The Supremes were an American female singing group and a premier act of Motown Records during the 1960s. The Supremes were the most commercially successful of Motown's acts and the most successful American vocal group, with 12 number one singles on the Billboard Hot 100. At their peak in the mid-1960s, the Supremes rivaled the Beatles in worldwide popularity, and it is said that their breakthrough made it possible for future African American R&B and soul musicians to find mainstream success. Billboard ranked the Supremes as the 16th greatest Hot 100 artist of all time.[1] Their unique look, sound, and their tumultuous history made them a frequent reference point for Mork through the show.
About The Supremes[]
Founded as The Primettes in Detroit, Michigan, in 1959, Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, the original group, were all from the Brewster-Douglass public housing project in Detroit. They formed the Primettes as the sister act to the Primes (with Paul Williams and Eddie Kendricks, who went on to form the Temptations). 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.
During the mid-1960s, the Supremes achieved mainstream success with Ross as lead singer and Holland–Dozier–Holland as its songwriting and production team.
The Supremes deliberately embraced a more glamorous image than previous black performers. Much of this was accomplished at the behest of Motown chief Berry Gordy and Maxine Powell, who ran Motown's in-house finishing school and Artist Development department. Unlike many of her contemporaries, Ross sang in a thin, calm voice, and her vocal styling was matched by having all three women embellish their femininity instead of imitate the qualities of male groups. Eschewing plain appearances and basic dance routines, the Supremes appeared onstage in detailed make-up and high-fashion gowns and wigs, and performed graceful choreography created by Motown choreographer Cholly Atkins. Powell told the group to "be prepared to perform before kings and queens." Gordy wanted the Supremes, like all of his performers, to be equally appealing to black and white audiences.
In the spring of 1964, the Supremes recorded the single "Where Did Our Love Go". Although the Supremes disliked the song, the producers coerced them into recording it. In August 1964, "Where Did Our Love Go" reached number one on the US pop charts, much to the surprise and delight of the group. It was also their first song to appear on the UK singles chart, where it reached number three.
"Where Did Our Love Go" was followed by four consecutive US number-one hits: "Baby Love" (which was also a number-one hit in the UK), "Come See About Me", "Stop! In the Name of Love" and "Back in My Arms Again". "Baby Love" was nominated for the 1965 Grammy Award for Best R&B Song.
By 1965, the Supremes were international stars. They toured the world, becoming almost as popular abroad as they were in the US. Almost immediately after their initial number-one hits, they recorded songs for motion picture soundtracks, appeared in the 1965 film Beach Ball, and endorsed dozens of products, at one point having 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". That year the group also released The Supremes A' Go-Go, which on October 22 became the first album by an all-female group to reach number one on the US Billboard 200, knocking the Beatles' Revolver out of the top spot. Because the Supremes were popular with white audiences as well as with black ones, Gordy had the group perform at renowned supper clubs such as the Copacabana in New York. Broadway and pop standards were incorporated into their repertoire alongside their own hit songs. As a result, the Supremes became one of the first black musical acts to achieve complete and sustained crossover success.
Featuring three group members who were marketed for their individual personalities (a move unprecedented at the time) and Diana Ross's pop-friendly voice, the Supremes broke down racial barriers with rock and roll songs underpinned by R&B stylings. The group became extremely popular both domestically and abroad, becoming one of the first black musical acts to appear regularly on television programs such as Hullabaloo, The Hollywood Palace, The Della Reese Show, and, most notably, The Ed Sullivan Show, on which they made 17 appearances
Problems within the group and within Motown Records' stable of performers led to tension among the members of the Supremes. Many of the other Motown performers felt that Berry Gordy was lavishing too much attention upon the group and upon Ross, in particular. In 1967, Motown president Berry Gordy renamed the group Diana Ross & the Supremes, and replaced Ballard with Cindy Birdsong. In mid-1968, Motown initiated a number of high-profile collaborations for the Supremes with their old colleagues, the Temptations. Besides the fact that both groups had come up together, the pairings made financial sense: the Supremes had a mostly white fanbase, while the Temptations a mostly black fanbase. By 1969, the label began plans for a Diana Ross solo career. A number of candidates—most notably Syreeta Wright—were considered to replace Ross. After seeing 24-year-old Jean Terrell perform with her brother Ernie in Florida, Berry Gordy decided on Ross' replacement. Terrell was signed to Motown and began recording the first post-Ross Supremes songs with Wilson and Birdsong during the day, while Wilson and Birdsong toured with Ross at night. At the same time, Ross began to make her first solo recordings. On November 2, 1969, Ross's solo career was first reported by the Detroit Free Press.
"Someday We'll Be Together" was recorded with the intent of releasing it as the first solo single for Diana Ross. Desiring a final Supremes number-one record, Gordy instead had the song released as a Diana Ross & the Supremes single, despite the fact that neither Wilson nor Birdsong sang on the record. "Someday We'll Be Together" hit number one on the American pop charts, becoming not only the Supremes' 12th and final number-one hit, but also the final number-one hit of the 1960s. This single also would mark the Supremes' final television appearance together with Ross, performing on The Ed Sullivan Show on December 21, 1969/
In 1970, Ross left to pursue a solo career and was replaced by Jean Terrell and the group reverted to being The Supremes again. During the mid-1970s, the lineup changed with Lynda Laurence, Scherrie Payne and Susaye Greene joining until, after 18 years, the group disbanded in 1977.
Mork's Multiple References[]
- Mork vs. The Necrotons, Part 1 - Mork refers to Kama & Sutra in their flamboyant silver robes as The Supremes
- Twelve Angry Appliances - Mork tells August Strand he is being put on trial by The Supremes court (as opposed to The Supreme Court) doing a quick rendition of their hit 'You Can't Hurry Love'
- Long Before We Met - Mork in his jealousy over Mindy & Steve, remarks that he now knows how the other two Supremes felt, referring to how they were left behind when Diana Ross moved on to solo stardom without them, before breaking into a brief rendition of 'Ain't No Mountain High Enough'
- Gotta Run, Part 2 - Mork tries to argue with Mindy that if people can accept Diana Ross the former lead singer of The Supremes as Dorothy they can go for him. Ross having appeared as a rather over age Dorothy Gale in The Wiz (1978)