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Berry Gordy

Photo: Mike Windle/WireImage.com

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Berry Gordy, Smokey Robinson Honored By The GRAMMY Museum

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Motown founder and R&B icon receive the first-ever Architects of Sound Awards at the Museum's inaugural benefit gala
Denise Quan
GRAMMYs
Dec 2, 2014 - 4:06 pm

It seems fitting that Motown founder Berry Gordy and GRAMMY-winning R&B icon Smokey Robinson were jointly honored on Nov. 11 in Los Angeles with the GRAMMY Museum's first-ever Architects of Sound Awards, recognizing those who are catalysts in changing the musical legacy of America.

"Smokey and I were a bromance," quipped Gordy, who was presented with the Architects of Sound: Vision Award. "The most beautiful romance you've ever seen between two straight guys."

The two men's personal and professional lives have been intertwined for more than 50 years — since the late '50s in Detroit, where Robinson formed the Miracles as a high school student, and Gordy signed them to his fledgling Motown Records. In 1961 the Robinson-penned "Shop Around" became the label's first No. 1 hit on the Billboard R&B singles chart.

"I have never received an award or an honor that means this much to me, because tonight I'm sharing this with my best friend," said Robinson, who received the Architects of Sound: Artist Award.

The duo was honored in conjunction with the GRAMMY Museum's inaugural benefit gala. Hosted by "American Idol" mentor Randy Jackson, the event raised more than $500,000 to support programs at the Museum, which will celebrate its fifth anniversary on Dec. 6.

Perhaps the most touching moment of the evening came when Robinson launched into a song he wrote a few years back about his friendship with Gordy. 

"Did you know all the joy you'd be bringing?" he sang a capella, his familiar tenor floating above the tables at Club Nokia. 

The gala kicked into gear with a musical Motown tribute featuring Kelly Rowland, Michael Bolton and Boyz II Men. Rowland performed a duet with rising R&B singer Luke James on "Ain't Nothing Like The Real Thing," and with Bolton on "Ain't No Mountain High Enough." Later, Bolton tackled the Marvin Gaye classic "What's Going On."

Boyz II Men closed the evening with a richly choreographed, high-energy string of Motown hits that included "My Girl," "Just My Imagination (Running Away With Me)," and "The Tracks Of My Tears."

Decades later, these classic songs still galvanized the crowd into a mass sing-along, and even left a few waiters dancing in the aisles.

(Denise Quan is a Los Angeles-based music journalist. Most recently, she was senior producer at CNN Entertainment, where she oversaw music coverage.)

Boyz II Men's golden suits on display at the Motown exhibit

Boyz II Men's suits at the Motown exhibit

Photo: Rebecca Sapp/GRAMMY Museum

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Details Of GRAMMY Museum's Motown Exhibit grammy-museum-new-motown-exhibit-stevie-wonder-supremes-boyz-II-men-2021

GRAMMY Museum's New Motown Exhibit Showcases Gems From Stevie Wonder, The Supremes, Boyz II Men & More

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"Motown: The Sound Of Young America" is on display at the GRAMMY Museum in Downtown Los Angeles, which opens its doors to the public on May 21, 2021
Ana Monroy Yglesias
GRAMMY Museum
Apr 29, 2021 - 11:22 am

This week, the GRAMMY Museum announced it will be reopening to the public on May 21 with four new exciting exhibits on view. Today, April 29, the Downtown Los Angeles space revealed details for the "Motown: The Sound Of Young America" exhibition.

The exhibit—which has been in the works since last fall and premiered at the LBJ Presidential Library in Austin, Texas in 2019—celebrates the history and evolution of the iconic music label, highlighting its legendary artists and musical milestones, and the impact it still imparts on artists today.

The Supremes' butterfly gowns on display at GRAMMY Museum

The Supremes' gowns at GRAMMY Museum | Photo: Rebecca Sapp/GRAMMY Museum

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"Motown: The Sound Of Young America" will invite visitors up close to outfits worn by The Temptations, The Four Tops, The Miracles, and The Supremes, and to listen to exclusive interviews with many Motown legends, to witness the creative process perfected at Motown over 60 years ago. Museum guests will also experience interactive displays, including an opportunity to perform The Supremes' GRAMMY nominated hit "Stop! In The Name Of Love" and learn the Temptations' signature dance moves.

The Motown exhibit is presented by City National Bank and will be the Museum's main second floor exhibit through winter 2021. 

Exhibit highlights include:

  • Berry Gordy's $800 loan contract (facsimile) used to start the Motown record label
  • "Butterfly" gowns worn by The Supremes
  • Harmonica and keyboard played by Stevie Wonder
  • Ray Parker Jr.'s Gretsch guitar
  • Recording Academy Hall Of Fame Awards for the Miracles
  • Full set of Jackson 5 outfits
  • Full set of Boyz II Men outfits
  • Full set of The Four Tops outfits
  • Full set of The Temptations outfits
  • Blazers from Migos' "Stir Fry" music video 
  • And more! 

"The music of Motown, especially in the 1960s, represents a high-water mark in American music," Bob Santelli, the exhibition's curator and Founding Executive Director of the GRAMMY Museum, said in the press release.

"The long list of No. 1 hits, the incredible stable of stars, and the genius of Berry Gordy Jr., both as a businessman and nurturer of talent, made Motown one of the most successful and impactful record companies of all time."

Ne-Yo On How The Temptations Influenced His Style

Ethiopia Habtemariam, Chairman/CEO of Motown Records added her excitement about the new Museum offering:

"We're honored that the GRAMMY Museum is bringing this vital exhibit to Los Angeles. In the past 60 years, Motown has repeatedly proved itself as a galvanizing musical and cultural force, amplifying the voice of Young America. Providing a firsthand view of the development of artists like Marvin Gaye, The Supremes, Stevie Wonder, Boyz II Men, Ne-Yo, Lil Baby and Migos will, I hope, spark the dreams of a new generation."

To book your ticket reservations and to learn more about the Museum's new COVID-19 safety protocols, please visit www.grammymuseum.org.

The GRAMMY Museum Reopens In May With Exhibits On Dave Mathews Band, Marco Antonio Solís, Motown & Nat King Cole

The Supremes

Mary Wilson (C)

Bettmann/Getty Images

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Remembering The Supremes’ Mary Wilson remembering-mary-wilson-of-the-supremes

The Supremes Were A Dream, And Mary Wilson Dreamt It

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The pop-soul vocal legends’ co-founder was the last original Supreme in the group—and the most devout believer in their original promise
Morgan Enos
GRAMMYs
Feb 9, 2021 - 6:13 pm

The Supremes were still in high school when their star began to rise, and at the dawn of 1962, their co-founder, Mary Wilson, sat in a modern literature class pondering her relationship to others. For her final exam, she had to write an essay with a psychological bent. While addressing her chaotic childhood, Wilson inadvertently summed up her dynamic with the other Supremes—the wounded Florence Ballard and the dogged Diana Ross.

"I have developed a protective shell, which whenever I feel I may face a conflict, I draw into. Why? Is it because I subconsciously feel I might be snatched again?" Wilson wrote in her 1986 autobiography Dreamgirl: My Life As A Supreme. "I try to cover up my deficiency by developing a pleasing personality. Actually, underneath this, I am still a young and frightened girl."

Five years later in 1967, during a period where Ballard left the group in a tailspin, and Motown president Berry Gordy rebranded them Diana Ross and the Supremes, Wilson realized she was the last to hold onto the image of the group as a holistic triad. "I saw nine years of work and love and happiness fade away," she wrote. "The Supremes still stood in my mind as a dream from childhood, a wonderful dream that had come true. I believed The Supremes would last forever. Now I knew that even dreams that come true can change."

"With one look at Flo," she added, "I knew that dreams don’t die; people just stop dreaming."

Wilson went on to neither be a household name like Ross nor a tragic figure like Ballard, who wrestled with addiction until her 1976 death at only 32. Instead, she was the group’s nucleus, acting as a buffer between Ballard and Ross and soldiering on in their absences as the last original member. After The Supremes called it a day in 1977, she entered an inspiring second act, touring extensively, authoring books, stumping for artists’ trademark rights, and collaborating with the GRAMMY Museum on the Legends Of Motown: Celebrating The Supremes exhibit.

Tragically, two days after eagerly announcing new music on YouTube, Wilson died unexpectedly at her home in Henderson, Nevada on Feb. 8. She was 76. "I was extremely shocked and saddened to hear of the passing of a major member of the Motown family, Mary Wilson of the Supremes," Gordy said in a statement. "I was always proud of Mary. She was quite a star in her own right and over the years continued to work hard to boost the legacy of the Supremes. Mary Wilson was extremely special to me. She was a trailblazer, a diva and will be deeply missed."

Wilson’s journey to that burning, yearning dream—one of young infatuation on a Biblical scale—began on March 6, 1944, when she was born to a butcher father and homemaker mother in the sleepy town of Greenville, Mississippi. Hers was a long-delayed birth. "A little past midnight, I was finally born," she wrote in Dreamgirl. "I now wonder if my first appearance in life was somehow indicative of the path my life would later take. Even at my birth, I was a fence-sitter."

The family relocated from Saint Louis to Chicago before Wilson moved in with her aunt and uncle, Ivory "I.V." and John L. Pippin, who led her to believe they were her parents. When Wilson was six, she traumatically learned I.V. was, in fact, not her mother. "My whole world had been turned upside down," she wrote. "I'd trusted these people, and they had lied to me." Three years later, her father, Sam, lost his leg in a factory accident.

In 1956, with her birth parents in tow, Wilson moved to the Brewster Projects, a complex of government-owned apartment buildings. Despite the jarring change—and prevalent gang violence—Wilson viewed her new climes rosily. "It was quite crowded compared to suburbia, but I loved it," she wrote. "You had to learn to get along with all kinds of people." While auditioning to sing in a school talent show, a hurled insult from a classmate resulted in punches from Wilson.

"I was not a fighter," she wrote, "but I would fight to be part of a group."

One of the characters Wilson ran into in the projects was a young Diane Ross—she’d change it to "Diana" later. But she more immediately took to another neighbor, Florence Ballard, who she describes as a Hollywood-style beauty even then. After bonding over a shared love of singing—Ballard sang a mean "Ave Maria"—in early 1959, Milton Jenkins of the all-male vocal group The Primes approached her to form a female counterpart.

"Between her gasps for breath, I could see she was grinning from ear to ear," Wilson wrote. "She grabbed my arm and asked excitedly, ‘Mary, do you want to be in a singing group with me and two other girls—’ 'Yes!'  I replied before she even finished the question. It didn't occur to me to ask what the group was about, or who was in it, or anything." During a jittery rehearsal at The Primes’ bachelor pad, Wilson found herself next to Ballard, Ross, and a fourth girl, Betty McGlown. Their voices fell together effortlessly and gracefully. The Primettes were born.

With Jenkins as their manager, The Primettes pounded the pavement in local clubs until a series of connections—from Smokey Robinson to Gordy, who let them sing and clap on Mary Wells and Marvin Gaye recordings—led them to Hitsville, U.S.A.

Asked to come up with a new name, they pored over a list of them, suggestive of regality and class—The Royal-Tones, The Jewelettes. But the name Ballard settled on for the group telegraphed something else entirely: divinity.

As word of the Supremes extended outside town, Wilson noticed their similarities and differences more acutely. Ballard, who had survived a sexual assault by an acquaintance, had begun to psychologically fray. Meanwhile, Ross was pure quantum ambition.

"Flo, a Cancerian; Diane, an Aries; and me, a Pisces—three completely different, insecure people," Wilson explained. "What each of us saw in the other two were the parts of herself she lacked or couldn’t assert or tried to deny: Flo’s earthiness, my nice-guy demeanor, and Diane’s aggressive charm. We accidentally discovered that three separate, incomplete young girls combined to create one great woman. That was the Supremes."

"I saw the group as something bigger and more important than any one of us," she declared elsewhere in the book. "I was content to play on the team."

If the Supremes were a collective dream, the Supremes’ string of 1960s hits—most of them written by Motown's powerhouse Holland-Dozier-Holland songwriting and production team—have a dreamlike quality. These are universal songs you hear at cookouts and supermarkets and in Ubers; thus, they tend to drift between life stages and experiences. And of their twelve No. 1 hits, Wilson appeared on each.

The group received two GRAMMY nominations—one for Best R&B Recording for "Baby Love," the other for Best Contemporary Rock & Roll Performance for "Stop! In the Name of Love." (In 1999, "Where Did Our Love Go" and "You Keep Me Hangin’ On" were added to the GRAMMY Hall of Fame, and in 2001, "Stop! In the Name of Love" followed suit.)

After Ballard left the band in 1967, Cindy Birdsong of Patti LaBelle & the Blue Belles took her place, and they continued as Diana Ross and the Supremes. In 1970, Diana Ross left the band to start a solo career, leaving Wilson as the final original member amid a succession of replacement singers and shifting band names, like "The New Supremes." They never recaptured the commercial success they once enjoyed.

However, Wilson remained their North Star, touring tirelessly, practicing yoga, and authoring Dreamgirl and its 1990 sequel, Supreme Faith: Someday We’ll Be Together. Her legacy also involves musicians’ rights; after non-founding members of the Supremes toured under the band name, she campaigned on behalf of artists’ trademark ownership. Wilson also fought for higher pay for musicians on streaming sites through her support of the Music Modernization Act. Her 2019 coffee-table book Supreme Glamour homed in on the iconic group's fashion, compiling images of their famous gowns.

Last Saturday, she appeared on YouTube with a blazing grin, vivaciously announcing new music through Universal Music Group, hoping it would come out before her March 6 birthday. Then, in her sleep, she slipped away.

But her dream remains, as long as there are listeners to make it their own.

GRAMMY Museum Announces Reopening Of "Motown: The Sound Of Young America" Exhibit

GRAMMYs

Smokey Robinson and Berry Gordy

Photo: John Sciulli/WireImage.com

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GRAMMY Museum To Honor Berry Gordy, Smokey Robinson

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Motown founder and GRAMMY winner to receive Museum's first-ever Architects of Sound Awards at inaugural benefit gala on Nov. 11
Tim McPhate
GRAMMYs
Dec 2, 2014 - 4:06 pm

Motown founder Berry Gordy and GRAMMY winner Smokey Robinson will be honored with the GRAMMY Museum's first-ever Architects of Sound Award at the inaugural GRAMMY Museum benefit gala dinner and concert on Nov. 11 at Club Nokia in Los Angeles.

In recognition of their phenomenal contributions to music, Gordy will receive the Architect of Sound: Vision Award and Robinson will receive the Architect of Sound: Artist Award. With selections made by the Museum and its Board of Directors, the Architect of Sound Awards are dedicated to honoring those who are catalysts in changing the musical legacy of America, and who helped shape the sound of a specific genre.

The gala will begin with a reception and tour of the GRAMMY Museum, followed by a dinner and awards presentation, hosted by music industry veteran and television personality Randy Jackson. The celebration will culminate with a concert, produced by AEG Ehrlich Ventures, featuring four-time GRAMMY-winning group Boyz II Men and four-time GRAMMY winner Kelly Rowland. Proceeds from the gala will provide essential support for the GRAMMY Museum.

"We are honored to celebrate both Berry Gordy and Smokey Robinson as the first-ever recipients of the Architects of Sound Award," said Bob Santelli, GRAMMY Museum Executive Director. "Their contributions to Motown have truly changed the landscape of American music. We are grateful to these extraordinary industry leaders who will be helping us celebrate not only our first gala, but also our upcoming five-year anniversary of the GRAMMY Museum."

Gordy is the founder of Detroit-based Motown Records, the hit-making enterprise that nurtured the careers of artists such as Smokey Robinson & The Miracles, Diana Ross And The Supremes, Stevie Wonder, Marvin Gaye, the Temptations, and Michael Jackson and the Jackson 5, among others. His film productions include Mahogany (1975) and Lady Sings The Blues (1972), which together garnered six Academy Award nominations. Among the awards recognizing Gordy's accomplishments are the Martin Luther King Jr. Leadership Award, the Gordon Grand Fellow from Yale University, induction into the Rock and Roll Hall of Fame, a star on Hollywood's Walk of Fame, the Rainbow Coalition's Man of the Millennium Award, the Rhythm & Blues Foundation's Lifetime Achievement Award, the T.J. Martell Foundation's Lifetime Artistic Achievement Award, and the GRAMMY Salute To Industry Icons President's Merit Award. Gordy's contribution to music and popular culture is chronicled in his autobiography, To Be Loved: The Music, The Magic, The Memories Of Motown. The book is the basis for his play, "Motown The Musical," which made its world premiere on Broadway in April, garnered four Tony nominations and was described by The New York Times as "the biggest box office hit of the year."

Once called America's "greatest living poet" by Bob Dylan, Robinson's career spans more than four decades of hits. His numerous awards include the GRAMMY Legend Award, The Recording Academy's Lifetime Achievement Award, an honorary doctorate from Howard University, and the National Medal of Arts Award. He has also been inducted into the Rock and Roll Hall of Fame, the Songwriters Hall of Fame and has been recognized as a Kennedy Center Honors recipient. Born and raised in Detroit, Robinson founded the Miracles while still in high school. The first group managed by Gordy, the Miracles dominated the R&B scene throughout the '60s and early '70s. Robinson became vice president of Motown Records, serving as in-house producer, talent scout and songwriter. In addition to writing hits for the Miracles, Robinson wrote and produced hits for other Motown artists such as the Temptations, Mary Wells, Brenda Holloway, and Marvin Gaye. In early 2014, Robinson plans to release a duets collection of his greatest hits and compositions performed with today's top recording artists.

For more information, visit www.grammymuseum.org and join the GRAMMY Museum's social networks on Twitter and Facebook.

 

Inside the GRAMMY Museum in Downtown Los Angeles

The GRAMMY Museum

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GRAMMY Museum To Reopen May 2021 With New Exhibits grammy-museum-los-angeles-reopens-new-exhibits-dave-mathews-band-marco-antonio-sol%C3%ADs-motown-nat-king-cole

The GRAMMY Museum Reopens In May 2021 With Exhibits On Dave Mathews Band, Marco Antonio Solís, Motown & Nat King Cole

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The Museum will celebrate its in-person reopening with a special members-only virtual event featuring Brandi Carlile, taking place on Thurs., May 13
Ana Monroy Yglesias
GRAMMY Museum
Apr 27, 2021 - 12:38 pm

After over a year since the GRAMMY Museum closed its doors in Downtown Los Angeles—and pivoted to sharing its rich content online with Collection:live—due to the COVID-19 pandemic, it is reopening on Fri., May 21. Museum members can visit earlier, on special preview days on Sat., May 15 and Sun., May 16.

The Museum's reopening kicks off with three new major exhibits, "Dave Matthews Band: Inside and Out" (on view through fall 2021), "Y Para Siempre… Marco Antonio Solís" (on view through spring 2022), and the previously announced "Motown: The Sound Of Young America" presented by City National Bank (on view through winter 2021). Additionally, the Museum's "This is Nat King Cole" exhibit, which was set to open on March 17, 2020, has been extended until fall 2021.

https://twitter.com/GRAMMYMuseum/status/1387089328535396361

The #GRAMMYMuseum will be reopening to the public on May 21, with Member Previews starting on May 15! We can't wait to welcome you back to music's home. ✨

🖥️ Visit https://t.co/AqzDs6wTWk to learn more about ticket reservations, or to view the Museum's new safety protocols. pic.twitter.com/tcGJZkhVkT

— GRAMMY Museum (@GRAMMYMuseum) April 27, 2021

The Museum will celebrate its reopening with a special members-only virtual event taking place on Thurs., May 13 at 5:30 p.m. PT. A Reopening Celebration with the GRAMMY Museum includes a recently recorded interview and performance with Brandi Carlile and a first look at the exciting new exhibits. The event is open to current Museum members or members that join by Weds., May 12.

The Museum will follow guidelines provided by L.A. County for museums and operate at limited capacity to maintain social distancing. In addition, it will offer free admission to first responders, healthcare workers, and essential workers through June 2021.

"We're thrilled that the day has come that we can reopen our doors and welcome our community back to the GRAMMY Museum, including free admission to first responders, healthcare, and essential workers through June 2021 to show our deepest gratitude," said Michael Sticka, President of the GRAMMY Museum.

"We have a wide-range of new exhibits for visitors to experience and I'm proud of our hard-working team who has made sure the Museum is safe and enjoyable for all."

The Museum is taking active measures to ensure the space remains safe for all those who enjoy it. In addition to enforcing social distancing, other health and safety protocols include advanced timed-entry ticketing, requiring face masks, mandatory temperature check, a touchless visitor experience, enhanced and more frequent cleaning and sanitizing, one-way paths through the Museum floors, hand sanitizing stations, and more.

The Museum's intimate Clive Davis Theater, where the popular public programs are held, remains closed for evening programming, but will be open during the day as part of the Motown exhibit for special film viewing.

Advanced ticket reservations for the Museum are now available to purchase online.

The GRAMMY Museum will continue to engage with online audiences through GRAMMY Museum at Home, providing digital educational content and lesson plans as part of the GRAMMY In The Schools Knowledge Bank, and their official online streaming service, COLLECTION:live.

Tower Of Power On New Live Album '50 Years Of Funk & Soul' & Why COVID-19 Hasn't Slowed Them Down

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.