The SupremesThis article is about the Motown singing group. Forother uses, see The Supremes (disambiguation).The Supremes were an American female singing groupand the premier act of Motown Records during the 1960s.Founded as the Primettes in Detroit, Michigan, in 1959,the Supremes were the most commercially successful ofMotowns acts and are, to date, Americas most success-ful vocal group[2]with 12 number one singles on theBillboard Hot 100.[3] Most of these hits were written andproduced by Motowns main songwriting and productionteam, HollandDozierHolland. At their peak in the mid-1960s,the Supremes rivaled the Beatles in worldwidepopularity,[3] and their success made it possible for fu-ture African American R&B and soul musicians to ndmainstream success.[3]Founding members Florence Ballard, Mary Wilson,Diana Ross, and Betty McGlown, all from the Brewster-Douglasspublichousingproject inDetroit,[4]formedthe Primettes as the sister act to the Primes (with PaulWilliams and Eddie Kendricks, who went on to form theTemptations).[4] Barbara Martin replaced McGlown in1960, and the group signed with Motown the followingyear as the Supremes. Martin left the act in early 1962,and Ross, Ballard, and Wilson carried on as a trio.Duringthemid-1960s, theSupremesachievedmain-stream success with Ross as lead singer. In 1967, Mo-town president Berry Gordy renamed the groupDianaRoss & the Supremes, and replaced Ballard with CindyBirdsong. Ross left to pursue a solo career in 1970and was replaced by Jean Terrell, at which point thegroups name reverted totheSupremes. After 1972,the lineup changed more frequently; Lynda Laurence,Scherrie Payne, and Susaye Greene all became membersof the group during the mid-1970s. The Supremes dis-banded in 1977 after 18 years.1 History1.1 OriginsIn1958, FlorenceBallardajuniorhighschool stu-dent living in the Brewster-Douglass Housing ProjectsinDetroitmet Paul WilliamsandEddieKendricks,two members of a Detroit male singing group known asthe Primes.[4] Since Ballard sang, as did Paul Williamsgirlfriend Betty McGlown, the Primess manager MiltonFrederick Douglass Housing Project in DetroitJenkins decided to create a sister group to the Primescalled the Primettes.[4] Ballard recruited her best friendMaryWilson, whointurnrecruitedclassmateDianeRoss.[4] Mentored and funded by Jenkins, the Primettesbegan by performing hit songs by artists such as RayCharles and the Drifters at sock hops, social clubs andtalent shows around the Detroit area.[4] Receiving addi-tional guidance from group friend and established per-former Jesse Greer, the quartet quickly earned a local fanfollowing.[13] The girls crafted an age-appropriate stylethat was inspired by the collegiate dress of popular doo-wop group Frankie Lymon & the Teenagers;[14] and, forthe most part, Ballard, Ross and Wilson performed equalleads on songs. Within a few months, guitarist MarvinTarplin was added to the Primettes lineupa move thathelped distinguish the group from Detroits many otheraspiring acts by allowing the girls to sing live instead oflip-synching.[15]After winning a prestigious local talent contest,[16] thePrimettes sights were set on making a record. In hopesof getting the group signed to the local upstart Motownlabel, in 1960 Ross asked an old neighbor, Miracles leadsinger Smokey Robinson, to help the group land an au-12 1 HISTORYdition for Motown executive Berry Gordy,[17] who hadalready proven himself a capable songwriter.[18] Robin-son liked the girls (as they were then known aroundMotown)[19] and agreed to help, but he liked their gui-tarist even more; with the Primettes permission he hiredTarplin, who became the guitarist for the Miracles.[17]Robinson arranged for the Primettes to audition a cap-pella for Gordybut Gordy, feeling the girls too youngand inexperienced to be recording artists, encouragedthemtoreturnwhentheyhadgraduatedfromhighschool.[17][19]Undaunted,later that year the Primettesrecorded a single for Lu Pine Records, a label createdjust for them, titled "Tears of Sorrow", which was backedwith "Pretty Baby".[20] The single failed to nd an audi-ence, however.[21] Shortly thereafter, McGlown becameengaged and left the group.[22] Local girl Barbara Martinwas McGlowns prompt replacement.[21]Determined to leave an impression on Gordy and join thestable of rising Motown stars, the Primettes frequentedhis Hitsville, U.S.A.recording studio every day afterschool.[23]Eventually, they convinced Gordy to allowthem to contribute hand claps and background vocals forthe songs of other Motown artists including Marvin Gayeand Mary Wells.[24] In January 1961, Gordy nally re-lented and agreed to sign the girls to his label but underthe condition that they change the name of their group.[25]The Primes had by this time combined with Otis Williams& the Distants and would soon sign to Motown as theTemptations.[26] Gordy gave Ballard a list of names tochoose from that included suggestions such as the Dar-leens, the Sweet Ps, the Melodees, the Royaltonesand the Jewelettes.[27] Ballard chose the Supremes, aname that Ross initially disliked as she felt it too mascu-line.Nevertheless, on January 15 the group signed withMotown as the Supremes.[28] In the spring of 1962, Mar-tin left the group to start a family. Thus, the newly namedSupremes continued as a trio.[29]Between 1961 and 1963, the Supremes released six sin-gles, none of which charted in the Top 40 positions of theBillboard Hot 100.[3] Jokingly referred to as the no-hitSupremes around Motowns Hitsville U.S.A. oces,[30]the group attempted to compensate for their lack of hitsby taking on any work available at the studio,includ-ing providing hand claps and singing backup for Mo-town artists such as Marvin Gaye and the Temptations.During these years, all three members took turns singinglead: Wilson favored soft ballads; Ballard favored soul-ful, hard-driving songs; and Ross favored mainstreampopsongs. Most of their early material was written and pro-duced by Berry Gordy or Smokey Robinson.[31] In De-cember 1963, the single "When the Lovelight Starts Shin-ing Through His Eyes" peaked at number 23 on the Bill-board Hot 100.[32]Lovelight was the rst of many Supremes songs writ-tenbytheMotownsongwritingandproductionteamknownas HollandDozierHolland.[33]Inlate 1963,Berry Gordy chose Diane Rosswho began going byDiana in 1965[34]as the ocial lead singer of thegroup.[35] Ballard and Wilson were periodically given so-los on Supremes albums, and Ballard continued to singher solo number, People, in concert for the next twoyears.[36]In the spring of 1964, the Supremes recorded the single"Where Did Our Love Go".[35] The song was originallyintended by Holland-Dozier-Holland for the Marvelettes,who rejected it.[35] Although the Supremes disliked thesong, the producers coerced them into recording it.[35]In August 1964, while the Supremes toured as part ofDick Clark'sCaravanofStars, Where Did Our LoveGo reached number one on the US pop charts, muchto the surprise and delight of the group.[37] It was alsotheir rst song to appear on the UK pop charts, where itreached number three.Where Did Our Love Go was followed by four consec-utive US number-one hits:[19] "Baby Love" (which wasalso a number-one hit in the UK), "Come See AboutMe", "Stop! In the Name of Love" and "Back in MyArms Again".[38]Baby Love was nominated for the1965 Grammy Award for Best R&B Song.[39]1.2 ImpactThe Supremes in 1965.The Supremes became the rst black female perform-ers of the rock era to embrace a more feminine image.Much of this was accomplished at the behest of Mo-town chief Berry Gordy and Maxine Powell,who ranMotowns in-house nishing school and Artist Develop-ment department.[40] Unlike many of her contemporaries,Ross sang in a thin, calm voice, and her vocal styling wasmatched by having all three women embellish their fem-ininity instead of imitate the qualities of male groups.Eschewing plain appearances and basic dance routines,the Supremes appeared onstage in detailed make-up andhigh-fashion gowns and wigs, and performed gracefulchoreography created by Motown choreographer ChollyAtkins. Powell told the group to be prepared to per-form before kings and queens.[40]Gordy wanted theSupremes, like all of his performers, to be equally ap-pealing to black and white audiences,[41] and he sought to1.3 Name and personnel changes 3erase the image of black performers as being unrenedor lacking class.Public magazines such asTime andTheDetroit Newscommented on the Supremes polished presentation.[42]Time called the Supremes the pride of [the] Detroit[sound]" and described them as three thrushes who havea touch of gospel and sweet lyrics like 'I'm standing atthe crossroads of love'.[42] Arnold S. Hirsch of The De-troit News said about the Supremes: they don't screamor wail incoherently. An adult can understand nine out ofevery 10 words they sing. And, most astounding, melodycan be clearly detected in every song.[42] In addition,unlike most American vocal groups, the group membersbecame easily identiable by their fans, thanks partiallyto the cover of their album, More Hits by the Supremes,which each member was pictured separately on the front,with her signature above it.By 1965, the Supremes were international stars. Theytoured the world, becoming almost as popular abroadas they were in the US.[43][44] Almost immediately af-ter their initial number-one hits, they recorded songs formotion picture soundtracks, appeared in the 1965 lmBeach Ball, and endorsed dozens of products, at one pointhaving their own brand of bread. By the end of 1966,their number-one hits included "I Hear a Symphony","You Can't Hurry Love" and "You Keep Me Hangin'On".[45] That year the group also released The SupremesA' Go-Go, which became the rst album by an all-femalegroup to reach number one on the USBillboard 200,knocking the Beatles Revolver out of the top spot.[46] Be-cause the Supremes were popular with white audiencesas well as with black ones, Gordy had the group caterto its middle American audience with performances atrenowned supper clubs such as the Copacabana in NewYork.[47] Broadway and pop standards were incorporatedinto their repertoire alongside their own hit songs. As aresult, the Supremes became one of the rst black musi-cal acts to achieve complete and sustained crossover suc-cess. Black rock and roll musicians of the 1950s had seenmany of their original hit tunes covered by white mu-sicians, with these covers usually achieving more fameand sales success than the originals. The Supremes suc-cess, however, counteracted this trend. Featuring threegroup members who were marketed for their individ-ual personalities (a move unprecedented at the time) andDianaRossspop-friendlyvoice, theSupremesbrokedown racial barriers with rock and roll songs underpinnedby R&B stylings. The group became extremely popu-lar both domestically and abroad, becoming one of therst black musical acts to appear regularly on televisionprograms such asHullabaloo, TheHollywoodPalace,The Della Reese Show, and, most notably,The Ed Sul-livan Show, on which they made 17 appearances.[40] TheSupremes cross-cultural successeectivelypavedtheway for the mainstream success of contemporaneous la-bel mates such as the Temptations, the Four Tops and theJackson 5.1.3 Name and personnel changesPersonnel problems within the group and within MotownRecords stable of performers led to tension among themembers of the Supremes. Many of the other Motownperformers felt that Berry Gordy was lavishing too muchattention upon the group and upon Ross, in particular.[3]In early 1967, the name of the act was ocially changedbriey to the Supremes with Diana Ross before chang-ingagaintoDianaRoss&theSupremesbymid-summer. The Miracles had become Smokey Robin-son & the Miracles two years prior. The fall of 1967saw Martha & the Vandellas become Martha Reeves &the Vandellas.[48] Having learned that Ross would re-ceive top billing, David Run lobbied, unsuccessfully,to have the Temptations renamed as David Run &the Temptations,[49] although Gordy maintained that thename changes were done so that Motown could demandmore money for live bookings (because they would beproviding two actsa lead singer and a groupinsteadof just one).[50]The Supremes name change fueled already present ru-mors of a solo career for Ross and contributed to the pro-fessional and personal dismantling of the group. In fact,Gordy intended to replace Ross with Barbara Randolphas early as the fall of 1966, but changed his mind and in-stead kept Ross in the group for several more years.[51]Gordys caution may have been sparked by an incident inearly 1966 as the group prepared to make their secondappearance at the Copacabana. Angered by Ballards er-ratic behavior, Gordy intended to replace her with Mar-lene Barrow, a member of the Motown in-house singinggroup the Andantes. However, when club managementheard of this change, they threatened to cancel the groupsappearance if Ballard was replaced, as they saw Ballardsbanter with her group mates as a major part of their actssuccess.As Ross became the focal point of the Supremes, Ballardfelt pushed aside in the group. Depression ensued, andBallard began to drink excessively, gaining weight untilshe could no longer comfortably wear many of her stageoutts. The friendship, and later the working relation-ship, between Ross and Ballard became strained.[52] Dur-ing this turbulent period, Ballard relied heavily upon theadvice of group mate Mary Wilson, with whom she hadmaintained a close friendship. Wilson, while outwardlydemure and neutral in hopes of keeping the group stable,privately advised Ballard that Ross and Gordy were ea-ger to oust Ballard.[53] Although the Supremes scored twonumber-one hits during the rst quarter of 1967, "Love IsHere and Now You're Gone" and "The Happening", thegroup as a unit began to disintegrate.By 1967, Ballard would not show up for recording dates,or would arrive at shows too inebriated to perform. Forsome early 1967 shows,she was replaced by MarleneBarrow. Looking for a more permanent replacement,Gordy once again thought of Barbara Randolph, possi-4 1 HISTORYbly believing that Randolph could be groomed as leadsinger for the group once it was decided to take Ross solo.However, Ross did not receive Randolph well. In April1967, Gordy then contacted Cindy Birdsong, a memberof Patti LaBelle & the Blue Belles who supercially re-sembled Ballard, with plans to bring her in as Ballardsreplacement.[54] He made his plans clear to Ballard andher group mates at a mid-April meeting, and Birdsongwas brought in to begin rehearsals.[54] Gordy did not reBallard outright at that time, asking Ballard instead to quiton her own.[54]Birdsong rst appeared with the Supremes in Ballardsplaceat abenet concert at theHollywoodBowl onApril 29, 1967.[54][55] Following the performance, Gordyquickly learned that Birdsong was still contractually com-mitted to the Blue Belles when that groups lawyers ledan injunction against him. In May, Ballard returned forwhat she believed was a probationary period, althoughin reality it was a stopgap measure until Gordy was ableto buy out Birdsongs contract. During May and June,knowing that she was one step away from being dis-missed, Ballard made an attempt to toe the line, slim-ming down and showing up to commitments on time andsober. Despite this, Birdsong was secretly traveling withthe Supremes, studying their routines.[54]On June 29, 1967 the group returned to the FlamingoHotel in Las Vegas billed as the Supremes with DianaRoss, the rst time in which Ross was billed separatelyfrom the group. One month later, Gordy renamed thegroup Diana Ross &the Supremes, putting Rosss nameahead of the group.The rst two days of the Flamingo engagement went bysmoothly. On July 1, when reporting for makeup andwardrobe before their rst show of the evening, Ballarddiscovered an extra set of gowns and costumes that hadbeen brought along for Cindy Birdsong. Angered, Bal-lard performed the rst concert of the night inebriated,leading to an embarrassing on-stage incident in which herstomach was revealed when she purposely thrust it for-ward during a dance routine. Enraged, Gordy orderedher back to Detroit and permanently dismissed her fromthe group. Birdsong ocially assumed her place duringthe second July 1 show.[52][56]Ballards release from Motown was made nal on Febru-ary 22, 1968, when she received a one-time paymentof US$139,804.94 in royalties and earnings.[57] She at-tempted a solo career with ABC Records, and was forcedto formally rejecta solo contractoered by Motownas part of her settlement.[58] Ballards two 1968 singlesfailed to chart and her solo album was shelved.[59]In1971, Ballard sued Motown for $8.7 million, claimingthat Gordy and Diana Ross had conspired to force herout of the group;[60] the judge ruled in favor of Motown.Ballard eventually sank into poverty and died abruptly onFebruary 22, 1976 from coronary thrombosis at the ageof 32.[61] At the time of her death, she had begun to makenancial and personal strides and was planning to reinvig-orate her solo career.1.4 Ross departureHolland-Dozier-Holland left Motown in early 1968 af-ter adisputewiththelabel over royaltiesandprotsharing.[62] The quality of Motowns output (and DianaRoss & the Supremesrecords in particular) began tofalter as a result. From Reections in 1967 to TheWeight in 1969, only six out of the eleven released sin-gles reached the Top 20, and only one of those, 1968s"Love Child",[63] made it to number one. Due to the ten-sion within the group and stringent touring schedules, nei-ther Mary Wilson nor Cindy Birdsong appear on manyof these singles; they were replaced on these recordingsby session singers such as the Andantes.[64] The changeswithin the group and their decreasing sales were signsof changes within the music industry.The gospel-basedsoul of female performers such as Aretha Franklin hadeclipsed the Supremes pop-based sound, which had bynow evolved to include more middle-of-the-road mate-rial. In a cultural climate now inuenced more than everby countercultural movements such as the Black PantherParty, the Supremes found themselves attacked for notbeing black enough, and lost ground in the black musicmarket.[65]In mid-1968, Motown initiated a number of high-prolecollaborations for the Supremes with their old colleagues,the Temptations. Besides the fact that both groups hadcomeuptogether, thepairingsmadenancial sense:theSupremeshadamostlywhitefanbase, whiletheTemptations a mostly black fanbase. By 1969, the la-bel began plans for a Diana Ross solo career.[68] A num-ber of candidatesmost notably Syreeta Wrightwereconsidered to replace Ross. After seeing 24-year-oldJean Terrell perform with her brother Ernie in Florida,Berry Gordy decided on Ross replacement.Terrell wassigned to Motown and began recording the rst post-Ross Supremes songs with Wilson and Birdsong duringthe day, while Wilson and Birdsong toured with Ross atnight. At the same time, Ross began to make her rstsolo recordings. In November 1969, Ross solo careerwas publicly announced."Someday We'll Be Together" was recorded with the in-tent of releasing it as the rst solo single for Diana Ross.Desiring analSupremes number-one record, Gordyinstead had the song released as a Diana Ross & theSupremes single, despite the fact that neither Wilson norBirdsong sang on the record. Someday We'll Be To-gether hit number one on the American pop charts, be-coming not only the Supremes 12th and nal number-one hit, but also the nal number-one hit of the 1960s.This single also would mark the Supremes nal televi-sion appearance together with Ross, performing on TheEd Sullivan Show on December 21, 1969. The Supremeswithout Ross made their nal appearance altogether on5Ed Sullivan on February 15, 1970.1.5 The Supremes in the 1970sDianaRoss &theSupremesgavetheir nal perfor-mance on January 14, 1970 at the Frontier Hotel in LasVegas.[69] At the nal performance, the replacement forDiana Ross,Jean Terrell,was introduced. Accordingto Mary Wilson,after this performance,Berry Gordywanted to replace Terrell with Syreeta Wright. Wilsonrefused,leading to Gordy stating that he was washinghis hands of the group thereafter.[70] This claim is alsomade by Mark Ribowsky.[71] After the Frontier Hotelperformance, Ross ocially began her career as a soloperformer. Mary Wilson and Cindy Birdsong continuedworking with Jean Terrell on the rst post-Ross Supremesalbum, Right On.[72]The Terrell-led Supremesnow rebranded as theSupremes;" known unocially at rst as the NewSupremes, and in later years informally called The '70sSupremesscored hits including "Up the Ladder to theRoof" (US number 10, UK number 6), "Stoned Love"(US number 7, UK number 3) and "Nathan Jones" (USnumber 16, UK number 5), all of which were producedby Frank Wilson. These three singles were also R&BTopTen hits, with Stoned Love becoming their last No.1R&B hit in December 1970. Songwriting/productionteam Nickolas Ashford & Valerie Simpson produced an-other Top 20 hit for the group, a Supremes/Four Topsduet version of Ike &Tina Turner's "River Deep Moun-tain High".In 1972, the Supremes had their last Top 20 hit singlerelease, "Floy Joy", written and produced by SmokeyRobinson, followed by the nal US Top 40 hit for the JeanTerrell-led version of the group, "Automatically Sun-shine" (US number 37, UK number 10). Automati-cally Sunshine later became the groups nal top 10 sin-gle in the UK. On both Floy Joy and Sunshine Ter-rell shared lead with Mary Wilson. Motown, by thenmoving from Detroit to Los Angeles to break into mo-tion pictures, put only limited eort into promoting theSupremes new material, and their popularity and salesbegan to wane. Cindy Birdsong left the group in April1972, after recording the Floy Joy album, to start a fam-ily; her replacement was Lynda Laurence, a former mem-ber of Stevie Wonder's backup group, Third Generation(a predecessor to Wonderlove).Jimmy Webb was hiredto produce the groups next LP, The Supremes Producedand Arranged by Jimmy Webb,[73] but the album and itsonly single I Guess I'll Miss the Man failed to make animpact on the Billboard pop chart, with the single chart-ing at number 85.In early 1973, Laurence prevailed upon her old men-tor Stevie Wonder to write and produce a hit for theSupremes, but the resulting "Bad Weather" peaked atnumber 87 on the US pop charts and number 37 in theUK. Laurence can be heard briey, shouting several timesat the end of the song (the only recording on which Lau-rence is heard). Laurence left to start a family; her re-placement: a returning Cindy Birdsong.Dismayed by this poor-performing record and the lack ofpromotional support from Motown, Jean Terrell left thegroup and was replaced by Scherrie Payne, the sister ofInvictus Records recording artist Freda Payne.Between the 1973 departures of Laurence and Terrell andthe rst Supremes single with Scherrie Payne, Hes MyMan, a disco single on which Payne and Wilson sharedlead vocal, Motown was slow in producing contracts forPayne and the returning Birdsong. Before the releaseof the album in 1975, the Supremes remained a popu-lar live act, and continued touring overseas, particularlyin the UK and Japan. The groups new recordings werenot as successful as their earlier releases, although HesMy Man from the album The Supremes was a populardisco hit in 1975. In 1976, Birdsong, dissatised withthe management of the Supremes (handled at the time byMary Wilsons then-husband Pedro Ferrer), left again andwas replaced by Susaye Greene, another former memberof Wonderlove.This nal version of the Supremes released two albums,bothof whichreunitedtheSupremes withHolland-Dozier-Holland: High Energy, which includes Birdsongon all of the tracks, and Mary, Scherrie & Susaye.Dur-ing that year, the Supremes released "I'm Gonna Let MyHeart Do the Walking", their nal Top 40 hit on the Bill-board Hot 100.On June 12, 1977, the Supremes performed their farewellconcert at the Drury Lane Theater in London anddisbanded.[28]2 Legacy2.1 Works inspired by the SupremesSeveral ctional works have been published that are basedin part on the career of the group. The 1976 lm Sparklefeatures the story of a Supremes-like singing trio calledSister &the Sisters fromHarlem, NewYork. The lmsscore was composed by Curtis Mayeld, and the sound-track album by Aretha Franklin was a commercial suc-cess. A remake ofSparkle was in development in theearly 2000s with R&B singer Aaliyah as the lead, butthe project was shelved when Aaliyah died in 2001.[74]Aremakeof Sparkleeventuallywasreleasedtolmtheaters in August 2012. The remake starred JordinSparks and Whitney Houston, in her nal lm role beforeher death.[75] On December 21, 1981, the Tony Award-winning musical Dreamgirls opened at the Imperial The-atre on Broadway and ran for 1,522 performances. Themusical, loosely based on the history of the Supremes,follows the story of the Dreams, an all-female singing6 2 LEGACYtrio from Chicago who become music superstars. Sev-eral of the characters in the play are analogues of real-lifeSupremes/Motown counterparts, with the story focus-ing upon the Florence Ballard doppelgnger Ee White.While inuenced by the Supremes and Motowns music,the songs in the play are a broader mix of R&B/soul andBroadway music. Mary Wilson loved the musical, butDiana Ross was reportedly angered by it and refused tosee it.[76]The album cover seen in the 2006 lm Dreamgirls, left, stronglyresembles the 1969 album cover for Diana Ross & the SupremesCream of the Crop, right.Almadaptation of Dreamgirls was released byDreamWorks and Paramount Pictures in December2006. The lm contains more overt references to Mo-town and the Supremes than does the play that inspired it:for example, in the lm, many of the Dreams album cov-ers are identical in design to Supremes album covers, andthe Dreams themselves hail from Detroit not Chicago,as do their Broadway counterparts.2.2 Awards and followersTheSupremesweretwicenominatedfor aGrammyAwardfor BestRhythm & Blues Recording (BabyLove, 1965) andBest ContemporaryRock&RollGroup Vocal Performance (Stop! In the Name of Love,1966)but never won an award in competition.[77] Threeof their songs have been named to the Grammy Hall ofFame: Where Did Our Love Go and You Keep MeHangin' On (both 1999) and Stop! In the Name ofLove (2001).[78]The groups songs Stop! In the Name of Love and YouCan't Hurry Love are among the Rock and Roll Hall ofFames 500 Songs that Shaped Rock and Roll.[79] TheRoss-Wilson-Ballard lineup was inducted into the Rockand Roll Hall of Fame in 1988, received a star on theHollywood Walk of Fame in 1994, and entered into theVocal Group Hall of Fame in 1998. In 2004, RollingStone placed the group at number 97 on their list of the100 Greatest Artists of All Time.[80] The Supremes arenotable for the inuences they have had on the black girlgroups who have succeeded them in popular music, suchas The Three Degrees, The Emotions, The Pointer Sis-ters, En Vogue, TLC, Destinys Child and Cleopatra.[81]Star on Hollywood Walk of Fame at 7060 Hollywood Blvd.2.3 ReunionsFan interest made the idea of a Supremes reunion tour avery protable one during the 1980s. In 1982, aroundthe time that Motown reunited all of the Temptations, itwas rumored that Motown would reunite the Supremes.The 1974 line-up of the Supremes (Wilson, Birdsong andPayne) was considered for this reunion, which was to in-clude new recordings and a tour. Under advisement fromBerry Gordy, Wilson declined to reunite, and the idea wasscrapped. Ross briey reunited with Wilson and Birdsongto perform Someday We'll Be Together on the Motown25: Yesterday, Today, Forever television special, tapedon March 25, 1983, and broadcast on NBC on May 16,1983.[82]In 2000, plans were made for Ross to join Wilson andBirdsong for a planned Diana Ross &the Supremes: Re-turn to Love reunion tour.However, Wilson passed onthe idea, because while the promoters oered Ross $15million to perform, Wilson was oered $4 million andBirdsong less than $1 million.[83] Ross herself oered todouble the amounts both Wilson and Birdsong had origi-nally been oered, but while Birdsong accepted, Wilsonremained adamant, and as a result the deal fell throughwith both former Supremes. Eventually, the Return toLove tour went on as scheduled, but with Payne and Lau-rence joining Ross, although none of the three had everbeen in the group at the same time and neither Payne norLaurence had sung on any of the original hit recordingsthat they were now singing live. Susaye Greene was alsoconsidered for this tour, but refused to audition for it. Themusic critics cried foul and many fans were disappointedby both this and the shows high ticket prices. Thoughthe tour did well in larger markets including near capac-ity at the opening night in Philadelphia and a sellout at7Madison Square Garden in NewYork, it under performedin smaller/medium markets. The tour was canceled afterplaying only half of the dates on itinerary.[84]2.4 Post-Supremes groupsIn 1986, Jean Terrell, Scherrie Payne and Lynda Lau-rence began to perform as The FLOS": Former Ladiesof the Supremes. When Terrell quit in 1992, SundrayTucker, Laurences sister, stepped in for a short time, butwas replaced by Freddi Poole in 1996. More recentlyin September 2009, Poole was replaced by Joyce Vin-cent, formerly of Tony Orlando and Dawn. The group,now called Former Supremes Scherrie Payne and LyndaLaurencewithJoyceVincent, areworkingonanewrecording.Kaaren Ragland performed with Mary Wilson from1978though the mid-1980s. In 1989 she formed her own groupcalled the Sounds of the Supremes. She has claimed nu-merous times that she was a member of the Supremes be-cause of her performances with Wilson, but she was neversigned by Motown and performed with Wilson only afterthe Supremes disbanded in 1977 and is not considered asa member of The Supremes.[85]3 PersonnelMain articles: List of The Supremes members and TheSupremes timelineThe Supremes (aka the Primettes and Diana Ross & theSupremes)Florence Ballard (19591967)Mary Wilson (19591977)Diana Ross (19591970)Betty McGlown (19591960)Barbara Martin (19601962)Cindy Birdsong (19671972, 19731976)Jean Terrell (19701973)Lynda Laurence (19721973)Scherrie Payne (19731977)Susaye Greene (19761977)4 Lineups5 DiscographyMain article: The Supremes discography6 FilmographyT.A.M.I. Show (1965) (concert lm)Beach Ball (1965)7 TelevisionTarzan (1968)T.C.B. (1968)G.I.T. on Broadway (1969)8 VideographyReections: The Denitive Performances (19641969) (2006)Greatest Hits: Live in Amsterdam (2006)9 Notes[1] YouTube. Youtube.com. Retrieved October 23, 2014.[2] Bronson, Fred: TheBillboardBookofNumber1Hits,page 265. Billboard Books, 2003.[3] Unterberger, Richie. "The Supremes". The Supremeshave sold over 100 million records to date. Their cata-log remains active 50 years later. Allmusic. Retrieved onJuly 4, 2008.[4] Wilson et al., 2936.[5] "Billboard Hot 100. Billboard (Nielsen Company)76(44): 18. 1964. Retrieved 9 May 2011.[6] "Billboard Hot 100. Billboard (Nielsen Company)76(45): 18. 1964. Retrieved 9 May 2011.[7] "Billboard Hot 100. Billboard (Nielsen Company)76(46): 24. 1964. Retrieved 9 May 2011.[8] "Billboard Hot 100. Billboard (Nielsen Company)76(47): 22. 1964. Retrieved 9 May 2011.[9] "Billboard Hot 100. Billboard (Nielsen Company)76(51): 24. 1964. Retrieved 9 May 2011.8 9 NOTES[10] "Billboard Hot 100. Billboard (Nielsen Company)77(3): 20. 1965. Retrieved 9 May 2011.[11] "Billboard Hot 100. Billboard (Nielsen Company)77(13): 32. 1965. Retrieved 9 May 2011.[12] "Billboard Hot 100. Billboard (Nielsen Company)77(14): 28. 1965. Retrieved 10 May 2011.[13] Wilson et al., 49.[14] Wilson et al., 38.[15] Wilson et al., 37.[16] Wilson et al., 51.[17] Wilson et al., 5356.[18] Wilson et al., 75.[19] Gilliland, John (1969). Show 26 The Soul Reforma-tion: Phase two, the Motown story. [Part 5]" (audio). PopChronicles. Digital.library.unt.edu.[20] Wilson et al., 69.[21] Wilson et al., 6971.[22] Wilson et al., 62.[23] Wilson et al., 57.[24] Wilson et al., 58.[25] Wilson et al., 8485.[26] Wilson et al., 81.[27] Benjaminson, 27.[28] "The Supremes". The Rock and Roll Hall of Fame andMuseum, 1988. Retrieved on July 21, 2008.[29] Slonimsky, Nicolas & Kuhn, Laura Diane. Bakers Bi-ographical DictionaryofMusicians. Schirmer Books,2001. 3539. ISBN 0-02-865527-3[30] Wilson et al., 136.[31] Bronson, Fred. Billboards Hottest Hot 100 Hits: Top Songsand Song Makers, 1955 to 2000. Billboard Books, 2000.25. ISBN 0-8230-7738-1[32] Adrahtas, 361.[33] Wilson et al., 141.[34] Wilson, Mary (1986). Dreamgirl: My Life as a Supreme.Cooper Square Press. pp. 169170. ISBN 0-8154-1000-X.[35] Wilson et al., 141143.[36] Wilson et al., 173.[37] Wilson et al., 147.[38] "The Supremes:Singles". AllMusic. Retrieved on July 25,2008.[39] "The Grammy Hall Of Fame Award". grammy.com. Re-trieved on July 24, 2008.[40] Yusuf, Nilgin. "The Supremes on show". Telegraph (UK),April 26, 2008. Retrieved on August 4, 2008.[41] Kooijman, Jaap. "From elegance to extravaganza theSupremes on The Ed Sullivan Show as a presentation ofbeauty". Velvet Light Trap [on accessmylibrary.com],March 22, 2002. Retrieved on July 4, 2007.[42] Ebony 1965, p. 86.[43] Rivera, Ursula. The Supremes. Rosen Central, 2002. 19.ISBN 0-8239-3527-2[44] Smith,Suzanne E. DancingintheStreet: Motownandthe Cultural Politics of Detroit. Harvard University Press,2001. 76. ISBN 0-674-00546-5[45] The Supremes AllMusic Billboard Albums. Retrieved onJuly 24, 2008.[46] "The Supremes become the rst all-female band to have aNo.1 hit album".National Arts and Education Network.Retrieved on July 17, 2008.[47] Adrahtas, pp. 4143.[48] Jaynes, Gerald David. Encyclopedia of African AmericanSociety. Sage Publications, 2005. 673. ISBN 0-7619-2764-6[49] Benjaminson, 143.[50] Ribowsky, Mark (2009). The Supremes: A Saga of Mo-town Dreams, Success, and Betrayal. Da Capo Press ISBN978-0-306-81586-7, pg. 284[51] Ribowsky, Mark (2009). The Supremes: A Saga of Mo-town Dreams, Success, and Betrayal. Da Capo Press ISBN978-0-306-81586-7, pg. 267[52] Leigh, Wendy. "Queen of the Supremes before DianaRoss". Daily Mail, May 22, 2008. Retrieved on August4, 2008.[53] Benjaminson, 92.[54] Ribowsky, Mark (2009). The Supremes: A Saga of Mo-town Dreams, Success, and Betrayal. Da Capo Press ISBN978-0-306-81586-7, pg. 283294[55] Wilson and Romanowski (1986). Dreamgirl, pg. 263)[56] Adrahtas, 296.[57] Knight,Jack. Ex-Supreme rejected in Motown suit.Detroit Free Press, October 29, 1971.[58] Benjaminson, 109.[59] Benjaminson, 113.[60] Benjaminson, 190.[61] Benjaminson, 168.[62] Boehm, Mike. "How sweet it is: Motown hit-makers eyeBroadway". Los Angeles Times, April 15, 2007. Retrievedon July 17, 2008.9[63] Show 50 The Soul Reformation: Phase three, soul mu-sic at the summit. [Part 6] : UNT Digital Library. UNTDigital Library. Retrieved October 23, 2014.[64] Benjaminson, 7579.[65] Bloch, Avital H. Impossible to Hold: Women And CultureIn The 1960s. New York: New York University Press,February 2005. 156. ISBN 0-8147-9910-8[66] "Billboard Hot 100. Billboard (Nielsen Company)80(48): 90. 1968. Retrieved 10 May 2011.[67] "Billboard Hot 100. Billboard (Nielsen Company)80(49): 60. 1968. Retrieved 10 May 2011.[68] George, Nelson. Where Did Our Love Go?: the rise & fallof the Motown sound By Nelson George. Omnibus Press,2003. 190. ISBN 0-7119-9511-7[69] Alive recording of the performance was released later thatyear in a double-LP box set titled Farewell.[70] Wilson, Mary & Romanowski, Patricia. Dreamgirl &Supreme Faith: My Life as a Supreme. New York: CooperSquare Publishers, 1986. ISBN 0-8154-1000-X[71] Ribowsky, Mark. The Supremes: A Saga of MotownDreams, Success, and Betrayal. New York: Da CapoPress, 2009. ISBN 0-306-81586-9[72] G. Gaar, Gillian. Shes a rebel: the history of women inrock & roll. Seal Press. 168. ISBN 1-58005-078-6[73] Vining, Mark. "The Supremes". Rolling Stone, January 4,1973. Retrieved on July 18, 2008.[74] "The It List: Aaliyah". Entertainment Weekly, June 21,2001. Retrieved on November 11, 2006.[75] Sparkle (2012)". IMDb. August 17, 2012. RetrievedOctober 23, 2014.[76] O'Niel, Tom. "Dianas 'Dreamgirls decision".Los Ange-les Times. Retrieved on November 11, 2006.[77] Skurow,Andrew. TheSupremes. CD boxed set linernotesappendix, 2007. NewYork: MotownRecordCo./Universal Music.[78] "Grammy Hall of Fame Awards". Grammy.com, 2007.Retrieved April 27, 2007.[79] "TheRockandRoll Hall ofFames500SongsThatShaped Rock and Roll (by artist)". Rock and Roll Hallof Fame, 2007. Retrieved on April 27, 2007. ArchivedMay 14, 2007 at the Wayback Machine[80] "The Immortals: The First Fifty". Rolling Stone, Issue946, March 24, 2004. Retrieved on July 4, 2004.[81] Chin et al., 48.[82] Pareles, Jon. Stop! In the Name of Nostalgia. NewYorkTimes, April 5, 2000. Retrieved on July 10, 2008.[83] "Supremes return for tour". BBC News, April 5, 2000.Retrieved on July 4, 2008.[84] Posner, 331.[85] "Supremes Drama Continues as Dreamgirls Opening" TheNew Tri-State Defender, October 18, 2006.10 ReferencesAdrahtas, Thomas. A Lifetime to Get Here: DianaRoss: the American Dreamgirl. AuthorHouse, 2006.ISBN 1-4259-7140-7Benjaminson, Peter. The Lost Supreme: The Lifeof Dreamgirl Florence Ballard. Chicago: ChicagoReview Press, November 2007. 7579. ISBN 1-55652-705-5Chin, Brian & Nathan, David. Reections Of... TheSupremes [CD boxed set liner notes]. New York:Motown Record Co./Universal Music, 2000.Clinton, Paul. "Diana Ross tour excludes old part-ner, friend". CNN.com, April 20, 2000.Supremes Wow Europe, Too. Ebony: 86. June1965.Gans, Andrew. "Foxx and Usher to Join Beyoncefor Dreamgirls Film". Playbill, May 12, 2005.Mary Wilson: An InterviewSupreme by Pete Lewis,'Blues & Soul' May 2009Nathan, David. The Soulful Divas: Personal Por-traits of over a Dozen Divine Divas. NewYork: Bill-boardBooks/Watson-Guptill Publications, 2002.ISBN 0-8230-8430-2.Posner, Gerald. Motown: Music, Money, Sex, andPower. New York: Random House, 2002. ISBN0-375-50062-6.Wilson, Mary & Romanowski, Patricia. Dreamgirl& Supreme Faith: My Life as a Supreme. New York:Cooper Square Publishers, 1986. ISBN 0-8154-1000-X.^ Clemente, John (2000). Girl GroupsFabulousFemales That RockedTheWorld. Iola, Wisc.Krause Publications. pp. 276. ISBN 0-87341-816-6. ^ Clemente, John (2013). Girl GroupsFabulous Females Who Rocked The World. Bloom-ington, IN Authorhouse Publications. pp. 623.ISBN 978-1-4772-7633-4 (sc); ISBN 978-1-4772-8128-4 (e).11 Further readingGeorge, Nelson. Where Did Our Love Go: The Riseand Fall of the Motown. London:Omnibus Press,1985. ISBN 0-7119-9511-7.Ross, Diana. Secrets of a Sparrow: Memoirs. NewYork:Random House, 1993. ISBN 0-517-16622-4.10 12 EXTERNAL LINKSTaraborrelli, J. Randy. Diana Ross: An Unautho-rizedBiography. London: Sidgwick & Jackson,2007. ISBN 978-0-283-07017-4.Ribowsky, Mark. The Supremes: A Saga of Mo-town Dreams, Success, and Betrayal. New York:Da Capo Press, 2009. ISBN 0-306-81586-9.Wilson, Mary. Dreamgirl,My Life as a Supreme.New York: St. Martins Press, 1986. ISBN 0-312-21959-812 External linksThe Primettes at AllMusicThe Supremes at AllMusicDiana Ross & the Supremes at AllMusicThe Supremes at the Internet Movie DatabaseThe Supremes interviewed onthePopChronicles(1969)The Supremes on The Ed Sullivan Show1113 Text and image sources, contributors, and licenses13.1 Text The Supremes Source:https://en.wikipedia.org/wiki/The_Supremes?oldid=675438846 Contributors:AxelBoldt, Infrogmation, MichaelHardy, Vudujava, Liftarn, GTBacchus, Ahoerstemeier, TUF-KAT, TUF-KAT, Kingturtle, , Nikai, BRG, WhisperToMe,Nv8200pa, Raul654, Bearcat, Astronautics~enwiki, Psychonaut, Michael Snow, Smjg, Rossrs, Lupin, Alterego, Everyking, Michael De-vore, Mboverload, Pascal666, Bobblewik, Gadum, Antandrus, MistToys, Balcer, FrozenUmbrella, Moribunt, Marcus2, Gerrit, Elyaqim,Dceck, Rich Farmbrough, Rhobite, Vague Rant, FrickFrack, Wadewitz, Edgarde, Bender235, Sc147, Kbh3rd, JoeSmack, Maclean25,Sfahey, El C, RoyBoy, EurekaLott, Mtruch, Cmdrjameson, Elipongo, Alpheus, Kappa, B Touch, Hesperian, WideArc, Alansohn, Gary,JoaoRicardo, Aquawarlock, Echuck215, Dhartung, IMeowbot, Mikeo, Ghirlandajo, Mahanga, Woohookitty, Gorgeousp, Robert K S,Apokrif,Kelisi,Hbdragon88,Banpei~enwiki,Deansfa,Graham87,Marskell,Kbdank71,Ted Wilkes,Mancunius,Rjwilmsi,Koavf,ErikHaugen, Vegaswikian, Oblivious, Chickenpotpie, Brighterorange, The wub, FuriousFreddy, BrothaTimothy, RobertG, Winhunter,Mark83, Flowerparty, RexNL, Idaltu, King of Hearts, Hall Monitor, YurikBot, NTBot~enwiki, Musicpvm, Ericorbit, Splash, Gaius Cor-nelius, NawlinWiki, Astral, Rnazar, Mike Halterman, Qirex, Journalist, Cholmes75, Grakm fr, Tony1, Antceleb12, Mrtea, Bantosh,Kelovy, Esprit15d, Jogers, Little Savage, Sarbox, Fram, ArielGold, WesleyDodds, Crystallina, Sarah, SmackBot, Gideon13, Prodego,Stev0, C.Fred, Wegesrand, Stie, Lainagier, Daddyjimsf, Mcld, ERcheck, Bluebot, Jprg1966, Ted87, Gracenotes, Daddy Kindsoul, Nix-eagle, Greenshed, Dpeifer, MartinP1983, RJN, Austindel, Derek R Bullamore, Only, Risker, Samuel Sol, Kukini, Ceoil, Ohconfu-cius, Lambiam, John, SilkTork, Coredesat, Syrcatbot, Durajohnpatrick, Beetstra, SandyGeorgia, E-Kartoel, Scorpion0422, Jkaharper,Levineps, Iridescent, MigGroningen, DougHill, Bottesini, J Milburn, JForget, Mellery, CmdrObot, Kevin j, CBM, SupremeSoulUK,Jolsonmhd, Outriggr, ObiterDicta, Cydebot, PennyGWoods, Michaelas10, Ivyeld, Demomoke, DumbBOT, Asenine, Focuz, Kozuch,Aldis90, PKT, InkQuill, DJBullsh, Mattisse, Michael124, Epbr123, Headbomb, Mdb1370, John254, PJtP, CharlotteWebb, Wikidenizen,Dawnseeker2000, Luna Santin, 17Drew, SmokeyTheCat, DanMan869, Alexa201, Ghmyrtle, Bigjimr, Dogru144, Eric Bekins, MER-C, Janejellyroll, Andonic, Rocker8222, PhilKnight, Rothorpe, Y2kcrazyjoker4, Wildhartlivie, Drpryr, Magioladitis, VoABot II, Wee-biloobil, Hullaballoo Wolfowitz, Brandt Luke Zorn, Markus1976, Bryan2006, KConWiki, Catgut, Laalaaa, Bobby H. Heey, SnapSnap,DerHexer, Cli smith, MartinBot, Stusutclie, InnocuousPseudonym, J.delanoy, DrKiernan, McSly, Runt, Jevansen, Treisijs, Spellcast,Siamsens, VolkovBot, Ggjohnny, Je G., Ericamandy, Davidwr, Philip Trueman, Sheala~enwiki, Kww, Doughboy123, Kritikos99, Podzz,Aaron Hugh Brown, BotKung, RD624, JerseyJoeN, Brad00, Exguyparis, Ergonaut2001, Usernamealreadyinuse, Ronmore, Dollvalley,Pdfpdf, Kenric, Namallanka, Restre419, WereSpielChequers, Nebolland, Arbor to SJ, Robster1983, Aspects, Mhavril39, TheOnlyOne12,Lightmouse, Realist2, DocKino, Fratrep, Supremesone, NameThatWorks, Maralia, Dabomb87, JimEMack, Efe, ClueBot, The ThingThat Should Not Be, EoGuy, Unbuttered Parsnip, Zephyr8994, HannahMiley, Der Golem, Mild Bill Hiccup, Dreamyo, Blanchardb, Dy-lan620, Alexbot, Wax Puppy, Wiki libs, Dscottny, J-love-lee, Versus22, MelonBot, SoxBot III, Indopug, JonathanLGardner, DumZi-BoT, XLinkBot, Gnowor, BookhouseBoy, Tueleonkeyocyala, SilvonenBot, Marybrewster, Halls452, Jbeans, WikiDao, SlubGlub, Kb-dankbot, Addbot, Jafeluv, Freakmighty, Nightmareishere, CanadianLinuxUser, This is Paul, Dmf3s, Chzz, Roux, Idashly101, JGKlein,Saimaroimaru 2008, Tassedethe, Ofelixdacat, Tide rolls, Luckas-bot, Yobot, Amirobot, Whiskeydog, OrpheusPro, Cometrally, Kookyunii,Dwayne, Piano non troppo, Jsgeelong, Bokiluis, Ulric1313, Punkanelly, Rootmebum, Mjacton, JimVC3, Wether B, Gilo1969, Rodrin,Andrewp705, Ute in DC, Dt128, Tcwiam25, Moxy, Pastor Theo, KingMcy, SchnitzelMannGreek, FrescoBot, Hyju, Pepper, Jpois-son15, FancySmartyPants, TVArchivistUK, HJ Mitchell, Yerauy, I love ollie, Danielpauldavis, Tinton5, Fat&Happy, PeterALewis, JosephSiambola, Cnwilliams, Tim1357, Discographer, TobeBot, Hidden Secret, BoxedRed, Pugilist, VMAsNYC, Koh2005, Halls4521, TjBot,GabeMc, DASHBot, MarsNova, EmausBot, AmericanLeMans, Isleofskye, Skyeboatsong, Michrrleg, Outofmyhead, Jollyjolly, YC52000,NotAnonymous0, We hope, Werieth, Unreal7, Burbridge92, Ocaasi, Perseus, Son of Zeus, Carmichael, Timtimmons, CactusBot, Summr-sun16, Lilololo22, DanTrent, Notepad11, Frietjes, Dru of Id, Popcorndu, Rankinz302, Ernio48, CAWylie, EditorE, Dobie80, Kumioko,Drjandlynn, Sol1, Synthwave.94, Timmons622, Charge2charge, KellOsborne528612184, Westleft, Anthonytcraig, BuddyRedBow, IanScarlet, KasparBot, Ludwigpaisteman and Anonymous: 44513.2 Images File:Baby-love-supremes-1964.oggSource: https://upload.wikimedia.org/wikipedia/en/0/06/Baby-love-supremes-1964.oggLicense:Fair use Contributors: ? 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