Motown: Music, Money, Sex, and Power (Music of the Great Lakes) [Englisch] [Gebundene Ausgabe]

Motown Records is either a) a hallowed sanctuary of soul music best left to be adored from afar, or b) an empire built on dirty dealing and abuse (both emotional and monetary) best exposed as an example of exploitation. Or maybe it is both. Gerald Posner has a hard time making that decision, despite a well researched and historically well documented survey of Berry Gordy (and family's) legendary contribution to the music business.
Posner has crafted a study of Motown that presents its founders, and stars as less-than-perfect (though most often well-likable) pioneers in business and entertainment, working together, though often butting heads with each other, in defining a company built on a legendary sound. Everyone is familiar with most of the players - The Gordy Family (this book delves into the family more so than most other Motown studies, and makes clear that Berry was the head, though not the sole talent of the family), Marvin Gaye (who is painted as a head case through much of the book), Diana Ross (Posner adds some new "legends" to this diva's conduct file, none of them pretty or flattering), Stevie Wonder (both respected and severely exploited, given his youth), Smokey robinson (probably the smartest businessman in the Motown stable), and others. Posner shoots down the legendary "mob-connection" tale, but fills his book with court records, verified statements from insiders, and previously published facts to present a company where competition between artists fueled the hit pipeline, but with severe cost to artists (Florence Ballard's story is still painful to read) and creativity.
This book is a great, enjoyable read in many parts, but it fails to capture any of the joy of Motown. You are left feeling sorry for many of the artists you have come to love over the years. For this reason, I'm glad I saw "Standing In The Shadows Of Motown" before reading "Motown: Money, Power...", for that movie is a celebration of the most important element of the Motown legacy - some of the best music ever recorded.

This book is the most intelligent and best-written opus on Motown currently available but why couldn't the distinguished and experienced Gerald Posner get his FACTS right? I can't believe prominent authors working with prominent publishers and I assume capable editors are stumbling all over the place these days. "Georgeanna Dobbins Tillman" as she's referred to is TWO people, Mr. Posner. Georgeanna Dobbins was one of the five original Marvelettes and cowrote "Please, Mr. Postman." She was replaced by Wanda Young before the group began recording for Motown. Georgeanna Tillman was a different person, also one of the original five.
Also: Gladys Horton was not replaced as lead singer in the Marvelettes by Anne Bogan. Well before Horton left Wanda Young has assumed the lead on records, though in person both ladies alternately led. Bogan came into the group as a background singer, only recording leads on two album tracks, one of which was pulled for a single. The final Marvelettes album was a Young solo project; Young never refused to move to L.A. nor did the Marvelettes ever make a decision to break up. They just found themselves in Detroit with no record company. Much worse: Martha Reeves not even being told the company had moved.Also: Lynda Laurence and Scherrie Payne were not in the Supremes the same time; Laurence sang with the Jean Terrell-led group, Payne replaced Terrell.Also: Diana Ross, Mary Wilson and Cindy Birdsong did not decide to do the "Return to Love" tour. Diana Ross got the original offer, then called Mary Wilson, who wasn't in the mood to get low pay, no profits from merchandise sales and work as an employee of Miss Ross, with all the attendant disrespect implied (when Ross complained that all Wilson would have had to do is "show up" that really inflamed Wilson. "Why, after devoting my life to keeping this group and its legacy alive would I just want to 'show up,'" she asked). Wilson did at the very last minute agree to join the tour but was told it was too late. Birdsong was not involved at all, though she didn't give up hope for such a tour. Wilson also was much insulted by the souvenir booklet for the tour, which almost no one saw, which mentions her exactly once following Birdsong's name as continuing as a Supreme after Ross left the group, just one more example of Ross's habit of rewriting history (she does not in any way acknowledge that the group started as three girls who became equally beloved by the public, not a lead singer with two backup voices in the shadows).And there's much else wrong and much missing...particularly the saga of the post-Ross Supremes, who labored working for a record company which was making darned sure the group didn't in any way overshadow Ross or equal its success with her as a member. Many acts central to the story, such as the Lewis Sisters, are missing; the saga of the one-man graphic arts department which had to create album packages of what were almost always just randomly-gathered tracks; and much else is gone. The definitive work on Motown and Ross are the books written by Randy Taraborrelli--he gets it all, gets it right and exudes a tangible love for and fascination with the company, the music and people. This new book is beautifully written and elegantly presented but it's SO frustrating to run into the errors which renders this a classy book but classy in a dumbed-down world.

I say that as a title because while reading the book I felt like I was re-reading other books that I have read before on Motown. It was almost quoted word for word in many stories which made it difficult to keep my interest. I enjoyed parts of it because I am always interested in new information that I didn't know which is what I though the book would reveal. I love finding out information on business practices and how a company became successful. The section on the royalties, sales and payments was by far the most interesting to me. Overall Gerald Posner didn't do a bad job, I just think that the story has been told so many times by so many people that it is really hard to come up with anything new or original without referencing previously published material. From a die hard Motown fan and I would dare to call myself a self proclaimed Motown historian the book also had questionable facts. However, someone else who doesn't know the history of the company as much as I do may find it good reading. Before you take it at face value I suggest you do some cross referencing and basically do your homework regarding the facts in this book.