The Supremes: A Saga of Motown Dreams, Success, and Betrayal (39 page)

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Soul goes mainstream: The Supremes, looking classy, cool, and confident, segue from Motown to Tin Pin Alley tunes on the
Dean Martin Show
in 1965.
Courtesy of Tom
Ingrassia Productions

With the Supremes as his army, the

megalomaniacal Gordy could feel

like he looked in this painting of

himself in a Napoleonic guise that

he hung on his mansion wall—as

ruler of the entertainment world.

From the author’s collection

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Continuing to bridge musical generations, the Supremes back up legendary composer Richard Rodgers for a 1966 TV special, and also cut an album of Rodgers & Hart tunes. But the old master still thought their music was tedious.
Courtesy of Tom
Ingrassia Productions

There was never a doubt who Gordy’s “Josephine” was. At occasions like this gathering at a Detroit nightclub, Diana would be at his table while Mary and Flo would be on their own.
From the
author’s collection

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Opening more important doors, the Supremes be-While commercial crossover was the name

came the first black act in the rock era to play the of the game, maintaining “cred” in the black storied Copacabana nightclub in 1965. The live record-buying market was a must, as shown

album of the engagement hit No. 11 on the pop by this cover on the country’s biggest black chart.
From the author’s collection

magazine in 1965.
From the author’s collection
Oozing sophistication and charm during a 1966 show at San Francisco’s Fairmont Hotel.
Courtesy of
Tom Ingrassia Productions

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Even in an airless studio, being fashionable was es sential.
Courtesy of Tom Ingrassia Productions
Bavarian cheesecake: Earning fame world wide, Motown’s ambassadorettes displayed their assets for this German magazine cover in 1966.
Courtesy of Tom Ingrassia Productions

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Vogueing in rhinestones, gobs of mascara, and chandelier earrings. Even in padded bras, Diana couldn’t stack up, but because of her thin, she would become “in.”
Courtesy of Tom Ingrassia Productions

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Shwing! In this outtake from the

photo shoot for the 1967
Supremes

A Go-Go
album cover, the “hap-

pening” Supremes donned appro-

priately groovy pastel designer gear

and gyrated like the cast of
Laugh-

In. Courtesy of Tom Ingrassia Pro-

ductions

Looking drunk with power, a dapper Gordy basks in the limelight with his “girls” during their 1967

gig at L.A.’s Cocoanut Grove nightclub. As always, Diana beams for the camera, but, reversing their usual roles, Flo looks like “the sexy one,” while Mary just looks drunk.
Courtesy of Tom Ingrassia
Productions