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    The Hitsville U.S.A. Motown building, at 2648 West Grand Boulevard in Detroit, Motown's headquarters from 1959 to 1968, which became the Motown Historical Museum in 1985 In 1957, Gordy met Smokey Robinson , who at the time was a local seventeen-year-old singer fronting a vocal harmony group called the Matadors.

    • January 12, 1959; 62 years ago
    • Los Angeles, California
  2. › Hitsville:_The_Making_of_MotownFulwell 73 - Wikipedia

    Fulwell 73 is a television, film and music production company based in London. It was founded in 2005 by brothers Gabe and Ben Turner, Leo Pearlman, and Ben Winston . [2] Fulwell 73 operates across a wide range of genres and across all media platforms; theatrical, broadcast and digital.

    • 2005; 16 years ago
    • Motion pictures and television production
    • History
    • Motown Sound
    • Artist Development
    • Motown Subsidiary Labels
    • British (Pre-Tamla Motown) Labels
    • See Also
    • References
    • External Links

    Beginnings of Motown

    Berry Gordy’s in­ter­est in the record busi­ness began when he opened a record store called the 3D Record Mart, a shop where he hoped to "ed­u­cate cus­tomers about the beauty of jazz," in De­troit, Michi­gan. (The Gordys were an en­tre­pre­neur­ial fam­ily.) Al­though the shop did not last very long, Gordy’s in­ter­est in the music busi­ness did not fade. He fre­quented De­troit’s down­town night­clubs, and in the Flame Show Bar he met bar man­ager Al Green (not the famed singer), who owned...

    West Grand Boulevard

    Also in 1959, Gordy pur­chased the prop­erty that would be­come Mo­town's Hitsville U.S.A.stu­dio. The pho­tog­ra­phy stu­dio lo­cated in the back of the prop­erty was mod­i­fied into a small record­ing stu­dio, and the Gordys moved into the sec­ond-floor liv­ing quar­ters. Within seven years, Mo­town would oc­cupy seven ad­di­tional neigh­bor­ing houses: 1. Hitsville U.S.A., 1959 – (ground floor) administrative office, tape library, control room, Studio A; (upper floor) Gordy living quarters...

    Detroit: 1959–1972

    Early Tamla/Mo­town artists in­cluded Mable John, Eddie Hol­land and Mary Wells. "Shop Around", the Mir­a­cles' first num­ber 1 R&B hit, peaked at num­ber two on the Bill­board Hot 100 in 1960. It was Tamla's first mil­lion-sell­ing record. On April 14, 1960, Mo­town and Tamla Records merged into a new com­pany called Mo­town Record Cor­po­ra­tion. A year later, the Mar­velettes scored Tamla's first US num­ber-one pop hit, "Please Mr. Post­man". By the mid-1960s, the com­pany, with the help o...

    Mo­town spe­cial­ized in a type of soul music it re­ferred to with the trade­mark "The Mo­town Sound". Crafted with an ear to­wards pop ap­peal, the Mo­town Sound typ­i­cally used tam­bourines to ac­cent the back beat, promi­nent and often melodic elec­tric bass-gui­tar lines, dis­tinc­tive melodic and chord struc­tures, and a call-and-re­sponse singing style that orig­i­nated in gospel music. In 1971, Jon Lan­dau wrote in Rolling Stone that the sound con­sisted of songs with sim­ple struc­tures but so­phis­ti­cated melodies, along with a four-beat drum pat­tern, reg­u­lar use of horns and strings and "a tre­bly style of mix­ing that re­lied heav­ily on elec­tronic lim­it­ing and equal­iz­ing (boost­ing the high range fre­quen­cies) to give the over­all prod­uct a dis­tinc­tive sound, par­tic­u­larly ef­fec­tive for broad­cast over AM radio". Pop pro­duc­tion tech­niques such as the use of or­ches­tral string sec­tions, charted horn sec­tions, and care­fully arranged back­ground vo­...

    Artist de­vel­op­ment was a major part of Mo­town's op­er­a­tions in­sti­tuted by Berry Gordy. The acts on the Mo­town label were fas­tid­i­ously groomed, dressed and chore­o­graphed for live per­for­mances. Mo­town artists were ad­vised that their break­through into the white pop­u­lar music mar­ket made them am­bas­sadors for other African-Amer­i­can artists seek­ing broad mar­ket ac­cep­tance, and that they should think, act, walk and talk like roy­alty, so as to alter the less-than-dig­ni­fied image com­monly held of black mu­si­cians by white Amer­i­cans in that era. Given that many of the tal­ented young artists had been raised in hous­ing pro­jects and lacked the nec­es­sary so­cial and dress ex­pe­ri­ence, this Mo­town de­part­ment was not only nec­es­sary, it cre­ated an el­e­gant style of pre­sen­ta­tion long as­so­ci­ated with the label. The artist de­vel­op­ment de­part­ment spe­cial­ized pri­mar­ily in work­ing with younger, less-ex­pe­ri­enced acts; ex­pe­ri­enced per­...

    In order to avoid ac­cu­sa­tions of pay­olashould DJs play too many records from the orig­i­nal Tamla label, Gordy formed Mo­town Records as a sec­ond label in 1960. The two la­bels fea­tured the same writ­ers, pro­duc­ers and artists. Many more sub­sidiary la­bels were es­tab­lished later under the um­brella of the Mo­town par­ent com­pany, in­clud­ing Gordy Records, Soul Records and VIP Records; in re­al­ity the Mo­town Record Cor­po­ra­tion con­trolled all of these la­bels. Most of the dis­tinc­tions be­tween Mo­town la­bels were largely ar­bi­trary, with the same writ­ers, pro­duc­ers and mu­si­cians work­ing on all the major sub­sidiaries, and artists were often shuf­fled be­tween la­bels for in­ter­nal mar­ket­ing rea­sons. All of these records are usu­ally con­sid­ered to be "Mo­town" records, re­gard­less of whether they ac­tu­ally ap­peared on the Mo­town Records label it­self.

    Print Sources

    1. Flory, Andrew (2017). I Hear a Symphony: Motown and Crossover R&B. University of Michigan Press. ISBN 978-0-472-12287-5.

  3. Aug 23, 2019 · Watch Hitsville: The Making of Motown all the way to the end. Not because there’s a nifty tag scene, Marvel-style. You’ll just want to stare in awe at the song credits. We’d be here all day ...

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  5. Aug 14, 2019 · Berry Gordy III (known professionally as Berry Gordy Jr., born November 28, 1929) is an American record executive, record producer, songwriter, film producer and television producer. He is best known as the founder of the Motown record label and its subsidiaries, which was the highest-earning African-American business for decades.

  6. Apr 10, 2017 · **Some version of this revue called The Tamla Motown show made its way to the UK in 1965. But as this article makes clear, “the Motortown tour was a mixed critical success – and a complete commercial disaster.” A little too ambitious and too expensive. Sources: The Story of Motown by Peter Benjaminson; Wikipedia.

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