The Untold Story of Supreme Style Mary Wilson, a founding member of the rock trio, is ready for her fashion close-up.

Sean Spicer, the former White House press secretary, is not the only contestant on the new season of “Dancing With the Stars” with a special kind of celebrity wattage.

Mary Wilson, a founding member of the Supremes, is also a competitor — at age 75. Viewers should get ready for liberal lashings of old-school dazzle and a sense of déjà vu. There is barely a black female pop act — Destiny’s Child, Janet Jackson, Janelle Monáe, Solange Knowles — (let alone a white one) that hasn’t taken a page from the Supremes look book.

“Millennials love our style,” Ms. Wilson said during a recent interview in London. For anyone wondering why this younger generation has joined older fans of the group’s look, a new book, “Supreme Glamour,” out just in time for the show, makes it all clear. The volume chronicles how the Supremes in their original incarnation (Diana Ross, Ms. Wilson and Florence Ballard) and in their later form as Diana Ross and the Supremes (or DRATS) became agents of cultural change in the 1960s, breaking the race ceiling by weaponizing fashion and defining the way many women — black women, white women — wanted to look. It has photographs of mannequins in 13 of their designs, plus dozens of concert snaps, promotional portraits and album and magazine covers. It is replete with seed pearls and mushroom pleats.

Before the Supremes, as Harold Kramer, the former curatorial director of the Rock & Roll Hall of Fame in Cleveland, notes in the book, no black act “had ever set out to utilize visual signifiers that made them palatable to a white audience.”

Ms. Wilson agreed. “Our glamour changed things,” she said. She was wearing all black — leggings and a stretch top with cold-shoulder cutouts — and one of her many wigs, a dead-straight chestnut number with full bangs. “We were role models,” she continued. “What we wore mattered.”

Her claim is that she and her partners knew exactly what they were doing from the beginning.

Ms. Wilson said that when she, Ms. Ross and Ms. Ballard were signed to Motown Records in 1961, they already had style. “They had a lot to work with,” she said. “As Maxime Powell, who ran the label’s famous finishing school, used to say: ‘You girls are diamonds in the rough. We are just here to polish you.’”

Ms. Wilson remembered that one of the earliest Supremes dresses, with a fitted bodice and stiff balloon skirt, “Diana and I sewed from Butterick patterns.”

When the Supremes broke in 1964, black singers like Lena Horne and Eartha Kitt performed in deliberately seductive evening dresses, but they were older, solo artists. Ms. Wilson and her colleagues were barely out of their teens and wielded the visual power of three, often in grown-up second-skin gowns freighted with beads and sequins.

DRATS maximized the look with increasingly baroque confections, some with improbable wings and trompe l’oeil jewelry, like paste crystals sewn into the neckline. Anyone who saw them live will recall the frisson produced by such young women in such sophisticated designs. Then, just when you thought you had them figured out, they turned up on “The Ed Sullivan Show” in 1969 in fantastical, swishing ponchos and pants seemingly made of dégradé tinsel.

For Whoopi Goldberg, writing in the foreword of Ms. Wilson’s book, the Supremes “were three of the most beautiful women I had ever seen. These were brown women as they had never, ever been seen before on national television.”

Ms. Goldberg said she was encouraged to think that “I too could be

well-spoken, tall, majestic, an emissary of black folks” who, like the Supremes, “came from the projects.”

Oprah Winfrey had similar memories, as recounted in “Diana Ross: A Biography” by J. Randy Taraborrelli. “You never saw anything like it in the 1960s — three women of color who were totally empowered, creative, imaginative,” she is quoted as saying. As a 10-year-old black girl “to see the Supremes and know that it was possible to be like them, that black people could do THAT …”

READ MORE: https://www.nytimes.com/2019/09/18/style/mary-wilson-supreme-glamour.html?action=click&module=Features&pgtype=Homepage

How Hustlers Danced Away With America’s Heart—And Box Office

Perhaps the greatest thing about Hustlers is the number of ways it finds to surprise. Yes, Lorene Scafaria’s movie about a pack of scamming strippers led by Jennifer Lopez and Constance Wu hits all the expected beats: a pole dance from J. Lo here, a sensuous shower of dollar bills there. But its greatest delights are the moments that defy what audiences are taught to expect from films like these—and from female characters more generally. In fact, one of those delightful tricks happens early on, when Wu’s green dancer character, Destiny, climbs up to the roof of her new place of work to smoke a cigarette and finds Lopez’s intimidatingly talented Ramona already up there, luxuriating in an impossibly voluminous fur coat. Given the competitive environment Destiny has already found inside the club, it’s easy to assume Ramona will give this newbie the cold shoulder—or at least size her up for a moment. Instead she pulls Destiny into the billowy warmth of her coat, wrapping her arms around her in a Madonna-like shot so serene that its warmth almost radiates from the screen.

Hustlers just wrapped up a fantastic weekend at the box office, where it grossed $33.2 million across 3,250 North American theaters. Given the film’s concept—a group of strippers scamming and drugging corrupt Wall Street moguls just after the 2008 recession—it can be easy to see its success as foretold. But that would underrate its artistry. Hollywood has squandered many a genius concept and “sure thing,” and for many a reason. Casting miscalculations, unfocused writing, bad editing… the list of reasons Hustlers could have failed is nearly infinite. Instead every detail of its execution is a triumph. More important, however, is how Hustlers also satisfies a number of cravings that the entertainment industry has been slow to quench—including diverse casting, a subtle and deeply American understanding of money and class, and a distinct examination of female antiheroes.

There’s something distinctly satisfying about watching Lopez and her merry band of scammers do their thing. Hustlers does indeed feature a diverse cast—but more crucially, the women in this group gel seamlessly, and each role feels tailor-made for the person occupying it, from Lopez as a character as underestimated as she has been throughout her acting career (though Hustlers may put an end to that) to Wu, just a few months removed from a Twitter scandal, as a woman with something to prove. Each of these women represents a different kind of female antihero, female Walter Whites who are doing it all for their families…but also, they’re really, really good at it. It’s not often we see a gaggle of female antiheroes traveling as a group and supporting one another as the Hustlers do. Their compassion for one another is almost enough to make you wonder what makes them “anti”heroes—for a moment, until you remember that they make their living drugging people and stealing large sums of money.

These are characters who have spent their lives on the fringes of society, and chose to build a support system all their own, one that includes the families they already have. Ramona frequently beams over her daughter, affectionately describing motherhood as a “mental illness,” while Destiny has an inseparable bond with her grandmother, who gets some of the film’s most unexpected punch lines. What these women seem to find in one another—and in the crimes they commit—is safety. In one of the film’s warmest scenes, all of these women and their various family members gather for Christmas morning, opening lavish presents but also reveling in one another’s company. Yes, Destiny squeals with glee over the chinchilla fur Ramona buys her—a status symbol that also represents just how far Destiny has come. But she seems even more emotional when she sees her grandmother seamlessly blend in with her friends, effectively transforming what was once a small, isolated family unit into one part of a larger supportive whole. Don Draper could never.

The shared communion these women find in one another might be unorthodox; indeed, it literally exists outside the law. But the genius of Hustlers is the number of ways it finds to challenge its audience to think of a better, more legal place its antiheroes could have looked for such connection and stability. Just look at Destiny’s initial struggle to find a job post-recession, as a potential manager scoffs at her GED and previous job experience. In many ways one gets the sense that Destiny is alienated not only from the job market, but from “polite” society as a whole. The film does not judge Destiny’s behavior. Instead it allows her and her friends to express different viewpoints on the untenable situations in which they find themselves. And it seems like no mistake that for all the love she has for Ramona, Destiny can never quite pinpoint exactly how she feels about the criminal outfit they once ran after it comes crashing down. Instead the only thing that’s achingly clear is how much she misses Ramona. Because for all the materialistic euphoria this film contains, its one true love story is between these two women—and it was clear from that first embrace under Ramona’s fur.

8 Dance Performances to See in N.Y.C. This Weekend

AMERICAN BALLET THEATER’S NEW YORK SUMMER INTENSIVE at Frank Sinatra School of the Arts (July 26, noon and 2:30 p.m.). Curious about the next generation of dancers? Two afternoon performances wrap up Ballet Theater’s 24th annual training program, directed by Kate Lydon, for dancers ages 12 to 20. Students of the five-week intensive, under the instruction of former company members including Cynthia Harvey, Leslie Browne, Lupe Serrano and Cheryl Yeager, will perform selections from “Coppélia,” “Don Quixote,” “Giselle,” “La Bayadère,” “Swan Lake,” “The Sleeping Beauty” and August Bournonville’s “Le Conservatoire.”
212-477-3030, ext. 3416; abt.org

BOY BLUE at Gerald W. Lynch Theater (Aug. 1-3, 7:30 p.m.). This East London hip-hop group, last seen at the 2018 White Light Festival, returns to Lincoln Center for an encore of its acclaimed political and virtuosic “Blak Whyte Gray.” Presented this time by the Mostly Mozart Festival, the company explores themes of oppression, identity and transcendence. Michael Asante (also known as Mikey J) is credited with creative direction and music, while Kenrick Sandy (who goes by H2O) is the piece’s choreographer.
212-721-6500, lincolncenter.org/mostly-mozart-festival

YOSHIKO CHUMA AND THE SCHOOL OF HARD KNOCKS at the Invisible Dog (July 26, 7 p.m.). Chuma, a veteran experimental choreographer and conceptual artist, presents the final presentation of “My Diary: Secret Journey to Tipping Utopia.” In it, musicians, dancers and designers interact, but never directly as fragments of sound, text and action — a metaphor for the cycle of life — fluctuate between states of utopia and war. Chuma has been in residency at the Invisible Dog since July 1.
theinvisibledog.org

COMPAGNIE HERVÉ KOUBI at Prospect Park Bandshell (July 27, 8 p.m.). For the BRIC Celebrate Brooklyn! Festival, this company led by Koubi, a French-Algerian choreographer, presents his evening-length “What the Day Owes to the Night.” With a cast of 12 French-Algerian and African dancers, this vibrant production combines capoeira, martial arts, hip-hop and contemporary dance; it’s Koubi’s signature work and his second collaboration with street dancers from Algeria and Burkina Faso.
718-683-5600, bricartsmedia.org

JACOB’S PILLOW DANCE FESTIVAL in Becket, Mass. (through Aug. 25). This weekend, the festival hosts the Paul Taylor Dance Company in repertory works and the tap choreographer Caleb Teicher with the composer and pianist Conrad Tao for their collaboration “More Forever” (both performances run through Sunday). In the coming week, “The Day,” an anticipated piece by the cellist Maya Beiser, the dancer Wendy Whelan and the choreographer Lucinda Childs, has its premiere; the production, which features music by David Lang, explores memory and resilience (Wednesday through Aug. 4). Also, A.I.M. by Kyle Abraham offers a mixed repertory program, which includes his own works as well as one by Andrea Miller (Wednesday through Aug. 4).
413-243-0745, jacobspillow.org

MADE IN N.Y.C. 2.0: NEXT GENERATION TRADITIONS at Hearst Plaza (July 28, 1 p.m.). As part of its Heritage Sunday series, Lincoln Center Out of Doors presents this free, mixed bill featuring Redobles de Cultura, a collective of three New York City Afro-Puerto Rican bomba practitioners; Sri Lankan Dance Academy of New York, an intergenerational group based in Staten Island; Michael Winograd & the Honorable Mentshn, a Brooklyn klezmer group; and Inkarayku, an Andean band that performs Quechua folk songs and dance music. This presentation highlights the art and culture of first- and second-generation New Yorkers.
212-721-6500, lincolncenter.org

92Y MOBILE DANCE FILM FESTIVAL at the 92nd Street Y (July 27, 4, 5:30 and 7 p.m.). How often have you lost track of time watching dance videos on your smartphone? Here’s an opportunity to see three programs’ worth — 48 films in all — at the 92Y’s second annual festival celebrating works shot on mobile devices. Its international jury considered more than 100 submissions from 14 countries, including Argentina, Cuba, France, Greece and Japan. The selected films include David Fernandez’s “The Clock,” Rebecca Gillespie’s “The French Girl,” and Roma Flowers and Nina Martin’s “Secondary Surfaces Redreamed.”
212-415-5500, 92y.org

YOUNG DANCEMAKERS COMPANY at various locations (July 26, 7 p.m.; July 28 and 31 and Aug. 1, 2 p.m.; July 30, 1 p.m.; through Aug. 3). This dance ensemble, which comprises students from New York City public high schools, continues its 24th annual touring season, taking place at different locations across four boroughs, from the 92nd Street Y in Manhattan on Friday to the Kumble Theater in Brooklyn on Tuesday. Since the end of June, the young dance artists have developed original choreography under the guidance of Alice Teirstein and Jessica Gaynor, as well as the 2019 guest artist John Heginbotham, and now present the end result in these free public showings.
youngdancemakerscompany.org