Berry Gordy Jr. Announces Plans for New Musical to Involve Diana & Smokey

[jobeterob]

Berry Gordy Jr. Announces Plans for New Musical About His Life


D.I.S.H.
Motown Records founder Berry Gordy Jr. wants to tell his story on Broadway


May 16, 2011

Motown Records founder Berry Gordy Jr. is developing a Broadway musical based on his life.

According to the New York Post, Gordy wants to set the record straight on the story of the iconic Detroit label.

Sources reportedly say Gordy, 81, has been working with former Universal Music CEO Doug Morris and RENT producer Kevin McCollum on the autobiographical tale, which will be set in the 1960s, during the height of the civil rights movement, and feature a score of Motown classics.

'Berry's been wanting to do this for a long time. He's got the money and investors lined up,' a source said. 'He's trying to involve Diana Ross and Smokey Robinson.'

The musical Dreamgirls — the movie version of which starred Jamie Foxx as Curtis Taylor, Jr., the sketchy founder of Rainbow Records — is thought to be based on the founding of Motown and Foxx's character a thinly veiled and unflattering depiction of Gordy. The production was slammed by Smokey Robinson and producers issued an apology, insisting the similarities were unintentional.

'This is Berry's chance to set the record straight,' a source told the Post.

Sources say Gordy has been blocking attempts to produce a Marvin Gaye biopic, fearing it might depict him in a negative light.

Directors F. Gary Gray and Cameron Crowe recently called it 'impossible' to license Gaye's music for the soundtrack and gave up on the project.

Gordy owns the rights to most of the Motown catalogues, but a rep says Gordy is "unaware" of any projects being blocked.

[[Photo by PR Photos)

[carlo]

He's been talking about this for a long time. I'll be surprised if it happens.

[marybrewster]

One thing I've never understood about Smokey slamming "Dreamgirls" is:

Why is it that Motown, in 1982, had NO ISSUE with tying "Dreamgirls" to The Supremes? I have a GIANT poster, printed by Motown, asking if "The Supreme Girls; Are They Really the Dreamgirls?" and then goes on to offer a catalog of Diana and Supremes releases at a "dream" of a price.

How come it was acceptable for Motown to exploit "Dreamgirls" back then [[in '82, which I believe at the time both Berry and Smokey were still at Motown) but then when they didn't benefit, "slam" it?

[jobeterob]

Time has moved along and now Motown isn't trying to sell records ~ not those old Motown records anyways. [[Universal doesn't matter and is now irrelevant to the Motown history and the Hip O reissues are only for the true fans).

But the history matters; and all those that "made it" ~ Berry, Stevie, Diana, Smokey and Lionel ~ only want to remember the good things ~ and the winters WERE warmer, the grass WAS greener and the smiles WERE brighter.

It is only the salespeople of today that dare darken the image of Motown ~ and those were the sales people of Dreamgirls. And they really didn't do much; Berry's image didn't change one iota for the movie. But the protectors of the flame [[i.e. Smokey) still stand up and protect it no matter what.

What I missed about SD over the last couple of months is that outside of Stevie and Diana, unless you are part of SD ~ you don't hear a word about the rest of Motown - no Contours, no Spinners, Mary Wells, Junior Walker, no Lynda Laurence, Mary Wilson, Jean Terrell, heck not even any talk of Temptations or Tops ~ they are not just all a part of history and gone from mention in the press unless you go digging forever or talk to Andy on Facebook. So sad.........

[woodward]

Jobeterob stated that you don't hear a word about ... Mary Wells. ... This is not true. I recall reading about Peter Benjaminson's upcoming book on Mary Wells. Based upon his first Motown book, The Story of Motown, which in my opinion was the #1 book on the history of Motown, I expect Mary Wells will be totally reported and well written and tell her story from beginning to end. I have read about this upcoming book on SDF several times, so based upon my recollection, the inclusion of Mary Wells is not true. I as well as other Motown fans cannot wait for Peter's upcoming book. I hope it hits #1 and sells a million copies. He is a very talented and knowledgeable writer and is always correct in what he writes. No made up stuff as other writers on Motown stars have done.

[carlo]

What I missed about SD over the last couple of months is that outside of Stevie and Diana, unless you are part of SD ~ you don't hear a word about the rest of Motown - no Contours, no Spinners, Mary Wells, Junior Walker, no Lynda Laurence, Mary Wilson, Jean Terrell, heck not even any talk of Temptations or Tops ~ they are not just all a part of history and gone from mention in the press unless you go digging forever or talk to Andy on Facebook. So sad.........

[jobeterob]

Woodward, while I totally agree with you and while I hope what is to be written about Mary Wells stays head and shoulders above a Mark Ribowsky book [[go read the Stevie Wonder trasher he recently did although I acknowledge nobody but me bought it) ~ my point was you can read about these people on SD, but in the mass media market, you won't hear a thing.

Aside from a few young guys, most of whom are "eyerollers in development" and on this site, no one knows Mary Wells, any of the Supremes except Diana, any Contour, Temptation, Pip, AllStar or Four Top ~ they are basically forgotten outside of a Forum like this.

Search those people on a site like CNN ~ I haven't done it but I bet you don't come up with much. Go stop a 16 year old on the street and ask them if they know who Mary Wells or Mary Wilson is; they'll look at you like your nuts. Heck, 30 years ago they were mixing up those two.

[soulballad]

Sadly this is all very true but it also applies to Diana Ross and Stevie. They don't know them and don't care to know them. It's all about Beiber, and Gaga and Beyonce or whoever else is the hype of the moment. The times have changed and Motown doesn't carry much weight except for in groups like these. There will always be some exceptions but over all it's done. Motown was from a time of 45's and Lp's and 8 tracks. They managed to do okay with cassettes and CD's but then downloads came and it was the end! At least we have You Tube but there is still a great lack of respect do in part to the performers being judged by todays standards instead of seeing them for the great clips from their time. Get those Hip-O releases while you can because in 10 years there will be even less of an interest.

Getting back to the topic, it would be great if this came to fruition but I think that too much time has passed. People are trying to rewrite history either on purpose or because of selective memory and again most of the young people really are not interested in the details. At this point they may be better off doing a show with never before seen footage and performances at least the greats could be seen as they were in a very different time and a very different world!

[theboyfromxtown]

Rob

Do you think people can still remember Susan Boyle?

[skooldem1]

Woodward, while I totally agree with you and while I hope what is to be written about Mary Wells stays head and shoulders above a Mark Ribowsky book [[go read the Stevie Wonder trasher he recently did although I acknowledge nobody but me bought it) ~ my point was you can read about these people on SD, but in the mass media market, you won't hear a thing.

Aside from a few young guys, most of whom are "eyerollers in development" and on this site, no one knows Mary Wells, any of the Supremes except Diana, any Contour, Temptation, Pip, AllStar or Four Top ~ they are basically forgotten outside of a Forum like this.

Search those people on a site like CNN ~ I haven't done it but I bet you don't come up with much. Go stop a 16 year old on the street and ask them if they know who Mary Wells or Mary Wilson is; they'll look at you like your nuts. Heck, 30 years ago they were mixing up those two.

Hey Jobeterob, welcome back. Hope all is well. Honestly, depending on who you ask, lets just say teens to young adults. They don't know Diana Ross or the Supremes.

[carlo]

Rob

Do you think people can still remember Susan Boyle?

lol.

I'm not sure why this topic is so popular on this forum. It seems to come up time and time again, topics such as, "Motown stars are no longer big sellers...Motown stars can no longer sell a lot of books...The only big names that will attract ratings for a TV special are the big five: Diana, Smokey, Stevie, Lionel and Gladys...etc., etc." I know this is all true, but don't most of us come to this forum to primarily discuss and celebrate the music of yesterday? Even the big names out there now, such as our forum-favourite, Susan Boyle, may not be remembered in 50 years from now. That is how commercialism works. Here today, gone tomorrow. While many may not remember the specific names of Motown stars such as the Contours or Mary Wells...it is the music that continues to live on. If you were to play "My Guy" or "Do You Love Me" for a teenager, I'm sure they would recognize the song. One of my friends [[who is in her early 20's) loves "Do You Love Me", which came as a surprise to me. I think the fact that the music continues to live on is the biggest testament of all. So whether or not these artists are still able to make headlines is irrelevant. Many of them are legends now and in semi-retirement. Why would anyone expect them to still make news on CNN? That doesn't make sense.

[telekin]

What I missed about SD over the last couple of months is that outside of Stevie and Diana, unless you are part of SD ~ you don't hear a word about the rest of Motown - no Contours, no Spinners, Mary Wells, Junior Walker, no Lynda Laurence, Mary Wilson, Jean Terrell, heck not even any talk of Temptations or Tops ~ they are not just all a part of history and gone from mention in the press unless you go digging forever or talk to Andy on Facebook. So sad.........

lemme add a few more eye-rolls to that:

since when does one have to be mentioned in the press every other day to have a place in history? are we really trying to judge the worth and weight of someone's talent and contributions based on how often they are mentioned in the press? how well they compete for attention amongst world events, flavours of the month and emerging acts? it's nice when it happens [[usually), but it's nothing that i, or i'm sure most here, spend time lamenting.

as well, i wouldn't be so pessimistic either. the motown legacy is strong, as it is. even if younger, casual listeners don't immediately know the names of the artists, they've probably heard the music. at this point, the music is much bigger than the individual artists themselves, and will likely be recognized long after they've gone. dare i say, the motown brand has also exceeded that of most of the individual artists. it's a platform for which the music will be recognized and marketed on for generations to come. if the motown sound had been dispersed amongst many different labels [[see the philly sound), i suspect things would have turned out differently.

i mean, with the way music is produced today, so much contemporary music is based upon music of the past. depending on the genre, record producing and record collecting/crate digging practically go hand-in-hand. there are new, previously obscure elements of the motown story coming to light all the time. now, more than ever. not only this latest supremes set, but the mowest collection on light in the attic, for one other example. i'm sure there are many others.

back on topic though, after the success of mamma mia! and more recently jersey boys, i suppose it was only ever a matter of time before there was a motown jukebox musical. we'll see if this gets off the ground.

[smark21]

The songs will ultimately be the legacy of Motown, much more so than nearly all the artists. Most young people are interested in finding and making their own stars and that's how it should be. How many kids in the 60's and 70's were deep into the music of the 20's and 30's? Not many I imagine. And they probably only knew a few famous singers of that period, most likely Bing Crosby, due to his TV specials, White Christmas and sheer impact on the parents and grandparents of the baby boom generation. I'm sure 40 years from now, some of today's young people, now in their 50s and 60's will be lamenting how the kids today aren't aware of the big acts of 2011, with the exception of one or two that endure. Such is life.

If the Motown Musical makes it to Broadway, hopefully it will be a quality musical like Jersey Boys and not a bomb like Baby It's You.

[carlo]

Well said, Telekin!

[marymary]

I thought Berry was cooperating with the latest proposed Marvin biopic [[not the "Sexual Healing" one) in development.

This musical could be interesting, although I imagine it will be heavily sanitized coming with his cooperation - I have always meant to get Berry's autobiography, is it worth a read?

[daddyacey]

I just thought these threads should be cross reff'ed together

http://soulfuldetroit.com/showthread...9608#post49608

[jobeterob]

You guys have this scenario down pat.

I question exactly how the Broadway show would work; it would concentrate on the songs I assume with some innocuous story line threading through it. I bet it could be hugely popular and go on forever; I'm not sure what real Motown fans would find very interesting or exciting about it.

And Reese spells out exactly what Berry Gordy has done; it is nothing every other business person with some legal and accounting advice would do. It maximizes his financial return and protects himself, his family and those he loves.

Of course they license songs for movies ~ that makes money and those movies have nothing to do with Motown. But you don't hear a Motown song in a movie event tangentally about Motown, like Dreamgirls. But you did have Smokey go out and crap on them; and that wasn't hard because it was a lame movie.

I suspect Berry has Motown music tied up well beyond his death; it will probably be tied up at least until all of his direct descendants are gone and he will have someone with brains, like Rhonda Ross, in charge of what happens.

And why Berry and EMI would play games with little productions ~ well all I can think of is that they have a "policy" ~ and the policy is that NO Jobete music is used and the prohibition is blanket.

[smark21]

Why would the movie Dreamgirls need to have songs from Motown? The movie is based on a Broadway musical that had its score. They didn't need to license Motown songs.

[jobeterob]

Well it would have a helluva lot bigger and more exciting movie than it was if it had Motown songs!

Someday, when Berry or his family decide, there will be a movie about Motown with Jobete songs.........and then we'll have the real thing.

[dvus7]

If I am correct...Berry, MR. Gordy, BG, The Chairman..Does not own JOBETE, any more...So then the decision would not be his, if the producer can not get the licenses!!!!

[jobeterob]

It's true, Berry Gordy sold Jobete Music.

But it is fairly standard in sales of this kind to have all sorts of covenants restricting certain things.

Mr. Gordy almost certainly has the right to veto or approve the use of Jobete Music copyrights in movie, tv, media projects regarding certain people ~ clearly his family, Marvin Gaye, Diana Ross, the Supremes ~ probably anyone involved with Motown.

It probably extends so that his estate will have the same veto or right of approval during his children's lives ~ so his executor will have the same rights. This is why you see so few Motown movies being made and why you never see any Jobete music being used in those kinds of movies.

The new owners have the rights to all the songs for advertising and for OTHER movies ~ but not touching Mr. Gordy and his family.

[dvus7]

Hey, Robtrob

Given what you said....The covenants are not allowing the present owners to use the license to it fullest potential!!!! That should have reduced the price that they paid for JOBETE!! I respectfully disagree with you!!!

[Motown Andy]

Rob is right. It is my understanding that although Mr. Gordy sold off Jobete, he retained the Grand Rights to the catalog. This is why The Supremes story has never been told on film, for the same reason.

[rod_rick]

Rob is right. It is my understanding that although Mr. Gordy sold off Jobete, he retained the Grand Rights to the catalog. This is why The Supremes story has never been told on film, for the same reason.

There must be a lot to hide for a Supremes story on Gordy's behalf.. We got The Jackson 5 and the Temptations, but no Supremes or Marvin Gaye. What's the real deal?

[Jimi LaLumia]

it's common knowledge that Gordy blocked the Marvin Gaye bio from being made into a film, and when Mary Wilson's Dreamgirl was a national Top Ten NY Times best seller, that Gordy made it clear that no Motown music would be used in a film version;
if those were the terms of the deal,he has that right, and doesn't want all the personal warfare to become a public display;
Motown fans know every tidbit anyway,but the average person who bought the records and enjoyed the music still has no idea, except for the blow up on 20/20 and Barbra Walters over the Supremes "Reunion" that wasn't...
the reality is that we gossip hounds want to know, but it has nothing to do with the enjoyment of the music and the Motown Sound

[theboyfromxtown]

I suspect I wrote on another thread about a BBC producer wanting to put on a production of Marvin Gaye and he was stopped from using Motown music. When he consulted EMI music in New York, he was told that Berry Gordy has a right of "veto" on the use of Motown music and that would be the only way forward.

As you would expect, the Motown Historical Museum has lifetime rights in relation to all matters of a historical nature

[jobeterob]

John, it was pretty chintzy what they did to your friend. I'm sure they have their policy of declining all requests and that's what was going on.

A lot of this would be fairly standard legal fare and I'm sure the sale price of Jobete reflected all of the covenants Mr. Gordy and the purchaser required; I'm sure Mr. Gordy was prohibited from lending his name to a lot of ventures and from taking his talents somewhere else and perhaps from criticizing changes that subsequently occurred at Motown.

Perhaps a lot more is made of many of these occurrences than really occurred. If you read Al Abrams postings on the most current Florence Ballard Movie Thread, that seems to be what he is saying ~ and he was there too.

[stalebagel]

Someone finally understands!
Thanks Jobeterob, you definitely got the message.
Cheers,
Al

[Motown Andy]

Amen to that Al and Rob!

[daddyacey]

Hey.... we are talking about Berry Gordy. First and foremost ,a very smart and exceptionally talented business man and music producer and writer. Yes ,someone of this stature ,performs on a higher level. A level where your successful decisions are grand in scope and your bad decisions are just as grand. Regardless of that ,you cannot deny the fact that good or bad choices considered ,fact is ,the man is NOT stupid. When Berry sold MOTOWN ,it was because he had IMO ,realized that his time had come and he had accomplished too much to be bothered with the hassles of keeping up with an industry that he was a important part of in the first place. In simple terms ,it was just time to "Chill" ,and let some one else have the head ache. He had already made shtloads of money and shitloads of money off the money he had invested from that original money he made. He was smart enough to sell his companies ,yet still be able to have some control over it ,as well as make some money off the money that the buyers current or future ,make off of those companies. Control that was needed because he looked out for his family and parties that he recognized as being important for their contributions. Control that was needed because ,the bottom line is , some things are just none of anybody but his business. Period. What he did to build that company ,events that happened during the building and running of that company that would open him up to other litigation on behalf of other parties and just general perception in the media ,had to be under some form of his control. This was his lifes work ,and he protected it well. He may not have a lot of control ,but he has enough control over key issues that would effect other projects that would not be in what he felt was his positve interest. You got to respect the thinking and perception of an man like that.

"A lot of this would be fairly standard legal fare and I'm sure the sale price of Jobete reflected all of the covenants Mr. Gordy and the purchaser required; I'm sure Mr. Gordy was prohibited from lending his name to a lot of ventures and from taking his talents somewhere else and perhaps from criticizing changes that subsequently occurred at Motown."

That may be true ,but he did provide for himself ,loopholes small enough to make big time influence on major projects involving Motown based productions. Big props to BG.

[ExGuyParis]

Good point. Expecting a young kid today to know much about music from 1965 is like a kid in 1965 to knowing a lot about music from 1919. Pretty much ancient history! Back in 1965, I don’t think I could have identified any entertainer popular in 1919, or any songs from that era. [1919 = I’m forever Blowing Bubbles, by Ben Selvin’s Novelty Orchestra... Swanee, by Al Jolson... 1921: Ain’t We Got Fun, recorded by Gus Van and Joe Schenk... My Mammy, by William Frawley [[yes, Fred Mertz!)]

[1382hitsville]

all though I do not agree with all the business decisions Mr. Gordy made. I truly admire him for the person he is. With his love and dedication he made some of the biggest stars that where part of the '60s, 70's and some in the 80's. Besides his personality, he is a clever businessman!

I guess this Motown musical will be something like Abba's Mama Mia. A fictional story laced with Motown songs.

Would still go...

[jobeterob]

I dont really think this will happen; I think Berry is too old to really want to carry it off. But it could be a Grease style musical starting with the Motortown Revue tour in 1962, the segregation, the shooting, carrying on through the rise of the Supremes through Where Did Our Love Go/Baby Love/Stop in the Name of Love and ending with the rise of The Temptations and My Girl.

And the story would really be built around the music and the love.

[daddyacey]

"And the story would really be built around the music and the love."

Actually , the story SHOULD really be built around the music and the love , but in the world of 2011 media ,drama/dirt is an integral ingredient in any production that expects to make any money. Especially in subjects that involve the 60's when such things were not discussed in the open. 21st century media seems to thrive on exposing events that happened behind the scenes of the presented picture of individual personas and events presented at the time. This is the era of "reality" ,which in the past had a time and place ,not like now where it's all up in your face ,constantly. AKA ,TMI.

[Jimi LaLumia]

exactly;
can you imagine the Florence Ballard story playing out in the modern media/internet/twitter/tabloid world we live in?
she'd have her own cable series!!

[kenneth]

I imagine that if Berry Gordy is going to be the guiding force, it will be a somewhat whitewashed attempt at a "revue musical," spotlighting the hits with only the slimmest of plots to distract the audience from the songs and potential sales of albums.

From what I've read about "Dream Girls," the dilemma was how to market R&B-type music to a musical comedy audience more used to show tunes. I think they did a good job. I think in that kind of show the catalog songs would be kind of a distraction. I never saw it, but I heard many say that "Jersey Boys," while still using the 4 Seasons catalog, managed to touch on the highs and lows of the group with good writing as well as good singing.

[Roberta75]

I imagine that if Berry Gordy is going to be the guiding force, it will be a somewhat whitewashed attempt at a "revue musical," spotlighting the hits with only the slimmest of plots to distract the audience from the songs and potential sales of albums.

From what I've read about "Dream Girls," the dilemma was how to market R&B-type music to a musical comedy audience more used to show tunes. I think they did a good job. I think in that kind of show the catalog songs would be kind of a distraction. I never saw it, but I heard many say that "Jersey Boys," while still using the 4 Seasons catalog, managed to touch on the highs and lows of the group with good writing as well as good singing.

Jersey Boys is a fabulous musical that left me and most of the audience dancing in the aisles. The same thing could happen to Berry's Motown Musical if it is done right. I mean the Motown catalog still has us dancing and singing almost 50 years later.

[kenneth]

Jersey Boys is a fabulous musical that left me and most of the audience dancing in the aisles. The same thing could happen to Berry's Motown Musical if it is done right. I mean the Motown catalog still has us dancing and singing almost 50 years later.

Let's go and dance together!

[Roberta75]

Let's go and dance together!

You got yourself a hot date kenneth. LOL

Roberta.

[jobeterob]

Berry Gordy Eying $100 Million Broadway Musical Based On His Life + He’s Blocking Marvin Gaye Films?


Reading THIS piece on the New York Post’s website this afternoon, and learned the following: that Motown Records founder Berry Gordy Jr. is indeed developing a Broadway musical based on his life “to set the record straight on the inception of the iconic label.”

The budget? $100 million!!! WTF? I’m no theater geek, but I think I can say with some certainty that a $100 million Broadway production is unheard of. Wasn’t the troubled Spiderman musical, budgeted at about $65 million, said to be the most expensive Broadway show ever? And this dude is reportedly eying a $100 million budget for his autobiographical show?

Somebody out there enlighten me… how feasible is this?

The NY Post does quote sources who say Berry apparently has the money, with investors line up, which I find very hard to believe. But what do I know?

Berry, who’s been wanting to do this for awhile, is also reportedly working to get Diana Ross and Smokey Robinson involved, though it doesn’t say in what capacity.

My question is… With that kind of money, assuming this to be the case, wouldn’t a film make a lot more sense than a theater production, since it’ll likely reach far more people around the country, especially if his intent is to “set the record straight?”

I should mention that, some of you may recall that, last summer, I posted an entry on award-winning director, Bill T. Jones’ intentions to bring Berry Gordy’s life story to the Broadway stage as a musical. I have no idea if he’s involved in Berry Gordy’s proposed $100 million project; I’d guess so.

Also worth noting, the NY Post piece mentions Gordy’s attempts to block film productions on the life on Marvin Gaye, for fear that he [[Gordy) would be depicted negatively.

As we already know, there are/have been a number of planned Marvin Gaye projects over the years, though none of them has seen the light of day. Our last post on the matter centered on Jesse L. Martin’s frustrations with the delays in getting his version produced, saying that getting a Marvin Gaye film made at this point was “impossible,” though he didn’t give explicit reasons why. I guess we can identify one of those reasons are Gordy’s interference, since he owns the rights to most of Motown’s catalogs, including Marvin Gaye’s music.

”He [Gordy] basically owns the rights to the Marvin Gaye story… And he’s been quietly blocking the scripts and music because he doesn’t want his name dragged through the mud,” a source for the NY Post said.

tambay posted to Theater, Things That Make You Go Hmm... at 3:24 pm on May 16, 2011 | Permalink | Comments [[7)



Comments
You here all these stories about Berry ripping off artist and if you know anything about the industry have you see in print where he his major stars said he ripped them off.

In most cases you always hear the rip of stories from artist that did not make it. Also take in account how many black artist dreams and visions Berry made happen. In this day of people needing jobs all over the country, many of the artist that came out of the Motown camp is still working.

[daddyacey]

Rob , as usual you make very valid points.
"The budget? $100 million!!! WTF? I’m no theater geek, but I think I can say with some certainty that a $100 million Broadway production is unheard of. Wasn’t the troubled Spiderman musical, budgeted at about $65 million, said to be the most expensive Broadway show ever? And this dude is reportedly eying a $100 million budget for his autobiographical show?"

Yeah ,that's a lot of f...... money.[[Believe it or not , there are people out there that HAVE MONEY ,not like us folk that don't have any money!!) That price is negotiable I'm sure ,to at least half, [[50 Mill). What would it cost really ,since the music is already written and has been in world wide release for 50 years. The foundation of a Broadway musical is ....da music. All that he needs is a story ,[[already legend in Pop and Soul music history) ,to weave the music and story together. Regardless , Jobete would make money off the licence fees $$$$, and possible soundtrack ,if the show is a hit.[["I guess we can identify one of those reasons are Gordy’s interference, since he owns the rights to most of Motown’s catalogs, including Marvin Gaye’s music. )


As to Diana and Smokey being mentioned as being involved , they are two parties of at least four[[ maybe more with the lawyers ) ,that got the sweetest deals from the sale of Motown ,the other two would be Berry himself and Stevie.
Both Smokey and Diana ,have continued to this time to release new product and not dwell on the Motown era by being part of reunion projects. No Diana Ross and The Supremes reunion and Smokey will not perform with The Miracles. That is until now maybe??? Lets face it ,Smoke and Diana have they shows and CD's ,but this can be a good deal ,set up by B.G.
What B.G. is trying to do is in effect ,create the Broadway "Anti Dreamgirls Motown Musical" .

" wouldn’t a film make a lot more sense than a theater production"
The theater production comes first like Dreamgirls and then the movie .
The point that I would like to make is that ,like it or not ,B.G. ,may not own Motown or Jobete anymore ,but he continues to make money from whomever would own it and retains control of material.
I wouldn't be surprised if Mr Gordy monitored sites like SDF ,kept up with releases from Hip-O ,Motown themed blogs etc.
He knows whats going on ,and at this point what does he have to lose?

[midnightman]

I don't think Diana is even getting involved in this...

[captainjames]

Honestly and with no disrespect I am not sure what we don't know. I thinks its apparent what are lies, inflated truths and the actual "the way it was." Right now I am not sure if it would be a big draw.

[jobeterob]

I'm not totally sure anymore either. But I think if they stick to the music and to the big names, it could work. It's not going to be popular on here but there won't be room for Mary Wells, Martha and the Vandellas, the 70's Supremes, the Contours and Spinners etc., other than by use of their music as background to a story about Berry and Smokey and Diana and Stevie and Marvin, if they even go that far.

[captainjames]

I agree with you Rob, and I am still curious why now.

I'm not totally sure anymore either. But I think if they stick to the music and to the big names, it could work. It's not going to be popular on here but there won't be room for Mary Wells, Martha and the Vandellas, the 70's Supremes, the Contours and Spinners etc., other than by use of their music as background to a story about Berry and Smokey and Diana and Stevie and Marvin, if they even go that far.

[Jimi LaLumia]

this was originally announced to be part of all sorts of amazing things for Motown's 50th Anniversary...and then, there was basically nothing...go figure..

[sunshineonacloudyday]

Rather than just another ego project [[yawn), or a trip down memory lane aimed at the Baby Boomer generation, I think a Motown bio/musical would be presented best against the backdrop of the socio-political milieu of the times. Instead of divas and stars, why not highlight the CONTEXT of the time/place where this great music was made?...How did such SWEET Soul music come out of such a tumultuous period of time? The music of Motown brought us together as much--or more--than any organized civil rights group. Its place in American history shouldn't be reduced to a simple pop music phenomonea such as Susan Boyle, American Idol, etc...No comparison!

[supreme_lady]

this was originally announced to be part of all sorts of amazing things for Motown's 50th Anniversary...and then, there was basically nothing...go figure..

Motown 50th anniversary was such a major let down and disappointment for me and I am sure for a lot of devoted & loyal Motown fans, so much was promised but nothing major happened what so ever, it just such of frizzled out and when by without much acknowledgement
Motown 50 should have been as a big as celebration as the Motown 25 one, if not bigger, afterall it would have been and should have been a very special GOLDEN jubilee anniversary, by the time the next 25 years come around, most of the Motown greats would be long gone.

[jobeterob]

It is a big PR mistake for a company like Universal to put out press releases ballyhooing something like Motown 50 and then do pretty much nothing. They lose a lot of credibility with such nonsense - they come across like the "next lying politician" and no one believes anything they say after that.

Sunshine on a Cloudy Day has the right idea I think. You need the music against the backdrop of the times..........I think starting in 1962 with the Motortown Revue tour and the segregated crowds and the threats and taking it through Where Did Our Love Go and My Girl and the breakthrough of the Supremes and Temptations and using songs like Dancing in the Street and Shotgun [[but I sure wish they could use What Does it Take to Win Your Love). Maybe weaving in the story of Berry and Diana and Smokey and Stevie. Marvin's story is another "separate" story and too much of a fuckup for this kind of show.

The days of Motown 25 are gone; the audience isn't there for it anymore. It wasn't there for Motown 40 even. They've got to rekindle something first and Universal isn't the company to do it.

Maybe Andy could do it though; and a few fans. Berry needs help on this one, more than just Diana and Smokey.

[captainjames]

TO DO THIS RIGHT MR GORDY NEEDS;
Mary Wells
The Marvelettes
HDH
Diana Ross/The Supremes
Martha and The Vandellas
The Temptations
The Four Tops
Marvin Gaye/Tammi Terrell
Gladys Knight and The Pips
Stevie Wonder
Smokey Robinson and The Miracles
Michael Jackson
The Jackson 5
and maybe Ashford and Simpson
anyone else is just as important but he could touch on them.