The mid-1960s was a revolutionary time for The Supremes: The group had a string of giant singles (“Where Did Our Love Go,” “I Hear a Symphony,” “You Can’t Hurry Love,” “You Keep Me Hangin’ On”); landed the cover of Time magazine; and traded their sweaters and tennis skirts for sequined gowns—outfits with a televisual glamor that refined America’s idea of how Black performers could present themselves. Add to that the passing of the Civil Rights Act in 1964, which helped make concrete a push for racial equity—or at least the beginnings of racial equity— that had been growing for years. As Mary Wilson later put it, they became divas and citizens at the same time. Like most Motown artists, The Supremes were more of a singles group than an album one. But 1966’s Supremes A’ Go-Go presented something like a unified statement. With the exception of “Hang On Sloopy,” “These Boots Are Made for Walkin’,” and the new “You Can’t Hurry Love,” all these songs had been hits for other Motown artists within the previous few years: “This Old Heart of Mine (Is Weak for You),” “Baby I Need Your Loving,” “Money (That’s What I Want),” etc. Though the group always had soul, The Supremes projected a delicacy and calm that distinguished them from other Motown artists: Listen to the way Diana Ross glides through Smokey Robinson’s “Get Ready,” or The Supremes’ almost ethereal take on the Four Tops’ “Shake Me, Wake Me (When It’s Over).” And while “You Can’t Hurry Love” was the revelation, the rest of the album cemented The Supremes at their peak. It was the first time an all-female group had a No. 1 album. Now when they shopped for dresses, Wilson said, not only were they not bothered by store clerks, they were given private appointments. Progress comes in waves.