Chapter 17: Soul, Motown, and Stax
Motown’s success was not only built on musical innovation, but also on a meticulously cultivated image. Berry Gordy understood that in order for Black artists to achieve mainstream success in 1960s America, they had to be seen as polished, poised, and professional in every aspect of their public presentation. To achieve this, Gordy took a comprehensive approach to artist development that extended well beyond the recording studio.
Central to this effort was Maxine Powell, a former modeling school director whom Gordy hired to lead what became affectionately known as “Motown’s charm school.” Powell trained Motown performers in the finer points of social etiquette: how to make small talk at cocktail parties, how to hold silverware properly at formal dinners, how to walk, sit, speak, and dress with grace and poise. Her goal, and Gordy’s, was to prepare young artists not just for stage success but for appearances at the highest levels of society. Powell famously told her students that she was preparing them to perform at Buckingham Palace or the White House.
Gordy also brought in seasoned stage professionals to elevate the musical and visual aspects of Motown’s live performances. He hired Cholly Atkins, a dancer and choreographer known for his work in the legendary 1930s Cotton Club revues, to design synchronized stage routines for Motown groups. These choreographed movements became a hallmark of the label’s aesthetic, reinforcing its image of elegance and discipline. Alongside Atkins, Maurice King, a respected music director from Detroit’s famed Flame Show Bar, ensured that artists were vocally prepared and musically tight. Neither would allow an act to take the stage until every detail—from harmonies to choreography—was mastered. Much of this preparation took place in the basement of the Hitsville U.S.A. building, where Motown artists rehearsed tirelessly in what became known as “Motown’s finishing school,” a space as crucial to the label’s success as the recording studio upstairs.
The result of this rigorous training was a roster of performers who were classy, refined, and impeccably presented, both on and off the stage. Motown’s artists projected an image of Black excellence, sophistication, and cultural pride. This presentation was a strategic and empowering response to the racial stereotypes of the time, asserting that Black performers could succeed at the highest levels of American culture on their own terms.