By 1962, Motown Records had become a consistent hit-producing entity in multiple radio formats. So, an expansion to the soul gospel music market may have seemed like a natural progression. Other independent rhythm & blues/soul labels had done so with much success. But Motown's first go at a gospel division, Divinity Records, lasted only about a year with five single releases (no albums). One of the major roots of r & b/soul is the music of African-American churches, so it it weird to you that Motown would misfire at gospel music when it was already issuing so many secular/mainstream hits?

My guess is that Divinity may have been born more out of commercial interests, in however small a niche compared to selling Stevie Wonder and Miracles records to more people, than conviction of most or all the people operating Motwn. However, I'd wager that its Black Forum sub-label was created out of a desire for prestige and supporting certain causes. It appears to have lasted only from 1970-73 and released mostly albums by literary figures such as Langston Hughes and Margaret Danner as well as political activists including Black Panther Party leader Elaine Brown and Dr. Martin Luther King. Jr. If Motown made any money from any Black Fourm releases, it could've only been a fraction of what it was turning over from Jackson Five and Diana Ross records from the same era. Do you know of any current companies who risk profit in order to make a statement (or virtue signal)?

When soul-leaning psychedeic rock band Rare Earth were signed to Motown, they werre allowed the honor of suggesting the name of the new imprint on which their music would appear. Thus, Rare Earth Records! Rare Earth (the label) issued material by acts other than Rare Earth (the band) from 1969-76. It became Motown's first home, more or less , for rock music. Do you know of anyone who's named a busines after him- or herself (or, as kind of in Rare Earth's case, had a busines, or part of one, named for him/her/them by someone else)?

A theme running through recent Weird Music Wednesday surveys has been the aesthetic confluence between soul and country music. The better known of Motown's dalliances with country is its '70's Melodyland imprint, later becoming Hittsville beore being retired by decade's end. Much earlier in the label's history, however, is Mel-o-dy; though primarily specializing country, some soul, comedy and other styles figure among its 38 singles (no albums). T.G. Sheppard is the best-charting among the acts to have had Melodyland/Hittsville contracts, but none of Mel-o-dy's signees achieved a profile anywhere so high as his. Were you aware that Motown was responsible for any country music?

About 20 years after Motown's first experience with gospel music with Divinity came Motown Latino, a short-lived imperint for Spanish language pop. Judging from the discographical records I could find, only three acts were signed to the imprint. The most prolific o the sub-label them is already long-established Puerto Rican singer/guitarist Jose Feliciano (who, if memory serves, sang or lip-sync'ed a couple of his Motown Latino recording on US TV music show American Bandstand). Whatever your thoughts on pronouns as related to ethnicity or language, are you, as I am, glad that Motown Latino existed at a time when company brass might have l pressue to name it Motown Latinx?