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“We had to lean on the window or on each other to try and sleep.” During the tour, which lasted from October through December, Reeves says the performers slept in hotels two nights per week, at most.That grueling tour and the many that followed were part of Gordy’s audacious plan for integration — and domination — of the Top 100 pop chart. The lettering was painted in bold “Motown blue,” the same saturated hue on their now-iconic record labels.No one under the age of eighteen is allowed to use this free personals site. Don't give strangers money or personal info like your email address.Those who made the cut were ambitious, pliant and eager to please.They’d do anything — sing background on demos at 3 a.m., hand clap, sweep floors, file session notes.She was regal with her Cleopatra eyeliner yet sweetly vulnerable on vinyl.Wells had been a working girl since age 12, when she had helped her single mother scrub frigid stairwells to support them both.
Gordy, the great-grandson of a Georgia slave, had started his label in early 1959, the same year that Mattel’s plastic dream girl Barbie minced onto the scene.He announced his ambition on the building’s facade: Hitsville U. But how could his crew break through the stubborn segregation of a music industry that confined black 45s to “rhythm and blues” charts?In 1960, only four singles by African American artists reached the higher altitudes of the pop (that is, white) Top 100.They stand clutching bulging purses and boxy cameras, tucked into tight chicken slacks and mohair sweaters, freshly barbered, manicured and beehived.The Supremes — Mary Wilson, Florence Ballard and Diane (later Diana) Ross — had just graduated from high school.