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This article is about the singing group. For other uses, see The Supremes (disambiguation).

The Supremes were an American female singing group and the premier act of Motown Records during the . Founded as the Primettes in , , in 1959, the Supremes were the most commercially successful of Motown’s acts and are, to date, America’s most success- ful vocal group[2] with 12 number one singles on the .[3] Most of these hits were written and produced by Motown’s main songwriting and production team, Holland–Dozier–Holland. At their peak in the mid- 1960s, the Supremes rivaled in worldwide popularity,[3] and their success made it possible for fu- ture African American R&B and soul musicians to find mainstream success.[3] Founding members , Mary Wilson, , and Betty McGlown, all from the Brewster- Douglass public housing project in Detroit,[4] formed the Primettes as the sister act to the Primes (with Paul Williams and , who went on to form ).[4] Barbara Martin replaced McGlown in 1960, and the group signed with Motown the following year as the Supremes. Martin left the act in early 1962, and Ross, Ballard, and Wilson carried on as a trio. Frederick Douglass Housing Project in Detroit During the mid-1960s, the Supremes achieved main- stream success with Ross as lead singer. In 1967, Mo- Jenkins decided to create a sister group to the Primes town president renamed the group Diana called the Primettes.[4] Ballard recruited her best friend Ross & the Supremes, and replaced Ballard with Cindy Mary Wilson, who in turn recruited classmate Diane Birdsong. Ross left to pursue a solo career in 1970 Ross.[4] Mentored and funded by Jenkins, the Primettes and was replaced by , at which point the began by performing hit songs by artists such as Ray group’s name reverted to the Supremes. After 1972, Charles and at sock hops, social clubs and the lineup changed more frequently; Lynda Laurence, talent shows around the Detroit area.[4] Receiving addi- , and Susaye Greene all became members tional guidance from group friend and established per- of the group during the mid-. The Supremes dis- former Jesse Greer, the quartet quickly earned a local fan banded in 1977 after 18 years. following.[13] The girls crafted an age-appropriate style that was inspired by the collegiate dress of popular doo- wop group & ;[14] and, for the most part, Ballard, Ross and Wilson performed equal 1 History leads on songs. Within a few months, guitarist Marvin Tarplin was added to the Primettes’ lineup—a move that 1.1 Origins helped distinguish the group from Detroit’s many other aspiring acts by allowing the girls to sing live instead of [15] In 1958, Florence Ballard—a junior high school stu- lip-synching. dent living in the Brewster-Douglass Housing Projects After winning a prestigious local talent contest,[16] the in Detroit—met Paul Williams and Eddie Kendricks, Primettes’ sights were set on making a record. In hopes two members of a Detroit male singing group known as of getting the group signed to the local upstart Motown the Primes.[4] Since Ballard sang, as did Paul Williams’ label, in 1960 Ross asked an old neighbor, Miracles lead girlfriend Betty McGlown, the Primes’s manager Milton singer , to help the group land an au-

1 2 1 HISTORY

dition for Motown executive Berry Gordy,[17] who had “Diana” in 1965[34]—as the official lead singer of the already proven himself a capable .[18] Robin- group.[35] Ballard and Wilson were periodically given so- son liked “the girls” (as they were then known around los on Supremes , and Ballard continued to sing Motown)[19] and agreed to help, but he liked their gui- her solo number, “People”, in concert for the next two tarist even more; with the Primettes’ permission he hired years.[36] [17] Tarplin, who became the guitarist for . In the spring of 1964, the Supremes recorded the single Robinson arranged for the Primettes to audition a cap- "".[35] The song was originally pella for Gordy—but Gordy, feeling the girls too young intended by Holland-Dozier-Holland for , and inexperienced to be recording artists, encouraged who rejected it.[35] Although the Supremes disliked the them to return when they had graduated from high song, coerced them into recording it.[35] school.[17][19] Undaunted, later that year the Primettes In August 1964, while the Supremes toured as part of recorded a single for Lu Pine Records, a label created 's Caravan of Stars, “Where Did Our Love just for them, titled "", which was backed [20] Go” reached number one on the US pop charts, much with "Pretty Baby". The single failed to find an audi- to the surprise and delight of the group.[37] It was also ence, however.[21] Shortly thereafter, McGlown became [22] their first song to appear on the UK pop charts, where it engaged and left the group. Local girl Barbara Martin reached number three. was McGlown’s prompt replacement.[21] “Where Did Our Love Go” was followed by four consec- Determined to leave an impression on Gordy and join the utive US number-one hits:[19] "" (which was stable of rising Motown stars, the Primettes frequented also a number-one hit in the UK), "Come See About his Hitsville, U.S.A. recording studio every day after [23] Me", "Stop! In the Name of Love" and "Back in My school. Eventually, they convinced Gordy to allow Arms Again".[38] “Baby Love” was nominated for the them to contribute hand claps and background vocals for 1965 Grammy Award for Best R&B Song.[39] the songs of other Motown artists including and .[24] In , Gordy finally re- lented and agreed to sign the girls to his label – but under 1.2 Impact the condition that they change the name of their group.[25] The Primes had by this time combined with & the Distants and would soon sign to Motown as the Temptations.[26] Gordy gave Ballard a list of names to choose from that included suggestions such as “the Dar- leens”, “ Ps”, “the Melodees”, “the Royaltones” and “the Jewelettes”.[27] Ballard chose “the Supremes”, a name that Ross initially disliked as she felt it too mascu- line. Nevertheless, on January 15 the group signed with Motown as the Supremes.[28] In the spring of 1962, Mar- tin left the group to start a family. Thus, the newly named Supremes 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 the Billboard Hot 100.[3] Jokingly referred to as the “no-hit The Supremes in 1965. Supremes” around Motown’s Hitsville U.S.A. offices,[30] the group attempted to compensate for their lack of hits The Supremes became the first black female perform- by taking on any work available at the studio, includ- ers of the rock era to embrace a more feminine image. ing providing hand claps and singing backup for Mo- Much of this was accomplished at the behest of Mo- town artists such as Marvin Gaye and the Temptations. town chief Berry Gordy and , who ran During these years, all three members took turns singing Motown’s in-house finishing school and Artist Develop- [40] lead: Wilson favored soft ballads; Ballard favored soul- ment department. Unlike many of her contemporaries, ful, hard-driving songs; and Ross favored mainstream pop Ross sang in a thin, calm voice, and her vocal styling was songs. Most of their early material was written and pro- matched by having all three women embellish their fem- duced by Berry Gordy or Smokey Robinson.[31] In De- ininity instead of imitate the qualities of male groups. cember 1963, the single "When the Lovelight Starts Shin- Eschewing plain appearances and basic dance routines, ing Through His Eyes" peaked at number 23 on the Bill- the Supremes appeared onstage in detailed make-up and board Hot 100.[32] high-fashion gowns and wigs, and performed graceful choreography created by Motown choreographer Cholly “Lovelight” was the first of many Supremes songs writ- Atkins. Powell told the group to “be prepared to per- ten by the Motown songwriting and production team form before kings and queens.”[40] Gordy wanted the [33] known as Holland–Dozier–Holland. In late 1963, Supremes, like all of his performers, to be equally ap- Berry Gordy chose Diane Ross—who began going by pealing to black and white audiences,[41] and he sought to 1.3 Name and personnel changes 3

erase the image of black performers as being unrefined 1.3 Name and personnel changes or lacking class. Public magazines such as Time and The Detroit News Personnel problems within the group and within Motown commented on the Supremes’ polished presentation.[42] Records’ stable of performers led to tension among the Time called the Supremes the “pride of [the] Detroit members of the Supremes. Many of the other Motown [sound]" and described them as “three thrushes who have performers felt that Berry Gordy was lavishing too much a touch of gospel and sweet lyrics like 'I'm standing at attention upon the group and upon Ross, in particular.[3] the crossroads of love'.”[42] Arnold S. Hirsch of The De- In early 1967, the name of the act was officially changed troit News said about the Supremes: “they don't scream briefly to “the Supremes with Diana Ross” before chang- or wail incoherently. An adult can understand nine out of ing again to “Diana Ross & the Supremes” by mid- every 10 words they sing. And, most astounding, melody summer. The Miracles had become “Smokey Robin- can be clearly detected in every song.”[42] In addition, son & the Miracles” two years prior. The fall of 1967 unlike most American vocal groups, the group members saw Martha & the Vandellas become “ & became easily identifiable by their fans, thanks partially the Vandellas”.[48] Having learned that Ross would re- to the cover of their , More Hits by the Supremes, ceive top billing, David Ruffin lobbied, unsuccessfully, which each member was pictured separately on the front, to have the Temptations renamed as “David Ruffin & with her signature above it. the Temptations”,[49] although Gordy maintained that the name changes were done so that Motown could demand By 1965, the Supremes were international stars. They more money for live bookings (because they would be toured the world, becoming almost as popular abroad providing two acts—a lead singer and a group—instead as they were in the US.[43][44] Almost immediately af- of just one).[50] ter their initial number-one hits, they recorded songs for motion picture soundtracks, appeared in the 1965 film The Supremes’ name change fueled already present ru- Beach Ball, and endorsed dozens of products, at one point mors of a solo career for Ross and contributed to the pro- having their own brand of bread. By the end of 1966, fessional and personal dismantling of the group. In fact, their number-one hits included "", Gordy intended to replace Ross with "You Can't Hurry Love" and "You Keep Me Hangin' as early as the fall of 1966, but changed his mind and in- On".[45] That year the group also released The Supremes stead kept Ross in the group for several more years.[51] A' Go-Go, which became the first album by an all-female Gordy’s caution may have been sparked by an incident in group to reach number one on the US Billboard 200, early 1966 as the group prepared to make their second knocking the Beatles’ Revolver out of the top spot.[46] Be- appearance at the . Angered by Ballard’s er- cause the Supremes were popular with white audiences ratic behavior, Gordy intended to replace her with Mar- as well as with black ones, Gordy had the group cater lene Barrow, a member of the Motown in-house singing to its middle American audience with performances at group . However, when club management renowned supper clubs such as the Copacabana in New heard of this change, they threatened to cancel the group’s York.[47] Broadway and pop standards were incorporated appearance if Ballard was replaced, as they saw Ballard’s into their repertoire alongside their own hit songs. As a banter with her group mates as a major part of their act’s result, the Supremes became one of the first black musi- success. cal acts to achieve complete and sustained crossover suc- As Ross became the focal point of the Supremes, Ballard cess. Black musicians of the had seen felt pushed aside in the group. Depression ensued, and many of their original hit tunes covered by white mu- Ballard began to drink excessively, gaining weight until sicians, with these covers usually achieving more fame she could no longer comfortably wear many of her stage and sales success than the originals. The Supremes’ suc- outfits. The friendship, and later the working relation- cess, however, counteracted this trend. Featuring three ship, between Ross and Ballard became strained.[52] Dur- group members who were marketed for their individ- ing this turbulent period, Ballard relied heavily upon the ual personalities (a move unprecedented at the time) and advice of group mate Mary Wilson, with whom she had Diana Ross’s pop-friendly voice, the Supremes broke maintained a close friendship. Wilson, while outwardly down racial barriers with rock and roll songs underpinned demure and neutral in hopes of keeping the group stable, by R&B stylings. The group became extremely popu- privately advised Ballard that Ross and Gordy were ea- lar both domestically and abroad, becoming one of the ger to oust Ballard.[53] Although the Supremes scored two first black musical acts to appear regularly on television number-one hits during the first quarter of 1967, "Love Is programs such as Hullabaloo, , Here and Now You're Gone" and "The Happening", the The Show, and, most notably, The Ed Sul- group as a unit began to disintegrate. livan Show, on which they made 17 appearances.[40] The Supremes’ cross-cultural success effectively paved the By 1967, Ballard would not show up for recording dates, way for the mainstream success of contemporaneous la- or would arrive at shows too inebriated to perform. For bel mates such as the Temptations, the and the some early 1967 shows, she was replaced by Marlene Jackson 5. Barrow. Looking for a more permanent replacement, Gordy again thought of Barbara Randolph, possi- 4 1 HISTORY

bly believing that Randolph could be groomed as lead financial and personal strides and was planning to reinvig- singer for the group once it was decided to take Ross solo. orate her solo career. However, Ross did not receive Randolph well. In April 1967, Gordy then contacted , a member of Patti & the Blue Belles who superficially re- 1.4 Ross’ departure sembled Ballard, with plans to bring her in as Ballard’s replacement.[54] He made his plans clear to Ballard and Holland-Dozier-Holland left Motown in early 1968 af- her group mates at a mid-April meeting, and Birdsong ter a dispute with the label over royalties and profit [62] was brought in to begin rehearsals.[54] Gordy did not fire sharing. The quality of Motown’s output (and Diana Ballard outright at that time, asking Ballard instead to quit Ross & the Supremes’ records in particular) began to on her own.[54] falter as a result. From “Reflections” in 1967 to “” in 1969, only six out of the eleven released sin- Birdsong first appeared with the Supremes in Ballard’s gles reached the Top 20, and only one of those, 1968’s place at a benefit concert at the on "Love Child",[63] made it to number one. Due to the ten- [54][55] April 29, 1967. Following the performance, Gordy sion within the group and stringent touring schedules, nei- quickly learned that Birdsong was still contractually com- ther Mary Wilson nor Cindy Birdsong appear on many mitted to the Blue Belles when that group’s lawyers filed of these singles; they were replaced on these recordings an injunction against him. In May, Ballard returned for by session singers such as the Andantes.[64] The changes what she believed was a probationary period, although within the group and their decreasing sales were signs in reality it was a stopgap measure until Gordy was able of changes within the music industry. The gospel-based to buy out Birdsong’s contract. During May and June, soul of female performers such as had knowing that she was one step away from being dis- eclipsed the Supremes’ pop-based sound, which had by missed, Ballard made an attempt to toe the line, slim- now evolved to include more middle-of-the-road mate- ming down and showing up to commitments on time and rial. In a cultural climate now influenced more than ever sober. Despite this, Birdsong was traveling with by countercultural movements such as the Black Panther [54] the Supremes, studying their routines. Party, the Supremes found themselves attacked for not On June 29, 1967 the group returned to the Flamingo being “black enough”, and lost ground in the black music Hotel in Las Vegas billed as “the Supremes with Diana market.[65] Ross”, the first time in which Ross was billed separately In mid-1968, Motown initiated a number of high-profile from the group. One month later, Gordy renamed the collaborations for the Supremes with their old colleagues, group “Diana Ross & the Supremes,” putting Ross’s name the Temptations. Besides the fact that both groups had ahead of the group. come up together, the pairings made financial sense: The first two days of the Flamingo engagement went by the Supremes had a mostly white fanbase, while the smoothly. On July 1, when reporting for makeup and Temptations a mostly black fanbase. By 1969, the la- wardrobe before their first show of the evening, Ballard bel began plans for a Diana Ross solo career.[68] A num- discovered an extra set of gowns and costumes that had ber of candidates—most notably —were been brought along for Cindy Birdsong. Angered, Bal- considered to replace Ross. After seeing 24-year-old lard performed the first concert of the night inebriated, Jean Terrell perform with her brother Ernie in Florida, leading to an embarrassing on-stage incident in which her Berry Gordy decided on Ross’ replacement. Terrell was stomach was revealed when she purposely thrust it for- signed to Motown and began recording the first post- ward during a dance routine. Enraged, Gordy ordered Ross Supremes songs with Wilson and Birdsong during her back to Detroit and permanently dismissed her from the day, while Wilson and Birdsong toured with Ross at the group. Birdsong officially assumed her place during night. At the same time, Ross began to make her first the second July 1 show.[52][56] solo recordings. In November 1969, Ross’ solo career was publicly announced. Ballard’s from Motown was made final on Febru- ary 22, 1968, when she received a one-time payment "Someday We'll Be Together" was recorded with the in- of US$139,804.94 in royalties and earnings.[57] She at- tent of releasing it as the first solo single for Diana Ross. tempted a solo career with ABC Records, and was forced Desiring a final Supremes number-one record, Gordy to formally reject a solo contract offered by Motown instead had the song released as a Diana Ross & the as part of her settlement.[58] Ballard’s two 1968 singles Supremes single, despite the fact that neither Wilson nor failed to chart and her solo album was shelved.[59] In Birdsong sang on the record. “Someday We'll Be To- 1971, Ballard sued Motown for $8.7 million, claiming gether” hit number one on the American pop charts, be- that Gordy and Diana Ross had conspired to force her coming not only the Supremes’ 12th and final number- out of the group;[60] the judge ruled in favor of Motown. one hit, but also the final number-one hit of the 1960s. Ballard eventually sank into poverty and died abruptly on This single also would mark the Supremes’ final televi- February 22, 1976 from coronary thrombosis at the age sion appearance together with Ross, performing on The of 32.[61] At the time of her death, she had begun to make Show on December 21, 1969. The Supremes without Ross made their final appearance altogether on 5

Ed Sullivan on February 15, 1970. UK. Laurence can be heard briefly, shouting several times at the end of the song (the only recording on which Lau- rence is heard). Laurence left to start a family; her re- 1.5 The Supremes in the 1970s placement: a returning Cindy Birdsong. Dismayed by this poor-performing record and the lack of Diana Ross & the Supremes gave their final perfor- promotional support from Motown, Jean Terrell left the mance on January 14, 1970 at the Frontier Hotel in Las group and was replaced by Scherrie Payne, the sister of Vegas.[69] At the final performance, the replacement for recording artist . Diana Ross, Jean Terrell, was introduced. According Between the 1973 departures of Laurence and Terrell and to Mary Wilson, after this performance, Berry Gordy the first Supremes single with Scherrie Payne, “He’s My wanted to replace Terrell with Syreeta Wright. Wilson Man”, a single on which Payne and Wilson shared refused, leading to Gordy stating that he was washing lead vocal, Motown was slow in producing contracts for his hands of the group thereafter.[70] This claim is also Payne and the returning Birdsong. Before the release made by Mark Ribowsky.[71] After the Frontier Hotel of the album in 1975, the Supremes remained a popu- performance, Ross officially began her career as a solo lar live act, and continued touring overseas, particularly performer. Mary Wilson and Cindy Birdsong continued in the UK and Japan. The group’s new recordings were working with Jean Terrell on the first post-Ross Supremes not as successful as their earlier releases, although “He’s album, Right On.[72] My Man” from the album The Supremes was a popular The Terrell-led Supremes—now rebranded as “the disco hit in 1975. In 1976, Birdsong, dissatisfied with Supremes;" known unofficially at first as “the New the management of the Supremes (handled at the time by Supremes”, and in later years informally called “The '70s Mary Wilson’s then-husband Pedro Ferrer), left again and Supremes”—scored hits including "Up the Ladder to the was replaced by Susaye Greene, another former member Roof" (US number 10, UK number 6), "" of Wonderlove. (US number 7, UK number 3) and "Nathan Jones" (US This final version of the Supremes released two albums, number 16, UK number 5), all of which were produced both of which reunited the Supremes with Holland- by . These three singles were also R&B Top Dozier-Holland: High Energy, which includes Birdsong Ten hits, with “Stoned Love” becoming their last No.1 on all of the tracks, and Mary, Scherrie & Susaye. Dur- R&B hit in December 1970. Songwriting/production ing that year, the Supremes released "I'm Gonna Let My team Nickolas Ashford & Valerie Simpson produced an- Heart Do the Walking", their final Top 40 hit on the Bill- other Top 20 hit for the group, a Supremes/Four Tops board Hot 100. duet version of Ike & Tina Turner's "River Deep – Moun- tain High". On June 12, 1977, the Supremes performed their farewell concert at the Drury Lane Theater in and In 1972, the Supremes had their last Top 20 hit single disbanded.[28] 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 Sun- shine" (US number 37, UK number 10). “Automati- 2 Legacy cally Sunshine” later became the group’s final top 10 sin- gle in the UK. On both “Floy Joy” and “Sunshine” Ter- 2.1 Works inspired by the Supremes rell shared lead with Mary Wilson. Motown, by then moving from Detroit to to break into mo- Several fictional works have been published that are based tion pictures, put only limited effort into promoting the in part on the career of the group. The 1976 film Sparkle Supremes’ new material, and their popularity and sales features the story of a Supremes-like singing trio called began to wane. Cindy Birdsong left the group in April “Sister & the Sisters” from , New York. The film’s 1972, after recording the Floy Joy album, to start a fam- score was composed by Curtis Mayfield, and the sound- ily; her replacement was Lynda Laurence, a former mem- track album by Aretha Franklin was a commercial suc- ber of 's backup group, Third Generation cess. A remake of Sparkle was in development in the (a predecessor to Wonderlove). was hired early 2000s with R&B singer as the lead, but to produce the group’s next LP, The Supremes Produced [74] [73] the project was shelved when Aaliyah died in 2001. and Arranged by Jimmy Webb, but the album and its A remake of Sparkle eventually was released to film only single “I Guess I'll Miss the Man” failed to make an theaters in August 2012. The remake starred Jordin impact on the Billboard pop chart, with the single chart- Sparks and Whitney , in her final film role before ing at number 85. her death.[75] On December 21, 1981, the Tony Award- In early 1973, Laurence prevailed upon her old men- winning musical opened at the Imperial The- tor Stevie Wonder to write and produce a hit for the atre on Broadway and ran for 1,522 performances. The Supremes, but the resulting "" peaked at musical, loosely based on the history of the Supremes, number 87 on the US pop charts and number 37 in the follows the story of the Dreams, an all-female singing 6 2 LEGACY

trio from who become music superstars. Sev- eral of the characters in the play are analogues of real-life Supremes/Motown counterparts, with the story focus- ing upon the Florence Ballard doppelgänger Effie White. While influenced by the Supremes’ and Motown’s music, the songs in the play are a broader mix of R&B/soul and Broadway music. Mary Wilson loved the musical, but Diana Ross was reportedly angered by it and refused to see it.[76]

The seen in the 2006 film Dreamgirls, left, strongly resembles the 1969 album cover for Diana Ross & the Supremes’ Star on at 7060 Hollywood Blvd. , right.

A film adaptation of Dreamgirls was released by 2.3 Reunions DreamWorks and in December 2006. The film contains more overt references to Mo- Fan interest made the idea of a Supremes reunion tour a town and the Supremes than does the play that inspired it: very profitable one during the 1980s. In 1982, around for example, in the film, many of the Dreams’ album cov- the time that Motown reunited all of the Temptations, it ers are identical in design to Supremes album covers, and was rumored that Motown would reunite the Supremes. the Dreams themselves hail from Detroit – not Chicago, The 1974 line-up of the Supremes (Wilson, Birdsong and as do their Broadway counterparts. Payne) was considered for this reunion, which was to in- clude 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 2.2 Awards and followers to perform “Someday We'll Be Together” on the Motown 25: Yesterday, , Forever television special, taped The Supremes were twice nominated for a Grammy on March 25, 1983, and broadcast on NBC on May 16, Award—for Best Rhythm & Blues Recording (“Baby 1983.[82] Love”, 1965) and Best Contemporary Rock & Roll In 2000, plans were made for Ross to join Wilson and Group Vocal Performance (“Stop! In the Name of Love”, [77] Birdsong for a planned “Diana Ross & the Supremes: Re- 1966)—but never won an award in competition. Three turn to Love” reunion tour. However, Wilson passed on of their songs have been named to the Grammy Hall of the idea, because while the promoters offered Ross $15 Fame: “Where Did Our Love Go” and “You Keep Me million to perform, Wilson was offered $4 million and Hangin' On” (both 1999) and “Stop! In the Name of [83] [78] Birdsong less than $1 million. Ross herself offered to Love” (2001). double the amounts both Wilson and Birdsong had origi- The group’s songs “Stop! In the Name of Love” and “You nally been offered, but while Birdsong accepted, Wilson Can't Hurry Love” are among the Rock and Roll Hall of remained adamant, and as a result the deal fell through Fame’s 500 Songs that Shaped Rock and Roll.[79] The with both former Supremes. Eventually, the “Return to Ross-Wilson-Ballard lineup was inducted into the Rock Love” tour went on as scheduled, but with Payne and Lau- and Roll Hall of Fame in 1988, received a star on the rence joining Ross, although none of the three had ever Hollywood Walk of Fame in 1994, and entered into the been in the group at the same time and neither Payne nor in 1998. In 2004, Rolling Laurence had sung on any of the original hit recordings Stone placed the group at number 97 on their list of the that they were now singing live. Susaye Greene was also “100 Greatest Artists of All Time”.[80] The Supremes are considered for this tour, but refused to audition for it. The notable for the influences they have had on the black girl music critics cried foul and many fans were disappointed groups who have succeeded them in popular music, such by both this and the shows’ high ticket prices. Though as , , The Pointer Sis- the tour did well in larger markets including near capac- ters, , TLC, Destiny’s Child and .[81] ity at the opening night in and a sellout at 7

Madison Square Garden in New York, it under performed 4 Lineups in smaller/medium markets. The tour was canceled after playing only half of the dates on itinerary.[84] 5 Discography

2.4 Post-Supremes groups Main article: The Supremes discography

In 1986, Jean Terrell, Scherrie Payne and Lynda Lau- rence began to perform as “The FLOS": Former Ladies of the Supremes. When Terrell quit in 1992, Sundray 6 Filmography Tucker, Laurence’s sister, stepped in for a short time, but was replaced by in 1996. More recently • T.A.M.I. Show (1965) (concert film) in September 2009, Poole was replaced by Joyce Vin- cent, formerly of . The group, • Beach Ball (1965) now called Former Supremes Scherrie Payne and Lynda Laurence with Joyce Vincent, are working on a new recording. 7 Television Kaaren Ragland performed with Mary Wilson from 1978 though the mid-1980s. In 1989 she formed her own group • Tarzan (1968) called “the Sounds of the Supremes”. She has claimed nu- merous times that she was a member of the Supremes be- • T.C.B. (1968) cause of her performances with Wilson, but she was never • G.I.T. on Broadway (1969) signed by Motown and performed with Wilson only after the Supremes disbanded in 1977 and is not considered as a member of The Supremes.[85] 8 Videography

• Reflections: The Definitive Performances (1964– 3 Personnel 1969) (2006) • Main articles: List of The Supremes members and The Greatest Hits: Live in Amsterdam (2006) Supremes timeline 9 Notes The Supremes (aka the Primettes and Diana Ross & the Supremes) [1] “YouTube”. Youtube.com. Retrieved October 23, 2014.

• Florence Ballard (1959–1967) [2] Bronson, Fred: The Billboard Book of Number 1 Hits, page 265. Billboard Books, 2003.

• Mary Wilson (1959–1977) [3] Unterberger, Richie. "The Supremes". The Supremes have sold over 100 million records to date. Their cata- • Diana Ross (1959–1970) log remains active 50 years later. Allmusic. Retrieved on July 4, 2008.

• Betty McGlown (1959–1960) [4] Wilson et al., 29–36.

• Barbara Martin (1960–1962) [5] "Billboard Hot 100”. Billboard (Nielsen ) 76 (44): 18. 1964. Retrieved 9 May 2011.

• Cindy Birdsong (1967–1972, 1973–1976) [6] "Billboard Hot 100”. Billboard (Nielsen Company) 76 (45): 18. 1964. Retrieved 9 May 2011. • Jean Terrell (1970–1973) [7] "Billboard Hot 100”. Billboard (Nielsen Company) 76 (46): 24. 1964. Retrieved 9 May 2011. • Lynda Laurence (1972–1973) [8] "Billboard Hot 100”. Billboard (Nielsen Company) 76 • Scherrie Payne (1973–1977) (47): 22. 1964. Retrieved 9 May 2011. [9] "Billboard Hot 100”. Billboard (Nielsen Company) 76 • Susaye Greene (1976–1977) (51): 24. 1964. Retrieved 9 May 2011. 8 9 NOTES

[10] "Billboard Hot 100”. Billboard (Nielsen Company) 77 [39] "The Grammy Hall Of Fame Award". grammy.com. Re- (3): 20. 1965. Retrieved 9 May 2011. trieved on July 24, 2008.

[11] "Billboard Hot 100”. Billboard (Nielsen Company) 77 [40] Yusuf, Nilgin. "The Supremes on show". Telegraph (UK), (13): 32. 1965. Retrieved 9 May 2011. April 26, 2008. Retrieved on August 4, 2008.

[12] "Billboard Hot 100”. Billboard (Nielsen Company) 77 [41] Kooijman, Jaap. "From elegance to extravaganza the (14): 28. 1965. Retrieved 10 May 2011. Supremes on as a presentation of beauty". Velvet Light Trap [on accessmylibrary.com], [13] Wilson et al., 49. March 22, 2002. Retrieved on July 4, 2007.

[14] Wilson et al., 38. [42] Ebony 1965, p. 86.

[15] Wilson et al., 37. [43] Rivera, Ursula. The Supremes. Rosen Central, 2002. 19. ISBN 0-8239-3527-2 [16] Wilson et al., 51. [44] Smith, Suzanne E. Dancing in the Street: Motown and [17] Wilson et al., 53–56. the Cultural Politics of Detroit. Harvard University Press, 2001. 76. ISBN 0-674-00546-5 [18] Wilson et al., 75. [45] The Supremes AllMusic Billboard Albums. Retrieved on [19] Gilliland, John (1969). “Show 26 – The Soul Reforma- July 24, 2008. tion: Phase two, the Motown story. [Part 5]" (audio). Pop Chronicles. Digital.library.unt.edu. [46] "The Supremes become the first all-female band to have a No.1 hit album". National Arts and Education Network. [20] Wilson et al., 69. Retrieved on July 17, 2008.

[21] Wilson et al., 69–71. [47] Adrahtas, pp. 41–43.

[22] Wilson et al., 62. [48] Jaynes, Gerald David. Encyclopedia of African American Society. Sage Publications, 2005. 673. ISBN 0-7619- [23] Wilson et al., 57. 2764-6

[24] Wilson et al., 58. [49] Benjaminson, 143.

[25] Wilson et al., 84–85. [50] Ribowsky, Mark (2009). The Supremes: A Saga of Mo- town Dreams, Success, and Betrayal. Da Capo Press ISBN [26] Wilson et al., 81. 978-0-306-81586-7, pg. 284

[27] Benjaminson, 27. [51] Ribowsky, Mark (2009). The Supremes: A Saga of Mo- town Dreams, Success, and Betrayal. Da Capo Press ISBN [28] "The Supremes". The Rock and Roll Hall of Fame and 978-0-306-81586-7, pg. 267 Museum, 1988. Retrieved on July 21, 2008. [52] Leigh, Wendy. "Queen of the Supremes before Diana [29] Slonimsky, Nicolas & Kuhn, Laura Diane. Baker’s Bi- Ross". Daily Mail, May 22, 2008. Retrieved on August ographical Dictionary of Musicians. Schirmer Books, 4, 2008. 2001. 3539. ISBN 0-02-865527-3 [53] Benjaminson, 92. [30] Wilson et al., 136. [54] Ribowsky, Mark (2009). The Supremes: A Saga of Mo- [31] Bronson, Fred. Billboard’s Hottest Hot 100 Hits: Top Songs town Dreams, Success, and Betrayal. Da Capo Press ISBN and Song Makers, 1955 to 2000. Billboard Books, 2000. 978-0-306-81586-7, pg. 283–294 25. ISBN 0-8230-7738-1 [55] Wilson and Romanowski (1986). Dreamgirl, pg. 263) [32] Adrahtas, 361. [56] Adrahtas, 296. [33] Wilson et al., 141. [57] Knight, Jack. “Ex-Supreme rejected in Motown suit”. [34] Wilson, Mary (1986). Dreamgirl: My Life as a Supreme. Detroit Free Press, October 29, 1971. Cooper Square Press. pp. 169–170. ISBN 0-8154-1000- [58] Benjaminson, 109. X. [59] Benjaminson, 113. [35] Wilson et al., 141–143. [60] Benjaminson, 190. [36] Wilson et al., 173. [61] Benjaminson, 168. [37] Wilson et al., 147. [62] Boehm, Mike. "How sweet it is: Motown hit-makers eye [38] "The Supremes:Singles". AllMusic. Retrieved on July 25, Broadway". Los Angeles Times, April 15, 2007. Retrieved 2008. on July 17, 2008. 9

[63] “Show 50 – The Soul Reformation: Phase three, soul mu- 10 References sic at the summit. [Part 6] : UNT Digital Library”. UNT Digital Library. Retrieved October 23, 2014. • Adrahtas, Thomas. A Lifetime to Get Here: Diana [64] Benjaminson, 75–79. Ross: the American Dreamgirl. AuthorHouse, 2006. ISBN 1-4259-7140-7 [65] Bloch, Avital H. Impossible to Hold: Women And Culture In The 1960s. New York: New York University Press, • Benjaminson, Peter. The Lost Supreme: The Life February 2005. 156. ISBN 0-8147-9910-8 of Dreamgirl Florence Ballard. Chicago: Chicago [66] "Billboard Hot 100”. Billboard (Nielsen Company) 80 Review Press, November 2007. 75–79. ISBN 1- (48): 90. 1968. Retrieved 10 May 2011. 55652-705-5 [67] "Billboard Hot 100”. Billboard (Nielsen Company) 80 • Chin, Brian & Nathan, David. Reflections Of... The (49): 60. 1968. Retrieved 10 May 2011. Supremes [CD boxed set liner notes]. New York: [68] George, Nelson. Where Did Our Love Go?: the rise & fall Motown Record Co./Universal Music, 2000. of the Motown sound By Nelson George. Omnibus Press, 2003. 190. ISBN 0-7119-9511-7 • Clinton, Paul. "Diana Ross’ tour excludes old part- ner, friend". CNN.com, April 20, 2000. [69] A live recording of the performance was released later that year in a double-LP box set titled Farewell. • “Supremes Wow Europe, Too”. Ebony: 86. June [70] Wilson, Mary & Romanowski, Patricia. Dreamgirl & 1965. Supreme Faith: My Life as a Supreme. New York: Cooper Square Publishers, 1986. ISBN 0-8154-1000-X • Gans, Andrew. "Foxx and Usher to Join Beyonce for Dreamgirls Film". , May 12, 2005. [71] Ribowsky, Mark. “The Supremes: A Saga of Motown Dreams, Success, and Betrayal”. New York: Da Capo • Mary Wilson: An Interview Supreme by Pete Lewis, Press, 2009. ISBN 0-306-81586-9 'Blues & Soul' May 2009 [72] G. Gaar, Gillian. She’s a rebel: the history of women in rock & roll. Seal Press. 168. ISBN 1-58005-078-6 • Nathan, David. The Soulful Divas: Personal Por- traits of over a Dozen Divine Divas. New York: Bill- [73] Vining, Mark. "The Supremes". , January 4, board Books/Watson-Guptill Publications, 2002. 1973. Retrieved on July 18, 2008. ISBN 0-8230-8430-2. [74] "The It List: Aaliyah". Entertainment Weekly, June 21, 2001. Retrieved on November 11, 2006. • Posner, Gerald. Motown: Music, Money, Sex, and Power. New York: Random House, 2002. ISBN [75] “Sparkle (2012)". IMDb. August 17, 2012. Retrieved 0-375-50062-6. October 23, 2014. [76] O'Niel, Tom. "Diana’s 'Dreamgirls’ decision". Los Ange- • Wilson, Mary & Romanowski, Patricia. Dreamgirl les Times. Retrieved on November 11, 2006. & Supreme Faith: My Life as a Supreme. New York: Cooper Square Publishers, 1986. ISBN 0-8154- [77] Skurow, Andrew. The Supremes. CD boxed set liner notes appendix, 2007. New York: Motown Record 1000-X. Co./Universal Music. • ^ Clemente, John (2000). Girl Groups—Fabulous [78] "Grammy Hall of Fame Awards". Grammy.com, 2007. Females That Rocked The World. Iola, Wisc. Retrieved April 27, 2007. Krause Publications. pp. 276. ISBN 0-87341- [79] "The Rock and Roll Hall of Fame’s 500 Songs That 816-6. ^ Clemente, John (2013). Girl Groups— Shaped Rock and Roll (by artist)". Rock and Roll Hall Fabulous Females Who Rocked The World. Bloom- of Fame, 2007. Retrieved on April 27, 2007. Archived ington, IN Authorhouse Publications. pp. 623. May 14, 2007 at the Wayback Machine ISBN 978-1-4772-7633-4 (sc); ISBN 978-1-4772- 8128-4 (e). [80] "The Immortals: The First Fifty". Rolling Stone, Issue 946, March 24, 2004. Retrieved on July 4, 2004. [81] Chin et al., 48. 11 Further reading [82] Pareles, Jon. “Stop! In the Name of Nostalgia”. New York Times, April 5, 2000. Retrieved on July 10, 2008. • George, Nelson. Where Did Our Love Go: The Rise [83] "Supremes return for tour". BBC News, April 5, 2000. and Fall of the Motown. London: Omnibus Press, Retrieved on July 4, 2008. 1985. ISBN 0-7119-9511-7.

[84] Posner, 331. • Ross, Diana. Secrets of a Sparrow: Memoirs. New [85] "Supremes Drama Continues as Dreamgirls Opening" The York: Random House, 1993. ISBN 0-517-16622- New Tri-State Defender, October 18, 2006. 4. 10 12 EXTERNAL LINKS

• Taraborrelli, J. Randy. Diana Ross: An Unautho- rized Biography. 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. Martin’s Press, 1986. ISBN 0-312- 21959-8

12 External links

• The Primettes at AllMusic

• The Supremes at AllMusic • Diana Ross & the Supremes at AllMusic

• The Supremes at the Internet Movie Database • The Supremes interviewed on the Pop Chronicles (1969) • The Supremes on The Ed Sullivan Show 11

13 Text and image sources, contributors, and licenses

13.1 Text

• The Supremes Source: https://en.wikipedia.org/wiki/The_Supremes?oldid=675438846 Contributors: AxelBoldt, Infrogmation, Michael Hardy, Vudujava, Liftarn, GTBacchus, Ahoerstemeier, TUF-KAT, TUF-KAT, Kingturtle, Александър, Nikai, BRG, WhisperToMe, Nv8200pa, Raul654, Bearcat, Astronautics~enwiki, Psychonaut, Michael Snow, Smjg, Rossrs, Lupin, Alterego, Everyking, Michael De- vore, Mboverload, Pascal666, Bobblewik, Gadfium, Antandrus, MisfitToys, Balcer, FrozenUmbrella, Moribunt, Marcus2, Gerrit, Elyaqim, Dcfleck, 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, Grafikm fr, Tony1, Antceleb12, Mrtea, Bantosh, Kelovy, Esprit15d, Jogers, Little Savage, Sarbox, Fram, ArielGold, WesleyDodds, Crystallina, Sarah, SmackBot, Gideon13, Prodego, Stev0, C.Fred, Wegesrand, Stifle, Lainagier, Daddyjimsf, Mcld, ERcheck, Bluebot, Jprg1966, Ted87, Gracenotes, Daddy Kindsoul, Nix- eagle, Greenshed, Dpeifer, MartinP1983, RJN, Austinfidel, Derek R Bullamore, Only, Risker, Samuel Sol, Kukini, Ceoil, Ohconfu- cius, Lambiam, John, SilkTork, Coredesat, Syrcatbot, Durajohnpatrick, Beetstra, SandyGeorgia, E-Kartoffel, Scorpion0422, Jkaharper, Levineps, Iridescent, MigGroningen, DougHill, Bottesini, J Milburn, JForget, Mellery, CmdrObot, Kevin j, CBM, SupremeSoulUK, Jolsonmhd, Outriggr, ObiterDicta, Cydebot, PennyGWoods, Michaelas10, Ivyfield, Demomoke, DumbBOT, Asenine, Focuz, Kozuch, Aldis90, PKT, InkQuill, DJBullfish, 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. Heffley, SnapSnap, DerHexer, Cliff smith, MartinBot, Stusutcliffe, InnocuousPseudonym, J.delanoy, DrKiernan, McSly, Runt, Jevansen, Treisijs, Spellcast, Siamsens, VolkovBot, Ggjohnny, Jeff 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 Thing That 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, KingMcfly, SchnitzelMannGreek, FrescoBot, Hyju, Pepper, Jpois- son15, FancySmartyPants, TVArchivistUK, HJ Mitchell, Yerauy, I love ollie, Danielpauldavis, Tinton5, Fat&Happy, PeterALewis, Joseph Siambola, 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, Popcornduff, Rankinz302, Ernio48, CAWylie, EditorE, Dobie80, Kumioko, Drjandlynn, Sol1, Synthwave.94, Timmons622, Charge2charge, KellOsborne528612184, Westleft, Anthonytcraig, BuddyRedBow, Ian Scarlet, KasparBot, Ludwigpaisteman and Anonymous: 445

13.2 Images

• File:Baby-love-supremes-1964.ogg Source: https://upload.wikimedia.org/wikipedia/en/0/06/Baby-love-supremes-1964.ogg License: Fair use Contributors: ? Original artist: ? • File:Come_See_About_Me.ogg Source: https://upload.wikimedia.org/wikipedia/en/8/86/Come_See_About_Me.ogg License: Fair use Contributors: The song “Come See About” by The Supremes Original artist: ? • File:Dreams_&_supremes.jpg Source: https://upload.wikimedia.org/wikipedia/en/4/40/Dreams_%26_supremes.jpg License: Fair use Contributors: The cover art can be obtained from Lu Pine (Primettes), Motown (Supremes). Original artist: ? • File:Folder_Hexagonal_Icon.svg Source: https://upload.wikimedia.org/wikipedia/en/4/48/Folder_Hexagonal_Icon.svg License: Cc-by- sa-3.0 Contributors: ? Original artist: ? • File:Frederick_Douglass_HomestowerDetroit.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/71/Frederick_ Douglass_HomestowerDetroit.jpg License: CC-BY-SA-3.0 Contributors: Transferred from en.wikipedia Original artist: Mikerussell at en.wikipedia • File:Gnome-mime-sound-openclipart.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/87/ Gnome-mime-sound-openclipart.svg License: Public domain Contributors: Own work. Based on File:Gnome-mime-audio-openclipart. svg, which is public domain. Original artist: User:Eubulides • File:Muscle_car_Detroit.svg Source: https://upload.wikimedia.org/wikipedia/commons/e/ec/Muscle_car_Detroit.svg License: CC BY- SA 3.0 Contributors: Own work using File:MacG auto.svg Original artist: Imzadi1979 • File:Office-book.svg Source: https://upload.wikimedia.org/wikipedia/commons/a/a8/Office-book.svg License: Public domain Contribu- tors: This and myself. Original artist: Chris Down/Tango project 12 13 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

• File:P_vip.svg Source: https://upload.wikimedia.org/wikipedia/en/6/69/P_vip.svg License: PD Contributors: ? Original artist: ? • File:People_icon.svg Source: https://upload.wikimedia.org/wikipedia/commons/3/37/People_icon.svg License: CC0 Contributors: Open- Clipart Original artist: OpenClipart • File:Portal-puzzle.svg Source: https://upload.wikimedia.org/wikipedia/en/f/fd/Portal-puzzle.svg License: Public domain Contributors: ? Original artist: ? • File:Someday-together-supremes-1969.ogg Source: https://upload.wikimedia.org/wikipedia/en/5/58/ Someday-together-supremes-1969.ogg License: Fair use Contributors: Derived from a digital capture (photo/scan) of the soundfile (creator of this digital version is irrelevant as the copyright in all equivalent soundfile is still held by the same party). Copyright held by the publisher or the artist. Claimed as fair use regardless. Original artist: ? • File:Stop-supremes-1965.ogg Source: https://upload.wikimedia.org/wikipedia/en/e/ef/Stop-supremes-1965.ogg License: Fair use Con- tributors: The song “Stop! In the Name of Love” by The Supremes Original artist: ? • File:Supremes.Star.Hollywood.Walk.of.Fam.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f7/Supremes.Star. Hollywood.Walk.of.Fam.jpg License: Public domain Contributors: Own work Original artist: JGKlein • File:Supremes_LoveChild1968.ogg Source: https://upload.wikimedia.org/wikipedia/en/2/2c/Supremes_LoveChild1968.ogg License: Fair use Contributors: ? Original artist: ? • File:Symbol_book_class2.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/89/Symbol_book_class2.svg License: CC BY-SA 2.5 Contributors: Mad by Lokal_Profil by combining: Original artist: Lokal_Profil • File:Symbol_template_class.svg Source: https://upload.wikimedia.org/wikipedia/en/5/5c/Symbol_template_class.svg License: Public domain Contributors: ? Original artist: ? • File:The_Supremes_(Promo_Pic_1).png Source: https://upload.wikimedia.org/wikipedia/en/d/dd/The_Supremes_%28Promo_Pic_ 1%29.png License: Fair use Contributors: Motown Records Original artist: ? • File:You_Can't_Hurry_Love.ogg Source: https://upload.wikimedia.org/wikipedia/en/a/ad/You_Can%27t_Hurry_Love.ogg License: Fair use Contributors: Motown Records Original artist: A single of Motown Records

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• Creative Commons Attribution-Share Alike 3.0