"I went from elementary school to proper training, operatic training, and I went on to the Motown University and learned a lot of things from some wonderful people"
About this Quote
Martha Reeves makes a whole education out of hustling through America’s musical class system, and the phrasing is the tell. “Elementary school” isn’t just childhood; it’s the baseline of a Black working-class Detroit upbringing where talent has to fight for room. Then she pivots to “proper training, operatic training” - a pointed reminder that the so-called raw Motown sound was often built on disciplined technique. Reeves is quietly refusing the patronizing myth that soul singers are all instinct and no craft.
The masterstroke is “Motown University.” It’s playful, but it lands like a credential. Motown in the 60s really did function like an institution: etiquette lessons, choreography, touring discipline, studio reps, quality control meetings. Reeves frames Berry Gordy’s hit factory as a school because it was one of the few places where Black artists could access a pipeline of professional development and national mobility without begging for permission from predominantly white cultural gatekeepers.
The line also smuggles in an argument about legitimacy. By stacking opera next to Motown, Reeves collapses the snobbery that ranks genres by “seriousness.” She’s not claiming Motown replaced conservatory training; she’s claiming it matched it in rigor and impact, just aimed at a different audience and a different kind of survival.
“Learned a lot of things from some wonderful people” reads modest, but it’s community pride: stardom as apprenticeship, success as collective labor, not lone-genius mythology.
The masterstroke is “Motown University.” It’s playful, but it lands like a credential. Motown in the 60s really did function like an institution: etiquette lessons, choreography, touring discipline, studio reps, quality control meetings. Reeves frames Berry Gordy’s hit factory as a school because it was one of the few places where Black artists could access a pipeline of professional development and national mobility without begging for permission from predominantly white cultural gatekeepers.
The line also smuggles in an argument about legitimacy. By stacking opera next to Motown, Reeves collapses the snobbery that ranks genres by “seriousness.” She’s not claiming Motown replaced conservatory training; she’s claiming it matched it in rigor and impact, just aimed at a different audience and a different kind of survival.
“Learned a lot of things from some wonderful people” reads modest, but it’s community pride: stardom as apprenticeship, success as collective labor, not lone-genius mythology.
Quote Details
| Topic | Music |
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