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The Story Of Motown
Re-release of the first book ever published in America about the legendary Motown Record Company, with a new foreword by legendary music journalist Greil Marcus!
In January 1959 Berry Gordy borrowed $800 from his family and founded the Detroit-based record company that in less than a decade was to become the largest black-owned business in the United States. It also became one of the most productive and influential producers of popular music anywhere in the world, mainly by combining the best features of black and white American popular music.
Even a short list of the recording and performing talent that Gordy recruited, trained and produced for his company is Diana Ross, The Supremes, Stevie Wonder, The Temptations, The Four Tops, Smokey Robinson, Marvin Gaye and Mary Wells.
The Story of Motown is the story of Berry Gordy’s triumph over powerful, established financial interests, entrenched popular taste, bigotry and racism. By inventing a sound that appealed to whites as well as blacks, and that was immediately identifiable to an entire generation of listeners, Gordy demonstrated his genius as a producer; by breaking the exploitive practice of "cover" records, he helped black artists control their own music and share in the proceeds of hits; and by the sheer force of his will, courage, and intelligence, he demonstrated that a black man from the urban ghetto could aspire to and conquer the heights of traditional American business, including the movie business.
Unfortunately, while doing all of this, he also found new ways to exploit his talented artists and eventually lost many of them to companies that paid them more.
The Story of Motown is the story of the rise and fall of one of the most important cultural touchstones in American history
In January 1959 Berry Gordy borrowed $800 from his family and founded the Detroit-based record company that in less than a decade was to become the largest black-owned business in the United States. It also became one of the most productive and influential producers of popular music anywhere in the world, mainly by combining the best features of black and white American popular music.
Even a short list of the recording and performing talent that Gordy recruited, trained and produced for his company is Diana Ross, The Supremes, Stevie Wonder, The Temptations, The Four Tops, Smokey Robinson, Marvin Gaye and Mary Wells.
The Story of Motown is the story of Berry Gordy’s triumph over powerful, established financial interests, entrenched popular taste, bigotry and racism. By inventing a sound that appealed to whites as well as blacks, and that was immediately identifiable to an entire generation of listeners, Gordy demonstrated his genius as a producer; by breaking the exploitive practice of "cover" records, he helped black artists control their own music and share in the proceeds of hits; and by the sheer force of his will, courage, and intelligence, he demonstrated that a black man from the urban ghetto could aspire to and conquer the heights of traditional American business, including the movie business.
Unfortunately, while doing all of this, he also found new ways to exploit his talented artists and eventually lost many of them to companies that paid them more.
The Story of Motown is the story of the rise and fall of one of the most important cultural touchstones in American history
Paperback
First published January 1, 1979
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About the author
Peter Benjaminson
15 books8 followersBorn in Washington, D.C., Peter was a reporter and City-County Bureau Chief for the Detroit Free Press from 1970-76.
While at the Free Press, he wrote the book "Investigative Reporting," with Dave Anderson (Indiana University Press, 1976 and Iowa State University Press, 1990), the first how-to book in that field. It was in print for 20 years.
In 1979 he wrote "The Story of Motown," and from 1979 to 1981 he was a reporter for the Atlanta Journal and the Atlanta Journal-Constitution. He taught journalism at Binghamton University, New York University, and Columbia University from 1981-91.
In 1984, he wrote "Death in the Afternoon: America's Newspaper Giants Struggle for Survival" (Andrews, McMeel), the first and only book about the death of afternoon newspapers in America's big cities.
In 1992, he wrote "Publish Without Perishing" (National Education Association and National Writers Union); and in 1997, he wrote "Secret Police" (New York: Barricade Books).
From 1991-1994 he was the spokesman for the NYC Department of Investigation. He was Assistant Editor of the Chief Leader Newspaper in New York City from 1994-1998 and the spokesman for the NYC Correction Officers Benevolent Association from 1998-2003. In 2003 and 2009 he was the spokesman for Members for Change in NYC Teamsters Local 237.
While at the Free Press, he wrote the book "Investigative Reporting," with Dave Anderson (Indiana University Press, 1976 and Iowa State University Press, 1990), the first how-to book in that field. It was in print for 20 years.
In 1979 he wrote "The Story of Motown," and from 1979 to 1981 he was a reporter for the Atlanta Journal and the Atlanta Journal-Constitution. He taught journalism at Binghamton University, New York University, and Columbia University from 1981-91.
In 1984, he wrote "Death in the Afternoon: America's Newspaper Giants Struggle for Survival" (Andrews, McMeel), the first and only book about the death of afternoon newspapers in America's big cities.
In 1992, he wrote "Publish Without Perishing" (National Education Association and National Writers Union); and in 1997, he wrote "Secret Police" (New York: Barricade Books).
From 1991-1994 he was the spokesman for the NYC Department of Investigation. He was Assistant Editor of the Chief Leader Newspaper in New York City from 1994-1998 and the spokesman for the NYC Correction Officers Benevolent Association from 1998-2003. In 2003 and 2009 he was the spokesman for Members for Change in NYC Teamsters Local 237.
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Displaying 1 - 14 of 14 reviews
June 3, 2020
A surprisingly bloodless account of perhaps the greatest record label in music history. In his foreword to the 2018 reissue, Greil Marcus says this book proves how amazing the existence of Motown was, but the plodding prose doesn't really give you any indication of the excitement and cultural impact.
I would also say it's the story of Berry Gordy; the performers are only mentioned in relation to him, and the musicians even less than that. To its credit, it's neither hagiography nor a hit piece, but I was disappointed regardless. It's missing something -- warmth, I think?
I would also say it's the story of Berry Gordy; the performers are only mentioned in relation to him, and the musicians even less than that. To its credit, it's neither hagiography nor a hit piece, but I was disappointed regardless. It's missing something -- warmth, I think?
November 19, 2023
This was really really dry. Maybe better audio narration would have helped, but on the whole I'm not sure the narrator had much to work with.
December 31, 2022
This is truly the story of Motown, but not warts and all. Glosses over anything personal with Berry Gordy- unless it affects the business of Motown. Glosses over anything personal with the artists unless- once again, it has to do with the business of Motown. Refreshing to read something non-judgmental when it could have been. It was adequately and rightfully effusive about the impact of Motown, without needlessly gushing. Immediately makes me want to visit the Motown Museum in Detroit and also listen to some classic Motown jams. Just be aware that this story ends at 1979, when Stevie Wonder and The Commodores were Motown's rising stars and their biggest acts were Diana Ross, Smokey Robinson and Marvin Gaye.
January 16, 2021
I feel like I just got through a long Wikipedia post about Motown. Would have liked to see a lot more texture to the writing.
December 28, 2020
Interesting history but not very detailed I think this was more a cliff notes version of Motown. Will need to find some other sources to get a better feel for this record label. A few tidbits were thrown in but I am have heard quite a bit about Gordy and how he ran things that were not touched upon.
February 20, 2024
This was a great little book for anyone who is interested in learning about the overall story of Motown Records. There is a lot of information that's glossed over so I can imagine there are lots of other stories and anecdotes that could have been included, but probably are in other books about the label. Still worth a read/listen for the general fan.
August 3, 2019
This is such a thorough and well-written book. I went in thinking I knew a lot about Motown and its stars but I still managed to receive an education. A must read for any serious music lover.
September 16, 2019
I really enjoyed this book. I would recommend it to anyone who was interested in the history of Motown.
January 16, 2020
Very basic account. Does its job as a first dive into Motown. Very fast and pleasant read.
March 2, 2020
No deep dives here, but a good (albeit brief) overview of the rise and fall of Motown.
May 19, 2023
This was okay. I liked learning about the history of the record label and both the positives and negatives of Berry Gordy's work style.
March 8, 2024
Very interesting
June 25, 2024
A perfectly acceptable run through the key dates and timeline of the Motown label, though the writing is artless.
August 9, 2024
Considering the time (date) this book was written, I thought the author did a good job and the book was informative. Now by today's standards it may be considered subdued. I enjoyed the read.
Displaying 1 - 14 of 14 reviews