Part 2—Rhythms of Revolution: The Supremes Break Barriers
As the Supremes soared to fame, they did so amidst a backdrop of civil rights turmoil. Despite the strides made in 1965 and beyond, racial tensions continued to permeate the entertainment industry, posing significant challenges for artists of color.
The Supremes TV Magazine Cover, 1965. Illustration by J.D. Humphreys
• COVER GIRLS •
Motown PR man Al Abrams recalls his initial optimism when the Supremes were booked on the Ed Sullivan Show, believing it would be straightforward to secure the trio a spot on the cover of The News Sunday TV Week insert. Such a feature would mark a historic first for Black artists to grace the cover of this esteemed publication. The News produced their own weekly TV digest as well as television digests for other major newspapers in Washington DC, Houston, New York City, and later Boston.
Abrams was met with immediate pushback from the editor who informed him that putting Black people on the cover a TV magazine was not going to happen. When Abrams asked why, the editor elaborated, “People keep this TV magazine handy in their living rooms all week long. You can’t expect them to look down at it and have Black faces looking up at them.”
“People keep this TV magazine handy in their living rooms all week long. You can’t expect them to look down at it and have Black faces looking up at them.”
- Editor, The News Sunday TV Week
The editor then tried changing the subject to Abrams himself. “I gotta ask you, what is a nice Jewish boy like you doing working for a bunch of niggers like them? Shouldn’t it be the other way around?”
On the spot, Abrams launched into an absurd tale that he started Motown Records and ended up losing it all in a high-stakes craps game with Gordy but was allowed to remain with the company to handle publicity. Suppressing a smirk, Abrams watched the gullible editor take pity on him, unaware of the fabrication. It was then that Abrams recognized he had shattered a barrier, orchestrating a pivotal moment in history.
The Supremes appeared on the front cover with an accompanying article inside. “And what record buyers have heard – and bought by the millions – is what ever-larger TV audiences are learning to appreciate. It is simply the Supremes’ sound — a hard-to-resist blend of Negro gospel, strong beat and harmonies that are pleasing if not always pitch perfect,” wrote Arnold S. Hirsch.
Although the Supremes couldn't openly champion civil rights in the early stages of their careers, the profound impact of their television appearances wasn't lost on them. “Black was not beautiful yet when we started becoming famous in the sixties,” former Supreme Mary Wilson said on The View in 2019 to promote her book Supreme Glamour. “We did [shatter ceilings] because every time we walked out the door, our parents said you are representing the Black community. The Civil Rights bill hadn’t passed yet. We knew and we were very proud to have been the face. TV was one of the things that helped.”
• FLORENCE BALLARD’S DEMISE •
As the Supremes were pushing through to mainstream society, one member was slowly being pushed out from the group. Despite her pivotal role in founding the group, Florence Ballard faced mounting pressure from within and without, with concerns growing about her viability within the ensemble. Ballard's discontentment manifested in her attitude, leading to frequent arguments with her bandmates and a pattern of absenteeism from rehearsals, recordings, and performances. She harbored deep-seated grievances, particularly regarding Diana Ross's rising prominence within the group. Ballard's fears proved prescient as Ross's romantic involvement with Gordy solidified her position as the star. By the summer of 1966, plans were already underway for Ross to embark on a solo career following the release of "You Keep Me Hangin' On" in October of that year.
Florence Ballard. Illustration by J.D. Humphreys
During an encounter with a Daily Mail reporter in England, the group was questioned about a rumor regarding Ross's departure, leaving Wilson stunned. However, Gordy's realization of the group's continued success prompted a change of heart, compelling him to address the rumors. Instead of confirming Ross's departure, he announced a rebranding—the group would now be known as Diana Ross and the Supremes. This strategic move not only elevated Ross's status, propelling her towards solo stardom, but also facilitated higher performance fees by billing Ross as a solo star with a backing group. The name change mirrored the approach taken with other Motown acts, such as Martha Reeves and the Vandellas and Smokey Robinson and the Miracles, which emphasized the prominence of the lead singer.
“One day in mid-April, we were all summoned to Berry’s home on Outer Drive,” Wilson said. “As I drove there, I hoped against hope that Flo would say something or do something to save herself.” Gordy convened the girls in his living room to officially declare Diana Ross and the Supremes as the group's new name and to reprimand Ballard for her conduct. For Wilson, torn between her loyalty to Ballard as a friend and her aspirations to advance her career as a Supreme, this moment signified a pivotal turning point.
“In those few seconds,” Wilson said, “I saw nine years of work and love and happiness fade away… The real meaning of our name-change to Diana Ross and the Supremes became clear to me as I looked across the room at Berry and Diane. There wasn’t a group anymore.”
“The real meaning of our name-change to Diana Ross and the Supremes became clear to me as I looked across the room at Berry and Diane. There wasn’t a group anymore.”
- Mary Wilson, Supreme
Ross had already considered herself the lead if not above the rest of the girls by getting a dressing room all to herself, walking ahead into official functions, and completely speaking over Ballard and Wilson when taking questions from the press. “We all get paid the same,” Ross responded when they inquired about earnings. Even Wilson noticed that there was a stark difference once they were offstage. “We never took our problems on stage,” she said. “Once we were on stage, everything was beautiful again. Once you got off stage, you were thinking things are okay because on stage you were smiling. You get off and Diane and Berry go one way, Florence and I sort of left. There was never any real dialogue. I don’t blame Diane for that because I don’t blame myself for it. I blame us in terms of being too young and not knowing how to communicate. And we didn’t know how to cope with people coming and building you up and people coming and tearing you apart. We did not know how to cope with all of this.”
As bouts of depression, alcoholism, and weight gain consumed her, Ballard edged closer to her own demise. Both Gordy and Motown executives, along with fellow artists, watched with growing concern as Ballard's struggles escalated. In a bid to address the mounting challenges, Cindy Birdsong, a member of Patti LaBelle and the Bluebelles, was enlisted to temporarily fill in for Ballard. Despite returning to the group a month later under the impression of a temporary leave, Ballard was unaware that Gordy and Ross had already decided on Birdsong as her permanent replacement—pending the finalization of her contract buyout with the Bluebelles. Even choreographer Cholly Atkins was discreetly brought in to teach Birdsong Ballard's dance routines.
On the morning of July 1, 1967, as the echoes of her birthday celebrations from the previous day faded into the darkness, Ballard, consumed by intoxication, stumbled onto the stage alongside Wilson and Ross at the illustrious Flamingo Hotel in Las Vegas. She had just stumbled upon an extra set of dresses, intended for her replacement, Birdsong. Fueled by rage and resentment, Ballard, in a brazen act of defiance, bared her stomach to the audience mid-performance, a searing symbol of her indignation. Gordy, seething with rage, swiftly dispatched her back to Detroit, where she was was fired.
The decision reverberated beyond the walls of Motown, causing discord among members of Patti Labelle and the Bluebelles. “It all came as a shock,” Patti Labelle said a few years later. “We just arrived at the show one night and Cindy just wasn’t there. That’s how quickly it all happened. We were very hurt at the time though it probably was the best thing. Cindy really wanted to go places; she was very ambitious and wasn’t really satisfied with the progress we were making. I hope she’s as happy now as she was when we were all together. It’s strange really because we had often talked about what would happen if we got offers to leave the group. I received one tempting offer to go solo and Cindy was the most upset that I should even have considered such an offer.”
LISTEN TO “REFLECTIONS” BY THE SUPREMES
As the next single, "Reflections," made its debut in the market, Motown found itself in a delicate position, tasked with navigating the transition from Ballard to Birdsong and explaining it to the audience. “Florence has quit (possibly permanently) and gone home to Detroit for a rest. Motown Records President and the trio’s personal manager Berry Gordy says she’s simply worn out. Gordy felt that the grueling schedule mapped out for this fall and winter would be too much for Florence, the oldest member,” explained the Tune-In syndicated column that appeared in major national newspapers. Below the announcement were the lyrics for “Reflections” and the dotted line to “Clip For Your Scrapbook.”
The Tune-In column continued, “Florence’s place has been taken by Cindy Birdsong, who has substituted before with the Supremes. She blends beautifully with the voices of Diana and Mary, and you must admit has a great name for a vocalist.”
What's striking is that the column emphasized Ballard as "the oldest member," although the age differences among them weren't as significant as implied. Diana and Mary, both 23 years old at the time, were merely less than a year younger than Ballard, who had just turned 24.
Cindy Birdsong. Illustration by J.D. Humphreys
“I don’t know if you can understand this, but I think she began to feel the world was passing her [Ballard] by,” Ross told a reporter in early 1968. “She is a little older than us, and I think she got to feel that by traveling so much she wasn’t getting to stay in one place long enough to be able to meet someone and settle down. She’s happier now, she really is. She’s living in Detroit and she’s driving around and she’s become a lot more relaxed.”
If age was a factor in Ballard’s supposed “leaving,” it must be pointed out that Birdsong would become an even older member of the group at 27 years old.
The column also overlooked Ballard's role as the founder of the group. It suggests that Motown's public relations machinery was actively promoting Birdsong to the public, distorting the truth by insinuating that Ballard could return because she voluntarily departed.
Loraine Alterman of the Detroit Free Press noted at the time, “Cindy bears such a striking resemblance to Florence and blends so well into the group, that is easy to see why, when she appeared with the Supremes at the Hollywood Bowl last spring, few people were aware of a switch.”
“Cindy bears such a striking resemblance to Florence and blends so well into the group.”
- Loraine Alterman, Detroit Free Press
With Diana now as the lead, the Supremes were just background. “More than ever the two Supremes remain in the background harmonizing while Diana gets most of the spotlight,” Alterman wrote, also noting that the comedy routines, solos, and introductions were missing. She also correctly predicted the path that was paved Ross. “It does seem probable that Diana is being groomed to be a single artist without the Supremes.”
• AFTER DIANA •
Amidst the challenges posed by a prima donna-like Ross, a distracted Berry Gordy, and the awkward transition from Ballard to Birdsong, Motown managed to uphold a credible public image. Remarkably, few of these disputes left a lasting impression on Motown's fans during the tumultuous sixties. As the decade progressed, Gordy's reputation as a shrewd businessman in the industry grew, yet the rewards for artists remained scant—unless, of course, your name happened to be Diana Ross.
Ballard certainly was not the sole victim. “Flo was only the most visible one cast aside,” said Raynoma Gordy Singleton, who was married to Berry Gordy up until 1964. “All of the female stars felt abandoned—Gladys Knight, Kim Weston, the Marvelettes, Martha and the Vandellas, they all bridled under the relentless Diana Ross elevation and their increasing inability to reach Berry.”
Despite the group's hardships, the Supremes had already established a formidable legacy by the time Ross embarked on her solo career in January 1970.
Diana Ross made her final appearance with the Supremes at the Frontier Hotel in Las Vegas, Nevada on January 14, 1970. Illustration by J.D. Humphreys
“What did the Supremes mean for young Black women in particular? They gave us a tremendous amount of pride and hope,” said Claudette Robinson, of the Miracles. “They were young girls from the projects who became world superstars and they let young women know that they, too, could reach the top. It was especially important for Black artists because you never heard us speak much, and here were these young women, barely out of their teens, making their mark.”
“…they let young women know that they, too, could reach the top. It was especially important for Black artists because you never heard us speak much, and here were these young women, barely out of their teens, making their mark.”
- Claudette Robinson, The Miracles
In 1976, at the age of 32, Ballard tragically passed away to cardiac arrest. It wasn't until June 2021, on what would have been her birthday, that a proper memorial headstone was finally erected at her gravesite in Detroit Memorial Park Cemetery. The inscription read: "Florence Glenda Chapman: Beloved Wife and Mother," accompanied by two music notes.
LISTEN TO “SOMEDAY WE’LL BE TOGETHER” BY DIANA ROSS & THE SUPREMES
• THEIR LEGACY •
The Supremes’ tenure extended until 1977, but their legacy transcends time. Gordy credits the Supremes with breaking barriers both within and beyond the music industry.
“Oprah Winfrey has said that she became what she did because of the Supremes,” Gordy said. “I think their legacy is what they did for all people, but especially Black people, in terms of class and style and how they carried themselves. The Supremes have a rich, powerful, meaningful legacy and they have affected many, many others who have come along since.”
“I think their legacy is what they did for all people, but especially Black people, in terms of class and style and how they carried themselves.”
- Berry Gordy
Mary Wilson. Illustration by J.D. Humphreys
Susaye Greene, the last official Supreme, credits Mary Wilson’s resilience and devotion to the group from the very beginning. “It meant more to Mary than anyone. It always did. It was her life and that’s why when she left the Supremes [in 1977], I’m not so sure that she really wanted to leave. But her husband was her manager and he couldn’t control what was going on in the group any longer. There were a lot of unfair things that happened but it’s all water under the bridge. She left with a solo career in mind. Mary had never been the lead singer and that made it really hard for her.”
As Ross's solo career soared and expanded into the realm of movies, the Supremes found themselves navigating their own path with minimal support. “In the seventies, I felt very bad that Motown let the Supremes down,” Wilson said.
Greene adds, “I give total credit and honor to Mary Wilson because she’s a fighter, she’s a tremendous entertainer, and she clawed her way back up with her will and determination. And that, hat’s off to her forever, a tremendous performer and wonderful person. She had come a long, long way.”
“I give total credit and honor to Mary Wilson because she’s a fighter, she’s a tremendous entertainer, and she clawed her way back up with her will and determination.”
- Susaye Greene, Supreme
The Supremes' saga is one of triumph over adversity, punctuated by love, resentment, harmony, and heartbreak. While internal tensions often simmered beneath the surface, with members feeling undervalued or succumbing to pettiness, they all tirelessly pursued a shared goal. This dynamic wasn't unique to the Supremes; in fact, the public's glimpse into the inner workings of renowned groups only heightened fascination and adoration. Their relatability and aspirational qualities made them almost untouchable in the eyes of their fans.
Al Abrams spoke to the Muhammad Ali Center for its exhibit, Motown in Black and White, in 2013 about the impact of Motown’s artists. “They made music their passion; they made Civil Rights history together without even realizing it. And that is how Motown achieved its crossover sound, sold vinyl, and became a successful record label. These kids that grew up together had differences, but none of that really mattered. Motown was not obsessed with skin color; but rather with making one sound for one world.”
“Being a Supreme was a dream come true,” Wilson said years later. “I felt like I was a real Cinderella. Money and fame does give you the opportunity to do better for yourself and others. It’s just how you choose to handle it.”
Regarding Ross, Wilson insisted that there is no resentment and added, “Her success is my success. A lot of Black woman success.”
Wilson passed away in her sleep on February 8, 2021, at the age of 76, in her home in Henderson, Nevada. Her sudden death sent shockwaves through her cherished Motown family, fans, and left a legacy that extended to her 10 grandchildren and one great-granddaughter.
Wilson was “quite a star in her own right and over the years continued to work hard to boost the legacy of the Supremes,” remarked Gordy.
“I am reminded that each day is a gift,” Ross posted on Twitter. “I have so many wonderful memories of our time together. ‘The Supremes’ will live on in our hearts.”