Motown 25:- The Truth.......

[supreme_lady]

I just saw an interesting article about Motown 25 and the drama between Diana and Mary Wilson. If you scroll down to the comments you will see a wonderful insight into what really happened between the two by a poster called Chris. A great read ...


http://www.filmthreat.com/features/45022/comment-page-1/#comment-26722

[ejluther]

Interesting stuff - thanks for the link. It certainly was a controversial event and I'm betting the truth is somewhere in the middle [[as it usually is). The article writer's off base with this comment, though:

Even more confusing was the decision to bring out talent who had no connection to Motown. Adam Ant [[of all people) performed an inane version of “Where Did Our Love Go?” while Linda Ronstadt did a duet with Smokey Robinson on “Tracks of My Tears” and “Ooh Baby Baby.”
Linda had big hits on her own with those 2 songs, I believe. But there's no argument on the Adam Ant comment.

And this from Chris:

Truth is Wilson, like Gaye, had an axe to grind against Motown. That’s why they showed up in red vs. the preferred black, white/ silver 25th anniversary dress code.
But Marvin was in white for his terrific performance:
http://www.youtube.com/watch?v=1F--M5eQf8I&feature=related

Was he first wearing red or something?

[marybrewster]

That’s why they showed up in red vs. the preferred black, white/ silver 25th anniversary dress code.

It's been quite a few years since I have seen this, but didn't Martha Reeves wear gold?

[milven]

That’s why they showed up in red vs. the preferred black, white/ silver 25th anniversary dress code.

It's been quite a few years since I have seen this, but didn't Martha Reeves wear gold?

Martha was only given a thirty second spot. If you blinked, she was wearing invisible.

[marybrewster]

Martha was only given a thirty second spot. If you blinked, she was wearing invisible.

LOL.

And didn't "Mr. Gordy" wear brown [[and a bodyguard)?

[bradsupremes]

Sorry but that comment by that Chris guy is very biased, plus he left some things out.

The fact is both ladies are to blame. End of discussion. New topic?

[BobC]

SupremeLady--all of that was already in Taraborelli's original book "Call Her Miss Ross." I loved Mary's book and it prompted me to get into the Motown story--but even back then I found Mary's account of what happened at M25 a little questionable. I think Mary jumped at the chance to be seen and noticed on that show, and you can't blame her, but blaming everything that happened on DR always was suspect to me.

[detmotownguy]

Sorry but that comment by that Chris guy is very biased, plus he left some things out.

The fact is both ladies are to blame. End of discussion. New topic?

Agree time to move on. Nothing new.....

[marybrewster]

Sorry but that comment by that Chris guy is very biased, plus he left some things out.

The fact is both ladies are to blame. End of discussion. New topic?

I think the only thing about Motown 25 that hasn't been discussed is what color panties Miss Ross wore. Do you suppose she wore the preferred black, white, or silver?

[marybrewster]

Surely I jest, but have any of you actually read the comments people are leaving on the blog? Disgusting.

[marv2]

I just saw an interesting article about Motown 25 and the drama between Diana and Mary Wilson. If you scroll down to the comments you will see a wonderful insight into what really happened between the two by a poster called Chris. A great read ...


http://www.filmthreat.com/features/45022/comment-page-1/#comment-26722

Mary Wilson told us what happened in her book way back in 1986. Nelson George also told us what happened in his book!

[jobeterob]

The comments on that particular blog seem anti Mary and some are not nice. And Mary Wilson recently said negative comments online hurt her.

It's time fans moved on; we have some here saying mean things about various Supremes.

The Supremes dont do it and the fans should stop.

[marv2]

Interesting stuff - thanks for the link. It certainly was a controversial event and I'm betting the truth is somewhere in the middle [[as it usually is). The article writer's off base with this comment, though:

Linda had big hits on her own with those 2 songs, I believe. But there's no argument on the Adam Ant comment.

And this from Chris:

But Marvin was in white for his terrific performance:
http://www.youtube.com/watch?v=1F--M5eQf8I&feature=related

Was he first wearing red or something?


Mary Wilson also wore black. The same dress that is seen in this video!



http://www.youtube.com/watch?v=mypa4-NNMUk

[marv2]

That’s why they showed up in red vs. the preferred black, white/ silver 25th anniversary dress code.

It's been quite a few years since I have seen this, but didn't Martha Reeves wear gold?

Purple and black and then multi colored clothing.

[marv2]

SupremeLady--all of that was already in Taraborelli's original book "Call Her Miss Ross." I loved Mary's book and it prompted me to get into the Motown story--but even back then I found Mary's account of what happened at M25 a little questionable. I think Mary jumped at the chance to be seen and noticed on that show, and you can't blame her, but blaming everything that happened on DR always was suspect to me.

No matter what Mary or anyone else did that night, it does not give Diana Ross the right to put her hands on anyone! That night [[when I found out what happened that night of the taping...) I was very disappointed and finished with her forever. It told me too much about her.

[marv2]

I think the only thing about Motown 25 that hasn't been discussed is what color panties Miss Ross wore. Do you suppose she wore the preferred black, white, or silver?



She probably didn't wear any! hehehehehehe.......

[marv2]

Surely I jest, but have any of you actually read the comments people are leaving on the blog? Disgusting.

If they are disgusting, then I'm not reading it and will now begin to question why Supreme Lady even started this thread. I mean all of his/her threads are something about Diana Ross.

[marv2]

The comments on that particular blog seem anti Mary and some are not nice. And Mary Wilson recently said negative comments online hurt her.

It's time fans moved on; we have some here saying mean things about various Supremes.

The Supremes dont do it and the fans should stop.

and they should stop lying too.....wouldn't you agree?

[atcsm]

I thought she wore red...

Mary Wilson also wore black. The same dress that is seen in this video!



http://www.youtube.com/watch?v=mypa4-NNMUk

[marv2]

She wore that black dress during part of the taping and changed into the red one later on.

[atcsm]

So, the red one was planned during the altercation? Just trying to put the pieces together.

She wore that black dress during part of the taping and changed into the red one later on.

[marv2]

So, the red one was planned during the altercation? Just trying to put the pieces together.


I don't know. I never heard of a professional entertainer/singer putting their hands out and shoving another professional in front of a live audience just because of what they were wearing. I still say Mary should have kick her unnatural born ass in front of everyone and that would have taught Ross not to do it again. Now that is what I know.........

Marv

[jobeterob]

THE BOOTLEG FILES: MOTOWN 25 – YESTERDAY, TODAY, FOREVER

BOOTLEG FILES 410: “Motown 25 – Yesterday, Today, Forever” [[1983 TV special featuring Michael Jackson, Marvin Gaye and the Supremes).

LAST SEEN: The full show is available in a six-part installment on YouTube.

AMERICAN HOME VIDEO: A VHS version was released, but no official DVD version has appeared.

REASON FOR BOOTLEG STATUS: The lack of a DVD release may be tied to problems with the clearance of music and performance rights.

CHANCES OF SEEING A COMMERCIAL DVD RELEASE: It is possible.

On March 25, 1983, California’s Pasadena Civic Auditorium was home to a one-shot TV special that reunited several of the major stars of the Motown record label. The resulting production was called “Motown 25 – Yesterday, Today, Forever” and it is mostly remembered for two sequences: the extraordinary performance of a non-Motown song and a smackdown between the members of one of Motown’s most celebrated acts.

Beyond those legendary moments, however, “Motown 25 – Yesterday, Today, Forever” was a fairly mundane production that offered a bumpy celebration of the record label’s illustrious history.

The show got off to a bad start with an opening number featuring the Lester Wilson Dancers performing a cheesy interpretation of “Dancing in the Street.” The show’s host, a visibly ill-at-ease Richard Pryor, followed them by reading his lines off a TelePrompTer with wide-eyed discomfort. Pryor lamely joked about the star-studded evening by claiming, “I’ve seen stars and I’ve seen studs.”

For those looking to enjoy a memory lane stroll, “Motown 25” provided a reunion of The Miracles, who performed a medley of four of their classic tunes, and Stevie Wonder performing a medley of six of his top-charting songs. In both cases, the presentations seemed perfunctory, as if none of the singers were too eager to revisit their classic work.

Nostalgia addicts were equally out of luck in a “battle of the bands” featuring The Four Tops and The Temptations – neither group seemed to be in top spirit for the show. Marvin Gaye, who had a bitter break-up with Motown years earlier, was not originally scheduled to perform. But he showed up and gave the show a much needed energy boost with a moving monologue on African American music history and an appropriately soulful performance of “What’s Going On.” In retrospect, his appearance was the most poignant part of the show – a year later, his father shot him to death during a domestic dispute.

Gaye’s star-turn was matched by a boisterous reunion of The Jacksons, who performed four of their top Motown songs. But the real star of this segment was Michael Jackson, whose solo career was taking off in 1983. Jackson [[along with his brothers) left Motown years earlier and he was not particularly eager to be part of the production. He only agreed to appear if he could perform his then current hit single, “Billie Jean,” which was released by the Epic label.

What happened next, of course, changed the course of Jackson’s career and popular music. Jackson’s kinetic performance, complete with the first public presentation of the Moonwalk dance, created a sensation that had not been seen since the Beatles’ arrival on “The Ed Sullivan Show.” The taping of “Motown 25” had to be stopped in order for the electrified audience to regain its composure – and when the show was broadcast, Jackson was immediately elevated from a relatively benign pop star into a trend-setting music industry powerhouse based on this one number.

However, Jackson’s show stopping moment called attention to the problems with “Motown 25.” Despite its stellar line-up, few of the performers gave evidence of their talents. Two legendary ladies, Mary Wells and Martha Reeves, were only given about 30-seconds apiece to present samples of their best-known work – and, sadly, both women were far from their vocal primes. T.G. Sheppard, who recorded for Motown’s ill fated and mostly forgotten country music label in the 1970s, offered a bit of Nashville twang [[which was completely out of place in the show’s line-up). Junior Walker and The Commodores also turned up, but neither sparked any fires. Lionel Richie, who abstained from a Commodores reunion, did a pre-taped solo turn and used his screen time to point out that the profits from the special were being used to finance sickle cell anemia research.

Even more confusing was the decision to bring out talent who had no connection to Motown. Adam Ant [[of all people) performed an inane version of “Where Did Our Love Go?” while Linda Ronstadt did a duet with Smokey Robinson on “Tracks of My Tears” and “Ooh Baby Baby.” Dick Clark offered a brief overview of famous white artists who covered Motown tunes, Howard Hesseman and Tim Reid reprised their DJ characters from “WKRP in Cincinnati” and fast-talking comic actor John Moschitta Jr. also showed up on stage.

However, the most entertaining part of the production was never shown to the public: the notorious Supremes reunion, when Mary Wilson and Cindy Birdsong unexpectedly upstaged Diana Ross. Ross – who rejected a multi-song medley in favor of a single number – was initially confused as Wilson and Birdsong strayed from the choreography of their rehearsed routine and Wilson boldly took the lead vocals on “Someday We’ll Be Together.” But when Wilson closed the number by inviting Motown founder Berry Gordy Jr. to the stage, Ross reacted violently. Just what happened next has been in dispute – some sources say that Ross physically pushed Wilson down the stage, while other sources say that Ross merely pushed away Wilson’s microphone while she was speaking. The videotape of the segment has never been publicly screened, but the news of Ross’ hissy fit confirmed her reputation as an imperious diva and the incident soured Wilson and Birdsong from doing any further reunions with Ross.

But the Ross temper was not the only thing missing from the show. A number of major Motown legends, most notably Gladys Knight and the Pips, were absent from the stage, and no praise was given to the contributions of the Funk Brothers to the Motown sound. After the show was staged, news leaked that James Jamerson, an influential bassist in the Funk Brothers, was denied a ticket to the show and had to purchase a seat from a scalper. He died five months later from alcohol-related health complications.

NBC broadcast “Motown 25” on May 16, 1983, and the program attracted an estimated 47 million viewers. The show won an Emmy Award for Outstanding Variety, Music or Comedy Program and was nominated for eight other awards. Jackson and [[inexplicably) Pryor received nominations for Outstanding Individual Performance in a Variety or Music Program, but they lost to soprano Leontyne Price for her guest star turn on PBS’ “Live from Lincoln Center.”

MGM/UA Home Video released “Motown 25” on VHS video in July 1991. To date, however, there has been no DVD release. One can easily assume that issues relating to clearing music and performance rights have held up the DVD premiere. However, it is easy to locate enterprising bootleggers who sell pirated DVD copies made from the VHS release, and the full program has an unauthorized presentation in six installments on YouTube.

But anyone finding “Motown 25” might be surprised at the quotidian nature of the offering. Beyond Jackson’s “Billie Jean,” the program is much less magical than many people may realize.

IMPORTANT NOTICE: The unauthorized duplication and distribution of copyright-protected material, either for crass commercial purposes or profit-free shits and giggles, is not something that the entertainment industry appreciates. On occasion, law enforcement personnel boost their arrest quotas by collaring cheery cinephiles engaged in such activities. So if you are going to copy and distribute bootleg material, a word to the wise: don’t get caught. Oddly, the purchase and ownership of bootleg DVDs is perfectly legal. Go figure!

[jobeterob]

19 Comments on "THE BOOTLEG FILES: MOTOWN 25 – YESTERDAY, TODAY, FOREVER"


Steve Weaver [[UK) on Fri, 13th Jan 2012 9:16 am

I heard that Berry Gordy stood in the OB unit while the deliberate attempt by Wilson to upstage Ross section of the master tape was edited and the so-called ‘fight’ part was immediately wiped. I can believe that because the show was a Motown production and Berry would never allow that sort of fiasco to stay recorded for posterity – despite millions of us wanting to see what actually happened…


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Stephan on Fri, 13th Jan 2012 12:47 pm

Diana Ross was not “upstaged” by either woman.
What Wilson did do was prove her intense jealousy of Diana Ross.
All Wilson had to do was show up & get into her assigned position, just like The Jacksons, Temptations, Four Tops, Miracles, DeBarge, etc., did, but, Wilson couldn’t be happy where her minimal talents have placed her, and her behavior ruined what could have been a magical moment, but, when you’re as desperate for publicity as is Wilson, what else can be expected?
The ladies were asked to wear either black or white. Wilson wears red.
She then proceeds to take over Diana’s lead. She accomplishes this by conspiring with Birdsong to sing uber-softly during the group’s sound check, thus, forcing sound techs to raise the volume levels her & Birdsong’s mics.
These two acts, ALONE, are great testimonies to Wilson’s pettiness, jealousy & all-around unprofessionalism, which is why Diana’s still selling out Radio City, The Hollywood Bowl and every venue she plays in between for upwards of $250 per seat, while Wilson can’t even fill the lounges & bars & grills she plays for $15 a seat.


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Phil Hall on Fri, 13th Jan 2012 12:52 pm

The status of the Supremes’ brawl footage is unclear. In researching this article, I read that Berry still has the footage. However, I suspect that it was destroyed. I would have also loved to have seen and heard the unedited audience reaction to the “Billie Jean” number – as stated above, the telecast production was halted until the overly enthused audience was able to regain its composure after over-the-top cheering for Michael Jackson’s star-turn.


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Chris on Fri, 13th Jan 2012 2:45 pm

The Supremes smack down has been twisted and turned by several writers [[including Mary Wilson) for profit. Truth is Wilson, like Gaye, had an axe to grind against Motown. That’s why they showed up in red vs. the preferred black, white/ silver 25th anniversary dress code.

Ross had just left Motown for RCA for $20 million, the most lucrative female recording contract at the time. She was in the firing line of most of the envious Motown acts just as she had been during her tenure with the company as its prize act.

Wilson had secretly told a nervous Birdsong to follow her every move. She even told Birdsong to sing quietly during rehearsals so the sound engineer raised their mic levels. Come time to the actual performance, their mics were louder than Ross’s.

Wilson also went off the teleprompter and talked about the loss of Florence Ballard earlier in the show. This was edited out and sparked the fury of both Berry Gordy and Motown head Suzanne de Passe.

The Supremes were, in fact, prepared to do a medley, but the show ran overtime and it was decided that the girls would only do Someday We’ll Be Together. Such is the unpredictability of doing a live show.

Ross did not shove Wilson on stage. Ross was given direction from de Passe to make a speech and call down Gordy. It seemed fitting that Ross be the one to do so, but Wilson interceded and cut off Ross, so Ross delicately pushed Wilson’s mic down. It was anything but a smack down.

It was Wilson, who deliberately sabotaged The Supremes’ reunion — from not reading the teleprompter to strutting out late in not a complementary black number, but a shocking red gown to then stealing the lead vocals on Someday [[she later claimed she thought Ross had forgotten the lyrics).

Wilson needed to spark drama for her memoir, Dreamgirl – My Life As A Supreme, and the press which loves a cat fight, bought into Wilson’s story and pinned Ross to the cross, who by the way, was sick with the stomach flu [[notice her red tongue; she was sucking on lozenges the entire night).

Sadly, at the stroke of midnight whilst everyone was still on stage concluding the chorus of Reach Out And Touch, it was Ross’s birthday. A bittersweet moment, indeed.

People forget how hard it was for Ross [[and Jackson) to return to Motown that night. They were the biggest Motown acts, who had left on not so pleasant terms, but they agreed to do the special out of respect and appreciation to Gordy. So what if Jackson performed Billie Jean. That one performance had an enormous impact on pop culture and prompted MTV to start showcasing black acts. Petty antics by so called stars, who harbored soured grapes at what was to be a celebration, ought to have been the ones lambasted.

And let’s not forget, if not for Ross and her talent, drive, and yes, affections between her and Gordy, The Supremes might not have been supreme at all. The notion that you could simply replace one girl on lead with another is ridiculous. What savvy business mogul would threaten his gravy train if he had an act with a lead singer that was churning No. 1s after No. 1s and rivaling The Beatles and Elvis along the way?

Sure Florence had an earthier voice, but she didn’t have what Ross had: superstar charisma and cross-over appeal during a racially divided era in America. Twas only five years girl. If Ballard just sucked it up, she could very well have taken over The Supremes after Ross’s exit in 1969. Was but a mere 5 year run they had.

But Ballard, a rape victim, was plagued by psychological demons and rebelled in jealous fits of alcoholic rage. If you act out [[by throwing a drink in your boss’s face in public, boozing up before a show, gaining weight, messing up your choreography and threatening everything The Supremes had accomplished as a top class act), hell yeah, you are gonna be put out, woman. Period.

And did Mary Quite Contrary stand up for Ballard during the entire ordeal? Nope. She stayed mum, and only decided to “right the wrong” after Ballard’s death by milking a book deal — profits, from which, I doubt went to Ballard’s family.

Ross, on the other hand, set up a trust fund for Ballard’s kids, had given Ballard money over the years, and even tried to save her house when it was about to foreclose. Funny how no one ever talks about that.


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Samantha on Sat, 14th Jan 2012 4:12 pm

I found Motown 25 a bit lack luster except for Michael Jackson performing “Billy Jean” and Mary Wilson struting out on stage wearing that hot red dress belting out “Someday We’ll Be Together.”


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BuffBeachBum on Sat, 14th Jan 2012 6:17 pm

You only have to look at Mary Wilson over the years duplicate whatever “look” Diana Ross was sporting at the time to see that there is something really, really strange going on with this woman. I met her in Memphis and she was very nice, but a little like watching a female impersonator of Ross: amusing, but clearly not diva material.


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Timothy on Sat, 14th Jan 2012 7:20 pm

Chris you wrote the complete and honest truth, nuff said, I’m glad someone finally got it right. I’m a true Ross fan and will be forever Diana!


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Rick on Sun, 15th Jan 2012 11:11 am

Mary Wilson could never upstage Diana Ross…Mary is classless…Mary started the whole thing by instigating Cindy into her plans. If Diana had retired years ago…there would be no Mary Wilson, Marys life now is nothing without a Diana Ross mention…No Mary cant ever upstage a Diva like Diana Ross. And its Diana thet wont ever do a Reunion Tour…Not Mary…shes been begging for one for the last couple of years. Mary says its up to Diana now……well Mary,,,,dont hold your breath! Dianas Fans are a Fierce Bunch and We will always protect our Diva!


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Kirk Bonin on Sun, 15th Jan 2012 12:14 pm

Finally, poster “Chris” gets it right and sets the record straight about marywilson’s devious act that evening. It is so easy for some to want to believe that Diana was some anti-Christ. What few seemed to know is that Mary was actually fired from Motown. There was a press release in Billboard magazine after the release of her disastrous solo debut. She had begun her passive agressive tactics claiming that or rather threatening that she “was going to write a book”. The Motown brass were not going to tolerate her antics without a counter attack. And that counter attack came in the form of a press release that she was indeed fired from the label. Now knowing this important bit of information, why would the one person that was fired from the company introduce the CEO on such an important night? Diana, is and has always been considered “The Queen of Motown”…. No matter where her career takes her. It was only appropriate that Suzanne dePasse select her to announce Berry at the finale. This myth has gone on far too long. The victimized marywilson has made a career of it. The jig is up!


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Wayne on Sun, 15th Jan 2012 1:01 pm

What a refreshing change to read positive opinions on the internet regarding Diana Ross. Almost makes me realise that there is hope out there after all !


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Bill on Sun, 15th Jan 2012 9:19 pm

I know Motown 25 is best remembered as the show Michael Jackson unveiled the moonwalk, but IMO, the highlight of the show was watching Marvin Gaye sing. To me, that was the performance of the night.

Now will Motown/Universal finally release this classic on DVD?


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[smark21]

I'm sure the writer of the filmthreat article, in reading the comments, can only conclude that fans of Diana Ross and The Supremes are insane.

[marybrewster]

The only comment worth cutting and pasting was this one, IMO:

Shantel Baker on Mon, 16th Jan 2012 12:54 pm

Girl, when Diane pushed Mary, Smokey and I decided that he better go out and difuse the situation; we didn’t want no bald Diane Ross up on that stage!

Unfortunately when they edited that clip, they also cut out my 14 minute version of the Supremes classic “Wait”, which was released shortly after I replaced Freda Payne in the group.

[Glenpwood]

I WAS THERE WITH SHANTEL!

I was so honored to be asked to do background vocals on "Wait" along with Marvin Gaye in cross dressing mode by Smokey that night. We wore matching gowns that turned out to be the same one Mary Wilson had purchased. Poor Mare had to switch out of dress code into the Red reunion gown once she realized Marvin and I wore them better than her. Our perfomance was cut for two reasons. One was that Shantel listened to the advice that Mary ignored from Richard Pryor and Martha Reeves to step on Diane's fur and kick it off the stage, which she did so hard that it knocked Adam Ant out. The other was that a week later Motown productions called the Andantes in to overdub my background vocals and I wasn't about to let Stop! In The Name Of Love happen twice so I refused to sign my performance rights waver. Luckily, the bookings for our tour of Dollar General parking lots increased from the exposure and made up for lost VHS tape sales....:p

[jillfoster]

Purple and black and then multi colored clothing.

Marv, I think what Marybrewster is thinking about is what Martha was wearing in the finale... the top was multicolored like you said... but her pants were gold. And as a perfect example of how things get distorted, that Chris person said that diana was suffering from Stomach flu, and you could see her red tongue from the cough drops. EXCUSE ME, but when was the last time someone had a cough from STOMACH flu? Stomach flu does not make anyone cough... it's purely gastrointestinal... it make make you shit yourself, but that's generally the worst symptom. It reminds me of this jackass on the Mama Cass documentary that said she craash dieted and gave herself mono and Hepatitis... both of which are VIRUSES, no crash diet gives anyobody hepatitis.

[Roberta75]

I'm sure the writer of the filmthreat article, in reading the comments, can only conclude that fans of Diana Ross and The Supremes are insane.

And they can't let anything go or move on. They pack grudges about things that may or may not happened within the Supremes from 30 and 40 and 45 years ago.

[BobC]

Mary really sings the hell out of that song [[You Dance My Heart around the stars). Too bad she recorded when record companies would only release disco songs.

[captainjames]

Does anyone know if that was the last performance by Marvin Gaye on Television ?

[jobeterob]

Perhaps not his last appearahce; he may have sung Sexual Healing at the Grammys after that.

Love the story about the flu; you can't argue that the flu doesn't give you a cough but that it might make you crap yourself though. But then alot of Supremes stories might create the same reaction...........so, it was a good spot to remind of us of what the flu is and what causes it.

[marv2]

Perhaps not his last appearahce; he may have sung Sexual Healing at the Grammys after that.

Love the story about the flu; you can't argue that the flu doesn't give you a cough but that it might make you crap yourself though. But then alot of Supremes stories might create the same reaction...........so, it was a good spot to remind of us of what the flu is and what causes it.

You are overlooking the obvious and that is she MAY have been drinking that night.......

[thaperson]

Both came off very poorly that night.

Diana did not want to be there, period. She brushed Mary and Cindy off and was completely rude to them. She should have sucked it up, been friendly and did the intended medley for the one night.

Mary acted like a five year old trying to get attention at a talent show. She looked great, but this "Getting caught up in the moment" excuse when she was introducing Berry has always been rubbish. She was deliberately looking for an altercation with Diana. You can tell it in her body language when she strutted out there to where she turned around and gave that wink to someone behind her before they rolled the credits.

Diana shouldn't have put her hands on Mary. Mary gave her the intended bait and Diana should have not taken it. Mary's introduction wouldn't have made it on television anyway, because there was no way Suzanne de Passe was going to allow someone who had sued the label and left it on such angry terms to be given that spotlight. It would have been cut post-production and re-edited with Diana doing it.

[Ryon6]

I'm sure the writer of the filmthreat article, in reading the comments, can only conclude that fans of Diana Ross and The Supremes are insane.

I am a fan of both The Supremes and Diana Ross and I am not insane. I just prefer to read these comments and ignore them while SMH - shameful.

Tyrone

[captainjames]

It was always kind of weird for me to watch this show later and see Marvin Gaye. Then as the writer said one year later he was gone. He was such a great talent and such a lost.
I have never felt any less of Diana for wanting a solo spot no more than Michael Jackson wanting his and they deserved it!!!
There was a lot going on that night and so much to cram into a show of that magnitude so I am not sure if I could have done any better than De Passe without being a little prejudice.
By the way although Martha only got about 45 seconds no one has mentioned that she was Vandellas- less. The only thing I remember from that night that sticks in my crawl was thinking “Where are The Marvelettes ?”

[candykamaine]

^ That's basically what irked me about Motown 25 [[I saw on youtube, since i was'nt born to see the original), The Marvelettes get shafted, and having a couple performer who have no connection to Motown preform songs.

[supreme_lady]

If they are disgusting, then I'm not reading it and will now begin to question why Supreme Lady even started this thread. I mean all of his/her threads are something about Diana Ross.

I started the thread, not just because I am a Diana Ross fan but I thought it's a topic which will interest people [[afterall this is a Motown forum) and when I posted the link, there were only a few comments posted on there, how was I to know it will turn into a anti Mary Wison comments??? anyway why are you picking on me???? as if you wouldn't have posted something if it was Diana getting attacked instead of your precious Miss Wilson????

So back off child, ptssssss:mad: and YES I will continue posting Ross related stuff on here because she's the one I am most interested in, if you don't like what I post, then don't read it.

[nabob]

I started the thread, not just because I am a Diana Ross fan but I thought it's a topic which will interest people [[afterall this is a Motown forum) and when I posted the link, there were only a few comments posted on there, how was I to know it will turn into a anti Mary Wison comments??? anyway why are you picking on me???? as if you wouldn't have posted something if it was Diana getting attacked instead of your precious Miss Wilson????This is old, tired news. If you've read posts on the subject either here or in other forums you would know how toxic this subject can be. Now that you understand, maybe you will avoid topics like this in the future. Once burned by fire . . . .

[smark21]

I started the thread, not just because I am a Diana Ross fan but I thought it's a topic which will interest people [[afterall this is a Motown forum) and when I posted the link, there were only a few comments posted on there, how was I to know it will turn into a anti Mary Wison comments??? anyway why are you picking on me???? as if you wouldn't have posted something if it was Diana getting attacked instead of your precious Miss Wilson????

So back off child, ptssssss:mad: and YES I will continue posting Ross related stuff on here because she's the one I am most interested in, if you don't like what I post, then don't read it.

OH please. You started the thread to stir up some shit. Nothing wrong with it as I do it too, but at least owe up to it rather than play the innocent "I thought this would interest people" ploy. Besides this thread got more responses than your usual threads which usually consist of a picture of Diana Ross buying potato chips at the supermarket.

[supreme_lady]

OH please. You started the thread to stir up some shit. Nothing wrong with it as I do it too, but at least owe up to it rather than play the innocent "I thought this would interest people" ploy. Besides this thread got more responses than your usual threads which usually consist of a picture of Diana Ross buying potato chips at the supermarket.

If it makes you all happy, yes, I posted the thread to stir up shit, HAPPY NOW???????????

By the way no one forces anyone to read or click on threads or links, it's your choice whether you want to post or respond to a thread or not, when I posted the thread, the TITLE was very clear, then whether you respond or not is your choice.

Anyway think what you want, whatever!!!!!!!!!

[marybrewster]

OH please. You started the thread to stir up some shit. Nothing wrong with it as I do it too, but at least owe up to it rather than play the innocent "I thought this would interest people" ploy. Besides this thread got more responses than your usual threads which usually consist of a picture of Diana Ross buying potato chips at the supermarket.

Brilliant.

[marybrewster]

Both came off very poorly that night.

Diana did not want to be there, period. She brushed Mary and Cindy off and was completely rude to them. She should have sucked it up, been friendly and did the intended medley for the one night.

Mary acted like a five year old trying to get attention at a talent show. She looked great, but this "Getting caught up in the moment" excuse when she was introducing Berry has always been rubbish. She was deliberately looking for an altercation with Diana. You can tell it in her body language when she strutted out there to where she turned around and gave that wink to someone behind her before they rolled the credits.

Diana shouldn't have put her hands on Mary. Mary gave her the intended bait and Diana should have not taken it. Mary's introduction wouldn't have made it on television anyway, because there was no way Suzanne de Passe was going to allow someone who had sued the label and left it on such angry terms to be given that spotlight. It would have been cut post-production and re-edited with Diana doing it.

Now THIS is the truth behind Motown 25.

[reese]

Does anyone know if that was the last performance by Marvin Gaye on Television ?

MOTOWN 25 was most likely his last network appearance. He had performed at the Grammys earlier in the year.

The following summer, he went on tour. When he came to my city, he was featured on a local television program. Unfortunately, he was in a very bad state, having paranoid tendencies about someone trying to poison him.

[jillfoster]

You know Boy George has said in interviews that although he was very touched that they asked him to be on the show [[As he was one of the hottest artists at that time) he wondered himself what the hell he was doing there. He said he felt vey intimidated because these people were his idols and he felt he could never measure up to them.

[captainjames]

yeah Marvin had several demons by then but still a great talent- His Lp[[CD) Dream of A Lifetime expressed in my opinion expressed a very different side of him. Gone but not forgotton.


MOTOWN 25 was most likely his last network appearance. He had performed at the Grammys earlier in the year.

The following summer, he went on tour. When he came to my city, he was featured on a local television program. Unfortunately, he was in a very bad state, having paranoid tendencies about someone trying to poison him.

[marv2]

I started the thread, not just because I am a Diana Ross fan but I thought it's a topic which will interest people [[afterall this is a Motown forum) and when I posted the link, there were only a few comments posted on there, how was I to know it will turn into a anti Mary Wison comments??? anyway why are you picking on me???? as if you wouldn't have posted something if it was Diana getting attacked instead of your precious Miss Wilson????

So back off child, ptssssss:mad: and YES I will continue posting Ross related stuff on here because she's the one I am most interested in, if you don't like what I post, then don't read it.

You need to stop trippin because you are not fooling me. Diana Ross Fan/ anti Mary Wilson comments is enough to show your complete hand!

Picking on you? Yeah I question why you would start ANOTHER thread not about "Motown 25", but about the pushing incident when you know it's been discuss many times here already. You included in the title of this thread "The Truth" like there was going to be something that had never been said before or as if all that has been written about in books have been lies! Yeah I'm calling you out for it!

If I posted every negative comment about Diana Ross that I have seen on the internet, it would be a 24 hour a day job! She has a troubled reputation in America. But most people know that and why would I waste time regurgitating it? To make her fans feel bad? Naw!
I don't care if you post all day about Ross, as this may be the only place on Earth where there may be a handful of people interested. I am talking about deliberately inciting arguments by using certain worn out subjects for your threads! Post some more of her going to the grocery store!

[BobC]

Jill--Boy George wrote extensively about his appearance at Motown Returns to the Apollo. He had a duet with Stevie Wonder, and he was so intimidated that he just sort of hummed along while Stevie sang. Stevie was supportive, but BG couldn't keep up so they switched songs and did [[if I recall correctly) Part Time Lover instead. BG said Luther Vandross used him "as a mop" when they did their duet--vocally murdering BG. Boy was humiliated, but felt better later when he heard Smookey Robinson singing, because, according to BG, Smokey sounded like "a throttled duck." BG said there was much bitchiness backstage, mostly directed at Diana Ross.

BG also tell some fascinating stories about Miss Ross too.

[Roberta75]

Both came off very poorly that night.

Diana did not want to be there, period. She brushed Mary and Cindy off and was completely rude to them. She should have sucked it up, been friendly and did the intended medley for the one night.

Mary acted like a five year old trying to get attention at a talent show. She looked great, but this "Getting caught up in the moment" excuse when she was introducing Berry has always been rubbish. She was deliberately looking for an altercation with Diana. You can tell it in her body language when she strutted out there to where she turned around and gave that wink to someone behind her before they rolled the credits.

Diana shouldn't have put her hands on Mary. Mary gave her the intended bait and Diana should have not taken it. Mary's introduction wouldn't have made it on television anyway, because there was no way Suzanne de Passe was going to allow someone who had sued the label and left it on such angry terms to be given that spotlight. It would have been cut post-production and re-edited with Diana doing it.

You just told the unbiased truth and I thank you for that.

Roberta

[Penny]

Roberta, I couldn't agree more. Thank you thaperson for telling it like it was and it is very ancient history now. Time to move on for us. Goodness knows Diana, Mary and Cindy have.

Happy New Year to everyone here.

Roberta, I hope you enjoyed you shipment of AVON products that you ordered during the Holidays.

Penny:cool:
Singing the praises of AVON in a very MOTOWN way

[marv2]

One last thing about this stupid and INACCURATE article, Motown- MGM/Universal released "Motown 25" commercially in the Fallof 1985 and not in 1991 as the author states. I bought it when it was released with the 25 additional minutes and the original audio that was somewhat different from what I taped from the televised version in 1983!

[Roberta75]

Roberta, I couldn't agree more. Thank you thaperson for telling it like it was and it is very ancient history now. Time to move on for us. Goodness knows Diana, Mary and Cindy have.

Happy New Year to everyone here.

Roberta, I hope you enjoyed you shipment of AVON products that you ordered during the Holidays.

Penny:cool:
Singing the praises of AVON in a very MOTOWN way


The mint foot cream was divine Penny. Can you send me a private link to the rest of your foot products?

Best to you Penny.

Roberta

[smark21]

If it makes you all happy, yes, I posted the thread to stir up shit, HAPPY NOW???????????

By the way no one forces anyone to read or click on threads or links, it's your choice whether you want to post or respond to a thread or not, when I posted the thread, the TITLE was very clear, then whether you respond or not is your choice.

Anyway think what you want, whatever!!!!!!!!!

I'm now as happy as Penny after she makes a big Avon sale.

[dianesfan_1965]

I'm now as happy as Penny after she makes a big Avon sale.

I think if Penny could have sent some Avon to the set of M-town 25 this whole mess could have been avoided.

[BobC]

Guys. Calm down. It's just an internet forum.

I for one am happy the altercation happened because it was great drama. But then again, I like bad girls. If DR wasn't a drama queen and of "artistic temperament" [[hee hee) she wouldn't be half as interesting! I've read some very white-washed memoirs by goody two-shoes stars and they always suck.

You guys need to learn to appreciate trashy incidents like this one.

[arrr&bee]

Haaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa...thi s supremes stuff makes the[hatfields and the mccoys]look like a church social...haaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaa!!!

[marv2]

Haaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa...thi s supremes stuff makes the[hatfields and the mccoys]look like a church social...haaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaa!!!

JAI !!! hehehehehehehehehe.......!!!

[scanspeak]

This is one of my favourite shows and I must have watched it some 20 times by now [[laserdisc copy).
Parts of it disappoint terribly but other parts are pure magic.

Lowlights and disappointments
- Adam Ant [[murders Where did our love go).
- insultingly short appearances by Martha Reeves and Mary Wells [[perhaps 20 seconds) especially when Smokey got to do 3-4 complete songs and Adam Ant got a full song
- no Funk brothers mention,
- Supremes appearance too short


Highlights
- Marvin Gaye,
- Four Tops vs Temptations,
- the writers segment [[Holland-Dozier-Holland, Ron Miller, Mickey Stevenson, Norman Whitfield, Harvey Fuqua),
- Stevie Wonder
- The Jackson 5 and Michael [[though he mimed Billie Jean).
- Finale [[Someday we'll be together).

"Motown Live At the Apollo" is certainly a better production.

[candykamaine]

^^ I am trying to figure out who's idea was it to invite Adam Ant, he has no connection to motown what-so-ever. And I kinda dislike the fact martha and mary segments were so short. :[[

[Glenpwood]

Adam Ant I always figured was a ploy to get the youth market to tune in. Remember, at the time of the taping of the special, "Goody Two Shoes" had just peaked at #12 and was dropping down the Hot 100. He was also a much bigger star internationally than here so Suzanne and Berry probably thought he'd be a selling part to get the show picked up overseas.

[marv2]

Adam Ant I always figured was a ploy to get the youth market to tune in. Remember, at the time of the taping of the special, "Goody Two Shoes" had just peaked at #12 and was dropping down the Hot 100. He was also a much bigger star internationally than here so Suzanne and Berry probably thought he'd be a selling part to get the show picked up overseas.

They should have gotten Hall and Oates then because they were infinitely hotter than Adam Ant and they were authentically into the Motown Sound! Suzanne made a lot of really dumb, stupid, ignorant decisions in my opinion. In my opinion, she hurt the company.

[Penny]

My friend Andy was there that night in Pasedena. He confirmed everything to me that happened that night. Out ladies each had character problems that night and very deep resentments for the past. They surfaced. It is all over now. They have lit it go as should we.

I want to give Diana Ross a foot massage with our new foot product. Anyone have her number? I got Mary's done a few weeks ago in Henderson and she loved it.

Penny:mad:

[jobeterob]

People question Adam Ant's connection with Motown but it was the same as Linda Ronstadt's really. He was popular at the time and they had to have an eye on ratings. I didn't like him being there either but I understand it. And I wonder where Adam Ant is now? And while I, as a fan, would have preferred Martha Reeves, Mary Wells, and the Marvelettes, I understand what they did. They did a much bigger and huge version of "substituting" in the later Motown specials.

It's an irony that they stuck Kelly Rowland in for Diana Ross in that later special. She looks like Mary Wilson. And they still wouldn't stick Scherrie or Lynda or Susaye or Mary in that lead singer role and make it more legitimate. It's always about ratings.

[marv2]

People question Adam Ant's connection with Motown but it was the same as Linda Ronstadt's really. He was popular at the time and they had to have an eye on ratings. I didn't like him being there either but I understand it. And I wonder where Adam Ant is now? And while I, as a fan, would have preferred Martha Reeves, Mary Wells, and the Marvelettes, I understand what they did. They did a much bigger and huge version of "substituting" in the later Motown specials.

It's an irony that they stuck Kelly Rowland in for Diana Ross in that later special. She looks like Mary Wilson. And they still wouldn't stick Scherrie or Lynda or Susaye or Mary in that lead singer role and make it more legitimate. It's always about ratings.

Adam Ant's connection to Motown WAS NOT the same as Linda Ronstadt's! Linda did a couple of successful cover versions of Smokey Robinson's songs, you know Jobete Publishing? Of course you know that right?

They also had T.G. Sheppard and Jose Feliciano perform [[it's on the commercial release), but yet Suzanne could not invite the Marvelettes, Velvelettes, James Jamerson, the Contours and whole host of others that really help build that company so that she could later on have a job there? Why no mention of Jean Terrell?

[thaperson]

Linda gave Motown its first Country hit [[sort of) when her version of TRACKS OF MY TEARS hit the top twenty on the C&W charts.

She was also good friends with Smokey at the time [[he personally invited her to do the show) and they had planned on doing an album together. Nothing came of it, but at least one of the songs she wanted to do with him wound up being done with Aaron Neville [[I NEED YOU).

[bradsupremes]

I have to agree with Marv. Adam Ant had nothing to do with Motown and I really don't think he had the appeal to bring in an audience like Linda Ronstadt or Hall & Oates. It was yet another poor decision on Suzanne's part. It's not like Motown needed all of these young artists to bring in an audience. Motown was still very popular during this time. "The Big Chill" was released the same year and its soundtrack was mostly Motown so the appeal was there. Plus, a lot of the baby boomers were still in the target audience range so it's not like the Motown crowd was too old. Let's not forget that Michael Jackson was the hottest star at the time. Why bring in someone like Adam Ant when you already had the biggest star there? They could have easily done without Adam Ant and used the spot to highlight the Marvelettes, Gladys Knight & the Pips and/or the Funk Brothers.

A good friend once told me that the firing of Florence Ballard is the reason why the company had its downfall. Had Florence Ballard not been fired, Berry Gordy would have never hired Cindy Birdsong and Cindy would have never introduced Berry to Suzanne dePasse, who would later be the one responsible for screwing up the company. Talk about karma!

[StuBass1]

There really were no Funk Brothers at the time of this special. They had gone their seperate ways or retired. After Motown left Detroit the rhythm section had disbanded. Slutsky hadn't even started working on his Jamerson book and outside of those of us who knew the history, for all practical purposes...there were no Funk Brothers [[as a viable ensemble) then.

[ralpht]

I agree, Stu. At that time is what all but over for the Funks. But Motown 25 could have included some sort of salute to them through pictures and information. It was, I always thought, a major flaw in the production.
Oh yeah...ADAM ANT??? Another huge flaw.

[marv2]

I have to agree with Marv. Adam Ant had nothing to do with Motown and I really don't think he had the appeal to bring in an audience like Linda Ronstadt or Hall & Oates. It was yet another poor decision on Suzanne's part. It's not like Motown needed all of these young artists to bring in an audience. Motown was still very popular during this time. "The Big Chill" was released the same year and its soundtrack was mostly Motown so the appeal was there. Plus, a lot of the baby boomers were still in the target audience range so it's not like the Motown crowd was too old. Let's not forget that Michael Jackson was the hottest star at the time. Why bring in someone like Adam Ant when you already had the biggest star there? They could have easily done without Adam Ant and used the spot to highlight the Marvelettes, Gladys Knight & the Pips and/or the Funk Brothers.

A good friend once told me that the firing of Florence Ballard is the reason why the company had its downfall. Had Florence Ballard not been fired, Berry Gordy would have never hired Cindy Birdsong and Cindy would have never introduced Berry to Suzanne dePasse, who would later be the one responsible for screwing up the company. Talk about karma!

Brad you nailed it and pretty much ended any arguments about this mess with these two points

"The Big Chill" phenomenon
"Firing of Florence indirectly led to the hiring of Suzanne DePasse"!

She really didn't care about the company or it's roots!

[marv2]

There really were no Funk Brothers at the time of this special. They had gone their seperate ways or retired. After Motown left Detroit the rhythm section had disbanded. Slutsky hadn't even started working on his Jamerson book and outside of those of us who knew the history, for all practical purposes...there were no Funk Brothers [[as a viable ensemble) then.

Well that could be said about most of the songwriters that were on the show.

[marv2]

I agree, Stu. At that time is what all but over for the Funks. But Motown 25 could have included some sort of salute to them through pictures and information. It was, I always thought, a major flaw in the production.
Oh yeah...ADAM ANT??? Another huge flaw.

Ralph, they could have even done a 5 minute montage of all of you that helped to build Motown but because of time constraints were not going to be a part of the live taping of the show.

[StuBass1]

I agree, Stu. At that time is what all but over for the Funks. But Motown 25 could have included some sort of salute to them through pictures and information. It was, I always thought, a major flaw in the production.
Oh yeah...ADAM ANT??? Another huge flaw.

Sadly as you know Ralph, Jamerson had to scalp a ticket and sat in the balcony to see the show...although at that time he was in no condition to play. He died very shortly thereafter. The musicians were scattered around and Motown had changed it's sound by then. Plus...I'm sure that Berry looked at the musicians as contract guys and employees until the SITSOM project started.

[thaperson]

Suzanne brought the Jackson Five to Motown. She also helped develop the Motown motion picture department, which brought us LADY, BINGO LONG and later on, television movies and miniseries like LONESOME DOVE.

Berry had final say in every person and decision about Motown 25. Don't kid yourselves otherwise. He demanded there be no mention of THE WIZ and he had to personally appeal to get Michael and Diana to appear.

I think Suzanne did the best job she could given the circumstances. The inclusion of Ant is odd looking back on it now, but he was a huge new wave star at the time in Europe, and he was a staple of MTV.

I wish a book would be written about the making of the two Motown specials. I believe Suzanne fully when she said she had to do a lot of begging to get what she even had for Motown 25. There must be a few stories behind those productions that haven't been told.

[ralpht]

Just to keep the facts straight: DePasse had no hand in bringing the J5 to Motown. Bobby Taylor did just that and for promo purposes, they credited Diana Ross with the find.

[marv2]

Just to keep the facts straight: DePasse had no hand in bringing the J5 to Motown. Bobby Taylor did just that and for promo purposes, they credited Diana Ross with the find.


Great point. To hear her tell it, she gave birth to the Jackson 5 via immaculate conception!

[phil]

There really were no Funk Brothers at the time of this special.

In the movie SITSOM we can see that James Jamerson had to pay his ticket to attend the show. Is it the truth?

[marv2]

Suzanne brought the Jackson Five to Motown. She also helped develop the Motown motion picture department, which brought us LADY, BINGO LONG and later on, television movies and miniseries like LONESOME DOVE.

Berry had final say in every person and decision about Motown 25. Don't kid yourselves otherwise. He demanded there be no mention of THE WIZ and he had to personally appeal to get Michael and Diana to appear.

I think Suzanne did the best job she could given the circumstances. The inclusion of Ant is odd looking back on it now, but he was a huge new wave star at the time in Europe, and he was a staple of MTV.

I wish a book would be written about the making of the two Motown specials. I believe Suzanne fully when she said she had to do a lot of begging to get what she even had for Motown 25. There must be a few stories behind those productions that haven't been told.

Suzanne did not bring the Jackson Five to Motown. Gladys Knight saw them and told Bobby of the Vancouvers. Bobby saw them, was impressed and took them to Motown. In fact he drove them there. They broke down on the way and Bobby Smith from the Spinners had to go out on the road and get them ! There was no Suzanne dePasse in the picture.......ANYWHERE! No Diana Ross either!

Berry may or may not have had final say about the participants in Motown 25, but I know for a fact that it was Suzanne's job to procure the the guest performers and she said that she did not want to be bothered with David Ruffin or Eddie Kendricks and would not invite them. Kat of the Marvelettes told me that when Marvin Gaye called her and asked her where were they, she told him that no one had invited her or the Marvelettes. I can imagine Edwin Starr, Jimmy Ruffin, Carolyn Crawford, Jean Terrell, Contours,Willie Hutch,Scherrie Payne, Susaye Greene, the Vandellas, Spinners ,etc all have a similar story to tell. Gladys Knight & the Pips refused their invitation because it was felt that the artist should have been the ones being honored!

I diagree. I think Suzanne did a sloppy half-assed job when it came to Motown 25. It only won an Emmy because of performances by Michael Jackson, Marvin Gaye, Tempts N' Tops etc.

Adam Ant was not even close to being that popular in the U.S. at that time what with just one appearance on American Bandstand? They could have gotten Hall & Oates, Sheena Easton, Culture Club or Kim Wilde or any number of much more popular young artists at the time to participate.

I just cannot appreciate Suzanne DePasse and her involvement at Motown.

[marv2]

In the movie SITSOM we can see that James Jamerson had to pay his ticket to attend the show. Is it the truth?

Yes! That is the truth and the he passed away a few months later.

[motony]

Martha told me Smokey was the one that called her about it & she told him she had nothing to wear & he said it would be taken care of.Im pretty sure it was Smokey that got Mary Wells to do it.

[marv2]

Martha told me Smokey was the one that called her about it & she told him she had nothing to wear & he said it would be taken care of.Im pretty sure it was Smokey that got Mary Wells to do it.

I can believe it because Cindy Birdsong was in a similar situation.

[ralpht]

Suzanne did not bring the Jackson Five to Motown. Gladys Knight saw them and told Bobby of the Vancouvers. Bobby saw them, was impressed and took them to Motown. In fact he drove them there. They broke down on the way and Bobby Smith from the Spinners had to go out on the road and get them ! There was no Suzanne dePasse in the picture.......ANYWHERE! No Diana Ross either!

Berry may or may not have had final say about the participants in Motown 25, but I know for a fact that it was Suzanne's job to procure the the guest performers and she said that she did not want to be bothered with David Ruffin or Eddie Kendricks and would not invite them. Kat of the Marvelettes told me that when Marvin Gaye called her and asked her where were they, she told him that no one had invited her or the Marvelettes. I can imagine Edwin Starr, Jimmy Ruffin, Carolyn Crawford, Jean Terrell, Contours,Willie Hutch,Scherrie Payne, Susaye Greene, the Vandellas, Spinners ,etc all have a similar story to tell. Gladys Knight & the Pips refused their invitation because it was felt that the artist should have been the ones being honored!

I diagree. I think Suzanne did a sloppy half-assed job when it came to Motown 25. It only won an Emmy because of performances by Michael Jackson, Marvin Gaye, Tempts N' Tops etc.

Adam Ant was not even close to being that popular in the U.S. at that time what with just one appearance on American Bandstand? They could have gotten Hall & Oates, Sheena Easton, Culture Club or Kim Wilde or any number of much more popular young artists at the time to participate.

I just cannot appreciate Suzanne DePasse and her involvement at Motown.

Well said, Marv. And right on the money.

[marybrewster]

I've always assumed that Adam Ant was included in Motown 25 because of the popularity of Soft Cell's "Tainted Love/Where Did Our Love Go". The song was huge around the globe the year prior. Based on name recognition alone, it probably was a bigger draw to the younger set to have Adam Ant versus Soft Cell. Adam was riding high with "Goody Two Shoes" in 1983. And quite honestly, if you listen to Soft Cell's record and Adam's performance, they are quite similar.

[jobeterob]

Motown 25: Yesterday, Today, Forever is a 1983 television special produced by Suzanne de Passe for Motown Records, to commemorate Motown's twenty-fifth year of existence. [[Motown was founded in January 1959, meaning that a twenty-fifth anniversary special should have aired in 1984, not 1983. One could argue that Gordy's vision of what would become "Hitsville U.S.A." was conceived in 1958, considering the month of Motown's founding.) The show was also co-written by de Passe along with Ruth Adkins Robinson who would go on to write shows with de Passe for the next 25 years, including the follow-up label tributes—through "Motown 40," Buz Kohan was the head writer of the threesome.

Who is Ruth Adkins Robinson and Buz Kohan?

Did Berry have anything to do with M25 other than making a couple of calls to his big names asking them to come back?

[marv2]

Motown 25: Yesterday, Today, Forever is a 1983 television special produced by Suzanne de Passe for Motown Records, to commemorate Motown's twenty-fifth year of existence. [[Motown was founded in January 1959, meaning that a twenty-fifth anniversary special should have aired in 1984, not 1983. One could argue that Gordy's vision of what would become "Hitsville U.S.A." was conceived in 1958, considering the month of Motown's founding.) The show was also co-written by de Passe along with Ruth Adkins Robinson who would go on to write shows with de Passe for the next 25 years, including the follow-up label tributes—through "Motown 40," Buz Kohan was the head writer of the threesome.

Who is Ruth Adkins Robinson and Buz Kohan?

Did Berry have anything to do with M25 other than making a couple of calls to his big names asking them to come back?

Since the program was in essence a tribute to Berry Gordy Jr as much as it was Motown's anniversary, I would doubt that Berry himself made many of the calls to request participation. His big names at that time, 1983 were Rick James, Teena Marie, Lionel Ritchie, none of whom participated at least not in person.

I am not at all familiar with Ms. Robinson or Mr Kohan, but I image they had something to do with Howard Hessman and Motor Mouth John Youshida [[sp?) pretending to be 60's DJs YUK! LOL!

[marv2]

Well said, Marv. And right on the money.

Thank you Ralph. I was pretty sure my memory was still working.

[marybrewster]

Here is more information on Ruth:

http://ruthsbeenwriting.blogspot.com/

[marv2]

I've always assumed that Adam Ant was included in Motown 25 because of the popularity of Soft Cell's "Tainted Love/Where Did Our Love Go". The song was huge around the globe the year prior. Based on name recognition alone, it probably was a bigger draw to the younger set to have Adam Ant versus Soft Cell. Adam was riding high with "Goody Two Shoes" in 1983. And quite honestly, if you listen to Soft Cell's record and Adam's performance, they are quite similar.

MaryBrewster, I am not exactly sure of your age, but I was in that demographic group [[18-24 yr olds) and finishing up my Undergraduate work in Marketing at the time this program aired, so I really feel that I know what I am talking about. Adam Ant was not that popular in the U.S. with the college aged crowd. True, Soft Cell had a hit in '82 with the "Tainted Love/Where Did Our Love Go?" medley, but I believe Kim Wilde had an even bigger hit the same year with a remake of the Supremes "You Keep Me Hanging On". Those points are interesting to note, but not too important as to why Adam Ant and not David Ruffin & Eddie Kendricks! Suzanne was trying to go "New Wave" and it failed. She did not have a strong grasp on what the public would have wanted to see. By eliminating Ruffin & Kendricks for example, she missed out on something really special as the two had just completed a reunion tour with the Temptations the year before to great success. It hurt both of them and their fans which included Hall & Oates to the point that they arranged for David and Eddie to tour with them in 1985 to great success. It proved to everyone that Suzanne was wrong in their case.

Not to continue to pick on Ms. DePasse and her inabilities, I take issue with her over all attempt to pander to what she thought "crossover" audiences wanted to see [[Read: White Americans,etc) which in my opinion was an insult to white viewers. Her mind could not let her give people credit for wanting to see the real deal, the authentic music performed by the original artists and that is just plain wrong! We all grew up in this country loving many of the same things [[including Motown music and it's artists) and to assume that you have to put on anyone just to draw more of a demographic segment is flawed reasoning. Motown's music and artists are a real part of "Americana" that you don't need to water it down or play with it or make excuses for it when we all grew up loving it. She more than likely thought some were more acceptable than others which is why you didn't see Rick James there. He went on record to say he refused to go out there and honor Berry Gordy & Motown with so many of the artists that had abandoned ship and at that time the lastest to had done so was Diana Ross.

[Sugarchilehoneybaby]

guys. Calm down. It's just an internet forum.

I for one am happy the altercation happened because it was great drama. But then again, i like bad girls. If dr wasn't a drama queen and of "artistic temperament" [[hee hee) she wouldn't be half as interesting! I've read some very white-washed memoirs by goody two-shoes stars and they always suck.

You guys need to learn to appreciate trashy incidents like this one.
hello!!!! :)

[Sugarchilehoneybaby]

MaryBrewster, I am not exactly sure of your age, but I was in that demographic group [[18-24 yr olds) and finishing up my Undergraduate work in Marketing at the time this program aired, so I really feel that I know what I am talking about. Adam Ant was not that popular in the U.S. with the college aged crowd. True, Soft Cell had a hit in '82 with the "Tainted Love/Where Did Our Love Go?" medley, but I believe Kim Wilde had an even bigger hit the same year with a remake of the Supremes "You Keep Me Hanging On". Those points are interesting to note, but not too important as to why Adam Ant and not David Ruffin & Eddie Kendricks! Suzanne was trying to go "New Wave" and it failed. She did not have a strong grasp on what the public would have wanted to see. By eliminating Ruffin & Kendricks for example, she missed out on something really special as the two had just completed a reunion tour with the Temptations the year before to great success. It hurt both of them and their fans which included Hall & Oates to the point that they arranged for David and Eddie to tour with them in 1985 to great success. It proved to everyone that Suzanne was wrong in their case.

Not to continue to pick on Ms. DePasse and her inabilities, I take issue with her over all attempt to pander to what she thought "crossover" audiences wanted to see [[Read: White Americans,etc) which in my opinion was an insult to white viewers. Her mind could not let her give people credit for wanting to see the real deal, the authentic music performed by the original artists and that is just plain wrong! We all grew up in this country loving many of the same things [[including Motown music and it's artists) and to assume that you have to put on anyone just to draw more of a demographic segment is flawed reasoning. Motown's music and artists are a real part of "Americana" that you don't need to water it down or play with it or make excuses for it when we all grew up loving it. She more than likely thought some were more acceptable than others which is why you didn't see Rick James there. He went on record to say he refused to go out there and honor Berry Gordy & Motown with so many of the artists that had abandoned ship and at that time the lastest to had done so was Diana Ross.

LOL, honey please. No offense, but why so critical of Suzanne De Passe's work from nearly 29 years ago? Obviously, some beloved performers [[like The Marvelettes) were left out, but let's send you back in a time capsule so you can plan it, okay? :rolleyes:

And really, how many white folks were really on that special? Technically, Linda Ronstadt and Jose Feliciano are Hispanic, though definitely crossover in their own regard.

Kim Wylde recorded YKMHO and took it to #1 in 1987. I believe the then-recent Sups remake you are thinking of was Phil Collins' cover of Can't Hurry Love.

One thing I do agree with you though is why was Rick James not present? He was the biggest non-crossover [[strictly hood) artist Motown had at that time, and he and Teena Marie did give the label some much-needed street cred. But as far as Teena Marie, remember she had already left Motown and was with Epic by then after a bitter lawsuit with Berry Gordy, which of course brought the industry The Brockert Initiative. It's a shame that Rick helped pushed Tee away from Motown by his squabbles.

It is sad though that so many had abandoned ship, ESPECIALLY Diana and Teena. If BG had only paid his stars just a little more, he could have kept them! And as the Four Tops and Gladys Knight and The Pips proved, they did have a long shelf life. Both groups hit the Pop Top 40 through 1988! :)

[Sugarchilehoneybaby]

Linda gave Motown its first Country hit [[sort of) when her version of TRACKS OF MY TEARS hit the top twenty on the C&W charts.

She was also good friends with Smokey at the time [[he personally invited her to do the show) and they had planned on doing an album together. Nothing came of it, but at least one of the songs she wanted to do with him wound up being done with Aaron Neville [[I NEED YOU).

Actually, I think Bill Anderson and Jan Howard had the first hit C&W Motown cover with "Someday We'll Be Together" [[#4 Country). Can anyone think of an earlier C&W Motown cover?

[ejluther]

For what it's worth, I was in high school when the special aired and really into Adam Ant and Soft Cell's "Tainted Love/Where Did Our Love Go" was a very popular song, too. At the time, I thought it was great that Adam Ant was on the show singing that song [[I even liked Diana's cameo) but, looking back now as an adult, there's a lot to criticize about it. I think it was an attempt to show that Motown was even influencing "new wave" music...

[marybrewster]

I think it was an attempt to show that Motown was even influencing "new wave" music...

It may have even been an attempt to draw an audience from the UK. For as popular as Adam was here in the States, I assume [[and hear) he was 10 times popular across the pond. ;)

[motony]

as a side note: I have recently seen that Adam Ant is going to be at Universal Studios Hard Rock LIVE in the near future.Besides Mary & Martha being rushed on & off, Jr. Walker was treated the same. I don't think Suzanne DePasse wanted anything to do with any of the Detroit people , including writers, producers, artists ect.

[Jimi LaLumia]

OMG!...first off, Kim Wilde had a hit with "You Keep Me Hanging On" years after Motown 25;
second of all, there's no way they'd have included Soft Cell to do "Where Did Our Love Go',lead singer Marc Almond made Boy George look like Clint Eastwood in comparison;
Adam was hot at the time[[in more ways than one), MJ was calling the shots on his appearance[[the non Motown inclusion of "Billie Jean") and MJ and Adam Ant were friends/labelmates at Epic; I'm quite sure that MJ dragged him along as part of the deal..

[robbert]

Ralph, I hope you're watching this with your eagle eyes. I also hope you will not allow the conversation between SupremeLady en Marv to get nastier than it is at this point. I'm getting tired and bored of that handful of non-adults on this forum. This kind of situation have cost us too many a dignified posters over the years- like John Lester.

[skooldem1]

This was a TV show, entertainment. Why do some people think that this should have been some type of historically accurate piece on Motown Records? It was like a variety show. It was not deep.

Get the two biggest names in entertainment:

Diana Ross
Michael Jackson


.....check

Get the Legendary and still successful:

Marvin Gaye
Smokey Robinson

....check

Get one of the hotttest new MOTOWN acts:

Debarge

.....check


Throw in some white people for the "viewing audience"

.....check


This was not to be about technicians, band players etc. Expecting it to be so, and being dissappointed in what it wasn't doesn't make sense to me. This TV special is one of the highest rated TV specials in history. Suzanne did a great job. It's not she who has shortcommings, it's fans who somehow think a TV special was suppose to right all the wrongs in Motown's history.

[thaperson]

First, let me apologize for saying that Suzanne brought the Jackson five to Motown. But she did have a hand in grooming them for stardom. That's been well documented.

Mary Wells and Martha Reeves were featured, albeit a little too short. But at least they were featured. And let's keep it real, Mary sang her big hit, there was no need for more time. Martha, perhaps. But it was a special, not a miniseries. Ashford and Simpson were there and did not perform at all. Next to Smokey and H-D-H, they helped define Motown.

One can always look back and nitpick but as Skooldem said it was one of the highest rated specials of all time. And Michael's performance was a defining moment in pop culture. EVERYONE was talking about that clip the day after it aired. The special achieved its purpose, which was to revive interest in the Motown sound. So you can't say Suzanne completely failed.

[carlo]

For me, one of the highlights of the show was "High Inergy". They're cool! :)

[Jimi LaLumia]

in further Adam Ant news, Adam was nursing an injured damaged knee that week, but 'the show must go on"...and it did..

[marv2]

LOL, honey please. No offense, but why so critical of Suzanne De Passe's work from nearly 29 years ago? Obviously, some beloved performers [[like The Marvelettes) were left out, but let's send you back in a time capsule so you can plan it, okay? :rolleyes:

And really, how many white folks were really on that special? Technically, Linda Ronstadt and Jose Feliciano are Hispanic, though definitely crossover in their own regard.

Kim Wylde recorded YKMHO and took it to #1 in 1987. I believe the then-recent Sups remake you are thinking of was Phil Collins' cover of Can't Hurry Love.

One thing I do agree with you though is why was Rick James not present? He was the biggest non-crossover [[strictly hood) artist Motown had at that time, and he and Teena Marie did give the label some much-needed street cred. But as far as Teena Marie, remember she had already left Motown and was with Epic by then after a bitter lawsuit with Berry Gordy, which of course brought the industry The Brockert Initiative. It's a shame that Rick helped pushed Tee away from Motown by his squabbles.

It is sad though that so many had abandoned ship, ESPECIALLY Diana and Teena. If BG had only paid his stars just a little more, he could have kept them! And as the Four Tops and Gladys Knight and The Pips proved, they did have a long shelf life. Both groups hit the Pop Top 40 through 1988! :)


I don't see where it's funny. Why am I critical of DePasse's work from 29 years ago? Why are you even here? Why are any of us even here? To discuss music and artist and industry from anywhere from 50 years ago to today! You don't have to send me anywhere because I was alive when this went on the first time., You take a journey back in time......and stay there, please? LOL! Just kidding, I am sure someone, somewhere loves you, hehehehehehehe.......

It ain't about how many "white folk" were on that TV program. You missed the point entirely if that is how you are viewing anything that I have said. My point was, if you are going to do something like this....then god*$mit! Do it right! The stuff about Kim Wylde/Wilde, etc as I SAID was just interesting to note, but not that important in the discussion of why Adam
Ant and not David Ruffin and Eddie Kendricks? I could really care less about when Kim Wilde made that remake of the Supremes [[she was only used for illustration purposes....)


The bottom line [[for me) is that Suzanne DePasse messed up big time and showed great disrespect to many of the performers and to the fans of Motown. It could have been more inclusive. They did a much better job with "Motown 40" from 1998.

[jobeterob]

I always thought Adam had a hit with his version of Where Did Our Love Go. And of course, he didnt; the hit was Goody Two Shoes and he was nominated for New Artist of the Year. I assume he didn't win.

So that makes his Motown connection more tenuous and not as strong as Linda Ronstadt. He was there because he was new and "new wave" and would attract the kid audience.

Wikipedia says Adam was in several movies and in the last couple of years, has been under pyschiatric care.

But you can certainly see why the hardcore fans and Motown insiders were hurt by the exclusion of several significant acts and the reduced tv time of several others. And it's just something that has never really changed; it's more of "them that's got shall get, them thats not shall lose". And of course, that provokes anger and jealousy which I suppose the fans start to reflect.

I suppose for Suzanne dePasse it was the beginning of the TV career that she managed to build on M25. And it was hard to be any more successful than M25 was.

[marybrewster]

I know posters have mentioned the disappointment of The Marvelettes not being included, but isn't it true that Kat Anderson retired shortly after the group disbanded? You certainly can't have the Marvelettes without Kat [[hasn't she also said that even if asked, she would not have performed?). And since neither leads, Gladys or Wanda alone made up the Marvelettes, could they have gone on as a duo? Or snub Wanda for Gladys? Was Wanda even able to perform in 1983?

As far as Mary Wells is concerned, by 1983, hadn't she already been gone for the label for almost 2 decades? I mean, it's not like Motown was her only label. I know that truly doesn't matter, but maybe Mary's actions in 1964 carried over 20 years later?

I think the bottom line is: the show was geared for "young America". MJ was hot. Diana was hot. DeBarge was hot. Unfortunately, by 1983, Reeves and Wells were not.

[BobC]

Jobete--you are thinking of the early new wave group Soft Cell. They did a dance version medley of WDOLG and Tainted Love.

[Hotspurman]

With regards to Suzanne De Passe, don't forget that she was involved with Motown from about 1968 and helped knock the script to Lady Sings The Blues into shape, for which she received an Academy nomination. Suzanne was moved to head up MPI in 1978 and, as mentioned elsewhere on this thread, received an Emmy for Motown 25. She also won another for Motown Returns To The Apollo.

With regards to who appeared and who didn't, I'm not even going to start going there - we all have our own favourites and would them them to have appeared in preference to others. I just recall watching the show on tape a couple of days after it aired in the US and being knocked out by pretty much everything; Michael Jackson's dance, of course, but Marvin Gaye and the Four Tops/Temptations slots were dynamite.

[carlo]

I know posters have mentioned the disappointment of The Marvelettes not being included, but isn't it true that Kat Anderson retired shortly after the group disbanded? You certainly can't have the Marvelettes without Kat [[hasn't she also said that even if asked, she would not have performed?). And since neither leads, Gladys or Wanda alone made up the Marvelettes, could they have gone on as a duo? Or snub Wanda for Gladys? Was Wanda even able to perform in 1983?

Kat has said that the entire Motown 25 situation was like a slap in the face because none of them were even invited to sit in the audience. They were not recognized during the show in any way, shape or form. I don't even think they mentioned "The Marvelettes". I don't think being able or not being able to perform was the issue.

I don't think Wanda would have been able to perform in 1983. By that time, she wasn't in good shape. Gladys could have.

[ejluther]

I honestly don't know much about The Marvelettes but keep hearing stories of them being treated badly by Motown - what's the deal? Did they do something to piss them off [[ala Mary Wells)?

[BobC]

I don't think so. I don't know much about them either, but heard they were kind of plain and rural, and were swept aside by the more upscale, glamorous Supremes.

[Glenpwood]

Granted I haven't seen the special in 20 years but I do remember the Marvelettes "Please Mr. Postman" album cover flashing on screen during that montage of album covers that didn't have the artists picture on them so they'd appeal to all buyers during the civil rights struggle.

[bradsupremes]

Here's the thing....Suzanne dePasse came into Motown at a time when Berry Gordy was beginning to focus on bigger and better things. He wanted to transform Motown from being a record company into an entertainment empire. He succeeded in the music field, he began to focus on television and sights looked promising with the successs of "T.C.B." Films were his next goal. Suzanne dePasse worked her way up to be Berry's driving force into that entertainment empire goal. The problem was that it failed. Aside from "Lady Sings The Blues," Motown didn't do well with films. The television side had some successes, but nothing to secure the company has the television production firm to go with. While this was going on, the record company was neglected. The music wasn't as good, the artists were not getting the proper treatment they deserved, and when the company moved out to LA, a lot of the people who founded the company and made it successful were given the brush off and the pink slip. It was a slap in the face and disrespectful. Not to just the Detroit artists, but the producers, writers, engineers, and most importantly, the Funk Brothers. At this point, the company was no longer a family.

Suzanne dePasse may have done well with the television productions such as Motown 25, Motown 40, etc. but she didn't know a thing about the music side and it's importance in the foundation of the firm. History is important and it should be treated with respect. Suzanne didn't treat the history with respect.

[blueskies]

Does anyone know what Suzanne dePasse is up to these days?

[skooldem1]

Current ProjectsProducer King: The upcoming DreamWorks motion picture on the life of Martin Luther King, Jr. with Steven Spielberg and Madison Jones.
Executive Producer, the upcoming series, Becoming KK Jones, Fox Television Network
Executive Producer, Life Changers television series with superstar music producer, Rodney Jerkins [[Lady GaGa, Beyonce)
Producer, Humpty Dumpty, with Executive Producer of The Lord of the Rings, Mark Ordesky, Directed by David Ellis [[Final Destination 2 & 4)


TelevisionMINI-SERIES:
The Temptations, NBC, four hours, 1998, de Passe Entertainment. NAACP Image Award Winner for Best Miniseries. [[Nominated for six Emmy Awards, including Best Mini-Series and won an Emmy for Best Director.) Also nominated for a Golden Globe and won the Producers Guild Award; Directors Guild Award; and Prism Award. Starring: Leon, Charles Malik Whitfield, DB Woodside, Terron Brooks and Christian Payton.
Dead Man's Walk, ABC, five hours, 1996, de Passe Entertainment. Starring: Edward James Olmos, Keith Carradine, Brian Dennehy and F. Murray Abraham.
Buffalo Girls, CBS, four hours, 1995, de Passe Entertainment. Nominated for eleven Emmy Awards, including Best Miniseries and Best Actress. Starring Anjelica Huston, Melanie Griffith, Reba McEntire, Sam Elliott and Jack Palance.
Streets of Laredo, CBS, five hours, 1995, de Passe Entertainment. Starring: James Garner, Sissy Spacek, Sam Shepard and Sonia Braga.
Return to Lonesome Dove, CBS, four hours, 1993, Motown Productions. Starring: Jon Voight, Barbara Hershey, Rick Schroder and Louis Gossett, Jr. and William Petersen.
The Jacksons: An American Dream, ABC, five hours, 1992, Motown Productions. Nominated for multiple Emmy Awards, including Best Miniseries. Starring: Angela Bassett, Billy Dee Williams, and Vanessa Williams as Suzanne.
Lonesome Dove, CBS, eight hours, 1989, Motown Productions. Emmy, Golden Globe, Peabody Award-winning miniseries. Named “Outstanding Program of the Year” by Television Critics Association, Best Miniseries in TV Guide Annual Readers Choice Awards, D.W. Griffith Award by National Board of Review. Among other honors, the success of this landmark western resulted in de Passe’s induction into the Cowboy Hall of Fame. “Lonesome Dove” was based on Larry McMurtry’s Pulitzer Prize-winning novel. Starring: Robert Duvall, Tommy Lee Jones and Anjelica Huston.
Small Sacrifices, ABC, four hours, 1989, Motown Productions. Nominated for three Emmy Awards, including Best Miniseries and two Golden Globe Awards. Winner of the Peabody Award. Based on Ann Rule’s best-selling book. Starring: Farrah Fawcett, Ryan O’Neal and John Shea.

MOVIES FOR TELEVISION:
NETWORK:
The Loretta Claiborne Story – Two-hour, 2000, Disney/ABC Sunday Night, de Passe Entertainment.
Someone Else's Child – Two-hour, 1998, ABC, de Passe Entertainment.
The Last Electric Knight – [[AKA Sidekicks) – Two-hour, 1989, ABC, Motown Productions.
Bridemaids – Two-hour, 1989, CBS, Motown Productions.
Happy Endings – Two-hour, 1983, CBS, King Entertainment, Motown Productions.


CABLE:
Zenon: Z3 – Two-hour, 2004, The Disney Channel, de Passe Entertainment.
Zenon: The Zequel – Two-hour, 2001, The Disney Channel, de Passe Entertainment. When it aired, the movie had the highest-ever rating for a Disney Channel original movie. Premiered January 2001 with 3.3 rating/6 share.
Cheaters – Two-hour, 2000, HBO Films, de Passe Entertainment.
Zenon: Girl of the 21st Century – Two-hour, 1999, The Disney Channel, de Passe Entertainment.


SPECIALS:Executive Producer, Commander In Chief’s Inaugural Ball for President Barack Obama.
70th Anniversary Tribute to the Apollo Theatre: Two-hour, 2004, NBC, de Passe Entertainment.
Motown 40: The Music is Forever, Four-hour documentary 1998, ABC, de Passe Entertainment. Executive Producer & Writer.
Motown 30: What's Goin' On, Two-hour, 1990, CBS, Motown Productions, and Emmy Award Nominee. Executive Producer & Writer.
Motown: Merri X-Mas, One-hour, 1987, ABC, Motown Productions.
Motown Returns to the Apollo, Three-hour, 1985, NBC, Motown Productions. Emmy Award winner for best variety Program. NAACP Image Award winner. Executive Producer & Writer.
Motown 25: Yesterday, Today, Forever, Two-hour, 1983, NBC, Motown Productions, Emmy Award winner for best variety program. Winner of NAACP Image Award and Peabody Award. Executive Producer & Writer.
Motown on Showtime: – Smokey Robinson – One-hour, 1990, Showtime, Motown Productions. – Comedy on Campus – One-hour, 990, Showtime, Motown Productions. – Michael Jackson – One-hour, 1988, Showtime, Motown Productions. – Marvin Gaye – One-hour, 1987, Showtime, Motown Productions. – Temptations and Four Tops – One-hour, 1986, Showtime, Motown Productions


SERIES:
Sister, Sister: Half-hour sitcom – 122 episodes completed, 1995–1999, WB, de Passe Entertainment. Starring: Tia and Tamera Mowry, Tim Reid and Jackee Harry.
Smart Guy: Half-hour sitcom – 51 episodes completed, 1996–1999, WB, de Passe Entertainment. Starring: Tahj Mowry, John Marshall Jones, Jason Weaver, Omar Gooding and Essence Atkins.
On Our Own: Half-hour sitcom – 19 episodes completed, 1994–1995, ABC, de Passe Entertainment. Starring: The Smollet Family.
The Motown Revue starring Smokey Robinson: Six one-hour episodes, 1986, NBC, Motown Productions. Starring: Smokey Robinson.

FIRST RUN SYNDICATION:
Showtime at the Apollo: 130 one-hour episodes completed, variety program format. 2002–Present. Syndicated through Warner Brothers/Telepictures.
Lonesome Dove, The Outlaw Years: 44 one-hour episodes completed, western drama, 1994-1996. Starring: Eric McCormack, Scott Bairstow and Paul Le Mat.
Night Life: [[195) half-hour episodes, talk show. 1986-87. Hosted by David Brenner.

AWARD PROGRAMS:
2006 Black Movie Awards: A Celebration of Black Cinema: Past, Present, & Future. A 90-minute special which aired nationally on Turner Network Television [[TNT) October 18, 2006. Hosted by Tyler Perry
2005 Black Movie Awards: A Celebration of Black Cinema: Past, Present, & Future. A 90-minute special which aired nationally on Turner Network Television [[TNT) October 19, 2005. Hosted by Cedric the Entertainer
34th NAACP Image Awards, Two-hour special, 2003 FOX, de Passe Entertainment. Hosted by Cedric the Entertainer.
2003 Essence Awards, Two-hour special, FOX, de Passe Entertainment.
2002 Essence Awards, Two-hour special, FOX, de Passe Entertainment. Hosted by Steve Harvey
33rd NAACP Image Awards, Two-hour special, 2002, FOX, de Passe Entertainment. Hosted by Chris Tucker
32nd NAACP Image Awards, Two-hour special, 2001, FOX, de Passe Entertainment. Hosted by Chris Tucker
MUSIC and MORE…Image Awards, One-hour special, 2001, WB, de Passe Entertainment. Hosted by Sinbad and Brandy

[skooldem1]

Suzanne is one of the most respected and successful women in the entertainment business. As some say, let the facts speak for themselves.

[skooldem1]

....I'm sorry, but I am laughing at all the grudge holding, monday morning quarterbackin' people here, talking about THE Suzanne DePasse as if she was only marginally successful, and didn't know what she was doing. Got to love it. LMAO.

[Roberta75]

....I'm sorry, but I am laughing at all the grudge holding, monday morning quarterbackin' people here, talking about THE Suzanne DePasse as if she was only marginally successful, and didn't know what she was doing. Got to love it. LMAO.

And I bet most if not all that were or were not on the Motown 25 TV Special haven't given it a thought in years if not decades. LOL

[ejluther]

While I recognize that MOTOWN 25 must have been a herculean task to produce [[not to mention that I enjoyed it very much), I don't think it's that odd that people had problems with a retrospective show not recognizing major players in the very history they're purporting to honor. As others have pointed out, I thought MOTOWN 40 did quite a good job covering the history of Motown and I suppose that makes perfect sense as it wasn't a live concert, but rather a documentary...

[captainjames]

Hmm I thought Richard Pryer mentioned the Marvelettes, although it was very briefly.

[simplysupreme]

Hmm I thought Richard Pryer mentioned the Marvelettes, although it was very briefly.

And clips of them performing were shown.

[jobeterob]

Hmmmmmm.........after that dePasse list, I'm wondering if she was more successful than the Supremes???

I thought she was placidly in retirement, chatting with Berry the odd time. I did not realize she had been involved in all the rest of these ventures; I only knew about Lonesome Dove.

[Sugarchilehoneybaby]

Suzanne is one of the most respected and successful women in the entertainment business. As some say, let the facts speak for themselves.

Thank you.

Any bitter people griping about the job Suzanne did with M25 truly need to get a hobby. de Passe's achievements can't be argued with. She is one sharp lady and don't forget she may very well have been the first African-American female to attain such clout on the business and producer side of things in the business! She paved the way for women like Sylvia Rhone.

Suzanne is in a VERY elite league.