The Supremes
The Supremes | |
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Background information | |
Also known as | The Primettes (1959–1961); Diana Ross & the Supremes (1967–1970) |
Origin | Detroit, Michigan, U.S. |
Genres | |
Years active |
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Labels | |
Past members |
The Supremes were an American
During the mid-1960s, the Supremes achieved mainstream success with Ross as lead singer and Holland–Dozier–Holland as its songwriting and production team. In 1967, Motown president Berry Gordy renamed the group Diana Ross & the Supremes, and replaced Ballard with Cindy Birdsong. In 1970, Ross left to pursue a solo career and was replaced by Jean Terrell, and the group reverted the name to the Supremes again. During the mid-1970s, the lineup continued to change with Lynda Laurence, Scherrie Payne and Susaye Greene joining until the group, after 18 years from its foundation, disbanded in 1977.
History
Origins
In
After winning the
Determined to leave an impression on Gordy and join the stable of rising Motown stars, the Primettes frequented his Hitsville U.S.A. recording studio.[11] Eventually, they convinced Gordy to allow them to contribute hand claps and background vocals for the songs of other Motown artists including Marvin Gaye and Mary Wells.[12] In January 1961, Gordy finally relented and agreed to sign them to his label – but under the condition that they change the name of their group.[11][13] The Primes had by this time combined with Otis Williams & the Distants and would soon sign to Motown as the Temptations.[14] Gordy gave Ballard a list of names to choose from that included suggestions such as "the Darleens", "the Sweet Ps", "the Melodees", "the Royaltones" and "the Jewelettes".[15] Ballard chose another suggestion, "the Supremes".[16][12] In the spring of 1962, Martin left the group to start a family. Thus, the newly named Supremes continued as a trio.[17]
Between 1961 and 1963, the Supremes released six singles, starting with "
"Lovelight" was the first of many Supremes songs written by the Motown songwriting and production team known as Holland–Dozier–Holland.[11] In late 1963, Berry Gordy chose Diane Ross — who began going by "Diana" in 1965—as the official lead singer of the group.[22] Ballard and Wilson were periodically given solos on Supremes albums, and Ballard continued to sing her solo number, "People", in concert for the next two years.[23]
In the spring of 1964, the Supremes recorded the single "Where Did Our Love Go".[24] The song was originally intended by Holland-Dozier-Holland for the Marvelettes, who rejected it.[24] Although the Supremes disliked the song, the producers coerced them into recording it.[24] In August 1964, while the Supremes toured as part of Dick Clark's Caravan of Stars, "Where Did Our Love Go" reached number one on the US pop charts, much to the surprise and delight of the group.[25] It was also their first song to appear on the UK singles chart, where it reached number three.[26]
"Where Did Our Love Go" was followed by four consecutive US number-one hits:[7] "Baby Love" (which was also a number-one hit in the UK), "Come See About Me", "Stop! In the Name of Love" and "Back in My Arms Again".[21][27] "Baby Love" was nominated for the 1965 Grammy Award for Best R&B Song.[28]
Impact
The Supremes deliberately embraced a more glamorous image than previous black performers. Much of this was accomplished at the behest of Motown chief Berry Gordy and Maxine Powell, who ran Motown's in-house finishing school and Artist Development department.[29] Unlike many of her contemporaries, Ross sang in a thin, calm voice, and her vocal styling was matched by having all three women embellish their femininity instead of imitate the qualities of male groups. Eschewing plain appearances and basic dance routines, the Supremes appeared onstage in detailed make-up and high-fashion gowns and wigs, and performed graceful choreography created by Motown choreographer Cholly Atkins. Powell told the group to "be prepared to perform before kings and queens."[29] Gordy wanted the Supremes, like all of his performers, to be equally appealing to black and white audiences.[30]
Publications such as
By 1965, the Supremes were international stars. They toured the world, becoming almost as popular abroad as they were in the US.
Changes
Problems within the group and within Motown Records' stable of performers led to tension among the members of the Supremes. Many of the other Motown performers felt that Berry Gordy was lavishing too much attention upon the group and upon Ross, in particular.[18] In early 1967, the name of the act was officially changed briefly to "the Supremes with Diana Ross" before changing again to "Diana Ross & the Supremes" by mid-summer.[11] The Miracles had become "Smokey Robinson & the Miracles" two years prior. The fall of 1967 saw Martha & the Vandellas become "Martha Reeves & the Vandellas".[41] Having learned that Ross would receive top billing, David Ruffin lobbied, unsuccessfully, to have the Temptations renamed as "David Ruffin & the Temptations",[42] although Gordy maintained that because they would be providing two acts, a lead singer and a group, Motown could demand more money for live bookings.[43]
The Supremes' name change fueled already present rumors of a solo career for Ross and contributed to the professional and personal dismantling of the group. In fact, Gordy intended to replace Ross with Barbara Randolph as early as the fall of 1966, but changed his mind and instead kept Ross in the group for several more years.[44]
As Ross became the focal point of the Supremes, Ballard suffered from depression and began to drink excessively, gaining weight until she could no longer comfortably wear many of her stage outfits. During this turbulent period, Ballard relied heavily upon the advice of group mate Mary Wilson, with whom she had maintained a close friendship. Wilson, while outwardly demure and neutral in hopes of keeping the group stable, privately advised Ballard that Ross and Gordy were eager to oust Ballard.[45]
By 1967, Ballard would not show up for recording dates, or would arrive at shows too inebriated to perform. For some early 1967 shows, she was replaced by Marlene Barrow (a member of the Motown backup group The Andantes). Looking for a more permanent replacement, Gordy once again thought of Barbara Randolph, possibly believing that Randolph could be groomed as lead singer for the group once it was decided to take Ross solo. However, Ross did not receive Randolph well. In April 1967, Gordy then contacted Cindy Birdsong, a member of Patti LaBelle & the Blue Belles who superficially resembled Ballard, with plans to bring her in as Ballard's replacement.[46] He made his plans clear to Ballard and her group mates at a mid-April meeting, and Birdsong was brought in to begin rehearsals.[46] Gordy did not fire Ballard outright at that time, asking Ballard instead to quit on her own.[46]
Birdsong first appeared with the Supremes in Ballard's place at a benefit concert at the Hollywood Bowl on April 29, 1967.[46][47] Following the performance, Gordy quickly learned that Birdsong was still contractually committed to the Blue Belles when that group's lawyers filed an injunction against him. In May, Ballard returned for what she believed was a probationary period, although in reality it was a stopgap measure until Gordy was able to buy out Birdsong's contract. During May and June, knowing that she was one step away from being dismissed, Ballard made an attempt to toe the line, slimming down and showing up to commitments on time and sober. Despite this, Birdsong was secretly traveling with the Supremes, studying their routines.[46]
On June 29, 1967, the group returned to the
Ballard's release from Motown was made final on February 22, 1968, when she received a one-time payment of US$139,804.94 in royalties and earnings.[49] She attempted a solo career with ABC Records, and was forced to formally reject a solo contract offered by Motown as part of her settlement.[50] Ballard's two 1968 singles failed to chart and her solo album was shelved.[51] In 1971, Ballard sued Motown for $8.7 million, claiming that Gordy and Diana Ross had conspired to force her out of the group;[52] the judge ruled in favor of Motown. Ballard eventually sank into poverty and died abruptly on February 22, 1976, from an cardiac arrest caused by a coronary thrombosis at the age of 32.[53]
Ross's departure
Holland–Dozier–Holland left Motown in early 1968 after a dispute with the label over royalties and profit sharing.
In mid-1968, Motown initiated a number of high-profile collaborations for the Supremes with their old colleagues, the Temptations. Besides the fact that both groups had come up together, the pairings made financial sense: the Supremes had a mostly white fanbase, while the Temptations a mostly black fanbase. By 1969, the label began plans for a Diana Ross solo career.[58] A number of candidates—most notably Syreeta Wright—were considered to replace Ross. After seeing 24-year-old Jean Terrell perform with her brother Ernie in Florida, Berry Gordy decided on Ross' replacement. Terrell was signed to Motown and began recording the first post-Ross Supremes songs with Wilson and Birdsong during the day, while Wilson and Birdsong toured with Ross at night. At the same time, Ross began to make her first solo recordings. On November 2, 1969, Ross's solo career was first reported by the Detroit Free Press.[59]
"Someday We'll Be Together" was recorded with the intent of releasing it as the first solo single for Diana Ross. Desiring a final Supremes number-one record, Gordy instead had the song released as a Diana Ross & the Supremes single, despite the fact that neither Wilson nor Birdsong sang on the record. "Someday We'll Be Together" hit number one on the American pop charts, becoming not only the Supremes' 12th and final number-one hit, but also the final number-one hit of the 1960s. This single also would mark the Supremes' final television appearance together with Ross, performing on The Ed Sullivan Show on December 21, 1969.[60]
The Supremes in the 1970s
Diana Ross & the Supremes gave their final performance on January 14, 1970, at the
The Terrell-led Supremes—now rebranded as "the Supremes;" known unofficially at first as "the New Supremes", and in later years informally called "The '70s Supremes"—scored hits including "Up the Ladder to the Roof" (US number 10, UK number 6), "Stoned Love" (US number 7, UK number 3) and "Nathan Jones" (US number 16, UK number 5), all of which were produced by Frank Wilson. These three singles were also R&B Top Ten hits, with "Stoned Love" becoming their last No.1 R&B hit in December 1970. Songwriting/production team Nickolas Ashford & Valerie Simpson produced another Top 20 hit for the group, a Supremes/Four Tops duet version of Ike & Tina Turner's "River Deep – Mountain High".[64]
In 1972, the Supremes had their last Top 20 hit single release, "Floy Joy", written and produced by Smokey Robinson, followed by the final US Top 40 hit for the Jean Terrell-led version of the group, "Automatically Sunshine" (US number 37, UK number 10). "Automatically Sunshine" later became the group's final top 10 single in the UK. On both "Floy Joy" and "Sunshine" Terrell shared lead with Mary Wilson. Motown, by then moving from Detroit to Los Angeles to break into motion pictures, put only limited effort into promoting the Supremes' new material, and their popularity and sales began to wane. Cindy Birdsong left the group in April 1972, after recording the Floy Joy album, to start a family; her replacement was Lynda Laurence, a former member of Stevie Wonder's backup group, Third Generation (a predecessor to Wonderlove). Jimmy Webb was hired to produce the group's next LP, The Supremes Produced and Arranged by Jimmy Webb,[65] but the album and its only single "I Guess I'll Miss the Man" failed to make an impact on the Billboard pop chart, with the single peaking at number 85 on November 24, 1972.[21]
In early 1973, the Stevie Wonder-produced "Bad Weather" peaked at number 87 on the US pop charts and number 37 in the UK.[21][26] Laurence left to start a family, so Cindy Birdsong returned to the group.[66]
Dismayed by this poor-performing record and the lack of promotional support from Motown, Jean Terrell left the group and was replaced by Scherrie Payne, the sister of Invictus Records recording artist Freda Payne.[66] The group's strained relationship with Motown continued; Birdsong told journalist Peter McDonald in 1974 that 'we've had problems with Motown... at this point if a better opportunity with another company comes along we'll seriously consider it.'[67]
Between the 1973 departures of Laurence and Terrell and the first Supremes single with Scherrie Payne, "He's My Man", a disco single on which Payne and Wilson shared lead vocal, Motown was slow in producing contracts for Payne and the returning Birdsong. Before the release of the album in 1975, the Supremes remained a popular live act, and continued touring overseas, particularly in the UK and Japan. The group's new recordings were not as successful as their earlier releases, although "He's My Man" from the album The Supremes was a popular disco hit in 1975. In 1976, Birdsong left again and was replaced by Susaye Greene, another former member of Wonderlove.[68]
This final version of the Supremes released two albums, both of which reunited the Supremes with Holland-Dozier-Holland: High Energy, which includes Birdsong on all of the tracks, and Mary, Scherrie & Susaye.[11] In 1976, the Supremes released "I'm Gonna Let My Heart Do the Walking", their final Top 40 hit on the Billboard Hot 100.[21]
On June 12, 1977, the Supremes performed their farewell concert at the Drury Lane Theater in London as Wilson made her exit for a solo career and Scherrie and Susaye had selected Joyce Vincent to round out the trio as a new third member. Instead, Motown decided that without any original members, the Supremes would be disbanded.[16]
Legacy
Works inspired by the Supremes
Several fictional works have been published and produced that are based in part on the career of the group. The 1976 film
On December 21, 1981, the
Awards and followers
The Supremes were twice nominated for a
"Stop! In the Name of Love" and "You Can't Hurry Love" are among the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
Reunions
Fan interest made the idea of a Supremes reunion tour a very profitable one during the 1980s. In 1982, around the time that Motown reunited all of the Temptations, it was rumored that Motown would reunite the Supremes. The 1974 line-up of the Supremes (Wilson, Birdsong and Payne) was considered for this reunion, which was to include new recordings and a tour. Under advisement from Berry Gordy, Wilson declined to reunite, and the idea was scrapped. Ross briefly reunited with Wilson and Birdsong to perform "Someday We'll Be Together" on the Motown 25: Yesterday, Today, Forever television special, taped on March 25, 1983, and broadcast on NBC on May 16, 1983.[79]
In 2000, plans were made for Ross to join Wilson and Birdsong for a planned "Diana Ross & the Supremes: Return to Love" reunion tour. However, Wilson passed on the idea, because while the promoters offered Ross $15 million to perform, Wilson was offered $4 million and Birdsong less than $1 million.[80] Ross herself offered to double the amounts both Wilson and Birdsong had originally been offered, but while Birdsong accepted, Wilson remained adamant, and as a result the deal fell through with both former Supremes. Eventually, the "Return to Love" tour went on as scheduled, but with Payne and Laurence joining Ross, although none of the three had ever been in the group at the same time and neither Payne nor Laurence had sung on any of the original hit recordings that they were now singing live. Susaye Greene was also considered for this tour, but refused to audition for it. The music critics cried foul and many fans were disappointed by both this and the shows' high ticket prices. Though the tour did well in larger markets including near capacity at the opening night in Philadelphia and a sellout at Madison Square Garden in New York, it under performed in smaller/medium markets. The tour was canceled after playing only half of the dates on itinerary.[81]
With the death of Florence Ballard in 1976 and the death of Mary Wilson on February 8, 2021, there is no longer any possible reunion of the original classic lineup.[53][82]
Post-Supremes groups
In 1986, Jean Terrell, Scherrie Payne and Lynda Laurence began to perform as the Former Ladies of the Supremes, or FLOS.[83] When Terrell quit in 1992, Sundray Tucker, Laurence's sister, stepped in for a short time, but was replaced by Freddi Poole in 1996.[83] More recently in September 2009, Poole was replaced by Joyce Vincent, formerly of Tony Orlando and Dawn.[83] In 2017, Laurence left and was replaced by Greene.[84]
In 1977, last original and founding member
In 1989, Kaaren Ragland founded a group known as The Sounds of the Supremes. Ragland asserts her affiliation with the Supremes based on her performances alongside Mary Wilson. However, she was never signed by Motown, her performances with Wilson occurred after the Supremes' disbandment in 1977, and she is not recognized as an official member of the Supremes.[85][86]
In 1996, Mary Wilson sued former group mates Kaaren Ragland, Hollis Paysuer, Scherrie Payne, Lynda Laurence, and their managers for trademark infringement of the Supremes name.[87] In 1999, the 9th U.S. Circuit Court of Appeals ruled against Wilson, stating that Motown owns the name and had allowed Former Ladies of the Supremes and Sounds of the Supremes to use the name.[88][89]
Personnel
The Supremes (aka the Primettes and Diana Ross & the Supremes)
- Mary Wilson (1959–1977, 1983; died 2021)
- Diana Ross (1959–1970, 1983, 2000)
- Florence Ballard (1959–1967; died 1976)
- Betty McGlown (1959–1960; died 2008)
- Barbara Martin (1960–1962; died 2020)
- Cindy Birdsong (1967–1972, 1973–1976, 1983)
- Jean Terrell (1970–1973)
- Lynda Laurence (1972–1973, 2000)
- Scherrie Payne (1973–1977, 2000)
- Susaye Greene (1976–1977)
Lineups
The Primettes
- 1959–1960
- 1960–1961
The Supremes
- 1961–1962
- 1962–1967
Diana Ross & the Supremes
- 1967–1970
The Supremes
- 1970–1972
- 1972–1973
- 1973–1976
- 1976–1977
Discography
Studio albums
- Meet The Supremes (1962)
- Where Did Our Love Go (1964)
- A Bit of Liverpool (1964)
- The Supremes Sing Country, Western and Pop (1965)
- We Remember Sam Cooke (1965)
- More Hits by The Supremes (1965)
- Merry Christmas (1965)
- I Hear a Symphony (1966)
- The Supremes A' Go-Go (1966)
- The Supremes Sing Holland–Dozier–Holland (1967)
- The Supremes Sing Rodgers & Hart (1967)
- Reflections (1968)
- Diana Ross & the Supremes Sing and Perform "Funny Girl" (1968)
- Diana Ross & the Supremes Join the Temptations (1968)
- Love Child (1968)
- Let the Sunshine In (1969)
- Together (1969)
- Cream of the Crop (1969)
- Right On (1970)
- The Magnificent 7 (1970)
- New Ways but Love Stays (1970)
- The Return of the Magnificent Seven (1971)
- Touch (1971)
- Dynamite (1971)
- Floy Joy (1972)
- The Supremes Produced and Arranged by Jimmy Webb (1972)
- The Supremes (1975)
- High Energy (1976)
- Mary, Scherrie & Susaye (1976)
Filmography
- T.A.M.I. Show (1965) (concert film)
- Beach Ball (1965)
- The Supremes In The Orient (1966) (28 minute short film directed by Berry Gordy documenting the band's tour in Asia the same year and intended as a TV special[90])
Television
- Tarzan (1968)
- T.C.B. (1968)
- G.I.T. on Broadway (1969)
Videography
See also
- List of artists who reached number one in the United States
- List of best-selling girl groups
- List of Rock and Roll Hall of Fame inductees
References
Citations
- ^ "Greatest of All Time Hot 100 Artists". Billboard.
- ^ a b c Wilson & Bego 2019, pp. 19–20
- ^ a b Wilson & Bego 2019, pp. 20–22
- ^ Wilson & Romanowski 1999, p. 49 (Dreamgirl)
- ^ Wilson & Romanowski 1999, pp. 37–38 (Dreamgirl)
- ^ Wilson & Romanowski 1999, pp. 53–56, 75 (Dreamgirl)
- ^ a b c Gilliland, John (1969). "Show 26 – The Soul Reformation: Phase two, the Motown story. [Part 5]" (audio). Pop Chronicles. University of North Texas Libraries.
- ^ a b Wilson & Romanowski 1999, pp. 53–56 (Dreamgirl)
- ^ a b c Wilson & Romanowski 1999, pp. 69–71 (Dreamgirl)
- ^ Wilson & Romanowski 1999, p. 62 (Dreamgirl)
- ^ a b c d e f g Kellman, Andy. "The Supremes Biography". allmusic. Retrieved March 30, 2021.
- ^ a b Wilson & Bego 2019, p. 27
- ^ Wilson & Romanowski 1999, pp. 84–85 (Dreamgirl)
- ^ Wilson & Romanowski 1999, p. 81 (Dreamgirl)
- ^ Benjaminson 2008, p. 27
- ^ a b Hill, Michael (1988). "The Supremes". The Rock and Roll Hall of Fame and Museum. Archived from the original on May 9, 2007. Retrieved March 30, 2021.
- ISBN 0-02-865527-3
- ^ a b Unterberger, Richie. "The Supremes". Allmusic. Archived from the original on November 12, 2010. Retrieved April 1, 2021.
- ^ Wilson & Romanowski 1999, p. 136 (Dreamgirl)
- ^ Bianco, David; York, Jennifer M. (2001). "Supremes". Contemporary Black Biography. Gale. Archived from the original on December 22, 2011. Retrieved April 1, 2021.
- ^ a b c d e "Chart History: The Supremes [Hot 100]". Billboard. Retrieved April 1, 2021.
- ^ Wilson & Romanowski 1999, pp. 141–143, 169–170 (Dreamgirl)
- ^ Wilson & Romanowski 1999, p. 173 (Dreamgirl)
- ^ a b c Wilson & Romanowski 1999, pp. 141–143 (Dreamgirl)
- ^ Wilson & Romanowski 1999, p. 147 (Dreamgirl)
- ^ a b "The Supremes". Official Charts Company. Retrieved April 1, 2021.
- ^ Bronson 2003, p. 176
- ^ "The Grammy Hall Of Fame Award Archived July 7, 2015, at the Wayback Machine". grammy.com. Retrieved July 24, 2008.
- ^ a b c Yusuf, Nilgin (April 30, 2008). "The Supremes on show". The Daily Telegraph. Archived from the original on December 20, 2008. Retrieved April 1, 2021.
- ^ Kooijman, Jaap. "From elegance to extravaganza the Supremes on The Ed Sullivan Show as a presentation of beauty". Velvet Light Trap [on accessmylibrary.com], March 22, 2002. Retrieved July 4, 2007.
- ^ a b Ebony 1965, p. 86.
- ^ "Rock 'n' Roll: The Sound of the Sixties". Time. Vol. 85, no. 21. May 21, 1965. p. 86. Retrieved April 1, 2021.
- ^ Cooper, Carol L. (February 9, 2021). "The Supremes". Encyclopedia Britannica. Retrieved April 1, 2021.
- ISBN 0-8239-3527-2
- ISBN 0-674-00546-5
- ^ The Supremes AllMusic Billboard Albums. Retrieved July 24, 2008.
- ^ Bronson, Fred (June 8, 2017). "'The Supremes A' Go-Go' Reissue: Mary Wilson, Lamont Dozier Look Back on the Landmark Girl Group Album". Billboard. Retrieved October 20, 2017.
- ISBN 0-415-12082-9– via Google Books.
- ^ Sternfield, Aaron (August 7, 1965). "As an Act for All Ages Supremes Blossom Out". Billboard. Vol. 77, no. 32. p. 10 – via Google Books.
- ^ Bronson 2003, p. 155
- ISBN 0-7619-2764-6
- ^ Benjaminson 2008, p. 143
- ISBN 978-0-306-81586-7, p. 284.
- ^ Ribowsky (2009). The Supremes: A Saga of Motown Dreams, Success, and Betrayal, p. 267.
- ^ Benjaminson 2008, p. 92
- ^ a b c d e Ribowsky (2009). The Supremes: A Saga of Motown Dreams, Success, and Betrayal, pp. 283–294.
- ^ Wilson & Romanowski 1999, p. 263 (Dreamgirl)
- ^ Benjaminson 2008, pp. 95–97
- ^ Knight, Jack. "Ex-Supreme rejected in Motown suit". Detroit Free Press, October 29, 1971.
- ^ Benjaminson 2008, p. 109
- ^ Benjaminson 2008, p. 113
- ^ Benjaminson 2008, p. 190
- ^ a b Benjaminson 2008, p. 168
- ^ Boehm, Mike. "How sweet it is: Motown hit-makers eye Broadway". Los Angeles Times, April 15, 2007. Retrieved July 17, 2008.
- ^ "Show 50 – The Soul Reformation: Phase three, soul music at the summit. [Part 6] : UNT Digital Library". UNT Digital Library. Retrieved October 23, 2014.
- ^ Benjaminson 2008, pp. 75–79
- ISBN 0-8147-9910-8
- ISBN 0-7119-9511-7
- ^ Wilson & Bego 2019, p. 211
- ^ Wilson & Bego 2019, p. 212
- ^ Bronson 2003, p. 269
- ^ Wilson & Romanowski 1999, p. 10 (Supreme Faith)
- ISBN 1-58005-078-6
- ^ Wilson & Bego 2019, p. 221
- ^ Vining, Mark. "The Supremes Archived December 30, 2008, at the Wayback Machine". Rolling Stone, January 4, 1973. Retrieved July 18, 2008.
- ^ a b Wilson & Bego 2019, p. 225
- ^ Peter MacDonald, 'The Supremes Ride on in Style' TV Week 1 June 1974 p. 28
- ^ Wilson & Bego 2019, p. 229
- ^ "The It List: Aaliyah Archived November 14, 2004, at the Wayback Machine". Entertainment Weekly, June 21, 2001. Retrieved November 11, 2006.
- ^ Pols, Mary (August 16, 2012). "Sparkle: Whitney Houston's Last Picture Show and Jordin Sparks' First". Time.
- ^ O'Neil, Tom. "Diana's 'Dreamgirls' decision". The Envelope. Los Angeles Times. Archived from the original on September 16, 2012. Retrieved April 1, 2021.
- ^ Skurow, Andrew. The Supremes. CD boxed set liner notes appendix, 2007. New York: Motown Record Co./Universal Music.
- ^ "Grammy Hall of Fame Awards Archived July 7, 2015, at the Wayback Machine". Grammy.com, 2007. Retrieved April 27, 2007.
- ^ Paul, Larisha (January 5, 2023). "The Supremes, Nirvana, Nile Rodgers Named 2023 Grammy Lifetime Achievement Award Recipients". Rolling Stone. Retrieved January 9, 2023.
- ^ "The Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll (by artist)". Rock and Roll Hall of Fame, 2007. Retrieved April 27, 2007. Archived May 14, 2007, at the Wayback Machine
- ^ "The Immortals: The First Fifty". Rolling Stone, Issue 946, March 24, 2004. Retrieved July 4, 2004.
- ^ Chin et al., 48.
- ^ Q, December 1994
- ^ Pareles, Jon (April 5, 2000). "Stop! In the Name of Nostalgia". The New York Times. Retrieved July 10, 2008.
- ^ "Supremes return for tour". BBC News. April 5, 2000. Retrieved July 4, 2008.
- ^ Posner, 331.
- ^ "About: Mary Wilson. Retrieved December 5, 2021.
- ^ ISBN 978-0-7864-7581-0. Retrieved January 3, 2024 – via Google Books.
- user-generated source]
- ^ sholsey (October 6, 2015). "Supremes Drama Continues as Dreamgirls Opening". The New Tri-State Defender. Archived from the original on October 6, 2015.
- ^ "Corrections: Supremes". The Advocate (Newark). Newark, Ohio. August 15, 2003. p. 2.
Kaaren Ragland, featured in the "Sounds of the Supremes" at this year's Hot Music Weekend, was not an original Supreme, as reported in Wednesday's edition of The Advocate. Florence Ballard, Diana Ross and Mary Wilson were the original members of the group.
- ^ "POP/ROCK". Los Angeles Times. February 10, 1996. Retrieved December 24, 2023.
- ^ "Mary Wilson loses appeal in Supremes trademark lawsuit". Chicago Tribune. July 7, 1999. Archived from the original on May 21, 2022. Retrieved December 24, 2023.
- ^ "Wilson loses appeal of her trademark". The Rochester Sentinel. July 7, 1999. p. 9. Retrieved December 24, 2023 – via Google Books.
- ^ "589. Supremes Interview". Motown Junkies. March 2, 2013. Retrieved November 15, 2023.
Bibliography
- Benjaminson, Peter (2008). The Lost Supreme: The Life of Dreamgirl Florence Ballard. Chicago: Lawrence Hill. ISBN 978-1-55652-705-0.
- Bronson, Fred (2003). The Billboard Book of Number One Hits (5th ed.). New York: Billboard Books. ISBN 9780823076772– via Google Books.
- Chin, Brian & Nathan, David. Reflections Of... The Supremes [CD boxed set liner notes]. New York: Motown Record Co./Universal Music, 2000.
- Clinton, Paul. "Diana Ross' tour excludes old partner, friend". CNN.com, April 20, 2000.
- "Supremes Wow Europe, Too". Ebony. Vol. 20, no. 8. Johnson Publishing Company. June 1965. p. 86 – via Google Books.
- Gans, Andrew. "Foxx and Usher to Join Beyonce for Dreamgirls Film". Playbill, May 12, 2005.
- Lewis, Pete, "Mary Wilson: A Supreme Interview", Blues & Soul, May 2009.
- Nathan, David. The Soulful Divas: Personal Portraits of over a Dozen Divine Divas. New York: Billboard Books/Watson-Guptill Publications, 2002. ISBN 0-8230-8430-2.
- Posner, Gerald. Motown: Music, Money, Sex, and Power. New York: Random House, 2002. ISBN 0-375-50062-6.
- ISBN 0-8154-1000-X.
- Wilson, Mary; Bego, Mark (2019). Supreme Glamour. New York: Thames & Hudson. ISBN 978-0-500-022009.
Further reading
- ISBN 0-7119-9511-7.
- ISBN 0-517-16622-4.
- Taraborrelli, J. Randy. Diana Ross: An Unauthorized Biography. London: Sidgwick & Jackson, 2007. ISBN 978-0-283-07017-4.
- Ribowsky, Mark. The Supremes: A Saga of Motown Dreams, Success, and Betrayal. New York: Da Capo Press, 2009. ISBN 0-306-81586-9.
- ISBN 0-312-21959-8
External links
- The Primettes at AllMusic
- The Supremes at AllMusic
- Diana Ross & the Supremes at AllMusic
- The Supremes at IMDb
- The Supremes interviewed on the Pop Chronicles (1969)
- The Supremes discography at Discogs
- The Supremes on The Ed Sullivan Show