Introduction

In the 1960s, the Temptations’ music reflected Berry Gordy and Motown Records’ focus on profitability, producing records that transcended the limiting confines of the R&B genre and encouraged crossover to appeal to mainstream audiences. The Temptations’ live aesthetic was in line with Gordy’s vision to create a digestible form of black popular music for the white market. Throughout their early performances, The Temptations were conservative in their expression, ultimately creating a stoic stage presence that aligned with the bland, white-washed performances of Tin Pan Alley rather than engaging with the roots of soul. Prominent studio camera technology in the early 1960s only strengthened the boundaries of their simple, live aesthetic. Averaging a weight of well over 300 pounds, studio cameras throughout the 1950s and mid-1960s were dolly based, only capturing straightforward, minimalistic performances that removed “sexual tensions or politics that have in part defined the black popular tradition” (Neal 43). However, with developments in portable camera technology, by the early 1970s, the Temptations were able to shift away from the tame live performances of Motown and align themselves with musicians that were increasingly focused on black expressionism amidst the events of the Civil Rights era.