This is the story of Tamla Mowtown Records, the Detroit hit factory that set the world dancing in the '60s. It presents the stories behind the rise of such all-time great acts as Smokey Robinson, The Supremes, Stevie Wonder, Marvin Gaye, The Four Tops, The Temptations and the Jackson 5."

Where Did Our Love Go?, an anthology of essays written by many major public figures and celebrities, will explore the substantive issues related to marital problem in the African-American community. From the "my baby's mama" syndrome to the more serious implications of what a generation of single-parent households will mean to future generations, this comprehensive collection will provide an in-depth discourse on the trends and issues that have caused the problematic behaviors within African-American relationships to persist with little sign of relief. The book will consist of a total of 40 essays divided equally into 4 lifestyle categories (single, married, divorced, and widowed), to present a wide cross section of perspectives on this subject. Marriage plays an essential role in maintaining the vitality and character of a community, so it is deeply unsettling for many African Americans to find that the value of this institution has lost its allure. While marriage among African Americans has always fallen below the average of other population segments, the gap today has grown so pronounced that the subject has sparked an intense national dialogue. A 2006 Washington Post article, “Is Marriage for White People,” created waves of controversy on the issue. In 2010, Nightline dedicated an entire broadcast to this growing crisis. The marriage gap in Black America has become such an open secret that it’s now the source of endless bad jokes and prime time reality shows. The statistics even back this up, as according to the U.S. Census, 43.3% of black men and 41.9% of black women in America have never been married, and the rate of decline is nearly twice the national average. Marriage is a rite of passage that is fundamental to every culture, which underscores the tremendous need for an active dialogue to take place that will lay a foundation for discovery. With essays from 50 Cent, Viola Davis, Jabari Asim, Darnell Williams, Faith Evans, Mara Brock Akil, and more, Where Did Our Love Go? will ignite the fight for that conversation to begin.

Sumptuously illustrated, engaging, and insightful, Mary Wilson’s book charts the glittering story of The Supremes, as it showcases their glamorous and iconic ensembles. As Motown’s leading act in the 1960s, The Supremes became synonymous with glamorous, elegant, coordinated ensembles. Supreme Glamour presents founding member Mary Wilson’s unparalleled collection, showcasing thirty-two of the group’s most eye-catching gowns, meticulously reassembled and photographed on the Grammy Museum stage. Detailed captions accompany each photograph, providing information about the design, fabric, and embellishments of each ensemble, as well as the occasion on which each was first worn. In addition to the fashion history of The Supremes, the book chronicles the evolution of the group and celebrates the cultural icons they became. Engaging and insightful narrative text by Mary Wilson and close personal friend Mark Bego is interspersed among hundreds of archival photos. Packed with anecdotes and insights, Mary Wilson tells the complete story of The Supremes, both on- and off- stage, from their founding in Detroit in 1959 as The Primettes to their 1964 breakthrough hit, “Where Did Our Love Go,” and from the departure of Diana Ross to The Supremes’ disco hits of the 1970s. Supreme Glamour builds a complete picture of the charm, sophistication, and magic of The Supremes.

From the author of To Die For comes this poignant, stirring, and occasionally hilarious story of a woman's attempt to remake her life after a searing divorce. Maynard's novel captures love as one approaches middle age in contemporary America.

In the months before she died, Florence Ballard, the spunky teenager who founded the most successful female vocal group in history--the Supremes--told her own side of the story. Recorded on tape, Flo shed light on all areas of her life, including the surprising identity of the man by whom she was raped prior to her entering the music business, the details of her love-hate relationship with Motown Records czar Berry Gordy, her drinking problem and pleas for help, a never-ending desire to be the Supremes' lead singer, and her attempts to get her life back on track after being brutally expelled from the group. This is a tumultuous and heartbreaking story of a world-famous performer whose life ended at the age of 32 as a lonely mother of three who had only recently recovered from years of poverty and despair.

I Hear a Symphony opens new territory in the study of Motown’s legacy, arguing that the music of Motown was indelibly shaped by the ideals of Detroit’s postwar black middle class; that Motown’s creative personnel participated in an African-American tradition of dialogism in rhythm and blues while developing the famous “Motown Sound.” Throughout the book, Flory focuses on the central importance of “crossover” to the Motown story; first as a key concept in the company’s efforts to reach across American commercial markets, then as a means to extend influence internationally, and finally as a way to expand the brand beyond strictly musical products. Flory’s work reveals the richness of the Motown sound, and equally rich and complex cultural influence Motown still exerts.

Detroit in the 1960s was a city with a pulse: people were marching in step with Martin Luther King, Jr., dancing in the street with Martha and the Vandellas, and facing off with city police. Through it all, Motown provided the beat. This book tells the story of Motown--as both musical style and entrepreneurial phenomenon--and of its intrinsic relationship to the politics and culture of Motor Town, USA. As Suzanne Smith traces the evolution of Motown from a small record company firmly rooted in Detroit's black community to an international music industry giant, she gives us a clear look at cultural politics at the grassroots level. Here we see Motown's music not as the mere soundtrack for its historical moment but as an active agent in the politics of the time. In this story, Motown Records had a distinct role to play in the city's black community as that community articulated and promoted its own social, cultural, and political agendas. Smith shows how these local agendas, which reflected the unique concerns of African Americans living in the urban North, both responded to and reconfigured the national civil rights campaign. Against a background of events on the national scene--featuring Martin Luther King, Jr., Langston Hughes, Nat King Cole, and Malcolm X--Dancing in the Street presents a vivid picture of the civil rights movement in Detroit, with Motown at its heart. This is a lively and vital history. It's peopled with a host of major and minor figures in black politics, culture, and the arts, and full of the passions of a momentous era. It offers a critical new perspective on the role of popular culture in the process of political change.