The Lost Supreme

[BobbyC]

I am now reading The Lost Supreme by Peter Benjaminson. Have you all read it? I'm finding it pretty interesting but I find the author's fawning descriptions of Flo a bit distracting. He said Flo completely drowned out the other girls on their first record but that's not what I hear at all. I've heard Mary overpower Flo in the background many times. Is this Peter guy just a big Flo fan? One thing I found hilarious, that I'd never heard before, was that Diana took a vocal class in high school and quit it when she learned she'd be getting a D. Hee hee! I don't know if that's true, but God I hope it is.

If any of you want to read this book online, I can provide a link. Let me know.

[Ollie9]

I am now reading The Lost Supreme by Peter Benjaminson. Have you all read it? I'm finding it pretty interesting but I find the author's fawning descriptions of Flo a bit distracting. He said Flo completely drowned out the other girls on their first record but that's not what I hear at all. I've heard Mary overpower Flo in the background many times. Is this Peter guy just a big Flo fan? One thing I found hilarious, that I'd never heard before, was that Diana took a vocal class in high school and quit it when she learned she'd be getting a D. Hee hee! I don't know if that's true, but God I hope it is.

If any of you want to read this book online, I can provide a link. Let me know.

I have indeed read it Bobby. It’s a ‘tad pro Flo and anti Diana, but it does contain some interesting perspectives from Flo’s point of view.

[BobbyC]

That's how I felt as well.

[sup_fan]

i have it and have read parts of it. i take all of the books with a grain of salt and they each have their own POV. i did appreciate some of the lesser known stories and photos.

i think the only way to know the whole story is to read all of the books and find ways to merge them into 1.

[BobbyC]

oh god. Peter just said that Buttered Popcorn wasn't a hit because Motown didn't promote it. Uhhhh no. The song sucked, that's why it wasn't a hit.

[BobbyC]

Now Peter has said that Motown didn't even release poor Flo's other lead, Save a Star. He makes it sound like there was some sort of conspiracy against her, which is ridiculous in light of the fact that all kinds of Diana leads were not released. This writer is not very fair or balanced.

[BobbyC]

Okay he's lost me now. He said that in the sixties nobody wanted to work with black artists. That is just a big fat lie. Nat Kind Cole, The Shirelles, Fats Domino, Little Richard, Chuck Berry, The Clovers, Ruth Browne, Sam Cook, etc--in fact, if you look up the top 50's pop groups, you will see that nearly half are black artists.

[BayouMotownMan]

Don't agree with that Bobby, BP was ahead of its time. It wasn't that Motown didn't promote it, they had little money for promotion. They depended on large radio stations in Detroit and Chicago during this time to break a record and they just weren't into it.

[BobbyC]

I'm not into novelty records.

[BobbyC]

Hee hee! Florence says the Marvelettes couldn't sing!!!

[floyjoy678]

While the book was kinda all over the place, I do feel Florence had the most honest and balanced outlook when it comes to Supremes autobiographies.

[BobbyC]

I agree. I love this book when it's about what Florence actually said, rather than how others, like the author, perceived what she said. Anything in quotation marks, I made sure to read carefully. It's amazing how frank she is. I had no idea that during one show, DR's mic went out, and instead of singing with Mary on Mary's mic until the problem was fixed, she stormed up to Mary and snatched the microphone from her. Mary snatched it back, and it went back and forth while Florence just stared in horror. I'll tell you this book really makes me see DR a little differently--but still, if not for these crazy stories, nobody would be talking about the Supremes in 2022.

[captainjames]

LOL, yes she did but the Marvelettes also said Florence could not dance or something to the fact that she could not keep up with their routine.

[BobbyC]

Yeah she did have trouble doing the steps. "Endearingly awkward"

[Ollie9]

It's amazing how frank she is. I had no idea that during one show, DR's mic went out, and instead of singing with Mary on Mary's mic until the problem was fixed, she stormed up to Mary and snatched the microphone from her. Mary snatched it back, and it went back and forth while Florence just stared in horror. I'll tell you this book really makes me see DR a little differently.

Makes the The Motown 25 reunion appear a sisterly love fest lol. Things could have gone a lot worse.

[floyjoy678]

Makes the The Motown 25 reunion appear a sisterly love fest lol. Things could have gone a lot worse.

I remember the first time I read that story I thought "Wow here's a foreshadow of Motown 25". The story definitely made me laugh and then thinking of what was probably the look on Florence's face made me laugh even more.

[Ollie9]

I remember the first time I read that story I thought "Wow here's a foreshadow of Motown 25". The story definitely made me laugh and then thinking of what was probably the look on Florence's face made me laugh even more.

I can well imagine floy lol.

[marybrewster]

How many books have been written about Flo?

Forever Faithful - Randall Wilson
The Lost Supreme - Peter Benjamin
The True Story of FB - Precious Ballard
Supreme Exit - Nicole Chapman
[[to an extent) All That Glittered - Tony Turner

[TheMotownManiac]

I am now reading The Lost Supreme by Peter Benjaminson. Have you all read it? I'm finding it pretty interesting but I find the author's fawning descriptions of Flo a bit distracting. He said Flo completely drowned out the other girls on their first record but that's not what I hear at all. I've heard Mary overpower Flo in the background many times. Is this Peter guy just a big Flo fan? One thing I found hilarious, that I'd never heard before, was that Diana took a vocal class in high school and quit it when she learned she'd be getting a D. Hee hee! I don't know if that's true, but God I hope it is.

If any of you want to read this book online, I can provide a link. Let me know.

if the Diana getting a D story makes you “hee. Hee!” The book has, indeed, found its intended audience. I don’t remember a lot about this book except that it seemed like a lot of BS interspersed with some truths about Flo. When I read things that I know are not true in a book for porting to be providing information on that very subject, it makes me look askew at the rest of the information. I think this guy wanted to make some money off of a book, took what information he had that was true and augmented it a lot With things that sounded juicy.

[TheMotownManiac]

oh god. Peter just said that Buttered Popcorn wasn't a hit because Motown didn't promote it. Uhhhh no. The song sucked, that's why it wasn't a hit.

probably 99% of the singles released did not hit, but I assure you a lot of them received a promotion. Promotion doesn’t mean anything except that the record company did what it could, It’s foolish to think that the public is going to buy a record they don’t like because the record company promoted it. This is a childish excuse recording artists with a failed record make to rubes to excuse its failure.

[TheMotownManiac]

I agree. I love this book when it's about what Florence actually said, rather than how others, like the author, perceived what she said. Anything in quotation marks, I made sure to read carefully. It's amazing how frank she is. I had no idea that during one show, DR's mic went out, and instead of singing with Mary on Mary's mic until the problem was fixed, she stormed up to Mary and snatched the microphone from her. Mary snatched it back, and it went back and forth while Florence just stared in horror. I'll tell you this book really makes me see DR a little differently--but still, if not for these crazy stories, nobody would be talking about the Supremes in 2022.

Diana did absolutely the right thing. This isn’t two children fighting over a doll, this is a professional performance in front of a paying audience who paid top dollar to see it show. In order to provide the best show in this unfortunate circumstance, it only made sense for Diana to take one of the mics for herself and let the two background singers share a mic. It’s crazy to suggest to Diana and Mary who are rarely singing the same thing, should share a mic with one singing lead and one singing background in the same mic. I can’t imagine Mary being so obtuse as to not see this, but I am sure she caught hell after the show about how to handle this situation.

[Ollie9]

Diana did absolutely the right thing. This isn’t two children fighting over a doll, this is a professional performance in front of a paying audience who paid top dollar to see it show. In order to provide the best show in this unfortunate circumstance, it only made sense for Diana to take one of the mics for herself and let the two background singers share a mic. It’s crazy to suggest to Diana and Mary who are rarely singing the same thing, should share a mic with one singing lead and one singing background in the same mic. I can’t imagine Mary being so obtuse as to not see this, but I am sure she caught hell after the show about how to handle this situation.

There are ways to signal you need a mic without snatching it out of the hands of a fellow performer. The snatching being the contested action that most likely angered Mary. It’s not that uncommon an occurrence, but is usually dealt with in a more professional way. I’m quite sure the audience would have understood.
It’s all about treating others with respect, something Diana has often seemed to struggle with.
I partially agree about the PJ book on Flo. No mention of Diana’s admirable work ethic or unique, commercial voice.

[BobbyC]

"the right thing?" That is so insane I barely know what to say.

[marybrewster]

There's also a thing called TACT.

[BobbyC]

Maryb, I was at the Labelle reunion show at the Apollo theater in 2008, and during that show, Patti suddenly looked out into the audience and asked us if we could hear her? Turns out her microphone went dead and it took her a few minutes to realize--mostly because the crowd was so loud you could barely hear anything over the top of it. Patti did a little huddle with Nona and Sarah, and Nona graciously offered Patti her mic. Patti thanked her and went on with the show, with Nona singing on Sarah's mic, until all the mics went dead and they had to sing acapella. That's how you handle a stressful situation. I know the audience would have turned on Patti had she just decided to snatch the mic away from either lady. But Patti would never do that.

[BobbyC]

Another thing I learned from this book, is that Mary told Flo she could stay at Mary's old house in Detroit "as long as she needed." That was nice.

[floyjoy678]

Flo does say nice things about Diana at the end though from what I remember. She says something like "She's back to being the old Diane again" but its in a good context.

[Boogiedown]

Another thing I learned from this book, is that Mary told Flo she could stay at Mary's old house in Detroit "as long as she needed." That was nice.

Come on Bobby , we count on you for dirt from your readings, not niceties

[kenneth]

Benjaminson is a decent writer, to be sure, but I think his early book about Motown is better than the Mary Wells biography of his that I read. I haven't read "The Lost Supreme," but I found the Wells book good as to fact gathering, but I didn't feel like I knew Wells better after reading, something which to me marks a really well written biography [[or autobiography). But still it's good that he documented the life of this early Motown superstar. Certainly it fills the need to have information about her for now and for future generations.

I think his book also came out around the time as the Hip-O set of primarily unreleased recordings, so it was nice that Wells was in the news at the time for that as well.

I guess like a lot of us, I have heard and read so much about Florence, I haven't sought out her biography. With "Dreamgirls," "Dream Girl," and so much else out there, Florence's story seems to be "baked in" the collective mindset, for the most part, IMHO.

[RanRan79]

probably 99% of the singles released did not hit, but I assure you a lot of them received a promotion. Promotion doesn’t mean anything except that the record company did what it could, It’s foolish to think that the public is going to buy a record they don’t like because the record company promoted it. This is a childish excuse recording artists with a failed record make to rubes to excuse its failure.

But is that the argument? I don't think so. If a record isn't promoted and the public doesn't hear it, then what? There are tons of excellent songs that no one barely hears, while some subpar crap might make it all the way to #1. Promotion has it's place in the business. Whole departments at record labels are devoted to it.

"Popcorn" was a regional hit. Detroit played it a lot, it got airplay in Chicago and Gary, Indiana, and I believe someone said Philly was playing it too. Whether Motown had the capabilities to promote the record beyond what it was getting, I don't know. This was 1961 and as magical as it Hitsville may have seemed at the time, they were still in this space of it can only get bigger and better, or it's about to crash and burn.

Another aspect of promotion is performing, which actually was a huge arm of promotion for acts at the time. "Popcorn" was originally released in July, pulled, re-recorded and re-released in August. By September, Mary and Diana [[if not also Florence) were back in school. When did the girls have time to hit the road to perform the song? The young ladies didn't hit the charts until their singles they could promote from the road were released, "Your Heart" and "Right Way", the former released as the girls were graduating and the latter when the ladies were on the Motortown Revue later that year.

Maybe "Popcorn" wouldn't have done any better than it did with more promotion. Maybe the song's fortunes would have been different had it been released right before school was out for the summer of 61, or if it was held back until school was out for 62. Nobody knows. But the idea that a record sinks or swims without any help never makes sense to me when it's bounded about in this forum.

The song's regional success appears to be evidence that there may have been something there with more push. Interesting note: when the Supremes are mentioned in a 1962 Jet Magazine article about Motown [[I believe this might be the first mainstream, big time publication to mention the group) they are said to be the Supremes, "famous for 'Buttered Popcorn'", even though they had one charted single at that point and "Popcorn" wasn't it. Lol

[Boogiedown]

It’d have been regrettable had this silly novelty record introduced The Supremes to the world. Imagine them performing this on the popular TV shows then trying to be taken seriously.

[BobbyC]

I agree, Boogie. It was fortunate that they waited to hit with Where Did Our Love Go--well not that they exactly waited. They were forced to wait.

I am shocked that our beloved Bayoumotownman thinks Popcorn was a good record. I usually agree with his take on things.
And if I must say something negative about Flo's recollections of her career, I have to say I would have been incredibly frustrated with Flo back in the day. She said she didn't know who paid for her house [[she thought it was Motown but it wasn't), she didn't know who got her royalties once she left Motown but left out the part she signed them away, she never seemed to know where her money was or who was leeching off it, and on and on. You have to understand these things but it just seemed like she was a defeatist. Everything happened TO her, not because of her.

And yes, in the end she was okay with Diana Ross , or at least that's what she said. I believe her. I couldn't imagine holding a grudge against a high school friend! And Mary tried to help Flo the best she could, including letting her move in to her old house with Mary's mother, but again, Florence irrationally only stayed three weeks. She should have stayed.

[Spreadinglove21]

BobbyC, speaking of Benjaminson and his book on Florence, wait until you read about the "attempt" to make a movie based on that book. What a mess that was. Made for a lively thread or three here if you care to search the archives.

https://www.rollingstone.com/music/m...ood-con-75016/

[BobbyC]

Very cool! Thanks!!

[danman869]

It’d have been regrettable had this silly novelty record introduced The Supremes to the world. Imagine them performing this on the popular TV shows then trying to be taken seriously.

Gee, they sure didn't have a problem expecting to still be taken seriously when they performed the silly novelty record, "No Matter What Sign You Are" on Ed Sullivan. "Capricorn--OW!," indeed.

[captainjames]

It was the late fifties and early sixties and I don't think Buttered Popcorn was too off base than "Lollipop", "Green Onions", "Ginger Bread", "Gravy", or "Candy and Cake". Popcorn and going to the movies was a big thing back then so that may be what pushed the button on getting something out there back then. I think "I Want A Guy" was issued first and it tanked so perhaps the thought was lets see if we can get a hit off Flo. To be honest it didn't matter if "Buttered Popcorn" was a hit or not because Berry Gordy was already going to use Diana as his vehicle to push him and his company to the history books. Raynoma Mayberry Liles Gordy Singleton mentioned in her book "Berry, Motown and Me" that it was Diana he was only interested in hiring but she convinced him not to break the group up even before they signed with Motown. So, as far as singing "Buttered Popcorn" or any other song made famous like this in the fifties or early sixties is no different to me. Oh wow now I am singing "Lollipop" and "Do The Mashed Potato" and can't get them out my head.

[RanRan79]

It was the late fifties and early sixties and I don't think Buttered Popcorn was too off base than "Lollipop", "Green Onions", "Ginger Bread", "Gravy", or "Candy and Cake". Popcorn and going to the movies was a big thing back then so that may be what pushed the button on getting something out there back then. I think "I Want A Guy" was issued first and it tanked so perhaps the thought was lets see if we can get a hit off Flo. To be honest it didn't matter if "Buttered Popcorn" was a hit or not because Berry Gordy was already going to use Diana as his vehicle to push him and his company to the history books. Raynoma Mayberry Liles Gordy Singleton mentioned in her book "Berry, Motown and Me" that it was Diana he was only interested in hiring but she convinced him not to break the group up even before they signed with Motown. So, as far as singing "Buttered Popcorn" or any other song made famous like this in the fifties or early sixties is no different to me. Oh wow now I am singing "Lollipop" and "Do The Mashed Potato" and can't get them out my head.

Yes, novelty records and silly little ditties were the in thing at that point. "Buttered Popcorn" wasn't anymore silly than singing about pouring gravy on mashed potatoes.

I haven't read Raynoma's book since the 90s and I don't recall that particular anecdote. It doesn't make sense to me for two reasons:

1) If Berry truly only wanted one of the bunch, nothing that we know about him says that he wouldn't have just gone on and made Diana an offer and sent the other girls on their way, no matter what Raynoma said.

2) More importantly, if he only was interested in Diana, why bother cutting sides on the other girls at all? He could've named Diana the lead singer from the get go. Instead, he produced songs on both Flo and Mary, and greenlit the second single with Flo on lead. I suspect Ray's story could have been played up for dramatic purposes.

None of that is to say that Diana wasn't his favorite voice in the group. By all accounts it was. I don't believe he knew as early as 1960 or 61 or 62 or 63 that he wanted to use Diana in the way he would eventually do so. But had Gordy really thought Diana was the gem and the others were throwaways, he would have gladly tossed them aside and taken her on. After all, why pay four singers when you can pay just one, when all you want is the one?

I believe Gordy saw what Milton Jenkins, Richard Morris and Robert Bateman saw: that as a whole, the group was special. For Gordy, Diana just stood out.

[reese]

Yes, novelty records and silly little ditties were the in thing at that point. "Buttered Popcorn" wasn't anymore silly than singing about pouring gravy on mashed potatoes.

I haven't read Raynoma's book since the 90s and I don't recall that particular anecdote. It doesn't make sense to me for two reasons:

1) If Berry truly only wanted one of the bunch, nothing that we know about him says that he wouldn't have just gone on and made Diana an offer and sent the other girls on their way, no matter what Raynoma said.

2) More importantly, if he only was interested in Diana, why bother cutting sides on the other girls at all? He could've named Diana the lead singer from the get go. Instead, he produced songs on both Flo and Mary, and greenlit the second single with Flo on lead. I suspect Ray's story could have been played up for dramatic purposes.

None of that is to say that Diana wasn't his favorite voice in the group. By all accounts it was. I don't believe he knew as early as 1960 or 61 or 62 or 63 that he wanted to use Diana in the way he would eventually do so. But had Gordy really thought Diana was the gem and the others were throwaways, he would have gladly tossed them aside and taken her on. After all, why pay four singers when you can pay just one, when all you want is the one?

I believe Gordy saw what Milton Jenkins, Richard Morris and Robert Bateman saw: that as a whole, the group was special. For Gordy, Diana just stood out.

I recall reading that Berry told Mable John that he was going to sign "that kid Ross" to the label. When she said, "What about the others?," Berry responded with "Oh yeah, them, too" Then Mable supposedly said "now don't go breaking up no group, Berry."

[Boogiedown]

No doubt their show attendees would’ve been filled to the rafters with eager fans wanting to hear them sing about eating gooey sticky greasy popcorn for breakfast lunch and dinner.

[BobbyC]

Spreading--I read that article. INSANE.

[captainjames]

I recall reading that Berry told Mable John that he was going to sign "that kid Ross" to the label. When she said, "What about the others?," Berry responded with "Oh yeah, them, too" Then Mable supposedly said "now don't go breaking up no group, Berry."

Its true and the story about Ray is true as well. Perhaps when Motown finally lost Mary Wells is what pushed him either further. He was not wrong in seeing the potential in Ross and as far as paying them, Berry just decided to split the cash evenly three ways. So instead of giving Diana the entire $1,000 or whatever the amount was all three got the same or as Motown said we will handle it for you. Berry was not dumb.....slick maybe but not dumb.

[RanRan79]

Its true and the story about Ray is true as well. Perhaps when Motown finally lost Mary Wells is what pushed him either further. He was not wrong in seeing the potential in Ross and as far as paying them, Berry just decided to split the cash evenly three ways. So instead of giving Diana the entire $1,000 or whatever the amount was all three got the same or as Motown said we will handle it for you. Berry was not dumb.....slick maybe but not dumb.

Good point about the money.

I don't believe Ray's story, but the only people who know if it's actually true would be those who were there, allegedly.

[sup_fan]

i have a hunch that Ray's and Mable's stories are influenced by what eventually played out. this isn't to question or doubt diana's energy and spark, even back in 1960. but she was very much a diamond in the rough. Berry and smokey could see something there but she was still a kid. so even if he had identified her at THE one, even grooming and training wouldn't have made her ready for supper clubs. she was barely 16 and wouldn't have been legally able to play those.

i think berry, smokey, ray and all the others were impressed with her insane drive and work ethic [[since it is SO different from a typical teenager POV), her ability to invest 110% into every performance, her weird voice lol. but i don't think there was ever any real interest in totally splitting her off as a solo artist in 1960.

[bradsupremes]

i have a hunch that Ray's and Mable's stories are influenced by what eventually played out. this isn't to question or doubt diana's energy and spark, even back in 1960. but she was very much a diamond in the rough. Berry and smokey could see something there but she was still a kid. so even if he had identified her at THE one, even grooming and training wouldn't have made her ready for supper clubs. she was barely 16 and wouldn't have been legally able to play those.

i think berry, smokey, ray and all the others were impressed with her insane drive and work ethic [[since it is SO different from a typical teenager POV), her ability to invest 110% into every performance, her weird voice lol. but i don't think there was ever any real interest in totally splitting her off as a solo artist in 1960.

I don't think it was until Mary Wells leaving the label that Berry had the vision of what he wanted with Diana and a plan was set out. He saw something similar in Freda Payne - first trying to sign her when she was young and then again in 1965. She was a potential vehicle for his vision. But when that didn't work out I think he went all in on Diana and the rest is history. Like others, I think he saw something special in her and that she could be something but to throw her out there on her own at 16 years old would have flopped for them all big time. Diana needed a group atmosphere to hone her craft and polish. Had she been solo from the start she would have never been what we know her as now.

[Boogiedown]

BobbyC, speaking of Benjaminson and his book on Florence, wait until you read about the "attempt" to make a movie based on that book. What a mess that was. Made for a lively thread or three here if you care to search the archives.

https://www.rollingstone.com/music/m...ood-con-75016/

this saga IS what a movie needs to be made around !!!

[sup_fan]

I don't think it was until Mary Wells leaving the label that Berry had the vision of what he wanted with Diana and a plan was set out. He saw something similar in Freda Payne - first trying to sign her when she was young and then again in 1965. She was a potential vehicle for his vision. But when that didn't work out I think he went all in on Diana and the rest is history. Like others, I think he saw something special in her and that she could be something but to throw her out there on her own at 16 years old would have flopped for them all big time. Diana needed a group atmosphere to hone her craft and polish. Had she been solo from the start she would have never been what we know her as now.

i've always wondered what would have happened had Mary Wells stayed with Motown. i like her recordings and the proposed Second Time Around album would have been enjoyable. but it doesn't hold a candle to what Diana was later able to do. even on early recordings like Makes No Difference Now or Funny How Time Slips Away or Breathtaking Guy, Diana was showing real talent with interpreting lyrics and line. I can't imagine Mary's limited vocals ever being able to hold center stage on a lush and dynamic package like the Sing R&H set.

still there was something intriguing with Mary's voice. it would be great to hear her in a real live setting. not the shlock of the live album that was put out or the glimpses of the reviews at the Apollo. but having her lead up a supper club engagement.

[reese]

...still there was something intriguing with Mary's voice. it would be great to hear her in a real live setting. not the shlock of the live album that was put out or the glimpses of the reviews at the Apollo. but having her lead up a supper club engagement.

I think the closest you will get to that is her Atco lp THE TWO SIDES OF MARY WELLS on which she does some standards.

I also love her version of AND I LOVE HIM from the LOVE SONGS TO THE BEATLES album.

[kenneth]

I think the closest you will get to that is her Atco lp THE TWO SIDES OF MARY WELLS on which she does some standards.

I also love her version of AND I LOVE HIM from the LOVE SONGS TO THE BEATLES album.

The duet album with Gaye also contains mostly standards with the notable exception of the two-sided hit single.

Didn’t the Lost and Found set also contain a number of standards? Maybe I’m thinking of a different artist.

[sup_fan]

The duet album with Gaye also contains mostly standards with the notable exception of the two-sided hit single.

Didn’t the Lost and Found set also contain a number of standards? Maybe I’m thinking of a different artist.

yes i believe she recorded a bunch of tracks for an album called Second Time Around. there seems to be two sets of recordings. some older ones with the Tops on backing vocals and then some later ones with the Andantes behind her. a few of them appear on Sings My Guy and on Vintage Stock. i think the later songs with the As are the best as the Tops vocals are a bit too prominent. there's a lot going on and so it sometimes sort of swamps Mary's vocals. had she stayed with Motown, it's possible they would have released this to help build up her appeal for bigger clubs and to be seen more of as a performer versus a teen sensation

[TheMotownManiac]

There are ways to signal you need a mic without snatching it out of the hands of a fellow performer. The snatching being the contested action that most likely angered Mary. It’s not that uncommon an occurrence, but is usually dealt with in a more professional way. I’m quite sure the audience would have understood.
It’s all about treating others with respect, something Diana has often seemed to struggle with.
I partially agree about the PJ book on Flo. No mention of Diana’s admirable work ethic or unique, commercial voice.

she could have written her a letter asking to borrow the microphone while the music was playing and the audience was not hearing the lead singer sing, but she was probably trying to do what was best for the audience which is to let them hear the lead singer, not stand on ceremony. However, due to the fact that Mary has a known, proven history of making things up and exaggerating and doing her best to spin things negatively towards Miss Ross, snatched might be a gigantic exaggeration. Like the $20 million for RTL, for example. Another favorite of mine who is when Mary, Who for some reason is comparing the success of JMC vs Diana, [[why, I don’t know…but I do suspect) leads her readers to believe that diana solo career was not doing well and writes that Diana only had one top 10 record in the three After ain’t no Mountain high enough. She leaves out the fact that that One top 10 record what is the number one hit touch me in the morning, and that she was the number one female pop vocalist and received a billboard award for that in 1970, and in that same period of time, had a number one and number four pop album, which charged number two and number one respectively on the R&B chart. and her duet album with Marvin Gaye also released during that period outsold any album the Supremes did without Diana. Of course there was no need to spin that crap at all because I don’t think anyone cared who was doing better the fact was that some people were enjoying all the music some people were enjoying some of the music and what else matters? But it mattered to her evidently a great deal. Enough to misinform the public. For that reason alone I take snatched with a grain of salt and still think it was the right thing to do. The microphones are not possessions. They are a means for getting vocals out to the audience. Mary should’ve been happy That Diana thought quickly enough to take her microphone. To accuse her of Any impropriety in that unexpected situation,in my opinion is bratty and childish Losing sight of the big picture which is the performance.