Diana Ross and I are still 'best of friends', says Mr Motown | Irish Examiner
Label founder also describes disagreement with Marvin Gaye over 'What's Goin' On' Berry Gordy was “madly in love” with Diana Ross, the Motown founder a powerful connection with Ross during a Motown show in Paris. stars out of Marvin Gaye, Little Stevie Wonder, the Miracles, and the aptly The Supremes' lead singer Diana Ross was Gordy's overwhelming that cost him his relationship with Ross and ultimately diminished his empire. Gordy and Ross had a romantic relationship that started while she was in the Like some other Motown artists, Marvin Gaye was resentful of Diana Ross and.
Musically I may have overplayed my hand.
I was too cavalier. I should have done everything in the world to make Diana comfortable. After all, she was making movies, recording two or three albums a year, starring in her own TV specials, and about to have a baby. I could have been a little more understanding.
Diana Ross and I are still 'best of friends', says Mr Motown
But I went the other way. It's hard for me to deal with prima donnas. We were like two spoiled kids going after the same cookie Since the album was not under Gaye's Tamla contract where Gaye had become the first Motown-established artist to have full autonomous creative control, the album was instead issued under the Motown imprint, which Ross recorded with.
Motown held the album from being released, as Ross and Gaye had solo albums ready for release. Janis first received public notice when she was featured with Marvin on a November issue of Ebony. It was alleged Gaye married her due to concurrent tax issues,   but Janis would contend they married after surviving a car accident.
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Janis later stated Gaye sometimes coerced her into having relationships with other men only to spite her. Author Michael Eric Dyson stated that their relationship in inspiration to the creation of I Want You was "nearly palpable in the sensual textures that are the album's aural and lyrical signature".
Janis later admitted she went "back and forth across the ocean, around and around, just chasing this relationship that never worked, but I wasn't willing to give up and neither was he. Other relationships[ edit ] During the s, it was often debated that Gaye dated his female singing companions such as Mary Wells and Kim Weston; Wells denied any romantic ties to Gaye and Weston later stated their relationship was strictly platonic.
Gaye was deeply devastated following Terrell's collapse at a concert in Virginia where they were performing in Terrell's later diagnosis and death from a brain tumor would help to send Gaye to a depression.
Gaye often blamed himself for Terrell's illness and death despite the fact that Terrell may have developed her tumor since her early childhood. Gaye was also involved with British socialite Lady Edith Foxwell during the early s. At one point, according to author Bernard J. TaylorFoxwell explained that her and Gaye's relationship became serious enough to consider marriage by Marvin was first introduced to cocaine in the early s. The singer was also a user of PCP.
Personal life of Marvin Gaye
His addiction led to increasing paranoia and depression. During the promotion of his Sexual Healing Tour, he wore a bullet-proof vest and brought along bodyguards with loaded pistols because he feared for his life as he was convinced that someone was plotting to kill him.
For her part, Ross, he suggests, was prepared to sleep with whomever would further her career - first Smokey Robinson, himself an incorrigible womaniser, then the producer and songwriter Brian Holland - until she landed the boss himself, a man whom Marvin Gaye once described as "the horniest man in Detroit".
Libido notwithstanding, Gordy was a type not seen in music today - "a record man", who wrote, produced, cut deals, built careers and assembled a dazzling array of young talent to feed his production line of hits.
He dreamed of the Supremes - and more particularly Ross - moving out of the ghetto of black music, and into the popular that is to say white marketplace, to which end he had them producing abominations like A Bit of Liverpool Gerry and the Pacemakers' covers anyone? The scale of Gordy's accomplishment becomes more apparent when you learn that when the Supremes first appeared on the Ed Sullivan Show inthe local Detroit newspaper declined to give the hometown stars a write-up on the grounds that "We can't put black people on the cover of a TV magazine".
Interestingly, Shelley Berger, who was in charge of booking out Motown acts, says he never fielded a single offer for the Supremes from a black promoter, and by "it was understood the Supremes' audience was white". Gordy liked to depict Motown as a "family", but Ribowsky suggests it was a deeply dysfunctional one: Could he have been able to take advantage of older, wiser people?
You figure it out.