketty Lester ("Love Letters"), Larry Verne ("Mr. Custer"), Donnie Brooks ("Mission Bell"), Dorsey Burnette ("Tall Oak Tree"), Art & Dotty Todd ("Chanson D' Amour") and The Castells ("So This Is Love"). Era distributed other labels including Monogram, Gregmark and Eden. From 1969 to 1971, Era was associated with Happy Tiger, which reissued and distributed some of Era's oldies. In 1972, Newman added the RTV label, which released the MU album. In the mid-1970s Newman sold the Era label and catalog to K-tel. In 1993, K-tel began reissuing some of the early Era material using the original Era label and logo.
Document 15: Coed Records: George Paxton and Marvin Cane formed Coed Records, Inc. in New York City in 1958, and had offices at 1619 Broadway in the Brill Building. George Paxton produced many of the songs on this label, most of which were of the East Coast Doo-wop group style, and some of these became hit songs of the day. Between 1958 and 1965, Coed's biggest acts included the Crests, the Rivieras, the Duprees, the Harptones, Trade Martin and Adam Wade, among others.
ground_truth: Doo-wop