Stone was still being recognized for her work as a former fashion model, having transitioned into acting earlier in the decade. While she had not yet reached “A-list” status, she was becoming a recognizable face through various film roles and television commercials, including advertisements for contact lens cleaner. 

The photoshoot was conducted by photographer Michael Ochs. The band members are shown completely enveloped in a single, massive piece of pink translucent plastic or fabric. This session took place during a pivotal transitional year for the band. Their founding member and original creative leader, Syd Barrett, had officially left the group only months prior in April 1968. David Gilmour, who had joined earlier that year, was just beginning to establish his role as the new lead guitarist.

The use of the pink shroud was a literal play on the band’s name. It reflected the whimsical and experimental nature of the psychedelic rock scene they were leading at the time. While not used for a specific album cover, these “Pink Floyd in Pink” images have become one of the most recognizable early portraits of the Post-Barrett era.

She was beloved by many in the industry. Her friend, Bewitched star Erin Murphy, paid tribute, calling her “a special lady” and expressing that her thoughts were with Runyon’s family and children.

Born April 1, 1960, in Chicago, Illinois, Runyon began acting in the early 1980s and quickly became a familiar presence on television. Early in her career she played Sally Frame on the soap opera Another World (1981–1983) before transitioning to popular primetime shows.

Runyon is best known for her supporting role in the 1984 blockbuster Ghostbusters, her lead role as Gwendolyn Pierce in the CBS sitcom Charles in Charge, and for portraying Cindy Brady in the 1988 TV film A Very Brady Christmas. She also appeared in series including Quantum Leap, Murder, She Wrote, and Another World.

In her later years, Runyon had stepped back from Hollywood to work as a teacher and co-hosted a cooking podcast. Her final acting project was the 2025 horror film Spectral Squad: The Haunting of Sophie Lawson.

Every movement was choreographed by the legendary Cholly Atkins. Unlike the high-energy, sweaty performances of rock acts, The Supremes practiced “vocal choreography.” They didn’t run across the stage. Their moves were elegant hand gestures, synchronized head tilts, and rhythmic swaying. Think of the iconic palm-out hand signal during “Stop! In the Name of Love.” It was simple, yet it became a global symbol.

The Supremes were pioneers in using fashion as a performance tool. They were often dressed in Bob Mackie or Michael Travis designs that cost thousands of dollars, a massive sum at the time. Sequined gowns, floor-length silk, and towering wigs. They were styled to look like royalty. This was a deliberate move by Motown to ensure they could headline upscale venues like the Copacabana, bridging the gap between R&B and mainstream pop.

The group’s dynamic was carefully balanced to highlight Diana Ross while maintaining a unified front. Diana Ross took center stage with her wide-eyed, emotive expressions and “cooing” vocal style. Mary and Florence provided the “walls of sound” with impeccable harmonies and mirrored movements that made the trio look like a single, fluid entity.

They were graduates of Motown’s “Artist Development” (run by Maxine Powell). On stage, they never slumped, never looked tired, and always maintained a pleasant, sophisticated demeanor.