How Diana Ross’ daughter learned her dad was Berry Gordy
Diana Ross' first born, 42 year old Rhonda Ross, recently did an interview to as Diana's and Berry Gordy's “love child” throughout the years. She was the product of their undercover relationship that lasted for many years. But this is essentially the story of the relationship between Ross and Berry Gordy, the founder of Motown, and the toll it exacted on the other two. Berry Gordy (left) and Diana Ross (right) during a recording session with him his relationship with Ross and ultimately diminished his empire.
Postman " made it to the top of both charts. Berry Gordy House, known as the Motown mansion, in Detroit's Boston-Edison Historic District  Gordy's gift for identifying and bringing together musical talent, along with the careful management of his artists' public image, made Motown initially a major national and then international success. Though he also signed various white acts on the label Rare Earth, Rustix, via the Rare Earth labelhe largely promoted African-American artists but carefully controlled their public image, dress, manners and choreography for across-the-board appeal.
Initially the studio, over Gordy's objections, rejected Williams after several screen tests. However, Gordy, known for his tenacity, eventually prevailed, and the film established Williams as a major movie star.
Berry Gordy soon after produced and directed Mahogany also starring Ross and Williams. Inhe produced the cult martial arts film The Last Dragonwhich starred martial artist Taimak and one of Prince's proteges, Vanity. Although Motown continued to produce major hits throughout the s and s by artists including the Jacksons, Rick JamesCommodores, Lionel Richie and long-term signings, Stevie Wonder and Smokey Robinson, the record company was no longer the major force it had been.
Gordy wrote or co-wrote of the approximately 15, songs in Motown's Jobete music catalogue. Gordy published an autobiography, To Be Loved, in Gordy was inducted into the Junior Achievement U.
Diana Ross and Berry Gordy | Lipstick Alley
Business Hall of Fame in He is the first living individual to receive the honor. As a record producer and songwriter, he helped build Motown, launching the music careers of countless legendary artists. His unique sound helped shape our Nation's story. Speaking in tribute to the group, Gordy said: He suggested that "The King of Pop" was perhaps not the best description for Jackson in light of his achievements, referring to him instead as "the greatest entertainer that ever lived.
The show is said to be an account of events of the s and how they shaped the creation of the label.
Diana Ross and Berry Gordy
Gordy hoped that the musical would improve the reputation of Motown Records and clear up any misconceptions regarding the label's demise. The Musical began previews at the Lunt-Fontanne Theatre on March 11,and began regular performances there on April Berry Gordy went to the opening night.
There is no denying the Supremes' place as the most successful female artists in pop history 12 American number one hits and as the exemplars of the Motown sound at its most refined and seductive. But this is essentially the story of the relationship between Ross and Berry Gordy, the founder of Motown, and the toll it exacted on the other two Supremes, Florence Ballard and Mary Wilson.
Advertisement Ribowsky suggests that almost from the moment the year-old Ross walked into Motown, Gordy's behaviour was shaped by a "Freudian admixture of paternal and predatory impulses" he felt towards his young ingenue.
For her part, Ross, he suggests, was prepared to sleep with whomever would further her career - first Smokey Robinson, himself an incorrigible womaniser, then the producer and songwriter Brian Holland - until she landed the boss himself, a man whom Marvin Gaye once described as "the horniest man in Detroit". Libido notwithstanding, Gordy was a type not seen in music today - "a record man", who wrote, produced, cut deals, built careers and assembled a dazzling array of young talent to feed his production line of hits.
He dreamed of the Supremes - and more particularly Ross - moving out of the ghetto of black music, and into the popular that is to say white marketplace, to which end he had them producing abominations like A Bit of Liverpool Gerry and the Pacemakers' covers anyone? The scale of Gordy's accomplishment becomes more apparent when you learn that when the Supremes first appeared on the Ed Sullivan Show inthe local Detroit newspaper declined to give the hometown stars a write-up on the grounds that "We can't put black people on the cover of a TV magazine".
Interestingly, Shelley Berger, who was in charge of booking out Motown acts, says he never fielded a single offer for the Supremes from a black promoter, and by "it was understood the Supremes' audience was white". Gordy liked to depict Motown as a "family", but Ribowsky suggests it was a deeply dysfunctional one: Could he have been able to take advantage of older, wiser people?
You figure it out. Identified at Motown as a "problem", Ballard turned to drink, as Ribowsky elegantly puts it, "to gauze the hurt".