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Diana Ross
Diana Ross
from Wikipedia

Diana Ross (born March 26, 1944) is an American singer and actress. Known as the "Queen of Motown", she was the lead singer of the vocal group the Supremes, who became Motown's most successful act during the 1960s and one of the world's best-selling girl groups of all time. They remain the best-charting female group in history,[2] with a total of 12 number-one pop singles on the U.S. Billboard Hot 100.

Key Information

Following her departure from the Supremes in 1970, Ross embarked on a successful solo career with the release of her eponymous debut solo album. Between 1972 and 1980, Ross recorded four top ten albums with her most successful studio release being the album, Diana. In a fifteen-year span, Ross recorded twelve top ten singles with six -- "Ain't No Mountain High Enough", "Touch Me in the Morning", "Theme from Mahogany (Do You Know Where You're Going To)", "Love Hangover", "Upside Down" and "Endless Love" -- all topping the Billboard Hot 100, making her the female solo act with the most number-one songs in the United States at the time. Ross achieved international success with later songs such as "I'm Coming Out", "Chain Reaction", "If We Hold on Together", and "When You Tell Me That You Love Me".

Ross has also achieved mainstream success and recognition as an actress. Her first role was her Golden Globe Award-winning and Academy Award-nominated portrayal of Billie Holiday in the film Lady Sings the Blues (1972), which made her the first African-American actress to receive an Academy Award nomination for a debut film performance. The film's soundtrack became her only solo album to reach number-one on the U.S. Billboard 200 chart. She also starred in two other feature films, Mahogany (1975) and The Wiz (1978), and later appeared in the television films Out of Darkness (1994), for which she was nominated for a Golden Globe Award, and Double Platinum (1999).

Ross was named the "Female Entertainer of the Century" by Billboard in 1976. Since her solo career began in 1970, Ross has sold over 100 million records worldwide.[3] Between 1964 and 1981, Ross sang on eighteen number one US singles. In 2021, Billboard ranked her the 30th greatest charting artist of all time on the Billboard Hot 100.[4][5] Her hits as a Supreme and a solo artist combined put Ross among the top-five artists on the Billboard Hot 100 singles chart from 1955 to 2018.[6] She has scored a top 75 U.K. hit single for a record 33 consecutive years (1964–1996). In 1988, Ross was inducted to the Rock and Roll Hall of Fame as a member of the Supremes, and is one of the rare performers to have two stars on the Hollywood Walk of Fame. She is the recipient of a Special Tony Award in 1977, the Kennedy Center Honors in 2007, the Grammy Lifetime Achievement Award in 2012 and 2023 (becoming the first woman to win the award twice, the latter as a member of the Supremes), and the Presidential Medal of Freedom in 2016.

Early life

[edit]
The building that was part of the Brewster-Douglass Housing Projects in Detroit, where Ross spent her teenage years

Diana Ernestine Earle Ross was born on March 26, 1944,[7][8] in Detroit, Michigan. She was the second of six children born to Ernestine (née Moten; January 27, 1916 – October 9, 1984) and Fred Ross Sr. (July 4, 1920 – November 21, 2007). Her mother named her Diane, but the birth certificate was mistakenly filled out with the name Diana. Her family and Detroit friends called her Diane all her life.[9] Ross grew up with two sisters (Barbara[10] and Rita) and three brothers: Arthur; Fred Jr.; and Wilbert, also known as Chico. Ross was raised Baptist.[11]

Ross and her family originally resided at 635 Belmont St., in the North End section of Detroit, near Highland Park, Michigan, where her neighbor was Smokey Robinson. When Ross was seven, her mother contracted tuberculosis, causing her to become seriously ill. Ross's parents sent their children to live with Ernestine's parents, the Reverend (pastor of Bessemer Baptist Church) and Mrs. William Moten in Bessemer, Alabama. After her mother recovered, she and her siblings returned to Detroit.

On her 14th birthday, in 1958, her family relocated to the working-class Brewster-Douglass Housing Projects, settling at St. Antoine Street. Ross attended Cass Technical High School,[12] a four-year college and preparatory magnet school, in downtown Detroit, and, aspiring to become a fashion designer, she took classes in clothing design, millinery, pattern making, and tailoring. In the evenings and on weekends she also took modeling and cosmetology classes and participated in several of the school's extracurricular activities, including its swim team.[a] In 1960, Hudson's downtown Detroit store hired Ross as its first African-American bus girl.[13] For extra income, she also provided hairdressing services to her neighbors. Ross graduated from Cass Tech in January 1962.

Career

[edit]

1959–1970: The Supremes

[edit]
Ross (far right) performing with the Supremes, as lead singer in 1966

At fifteen, Ross joined the Primettes, the sister group to a male vocal group called the Primes,[14] after she had been brought to the attention of music manager Milton Jenkins by Primes member Paul Williams. Among the other members of the Primettes were Florence Ballard[b], Mary Wilson, and Betty McGlown, Williams' girlfriend. After the Primettes won a talent competition in 1960 in Windsor, Ontario, A&R executive and songwriter, Robert Bateman invited them to audition for Tamla Records.[c]

Prior to the Bateman offer, Ross had approached her former neighbor Smokey Robinson about setting up the audition. In turn, Robinson agreed as long as they allow him and his group, the Miracles, to hire the Primettes' guitarist, Marv Tarplin, with whom Ross discovered, for an upcoming tour. Tarplin ended up playing in Robinson's band(s) for the next 30-plus years. In her autobiography, Secrets of a Sparrow, Ross wrote that she felt that this had been "a fair trade".

According to Berry Gordy in his autobiography, To Be Loved, he recalled that he had been heading to a business meeting when he happened to hear Ross singing "There Goes My Baby", and that Ross's voice "stopped me in my tracks". He approached the group and asked them to perform it again, but, after learning how young they were, Gordy advised them to finish high school before trying to get signed by Motown.[15][d]

With help from Richard Morris, the group recorded two tracks for Lu Pine Records, with Ross singing lead on one of them. During this time, the group began coming to Gordy's Hitsville U.S.A. headquarters every day, offering to provide extra help for Motown's recordings, often including hand claps and background vocals. During the group's early years, Ross served as its hairstylist, make-up artist, seamstress, and costume designer.

In late 1960, having replaced McGlown with Barbara Martin, the Primettes were allowed to record their own songs at Hitsville, including the doo-wop ballads "After All", "I Want a Guy" and "Who's Loving You". In January 1961, Gordy agreed to sign the group on the condition they change their name. Songwriter and Motown secretary Janie Bradford approached Florence Ballard, the only group member at the studio at the time, to pick out a new name for the group. Ballard chose "Supremes", reportedly, because it was the only name on the list that did not end with "ette". Upon hearing the new name, the other members weren't impressed, with Ross telling Ballard she feared the group would be mistaken for a male vocal group (a male vocal group was, indeed, named the Supremes). Gordy signed the group under their new name on the Motown imprint on January 15, 1961.

The group reduced to a trio in 1962 after Martin left the group. In late 1963, the group had their first hit with "When the Lovelight Starts Shining Through His Eyes", peaking at No. 23 on the Billboard Hot 100 pop chart. At the end of the year, Gordy made Ross the group's lead singer.

Ross with the Supremes in 1967

In June 1964, while on tour with Dick Clark's Cavalcade of Stars, the group scored their first number-one hit with "Where Did Our Love Go", paving the way for unprecedented success. Between August 1964 and May 1967, Ross, Wilson, and Ballard sang on ten number-one hit singles, all of which also made the UK Top 40.[15] The group became a hit with audiences domestically and abroad, going on to be Motown's most successful vocal act throughout the sixties.

Ross began to dominate interviews with the media, answering questions aimed at Ballard or Wilson. She pushed for more pay than her colleagues. In 1965, she began using the name Diana from the mistake on her birth certificate, surprising Ballard and Wilson who had only known her as Diane.[16] Following difficulties with comportment, weight, and alcoholism, Florence Ballard was fired from the Supremes by Gordy in July 1967, hiring Cindy Birdsong from Patti LaBelle and the Bluebelles as Ballard's replacement. Gordy renamed the group Diana Ross & the Supremes, making it easier to charge a larger performance fee for a solo star and a backing group, as it did for other renamed Motown groups. Gordy initially considered having Ross leave the Supremes for a solo career in 1966, eventually changing his mind because he felt the group's success was still too significant for Ross to pursue solo obligations. Ross remained with the Supremes until early 1970.

As the lead voice of the Supremes, she was really only the soul—or perhaps élan vital—of a machine, ready to plug into whatever arrangement, lyric, or show dress Berry Gordy and the Motown organization provided. She sang of the pain of love without appearing to suffer, but, that doesn't mean that the catch-phrases—'You keep me hanging on,' 'Where did our love go?' 'Love is like an itching in my heart, and I can't scratch it'—were softened or somehow corrupted. Instead, they were transcended with the vivacity that is Diana Ross' great gift. No matter how she is stylized, no matter what phony truism she mouths, this woman always lets you know she is alive.

The group appeared as a trio of singing nuns in a 1968 episode of the popular NBC TV series Tarzan. Between their early 1968 single "Forever Came Today" and their final single with Ross, "Someday We'll Be Together", Ross would be the only Supremes member to be featured on many of their recordings, often accompanied by session singers the Andantes or, as in the case of "Someday We'll Be Together", Julia and Maxine Waters and Johnny Bristol.[18] Still, Wilson and Birdsong continued to sing on recordings. Gordy drove Ross relentlessly throughout this period and Ross, due to anxiety arising from Gordy's demands, began suffering from anorexia nervosa, according to her autobiography, Secrets of a Sparrow. During a 1967 performance in Boston, Massachusetts, Ross collapsed onstage and had to be hospitalized for exhaustion.

In 1968, Ross began to perform as a solo artist on television specials, including the Supremes' own specials such as TCB and G.I.T. on Broadway, The Dinah Shore Show, and a Bob Hope special, among others. In mid-1969, Gordy decided that Ross would depart the group by the end of that year, and Ross began recording her initial solo work that July. One of the first plans for Ross to establish her own solo career was to publicly introduce a new Motown recording act.

Though she did not claim their discovery, Motown's publicity department credited Ross with having discovered the Jackson 5. Ross would introduce the group during several public events, including The Hollywood Palace.[19] In November, Ross confirmed a split from the Supremes in Billboard. Ross's presumed first solo recording, "Someday We'll Be Together", was eventually released as a Supremes recording and became the group's final number-one hit on the Hot 100. It was also the final number-one Billboard Hot 100 single of the 1960s. Ross made her final appearance with the Supremes at the Frontier Hotel in Las Vegas, Nevada on January 14, 1970.[20]

1970–1980: Solo career and films

[edit]
Ross as a guest star with football player and actor Rosey Grier, on the Danny Thomas television program Make Room for Granddaddy in 1971

In May 1970, Ross released her eponymous debut solo album. While her debut solo single, "Reach Out and Touch (Somebody's Hand)", was a moderate top 20 hit, her second single, a psychedelic soul rendition of Ashford & Simpson's "Ain't No Mountain High Enough"[21] became her first number-one solo single on the Billboard Hot 100 and was her first song to receive a Grammy nomination. Despite the debut's success, Ross only experienced moderate US chart success with her three subsequent studio albums, Everything Is Everything and Surrender.

Ross' chart success was much more impressive in the UK where she scored her first number one solo hit there with the soul ballad "I'm Still Waiting". In the first two years of her solo career, Ross recorded five top 20 UK singles and four top ten singles out of six releases. Later in 1971, Ross starred in her first solo television special, Diana!, which included the Jackson 5.

In 1972, Ross made her first film venture with Lady Sings the Blues, a loosely based biography on singer Billie Holiday. Following its opening that October, Ross won critical acclaim for her performance in the film. Jazz critic Leonard Feather, a friend of Holiday's, praised Ross for "expertly capturing the essence of Lady Day". Ross's role in the film won her Golden Globe Award and Academy Award nominations for Best Actress. The soundtrack to Lady Sings the Blues became just as successful, reaching number one on the Billboard 200, staying there for two weeks, and selling two million units. In November 1972, Ross sung the song "When We Grow Up" for the children's album, Free to Be... You and Me.

In 1973, three years after her first US chart-topper, Ross returned to the top of the US pop charts with the Michael Masser-produced ballad "Touch Me in the Morning". Its subsequent parent album of the same name became her first top ten album on the Billboard 200. Later in the year, a highly anticipated duet album with label mate Marvin Gaye, Diana & Marvin, found international success.

During her first solo world tour that year, Ross became the first entertainer in Japan's history to receive an invitation to the Imperial Palace for a private audience with the Empress Nagako, wife of Emperor Hirohito. In April 1974, Ross became the first African-American woman to co-host the Academy Awards, with John Huston, Burt Reynolds, and David Niven.

Actor Anthony Perkins photographing Ross in the film trailer for Mahogany (1975)

Ross returned to the big screen with her second film, Mahogany, in 1975.[22] The film reunited her with Billy Dee Williams, her co-star in Lady Sings the Blues and featured costumes designed by Ross herself.[23] The story of an aspiring fashion designer who becomes a runway model and the toast of the industry, Mahogany was a troubled production from its inception. The film's original director, Tony Richardson, was fired during production, and Berry Gordy took over as director.[24] Gordy and Ross clashed during filming, with Ross leaving the production before shooting was completed, forcing Gordy to use secretary Edna Anderson as a body double for Ross.

While a box-office success, the film was not well received by the critics: Time magazine's review of the film chastised Gordy for "squandering one of America's most natural resources: Diana Ross".[24] Nonetheless, Ross had her third number-one hit in the U.S. with the film's theme song "Theme from Mahogany (Do You Know Where You're Going To)" in January 1976.[25]

In May 1976, Ross scored her fourth solo number-one hit, "Love Hangover", a sensual, dramatic mid-tempo song that bursts into an uptempo disco tune.[26][27] Ross launched her "An Evening with Diana Ross" tour later that year.[28] The tour's success led to a two-week stint at Broadway's Palace Theatre and a 90-minute, Emmy-nominated television special of the same name,[29] featuring special make-up effects by Stan Winston, for a scene in which Ross portrayed legendary cabaret artist Josephine Baker and blues singers Bessie Smith and Ethel Waters.[30] Due to this success, Ross was honored with a Special Tony Award.[31]

Ross struggled with her next two albums, Baby It's Me (1977) and Ross (1978), which failed to produce a hit single.

Around this period, Motown had acquired the film rights to the Broadway play The Wiz, an African-American reinterpretation of L. Frank Baum's The Wonderful Wizard of Oz. The film initially was to include the stage actors who had performed on the play, but producer Rob Cohen could not garner the interest of any major Hollywood film studios. It was not until Ross convinced Cohen to cast her[e] as Dorothy that Universal Pictures agreed to finance the production.

This casting decision led to a change in the film's script, in which Dorothy went from a schoolgirl to a schoolteacher. The role of the Scarecrow, also performed by someone else onstage, was eventually given to Ross's former Motown labelmate, Michael Jackson. The Ross-Jackson duet of "Ease on Down the Road" won the duo a Grammy nomination.

The film adaptation of The Wiz had been a $24 million production, but upon its October 1978 release, it earned only $21,049,053 at the box office.[32][33][34] Though pre-release television broadcast rights had been sold to CBS for over $10 million, the film produced a net loss of $10.4 million for Motown and Universal.[33][34] At the time, it was the most expensive film musical ever made.[35] The film's failure ended Ross's short career in the big screen and contributed to the Hollywood studios' reluctance to produce the all-black film projects which had become popular during the blaxploitation era of the early to mid-1970s for several years.[36][37][38]

Ross released her tenth studio album, The Boss, in 1979. The Ashford & Simpson-produced album was her biggest success in three years and resulted in her very first gold-certified album.[f] The title song was her first top 20 pop hit since "Love Hangover" and also topped the dance charts. On July 16, 1979, Ross guest-hosted an episode of Johnny Carson's The Tonight Show, featuring Lynda Carter, George Carlin, and Muhammad Ali as guests.[39] Later that year, Ross hosted the HBO special, Standing Room Only, filmed at Caesars Palace's Circus Maximus Theater in Las Vegas, Nevada, during her "Tour '79" concert tour.[40] This concert special is noted for its opening, during which Ross literally makes her entrance through a movie screen. In November of that year, Ross performed "The Boss" as a featured artist during the Macy's Thanksgiving Day Parade, in New York City.[41]

In 1980, Ross released her most successful album to date, Diana. Composed by Chic's guitarist Nile Rodgers and bassist Bernard Edwards, the album included the hits "I'm Coming Out" and "Upside Down", the latter becoming her fifth chart-topping single in the U.S. Ross scored a Top 10 hit in late 1980 with the theme song to the film It's My Turn. Continuing her connections with Hollywood, Ross recorded the duet ballad "Endless Love", with Lionel Richie. The song would become her sixth and final single to reach number one on the Billboard Hot 100.

1981–1987: Leaving Motown and RCA years

[edit]
Ross in 1981

Ross began negotiations to leave Motown at the end of 1980. After over 20 years with the label, Ross received only US$250,000 as severance. RCA Records offered Ross a $20 million, seven-year recording contract, which gave her complete production control of her albums. Before signing onto the label, Ross allegedly asked Berry Gordy if he could match RCA's offer. Gordy stated that doing so was "impossible". Ross then signed with RCA on May 20, 1981. At the time, the contract was music history's most expensive recording deal.

In October 1981, Ross released her first RCA album, Why Do Fools Fall in Love. The album sold over a million copies and featured hit singles such as her remake of the classic hit of the same name and "Mirror Mirror". Shortly thereafter, Ross established her production company, named Anaid Productions ("Diana" spelled backwards), and also began investing in real estate and touring extensively in the United States and abroad.

Before the release of Why Do Fools Fall in Love, Ross hosted her first TV special in four years, Diana. Directed by Steve Binder, the concert portions of the special were filmed at Inglewood, California's 17,500-seat The Forum indoor stadium and featured performances by Michael Jackson, Muhammad Ali, Dallas actor Larry Hagman, music impresario Quincy Jones and members of the Joffrey Ballet.[42][43] In early 1982, Ross sang "The Star-Spangled Banner" at Super Bowl XVI[44] and appeared on the musical variety show Soul Train.[45] The episode, devoted completely to her, featured Ross performing several songs from Why Do Fools Fall in Love.

On May 6, 1982, Ross was honored with a star on the Hollywood Walk of Fame.[46] She followed up the success of Why Do Fools Fall in Love with Silk Electric, which featured the Michael Jackson-written and -produced "Muscles", resulting in another Top 10 Grammy nominated success for Ross. The album eventually went gold on the strength of that song. In 1983, Ross ventured further out of her earlier soul-based sound for a more pop rock-oriented sound following the release of the Ross album. Though the album featured the Top 40 hit single, "Pieces of Ice", the Ross album did not generate any more hits or achieve gold status.

The Diana Ross Playground

On July 21, 1983, Ross performed a free concert on Central Park's Great Lawn, aired live worldwide by Showtime. Proceeds of the concert would be donated to build a playground in the singer's name. Midway through the beginning of the show, a torrential downpour began. Ross tried to continue performing, but the severe weather forced the show to be stopped after 45 minutes. Ross urged the large crowd to exit the venue safely, promising to perform the next day.

The next day's concert suffered no rain, but the memorabilia that was supposed to be sold to raise money for the playground had already been destroyed by the storm. When journalists discovered the exorbitant costs of the two concerts, Ross faced criticism from Mayor Ed Koch and the Parks Department commissioner. During a subsequent mayoral press conference, Ross handed Koch a check for US$250,000 for the project.[47] The Diana Ross Playground was built three years later.[48]

In 1984, Ross released Swept Away. The album featured "All of You", a duet with friend Julio Iglesias. The single was featured on both Ross's album and Iglesias's 1100 Bel Air Place, his first English-language album. It became an international hit, as did the Lionel Richie-penned ballad "Missing You", composed as a tribute to Marvin Gaye, who had been killed earlier that year. Swept Away garnered gold record sales status.

Her 1985 album Eaten Alive, produced by Barry Gibb of the Bee Gees, garnered a number-one single overseas and a Top 20 spot on the album charts. The song "Chain Reaction" reached number one in the U.K., Australia, South Africa, Israel and Ireland, and the title track, a collaboration with Michael Jackson and Gibb, also performed well. Both songs had strong music videos that propelled the tracks to success. The "Eaten Alive" video was patterned after the 1970s horror film The Island of Dr. Moreau, while the one for "Chain Reaction" saluted the 1960s American Bandstand-style TV shows. The video for "Experience", the third single from the album, reignited the "Eaten Alive" romantic storyline with Ross and actor Joseph Gian.

Earlier in 1985, Ross appeared as part of USA for Africa's "We Are the World" charity single, which sold over 20 million copies worldwide. Ross's 1987 follow-up to Eaten Alive, Red Hot Rhythm & Blues found less success; it reached No. 39 on the Billboard Top R&B Albums chart and No. 12 in Sweden. However, the album's accompanying television special was nominated for three Emmy Awards and won two: Outstanding Costume Design for a Variety or Music Program (Ray Aghayan and Ret Turner) and Outstanding Lighting Direction (Electronic) for a Miniseries or a Special (Greg Brunton).[49] On January 27, 1986, Ross hosted the 13th annual American Music Awards.[50] Ross returned the next year to host the 14th annual telecast.[51]

1988–1999: Return to Motown

[edit]

In 1988, Ross chose to not renew her RCA contract and had been in talks with her former mentor Berry Gordy to return to Motown. When she learned of Gordy's plans to sell Motown, Ross tried advising him against the decision, though he ended up selling it to MCA Records in June of that year. Following the sale of the company, Ross was asked to return to the Motown label with the condition that she have shares in the company as a part-owner; Ross accepted the offer.

That same year, Ross was inducted into the Rock and Roll Hall of Fame as a member of the Supremes alongside her former singing partners Mary Wilson and Florence Ballard. She also recorded the theme song to animated adventure drama film The Land Before Time (1988). "If We Hold on Together" became an international hit, reaching number one in Japan.

Ross's next album, 1989's Workin' Overtime, was not a commercial success, despite the title track reaching the top three of the Billboard's Hot Black Singles chart.[52] The album peaked at No. 34 on the Billboard Hot R&B Albums chart, and achieved top 25 chart placings in Japan and the UK. Subsequent releases, The Force Behind the Power (1991), Take Me Higher (1995), and Every Day Is a New Day (1999) all failed to achieve major success in America, selling around 100,000 copies each.

In 1991, Ross became one of the few American artists to have headlined the annual Royal Variety Performance, performing a selection of her UK hits before Queen Elizabeth II and Prince Philip, Duke of Edinburgh at the Victoria Palace Theatre, London.[53] This marked her second appearance at the Royal Variety Performance, the first being in 1968 with the Supremes.

The Force Behind the Power sparked a comeback when the album went platinum in the UK.[54] led by the No. 2 UK hit single "When You Tell Me That You Love Me". The album produced 9 singles across international territories, including another Top 10 UK hit "One Shining Moment". In 1993, Ross returned to acting with a dramatic role in the television film, Out of Darkness. Ross won acclaim for her role in the TV movie and earned her third Golden Globe nomination.

In 1994, One Woman: The Ultimate Collection, a career retrospective compilation, became a number one hit in the UK, selling quadruple platinum. The retrospective was EMI's alternative to Motown's box set Forever Diana: Musical Memoirs. Ross performed during the opening ceremony of the 1994 FIFA World Cup held in Chicago, and during the pre-match entertainment of the 1995 Rugby League World Cup final at Wembley Stadium. The World Cup ceremony had her take a penalty kick that was staged for her to score, and the goalposts were intended to fall down from the power of her shot. She infamously missed the penalty instead.[55]

On January 28, 1996, Ross performed at the Super Bowl XXX halftime show, held at the Sun Devil Stadium in Tempe, Arizona.[56] Earlier that month, Ross's Tokyo concert, Diana Ross: Live in Japan, filmed live at the city's Nippon Budokan Stadium, was released.[57] In May 1996, Ross received the World Music Awards' Lifelong Contribution to the Music Industry Award.[58] On November 29, EMI released the compilation album, Voice of Love, featuring the singles "In the Ones You Love", "You Are Not Alone" and "I Hear (The Voice of Love)".[59] On February 8, 1997, EMI released the Japanese edition of Ross's album, A Gift of Love, featuring the single, "Promise Me You'll Try".[60] In May, she performed with operatic tenors Plácido Domingo and José Carreras again at the Superconcert of the Century concert, held in Taipei, Taiwan.[61] She later inducted the Jackson 5 into The Rock and Roll Hall of Fame on May 6.[62]

On February 19, 1998, Ross hosted the Motown 40 telecast on ABC.[63] In 1999, Ross was named the most successful female singer in the history of the United Kingdom charts, based upon a tally of her career hits. Madonna would soon succeed Ross as the most successful female artist in the UK. Later that year, Ross presented at the 1999 MTV Video Music Awards in September of the year and shocked the audience by touching rapper Lil' Kim's exposed breast and pasty-covered nipple, amazed at the young rapper's brashness.[64] In 1999, she and Brandy Norwood co-starred in the television movie, Double Platinum, which was aired prior to the release of Ross's album, Every Day Is a New Day. From that album, Ross scored a Top 10 hit in the UK in November that year with "Not Over You Yet".

2000–2003: Supremes reunion

[edit]

Ross reunited with Mary Wilson first in 1976 to attend the funeral service of Florence Ballard, who had died in February of that year. In March 1983, Ross agreed to reunite with Wilson and Cindy Birdsong for the television special Motown 25: Yesterday, Today, Forever. The Supremes did not rehearse their performance for that evening, due to time constraints. A scheduled medley of hits was cancelled.

Instead of following producer Suzanne de Passe's instructions to recreate their choreography from their final Ed Sullivan Show appearance, Wilson (according to her autobiography) planned with Birdsong to take a step forward every time Ross did the same, then began to sing lead on the group's final number-one hit song, "Someday We'll Be Together", on which Wilson did not perform.

Later, Wilson introduced Berry Gordy from the stage (unaware that the program's script called for Ross to introduce Gordy), at which point Ross subtly pushed down Wilson's hand-held microphone, stating, "It's been taken care of." Ross then re-introduced Gordy.[65][66] These moments were excised from the final edit of the taped special, but still made their way into the news media; People magazine reported that "Ross [did] some elbowing to get Wilson out of the spotlight."[67]

In 1999, Ross and mega-tour promoter SFX Entertainment (which later became Live Nation) began negotiations regarding a Diana Ross tour which would include a Supremes segment. During negotiations with Ross, the promoters considered the creation of a Supremes tour, instead. Ross agreed. As the tour's co-producer, Ross invited all living former Supremes to participate. Neither Jean Terrell nor late 1970s member Susaye Greene chose to participate. 70s Supremes Lynda Laurence and Scherrie Payne were then touring as Former Ladies of the Supremes.

Ross contacted Mary Wilson and Cindy Birdsong, who then began negotiations with SFX. Negotiations with Wilson and Birdsong (who allowed Wilson to negotiate on her behalf) failed when Wilson refused SFX's and Ross's offer of $4 million for 30 performances. Following the passage of SFX's final deadline for Wilson to accept their offer, Payne and Laurence, already negotiating with SFX, signed on to perform with Ross on the tour.

Laurence and Payne would later say that they got along well with Ross. The newly formed group performed together on Today and The Oprah Winfrey Show, as well as VH1's VH1 Divas 2000: A Tribute to Diana Ross. The Return to Love Tour launched in June 2000, to a capacity audience in Philadelphia. The tour's final performance was at New York City's Madison Square Garden. The tour was cancelled by SFX shortly thereafter, due to mediocre ticket sales, despite glowing reviews from media as varied as Billboard magazine, the Detroit Free Press, the Los Angeles Times and The Village Voice newspapers.

On December 5, 2000, Ross received a Heroes Award from the National Academy of Recording Arts & Sciences (NARAS). The Heroes Award is the highest distinction bestowed by the New York Chapter.[68] Ross's first public post-RTL appearance was at a fundraiser for former president Bill Clinton. In January 2001, Love & Life: The Very Best of Diana Ross was released in the United Kingdom, becoming Ross's 17th gold album in that country. In June, Ross presented costume designer Bob Mackie with the Lifetime Achievement Award at the American Fashion Awards.

Two days before the September 11 attacks, Ross performed "God Bless America" at the US Open before the tournament's women's final, between Venus and Serena Williams. Immediately following the attacks, Ross performed the song again at Shea Stadium, before the New York Mets first game, after driving cross-country to be with her children (in the wake of the attacks, flying in the U.S. was temporarily restricted.).[69] Ross teamed with legendary singers Patti LaBelle and Eartha Kitt, among others, for a Nile Rodgers-produced recording of Sister Sledge's classic disco hit, "We Are Family", recorded to benefit the families of 9/11 victims.

In May 2002, Ross and all five of her children appeared on Barbara Walters' Mother's Day television special. Shortly thereafter, Ross admitted herself into the 30-day substance abuse program at the Promises Institute in Malibu, California, after friends and family began to notice a burgeoning alcohol problem. Ross left the program three weeks later and began to fulfill previously scheduled concert dates, beginning with a performance before a 60,000-strong crowd at London's Hyde Park, for Prince Charles' Prince's Trust charity.[citation needed]

U.S. ticket sales for the new tour were brisk, from coast to coast. Venues, such as Long Island's Westbury Music Fair, California's Cerritos Center for the Performing Arts and Humphrey's Concerts by the Bay, attempted to add extra shows, due to public demand. Sold-out performances in Boston followed. In August, shortly after the tour began, however, Ross re-entered the Promises Institute's substance abuse rehabilitation program. That December, during her stay at Arizona's Canyon Ranch Health Resort, Ross was pulled over by Tucson police for driving the wrong way on a one-way street. She failed a breathalizer test and was arrested for a DUI. Ross was sentenced in 2004 to 48 hours in jail, which she served near her home in Greenwich, Connecticut.[70]

In January 2003, Ross was honored as Humanitarian of the Year by Nile Rodgers' We Are Family Foundation. Shortly thereafter, Ross was feted as an honored guest at the National Association of Black-Owned Broadcasters Awards. Later that year, Ross was the guest performer at that year's Metropolitan Museum of Art's Costume Institute's annual gala, in an ensemble custom-designed by fashion designer Tom Ford, followed by an appearance as the surprise celebrity model for American couturier Dennis Basso's runway show. In February 2003, the Supremes were honored by the Rhythm and Blues Foundation with its Pioneer Award.[71]

2004–2019: I Love You and subsequent projects

[edit]
Ross performing at Rotterdam, Netherlands, 2007

In December 2004, Ross returned to television for the first time since 2002 when she performed for former Motown label mate Stevie Wonder during his Billboard Music Awards Century Award tribute.[72] Ross participated at the Tsunami Aid: A Concert of Hope TV concert to help raise money for the tsunami victims of the 2004 Indian Ocean earthquake the following January.[73]

Ross launched her M.A.C. Icon makeup collection, as part of the beauty corporation's Icon Series that same month.[74] Ross was honored that year by Oprah Winfrey as one of 25 black American women in art, entertainment and civil rights to be honored at her "Legends Ball", which later aired in May 2006 on ABC.[75]

Ross returned to the record charts that year after recording duets with Rod Stewart and Westlife. With the former, she recorded the Gershwin standard, "I've Got a Crush on You", which reached number 19 on the Billboard Adult Contemporary Songs chart, her first Billboard chart entry since 2000.[76] With the latter, she re-recorded her 1991 hit, "When You Tell Me That You Love Me", which re-peaked at number two on the UK Singles Chart and number one in Ireland. It remains her latest hit in both countries.

In March 2006, Ross received the TV Land Awards' Viewer's Choice for Television's Greatest Music Moment for her For One & For All 1983 Central Park concerts.[77]

In June 2006, Universal released Ross's shelved 1972 Blue album. It peaked at No. 2 on Billboard's Top Jazz Albums chart.[78] That year, having signed with EMI/Manhattan Records, Ross released the album, I Love You, her first studio album since Every Day Is A New Day seven years earlier, where it reached number 32 on the Billboard 200 and number 16 on the Top R&B/Hip-Hop Albums chart.[79][80] Ross promoted the album with a world tour throughout that year.

In June 2007, Ross received the Lifetime Achievement Award at the BET Awards. Later that December, she received the Kennedy Center Honors medal. In August 2008, Ross performed at the opening of the US Open tennis tournament, as part of a tribute to Billie Jean King.[81][82] Later in October that year, she headlined the 2008 Nobel Peace Prize Concert in Oslo, Norway.[83][84] Ross was the featured performer at the annual Symphonica in Rosso concert series, held at the GelreDome Stadium in Arnhem, Netherlands in October 2009.[85]

In 2010, Ross embarked on her first headlining tour in three years titled the More Today Than Yesterday: The Greatest Hits Tour. Dedicated to the memory of her late friend Michael Jackson, the concert tour garnered positive reviews nationwide.[86] In 2011, Ross was inducted into the Michigan Rock and Roll Legends Hall of Fame.[87]

In February 2012, Ross received her first Grammy Award, for Lifetime Achievement, and announced the nominees for the Album of the Year.[88] In May, a DVD of her Central Park concert performances, For One & For All, was released. She performed as the marquee and headlining performer at the White House-hosted Christmas in Washington concert on December 9, where she performed before former President Barack Obama, which was broadcast as an annual special on TNT.

On July 3, 2014, Ross was awarded the Ella Fitzgerald Award for "her extraordinary contribution to contemporary jazz vocals", at the Montreal International Jazz Festival.

On April 1, 2015, Ross began the first of nine performances as a part of her mini-residency, The Essential Diana Ross: Some Memories Never Fade at The Venetian in Las Vegas, Nevada.[89][90] On November 22, 2016, Ross was awarded the Presidential Medal of Freedom by President Obama.[91] That December, Billboard named her the 50th most successful dance club artist of all time.[92]

On June 30, 2017, Ross headlined the Essence Festival in New Orleans, Louisiana, with her daughter Rhonda Ross-Kendrick performing as the opening act.[93][94] Ross received the American Music Awards Lifetime Achievement Award in November 2017.[95][96]

In December 2017, Ross appeared on the Home Shopping Network to promote her first fragrance, Diamond Diana.[97] Ross released a CD retrospective collection of her music titled Diamond Diana that was released as a tie-in with the fragrance, which sold out within hours. In January 2018, Diamond Diana returned Ross to the Billboard 200, peaking at number 30 and stayed for a week and remains her latest album to chart there. The album also peaked at number six on the publication's R&B Albums chart[98] and No. 5 on its Top Album Sales chart.[99] The album featured the song "Ain't No Mountain High Enough 2017", remixed by Eric Kupper. The remix returned Ross to number one on the Billboard Dance Club Songs chart.[100]

In February 2018, Ross began a new mini-residency at Wynn Las Vegas.[101] That same year in August, a two-song remix of her 1980 hits "I'm Coming Out" and "Upside Down", also by Eric Kupper, titled "I'm Coming Out/Upside Down 2018" topped the Dance Club Songs chart.[102] As a result of her successes on the dance chart that year, Ross ranked third place among the top dance club artists of the year on Billboard.[103] In November 2018, she participated in the Macy's Thanksgiving Day Parade on November 22, 2018.[104]

In February 2019, Ross returned to the Grammy Awards where she performed at the venue for the first time ever at the 61st annual telecast. She performed two songs -- her 1993 ballad "The Best Years of My Life" and her 1970 hit "Reach Out and Touch (Somebody's Hand)".[105] That April, she returned to number one on the Billboard Dance Club Songs chart with another Eric Kupper remix of her 1979 hit "The Boss" titled "The Boss 2019".[106]

2020–present: Thank You and Glastonbury

[edit]

In May 2020, Ross released Supertonic: Mixes, a collection of nine of her greatest hits remixed by Eric Kupper and featuring her four consecutive number one hits on Billboard Dance Club Songs chart: "Ain't No Mountain High Enough 2017", "I'm Coming Out/Upside Down 2018", "The Boss 2019", and "Love Hangover 2020". In July, "Supertonic: Mixes" was also released on CD and crystal-clear vinyl LP.

Ross released her twenty-fifth studio album Thank You in November 2021. It was written and recorded during the COVID-19 pandemic lockdown and contains her first original material since 1999's Every Day Is a New Day.[107] The album returned Ross to the UK albums chart where it debuted and peaked at number seven, producing her best chart performance there since Take Me Higher peaked at number ten in 1995.

Ross performing live at Longleat in Wiltshire, England, 2022

In May 2022, she released the single "Turn Up the Sunshine", a collaboration with psychedelic pop band Tame Impala. The track is the lead single from the Jack Antonoff-produced original soundtrack album of the film Minions: The Rise of Gru. With the exception of this track, the album primarily features new spins on classic 1970s hits by artists such as Brittany Howard, St. Vincent, H.E.R., and many others.

On June 4, 2022, Ross appeared as the finale act at the Platinum Party at the Palace in celebration of the Platinum Jubilee of Elizabeth II.[108][109] On June 10, Ross kicked off the UK leg of her Thank You Tour at Cardiff Castle.[110] On June 26, Ross appeared live on the Pyramid Stage at the Glastonbury Festival.[111][112][113]

Thank You received a Grammy Award nomination in the Best Traditional Pop Vocal Album category, her first competitive Grammy nomination since "Muscles" was nominated for Best Female R&B Vocal Performance in 1983.[114]

In 2023, Ross returned to London's Royal Albert Hall for performances on October 14 and 15,[115] and again in April 2024.[116] Ross was among the musicians to participate in an Eminem-produced concert celebrating the grand reopening of the Michigan Central Station on June 6. The event was streamed live on Peacock. Additionally, a one-hour primetime re-broadcast was shown on NBC on June 9 at 7:00 p.m.

On May 5, 2025, Ross appeared at the 2025 Met Gala. Ross announced during her appearance that she was on tour and that her son, Evan had persuaded her to attend. Ross made headlines around the world for her appearance and 18 foot train which was specially designed to include the embroidered names of her children and grandchildren. Earlier in the year, Ross appeared at the 67th Grammy Awards and the 2025 BRIT Awards.

Personal life

[edit]

Relationships and family

[edit]

Ross has been married twice and has five children. Ross became romantically involved with Motown CEO Berry Gordy in 1965. The relationship lasted several years, resulting in the birth of Ross's eldest child, Rhonda Suzanne Silberstein, in August 1971. Two months into her pregnancy with Rhonda, in January 1971, Ross married music executive Robert Ellis Silberstein,[117] who raised Rhonda as his own daughter, despite knowing her true paternity. Ross told Rhonda that Gordy was her biological father when Rhonda was 13 years old. Beforehand, Rhonda referred to Gordy as "Uncle B.B."

Ross has two daughters with Silberstein, Tracee Joy Silberstein (Tracee Ellis Ross) and Chudney Lane Silberstein, born in 1972 and 1975, respectively.[118] Ross and Silberstein divorced in 1977.[119] In 2023, Smokey Robinson said in an interview that he and Ross had an affair lasting approximately one year while Robinson was married to his first wife, Claudette. According to Robinson, Ross ended the affair as Robinson admitted to still being in love with Claudette, a friend of Ross's. When asked about Robinson's story, Ross's representative had no comment.[120][121]

Ross dated Gene Simmons, bassist and co-lead singer for the band Kiss, from 1980 to 1983.[122]

Ross met her second husband, Norwegian shipping magnate Arne Næss Jr., in 1985, and married him the following year. She became stepmother to his three elder children; Katinka, Christoffer, and folk singer Leona Naess. They have two sons together: Ross Arne (born in 1987) and Evan Olav (born in 1988).[123][124] Ross and Næss divorced in 2000, after press reports revealed that Næss had fathered a child with another woman in Norway.[125] Ross considers Næss the love of her life.[126] Næss fell to his death in a South African mountain climbing accident in 2004.[127] Ross remains close with her three ex-stepchildren.

Ross has seven grandchildren.[128][129][130][131]

Religious views

[edit]

Ross was raised in the Baptist church. According to her 1993 autobiography, Secrets of a Sparrow,[11] her initial performances were in the Bessemer Baptist Church of Bessemer, Alabama, led by her maternal grandfather, Pastor William Moten, who (with his wife) raised her and her siblings there during their mother's bouts with tuberculosis.

2002 arrest

[edit]

Ross was arrested for DUI on December 30, 2002, in Tucson, Arizona, while undergoing substance abuse treatment at a local rehabilitation facility.[132] She later served a two-day sentence near her Connecticut estate.[133]

Legacy

[edit]
In 1982, Diana Ross received her first star on the Hollywood Walk of Fame. Apart from this star, Ross also received a second for her work with the Supremes.

Ross has influenced many artists including Michael Jackson, Beyoncé,[134] Madonna,[135] Jade Thirlwall, Questlove,[136] Ledisi[137] and the Ting Tings.[138] Several of Ross's songs have also been covered and sampled. "Ain't No Mountain High Enough" has been featured in the film Chicken Little. The song has also been covered live and on albums by Jennifer Lopez and Amy Winehouse. Janet Jackson sampled "Love Hangover" on her 1997 song "My Need" (featured on the album The Velvet Rope), having already sampled "Love Child" and "Someday We'll Be Together" by Ross & the Supremes on her 1993 tracks "You Want This" and "If" (both released as singles from the Janet album). "Love Hangover" was also sampled in Monica's 1998 hit single "The First Night" as well as being sampled by Will Smith, Master P (who also sampled "Missing You"), Heavy D and Bone Thugs-n-Harmony, "It's Your Move" was sampled in 2011 by Vektroid for her song "Lisa Frank 420 / Modern Computing", which appeared in her ninth album Floral Shoppe under her one-time alias Macintosh Plus. "It's My House" was sampled by Lady Gaga for her song "Replay" which appeared on the 2020 album Chromatica. According to the sampling music database site, WhoSampled, Ross has seen her music sampled over 754 times and covered over 399 times; sans her music in the latter half of her Supremes tenure, Ross's solo work has been sampled 682 times and covered over 333 times.[139]

Various works have been inspired by Ross's career and life. The character of Deena Jones in both the play and film versions of Dreamgirls was inspired by Ross.[140] Motown: The Musical is a Broadway musical that launched on April 14, 2013. It is the story of Berry Gordy's creation of Motown Records and his romance with Diana Ross. She was portrayed by Valisia LeKae in 2013 and Lucy St. Louis in 2016. Ross was also portrayed by Candice Marie Woods (from 2017 to 2019) and Deri'Andra Tucker (2021) in the stage play Ain't Too Proud. There have been many other portrayals of Ross in films, television and other media including Holly Robinson Peete in The Jacksons: An American Dream (1992), Michelle Williams in American Soul (2019) and Kat Graham in the Michael Jackson biopic Michael (2025).

As a member of the Supremes, her songs "Stop! In the Name of Love" and "You Can't Hurry Love" are among the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[141] They were inducted into the Rock and Roll Hall of Fame in 1988, received a star on the Hollywood Walk of Fame in 1994, and entered into the Vocal Group Hall of Fame in 1998. In 2004, Rolling Stone placed the group at number 96 on their list of the "100 Greatest Artists of All Time".[142]

As lead singer of the Supremes and as a solo artist, Ross has earned 18 number-one singles (12 as lead singer of the Supremes and 6 as a solo artist). Ross is the only female artist to have number-one singles as a solo artist; as the other half of a duet (Lionel Richie); as a member of a trio (the Supremes); and, as an ensemble member ("We Are the World" by USA for Africa). Ross was featured on the Notorious B.I.G.'s 1997 number-one hit "Mo Money Mo Problems" since her voice from her 1980 hit "I'm Coming Out" was sampled for the song.

Billboard magazine named Ross the "female entertainer of the century" in 1976. Ross is also one of the few recording artists to have two stars on the Hollywood Walk of Fame—one as a solo artist and the other as a member of the Supremes. After her 1983 concert in Central Park, Diana Ross Playground was named in her honor with a groundbreaking opening ceremony in 1986.

Berry Gordy asked Ross to introduce The Jackson Five to the public. Eventually, public misunderstandings resulted in Ross erroneously being given credit for the discovery of the Jackson 5. Gordy decided that the misunderstanding was "good for business", so her "discovery" became a part of Motown's marketing and promotions plan for the Jackson 5. Consequently, their debut album was titled Diana Ross Presents The Jackson 5. Motown producer Bobby Taylor claims to have discovered the Jacksons, though, singer Gladys Knight also makes the claim.[143] Even so, Ross embraced the role and became a good friend of Michael Jackson, serving as a mother figure to him.[144]

On January 24, 1985, Kaufman Astoria Studios held a dedication ceremony in Astoria, Queens to honor Ross by naming Studio 4 at the studios after her. The Diana Ross Building served as an acknowledgement of Ross's contribution in bringing the studio back to the forefront after being faced with possible demolition, through her involvement in The Wiz.[145] In 2006, Ross was one of 25 African-American women saluted at Oprah Winfrey's Legends Ball, a three-day celebration, honoring their contributions to art, entertainment, and civil rights. Ross has been described as one of the Five Mighty Pop Divas of the Sixties along with Dusty Springfield, Aretha Franklin, Martha Reeves, and Dionne Warwick.[146] In 2023, Rolling Stone ranked Ross at number 87 on its list of the 200 Greatest Singers of All Time.[147]

Awards and nominations

[edit]
Ross stands besides Leon Fleisher, Martin Scorsese, George W. Bush, Brian Wilson, Laura Bush and Steve Martin at the Blue Room in the White House during the Kennedy Center Honors dinner in December 2007.

While attending the Rock Music Awards in 1976, Ross received the special honor for "Female Entertainer of the Year", becoming her first lifetime honor at the age of 32. In 1982, she received a star on the Hollywood Walk of Fame.

In 1988, Ross was inducted alongside fellow Supremes founding members Mary Wilson and Florence Ballard, into the Rock and Roll Hall of Fame.

In 1993, the Guinness World Records cited Ross as the most successful female charting artist in the UK.[148]

In 1994, the Supremes earned their star on the Hollywood Walk of Fame, making Ross one of a few in a selected group of entertainers to receive more than a star.

In December 2007, Ross received a medal from the Kennedy Center Honors.

On November 16, 2016, Ross was announced as one of the 21 recipients of the Presidential Medal of Freedom, the nation's highest civilian honor.[149]

In 2023, Supremes co-founders Ross and the late Mary Wilson and Florence Ballard received the Grammys' Lifetime Achievement Award, with Ross becoming the first woman to win the award twice (she earned a solo honor in 2012).[150]

Discography

[edit]

Filmography

[edit]
Diana Ross at the Academy Awards in 1990
Year Title Role Notes
1972 Lady Sings the Blues Billie Holiday Nominated—Academy Award for Best Actress
Nominated—BAFTA Award for Best Actress in a Leading Role
Nominated—Golden Globe Award for Best Actress in a Motion Picture – Drama
WonGolden Globe Award for New Star of the Year – Actress
WonNAACP Image Award for Outstanding Actress in a Motion Picture
1975 Mahogany Tracy Chambers
1978 The Wiz Dorothy Gale Nominated—Saturn Award for Best Actress
1994 Out of Darkness Paulie Cooper Nominated—Golden Globe Award for Best Actress – Miniseries or Television Film
1999 Double Platinum Olivia King
2019 Diana Ross: Her Life, Love & Legacy Herself Documentary and concert film
2023 Renaissance: A Film by Beyoncé Herself Documentary and concert film
2024 The Greatest Night in Pop Herself Documentary film

Television

[edit]

Stage

[edit]

Tours

[edit]

Headlining

  • The Diana Ross Show (1970–75)
  • An Evening with Diana Ross (1975–78)
  • Tour '79 (1979)
  • Diana Ross on Tour (1980-1982)
  • Up Front Tour (1983)
  • Swept Away Tour (1984)
  • Eaten Alive Tour (1985–86)
  • Red Hot Rhythm & Blues Tour (1987-88) (cancelled due to pregnancy)
  • Workin' Overtime World Tour (1989-90)
  • Here And Now Tour (1991–92)
  • Forever Diana: 30th Anniversary Tour (1993–95)
  • Take Me Higher Tour (1995–96)
  • Voice of Love Tour (1997–98)
  • Always is Forever Tour (1999)
  • Live Love Tour (2003)[151]
  • This is It Tour (2004)[152]
  • I Love You Tour (2006–08)[153]
  • More Today Than Yesterday: The Greatest Hits Tour (2010–11)[154]
  • In the Name of Love Tour (2013–17)[155]
  • Brand New Day Tour (2019)[156]
  • Music Box Tour (2019)[157]
  • Thank You Tour (previously named "Top of The World Tour") (2022)[158]
  • The Music Legacy Tour (2023)
  • Beautiful Love Performances: Legacy 2024 (2024)
  • Diana Ross: A Symphonic Celebration (2025)

Co-headlining tours

Residency shows

Bibliography

[edit]

See also

[edit]

Notes

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia

Diana Ernestine Ross (born March 26, 1944) is an American singer, actress, and record producer whose career spans over six decades, marked by her role as the lead vocalist of the Supremes and subsequent solo triumphs in music and film. Rising to prominence with the Supremes, Motown's flagship act, Ross fronted the group to twelve number-one singles on the Billboard Hot 100 between 1964 and 1969, including "Where Did Our Love Go," "Baby Love," and "You Can't Hurry Love," establishing them as the most commercially successful American vocal group of the era. Launching her solo career in 1970, she notched six additional Billboard Hot 100 number-one hits, such as "Touch Me in the Morning," "Upside Down," and the duet "Endless Love" with Lionel Richie, which held the top spot for seven weeks and remains one of the best-selling singles of all time. Ross expanded into acting with her screen debut portraying Billie Holiday in the 1972 biopic Lady Sings the Blues, earning an Academy Award nomination for Best Actress and a Golden Globe nomination, followed by the lead in Mahogany (1975). Her accolades include the Presidential Medal of Freedom in 2016, Kennedy Center Honors in 2007, and recognition in the Guinness Book of World Records for the most successful female artist in U.S. and U.K. chart history with over 70 hit singles. With global record sales exceeding 100 million, Ross's influence on pop, soul, and R&B endures through her distinctive vocal style and stage presence, though her career has also involved public scrutiny over personal matters like family dynamics and substance-related incidents in associates, underscoring the challenges of sustained fame.

Early Life

Upbringing and Family Background

Diana Ross was born Diane Ernestine Earle Ross on March 26, 1944, in , , though a on her rendered the name as Diana, which she retained. She was the second of six children born to Fred Ross Sr. (1920–2007) and Ernestine Moten Ross (January 27, 1916–October 9, 1984), an African American Baptist family rooted in Detroit's working-class community. Her mother worked as a schoolteacher, contributing to a household emphasis on amid modest circumstances. Ross's siblings included her elder sister Barbara Ross-Lee (born June 1, 1942), who later became a pioneering physician and dean of a , as well as younger siblings Rita, "T-Boy" Ross, Wilbert "Chico" Ross, and Fred Ross Jr. The family resided in the , a complex in 's Black Bottom neighborhood designated for low-income residents, reflecting the economic challenges faced by many African American families in mid-20th-century urban Detroit. This environment, marked by dense population and limited resources, shaped her early years, though the family's Baptist faith provided a structured moral and communal framework. Fred and Ernestine Ross divorced when Diana was young, after which Ernestine remarried John Jordan, but the original family unit remained influential in her formative experiences. Ross has described her upbringing as one of close-knit sibling dynamics and parental guidance focused on resilience and , amid the broader socio-economic shifts in postwar driven by industrial employment and migration patterns.

Musical Beginnings and Influences

Diana Ross developed an early interest in music while growing up in Detroit's North End neighborhood, where she was exposed to gospel traditions through participation in the choir at Olivet Baptist Church during her childhood. This foundation in gospel singing shaped her vocal style, emphasizing emotional delivery and rhythmic phrasing that would later distinguish her performances. Attending Cass Technical High School in the late 1950s, Ross balanced aspirations in fashion design with her growing passion for singing, often performing at local events and parties with neighborhood friends. In 1959, at age 15, she joined the Primettes—a female vocal quartet formed as a sister act to the male group the Primes (later the Temptations)—alongside Mary Wilson, Florence Ballard, and Betty McGlown. The group, managed initially by members of the Primes, rehearsed in basements and performed at talent shows, honing harmonies influenced by the emerging Motown sound permeating Detroit's Black music scene. Ross's influences extended beyond gospel to jazz and blues vocalists, including , , , and , whose interpretive phrasing and emotional depth informed her approach to phrasing and stage presence. She has credited these artists for teaching her to infuse personal vulnerability into songs, a technique evident even in her earliest group recordings. Detroit's vibrant R&B and culture, amplified by proximity to Motown founders like —a neighbor who encouraged her talent—further catalyzed her shift from informal singing to professional ambition.

Career with The Supremes

Formation and Early Years (1959-1962)

In 1959, and Mary Wilson, both fifteen-year-old residents of Detroit's , met at a local and decided to form a vocal group. With encouragement from Milton Jenkins, manager of the male group The Primes (later ), they created a female counterpart named The Primettes to serve as backup singers. Ballard and Wilson recruited schoolmates and Diane Ross (later Diana Ross), also from the projects, completing the quartet; all members were teenagers drawn from similar socioeconomic backgrounds in Detroit's urban housing developments. The Primettes performed at local events, including winning an amateur talent competition at the International Freedom Festival in , on July 4, 1960. That year, McGlown departed the group upon her marriage, and she was replaced by Barbara Martin, maintaining the quartet lineup. Seeking a record deal, the group auditioned unsuccessfully for in 1960 before securing an introduction to founder through his sister Gwen; they performed a cappella versions of songs like the Drifters' "There Goes My Baby," but Gordy, citing their youth and inexperience, advised them to complete high school before pursuing recording. Persisting, they recorded early demos, including "Who's Lovin' You" on October 16, 1960, and "I Want a Guy" on December 15, 1960, at 's studio. On January 15, 1961, shortly after graduating, the Primettes signed their first contract with Records; renamed them at Ballard's suggestion, as no other acts used "Primettes" and to avoid diminutive connotations. Their debut single, "I Want a Guy" backed with "Never Again"—written and produced by with contributions from and Freddie Gorman—was released on Tamla (a subsidiary) on March 9, 1961, but it failed to chart, marking the start of a string of commercial disappointments. Follow-up releases, including "Buttered Popcorn" (with Ballard on lead vocals), similarly achieved no significant or sales success through 1962. By early 1962, after the release of their third single "Your Heart Belongs to Me" on May 8, Martin left to start a family, reducing the group to a trio of Ballard, Wilson, and Ross; Ross assumed more prominent lead vocals amid the lineup shift. The group released their debut album, , in December 1962, compiling earlier singles and new tracks produced by and , but it sold poorly, peaking outside the top 75 on the and reflecting their "no-hit" status at during this period. Despite modest local performances and persistent studio work, faced internal adjustments and label skepticism, with Ross temporarily working retail at to make ends meet.

Rise to International Fame (1963-1966)

In October 1963, the Supremes achieved their first national chart success with "When the Lovelight Starts Shining Through His Eyes," which peaked at number 23 on the Billboard Hot 100. This single, produced by the Holland-Dozier-Holland team, marked a turning point after years of limited commercial impact, establishing the group—featuring Diana Ross on lead vocals—as a viable Motown act. The group's breakthrough came in 1964 with "," recorded on April 8 and released as a single on June 17, reaching number one on the for two weeks starting August 22. Followed swiftly by "Baby Love," released September 17 and topping the Hot 100 for four weeks from October 31, these Holland-Dozier-Holland compositions propelled to the forefront of Motown's roster, with Ross's distinctive phrasing central to their appeal. "," released in October 1964, further solidified their momentum by peaking at number two on the Hot 100. By 1965, the Supremes extended their streak of chart dominance with "Stop! In the Name of Love," released February 8 and reaching number one, followed by "Back in My Arms Again" in April, also hitting number one. "I Hear a Symphony," released October 1965, became their fifth consecutive Hot 100 number one. In 1966, "You Can't Hurry Love" and "You Keep Me Hangin' On" each topped the chart in August and October, respectively, capping a run of seven number-one singles within three years. Their album Supremes A' Go-Go, released in 1966, became the first by an all-female group to reach number one on the Billboard 200 on October 22. This period saw the expand internationally, embarking on the Motortown Revue tour in the UK in 1965 and performing in , where "Baby Love" marked their first number-one single in Britain. These successes transformed them from a domestic act into global stars, with emphasizing Ross's lead role to enhance their crossover appeal to pop audiences.

Shifts, Tensions, and Decline (1967-1970)

In early 1967, founder initiated a strategic shift by renaming the group , emphasizing Ross's role as lead singer to capitalize on her growing star power and appeal to audiences. This change was first implemented in June 1967 during performances at the Flamingo Hotel in , where the new billing appeared on marquees, signaling Gordy's intent to position Ross as the central figure amid evolving marketing strategies. The renaming exacerbated internal tensions, particularly with founding member , who had co-founded the group and resented the favoritism toward Ross, viewing it as eroding the trio's equal dynamic. Ballard's dissatisfaction peaked amid her personal struggles, including alcohol dependency, weight gain, and unreliable attendance at rehearsals and shows, which strained group cohesion and prompted executives to seek a replacement. On July 2, 1967, Ballard was effectively dismissed, with from & the Blue Belles stepping in as her successor; publicly, her exit was framed as a temporary leave for exhaustion and family time, though it marked the end of her tenure. Tensions extended to Mary Wilson, the remaining original member, who later described the name change as "the worst thing that ever happened" to the group, arguing it undermined their collective identity and fueled perceptions of discord, even as Ross's ambition aligned with Gordy's vision. Despite these fractures, the group achieved further commercial success, including the number-one hits " and Now You're Gone" in February 1967 and "The Happening" in June 1967, followed by "Love Child" in October 1968, which addressed taboo themes of out-of-wedlock birth and topped the Hot 100. However, the streak of consecutive chart-toppers from 1964-1966 ended, with subsequent singles like "Reflections" peaking at number eight in 1967 and inconsistent performance signaling a relative decline in dominance amid shifting musical tastes and internal instability. By 1969-1970, mounting pressures culminated in Ross's announcement of her solo career transition, though she completed commitments including the final number-one single in December 1969; her formal departure in January 1970 effectively ended the Diana Ross & era, reflecting both Gordy's grooming of Ross for stardom and the group's waning unity and chart supremacy. Wilson and Birdsong continued briefly as , but the original magic had dissipated, underscoring how personalized branding and unresolved conflicts contributed to the act's transformation.

Solo Music Career

Transition and Breakthrough Hits (1970-1976)

Diana Ross departed from following their final performance together on January 14, 1970, at the Frontier Hotel in , marking the end of her tenure as the group's lead singer after over a of shared success. Records, under Berry Gordy's direction, immediately positioned her for a solo trajectory, announcing the transition in late 1969 to capitalize on her established fame. Her debut solo concert occurred on March 8, 1970, at Caesar's in , where she performed material from her forthcoming album, demonstrating her viability as an independent artist despite initial skepticism from audiences accustomed to the group dynamic. Ross's first solo single, "Reach Out and Touch (Somebody's Hand)," written and produced by Nikolas Ashford and Valerie Simpson, was released in April 1970 and peaked at number 20 on the , providing a modest entry into solo territory with its uplifting arrangement. Her self-titled debut , Diana Ross, followed on June 19, 1970, also helmed by Ashford and Simpson, featuring covers and originals that blended Motown's signature sound with more intimate balladry; it reached number 19 on the and included the follow-up single "." This reworking of and Tammi Terrell's 1967 duet, edited into a dynamic six-minute production with orchestral swells and Ross's commanding vocals, was released as a single on July 16, 1970, and ascended to number 1 on the for three weeks starting September 19, 1970, solidifying her solo breakthrough and outselling many contemporaries through Motown's aggressive promotion. The hit's success, driven by its crossover appeal to pop and R&B audiences, prompted a , Diana!, aired December 13, 1971, which featured guest appearances by stars like and drew 21 million viewers, further elevating her profile. Subsequent releases from 1971 to 1972, such as "Surrender" (peaking at number 16 in 1971) and tracks from albums like Everything Is Everything (1970) and Surrender (1971), achieved moderate chart performance but failed to replicate the debut's momentum, reflecting a transitional phase amid Motown's evolving production strategies and Ross's exploration of jazz-inflected material tied to her acting pursuits. The tide turned with "Touch Me in the Morning," released May 3, 1973, from her album of the same name issued June 22, 1973; composed by and Ron Miller with Hal Davis production, it topped the on August 18, 1973, for one week, its poignant breakup balladry resonating amid Ross's maturing vocal style. This number 1, her second as a soloist, underscored her ability to deliver emotionally layered hits, bolstered by the album's number 5 peak. By 1975, Ross's music intertwined with her film work in Mahogany, yielding "Theme from Mahogany (Do You Know Where You're Going To)," released September 24, 1975, which climbed to number 1 on the on January 18, 1976, for one week, its introspective lyrics by and capturing themes of ambition and reflection. The song's orchestral arrangement and Ross's soaring delivery propelled the soundtrack's success, affirming her versatility. Closing the period, "Love Hangover," released March 16, 1976, from her album Diana Ross, fused elements with sultry vocals under Hal Davis's production, reaching number 1 on the on May 29, 1976, for two weeks and dominating dance charts, signaling her adaptation to emerging genres while amassing four solo number 1s by mid-decade. These breakthroughs, amid Motown's favoritism toward Ross—including custom productions and billing as "Diana Ross & the Supremes" in her final group year—established her as a enduring solo force, with sales exceeding expectations despite occasional creative tensions.

Label Changes and 1980s Resurgence

Following a commercial slowdown in the late , Diana Ross experienced a resurgence with her 1980 Motown album , produced by and of , which emphasized a modern disco-funk sound. Released on May 22, 1980, the album peaked at number 2 on the chart and achieved platinum certification from the RIAA for sales exceeding one million units in the United States. The lead single "Upside Down" topped the for four consecutive weeks starting September 6, 1980, marking Ross's first number-one solo hit since 1976. Follow-up single "" reached number 14 on the Hot 100, further solidifying the album's success and influencing subsequent trends. The duet "Endless Love" with , released in August 1981 on Records from the soundtrack to the film of the same name, extended this momentum by topping the for nine weeks and becoming Ross's biggest-selling single. Despite these hits, Ross concluded her two-decade tenure with by the end of 1980, having generated substantial revenue for the label through her recordings. In 1981, Ross signed a high-profile contract with , reportedly valued at $20 million, making her one of the highest-paid artists at the time. Her RCA debut album Why Do Fools Fall in Love, released September 14, 1981, included a cover of and ' 1956 hit, which peaked at number 7 on the and contributed to the album's platinum certification. Subsequent RCA albums in the 1980s yielded mixed results in the U.S. market but sustained her international profile. Silk Electric (1982) featured the top-10 R&B single "Muscles"; Swept Away (1984) and Eaten Alive (1985, co-produced by Michael Jackson) each earned gold certifications; while Red Hot Rhythm & Blues (1987) and Workin' Overtime (1989) saw declining domestic sales amid shifting musical tastes. Notably, the 1985 single "Chain Reaction" reached number 1 in the UK, highlighting stronger overseas appeal. By February 1989, Ross reacquired ties to Motown as a part-owner and recommitted to recording for the label, signaling a shift back to her origins amid RCA's waning support.

1990s Returns and 2000s Reunions

In the early , Diana Ross released The Force Behind the Power, her nineteenth studio album, on September 10, 1991, via Records, marking a deliberate effort to reassert her vocal prowess with contributions from producers including Nickolas Ashford, Valerie Simpson, and . The album peaked at number 11 on the and achieved sales exceeding 500,000 copies there, though it underperformed commercially in the United States. Its lead single, "When You Tell Me That You Love Me," garnered radio play and later inspired covers by artists such as , while the follow-up "No Matter What You Do" reached number 4 on the R&B Singles chart. Subsequent releases included the jazz-inflected Stolen Moments in 1993, featuring collaborations with orchestral arranger Henry Mancini, and the holiday collection A Very Special Season in 1994, which sold over one million units globally despite limited chart impact. Ross's twenty-first studio album, Take Me Higher, arrived on September 5, 1995, emphasizing contemporary R&B and house influences; its title track topped the Billboard Dance Club Songs chart, signaling a brief resurgence in dance-oriented markets. These efforts, supported by international tours such as the 1991 promotion for The Force Behind the Power, highlighted Ross's sustained activity amid shifting industry trends favoring younger acts, though U.S. mainstream crossover success remained elusive. Transitioning into the 2000s, Ross sought to revive brand through the "Return to Love Tour," announced on , 2000, at New York City's Grand Central Station and billed as Diana Ross & . Original Supremes member Mary Wilson declined participation, citing unresolved disputes over financial terms and top billing for Ross, leading her to enlist later group members Lynda Laurence and instead. The tour launched in late June 2000 with performances emphasizing hits alongside Ross's solo material but encountered immediate challenges, including sluggish ticket sales averaging under 5,000 attendees per show and critiques of mismatched onstage dynamics. After completing about 12 dates, including a July 1, 2000, appearance at , the tour was abruptly canceled on July 10, 2000, by promoters who attributed the decision to insufficient revenue and logistical strains, though Ross publicly contested the move and pursued legal action against the organizers. No additional Supremes-branded reunions materialized in the decade, as lingering interpersonal frictions from the group's dissolution—exacerbated by Wilson's public reservations about the tour's authenticity—precluded further collaborations. Ross shifted focus to solo endeavors, including holiday specials and arena tours, maintaining her performance schedule without group affiliations.

Later Years and Ongoing Activity (2010-Present)

Ross maintained an active performance schedule throughout the 2010s, launching the More Today Than Yesterday: The Greatest Hits Tour in May 2010, which featured selections from her extensive catalog and toured North American venues. In 2012, she received the Grammy Lifetime Achievement Award from the Recording Academy, recognizing her contributions to popular music. The Supremes, including Ross as founding member, were posthumously honored with a Grammy Lifetime Achievement Award in 2023. In November 2021, Ross released her twenty-fifth studio album, Thank You, recorded during the and featuring covers of contemporary songs alongside original material, marking her first full-length release in 15 years. She resumed touring post-pandemic, including the Brand New Day Tour in 2019, the Music Legacy Tour in 2023, and the Beautiful Love Performances - Legacy Tour in 2024. Ross's 2025 activities included the Beautiful Love Tour, with dates across the such as performances at the St. George Theatre on October 29 and Lynn Auditorium on October 30, alongside international shows like in on July 2 and the on July 25. In March 2025, ahead of her 81st birthday, she declared during sold-out Kings Theatre concerts in that she would "never retire," underscoring her commitment to live performances. However, she canceled a scheduled appearance on Royal Caribbean's cruise in August 2025 due to unforeseen circumstances. A planned tour in June and July 2025 further highlighted her ongoing international appeal.

Acting and Entertainment Ventures

Film Roles and Critical Reception

Diana Ross debuted in film with the biographical drama Lady Sings the Blues (1972), directed by , in which she portrayed jazz singer opposite as Louis McKay. The production, with a reported budget of around $3.7 million, earned approximately $6 million at the North American box office. Ross's performance garnered an Academy Award nomination for —the first for a actress in a debut role—and a Golden Globe win for Most Promising Newcomer. Critics lauded her emotional depth and vocal authenticity; awarded the film three out of four stars, calling it "one of the great performances of 1972." The soundtrack album topped the chart for three weeks, further boosting commercial impact. In Mahogany (1975), produced and directed by , Ross starred as Tracy Chambers, an aspiring fashion designer who achieves international success amid personal turmoil, co-starring and . The film's theme song, "Do You Know Where You're Going To," performed by Ross, reached number one on the and earned an Academy Award nomination for Best Original Song. Reception was mixed; while some noted Ross's charisma in glamorous sequences, Ebert critiqued the narrative incoherence, rating it two out of four stars and observing that it prioritized fantasy over substance. The picture failed to replicate the acclaim or financial returns of her debut, with contemporary reviews highlighting script weaknesses over her star appeal. Ross's third major role came in the musical fantasy (1978), directed by , where she played Dorothy, an adult Kansas schoolteacher transported to a urban reimagining of Oz, alongside as the . With a of $24 million—the most expensive musical at the time—the film grossed about $21 million domestically, marking a commercial loss. Critics panned it broadly, with particular scrutiny on Ross's casting at age 34 for a character originating as a child, deeming her portrayal mismatched and overly mannered; the production's elaborate sets and choreography did not offset perceptions of tonal inconsistency. This flop contributed to a perception that Ross's transition from music to acting yielded diminishing viability, limiting subsequent theatrical opportunities despite her vocal strengths. Later ventures included television films like Out of Darkness (1994) and Double Platinum (1999), but her feature film output remained confined to the 1970s.

Television, Stage, and Other Media Appearances

Ross's solo television career began with guest appearances shortly after departing . On February 4, 1971, she starred as Diana Hendricks on the ABC sitcom Make Room for Granddaddy, performing "" during the episode. Later that year, her debut solo TV special Diana! aired on ABC on April 18, 1971, showcasing her hits with choreography by David Winters and featuring as a guest. Subsequent specials highlighted her live performance prowess. Diana Ross in Concert! premiered in 1980, capturing a lavish musical revue of her career-defining songs. In 1981, the CBS special Diana, taped on February 5 at The Forum in , included a guest performance by on "Rock with You" alongside Ross's set. She also guested on during its run from 1976 to 1981, blending music with segments. On stage, Ross achieved a Broadway milestone with her one-woman concert An Evening with Diana Ross, opening at the Palace Theatre on June 14, 1976, and closing July 3 after strong attendance. The production earned her a for her debut, emphasizing elaborate sets, costumes, and a medley of standards and originals. The show toured afterward, with a live recording from the released in 1977. Other media ventures included recurring talk show spots, such as multiple appearances on in the 1970s and promoting albums and films. Ross continues occasional television cameos and live broadcasts tied to her ongoing concert tours, though primarily focused on music residencies rather than scripted roles.

Personal Life

Relationships and Family Dynamics

Diana Ross's family dynamics have been shaped by her romantic relationships, which produced a blended household of five children from three partners. Her involvement with Records founder , beginning in the mid-1960s, resulted in the birth of their daughter Rhonda Suzanne Ross Kendrick on August 14, 1971; Gordy's paternity was kept secret from Rhonda until she was 13, with Ross referring to him as "Uncle B.B." in her early years, a deception that introduced early familial complexities tied to professional and personal pressures. In 1971, shortly before Rhonda's birth, Ross married music manager , who knowingly raised Rhonda as his biological daughter; the couple subsequently had two more daughters, Tracee Joy Silberstein (, born October 29, 1972) and Chudney Lane Silberstein (born November 4, 1975), before divorcing in 1977 amid strains from Ross's career demands and the underlying secrecy of Rhonda's origins. Ross later married Norwegian shipping heir in 1985, welcoming sons Ross Arne Næss (born October 7, 1987) and Evan Olav Næss (born August 26, 1988); this marriage ended in divorce in 2000, after which Ross navigated post-divorce challenges including treatment in 2002, influenced by friends and family intervention. Ross describes her family as a grounding force equal to her career, emphasizing close-knit bonds with her children—who include successful actresses, producers, actors, and musicians—and eight grandchildren, with whom she shares vacations and "picture-perfect" moments like beach holidays and spoiling gestures. Her children portray her as a present, role-model mother: Tracee has praised her attentiveness despite fame's demands, Rhonda has collaborated professionally by opening for Ross's tours, Chudney views her as an exemplary figure, and Ross officiated both sons' weddings while assisted with events like preparations. The family's blended structure, marked by initial paternal secrecy and multiple parental figures, has fostered resilience and mutual support, with no public reports of persistent conflicts; Ross's sons, in particular, are noted as devoted husbands and fathers, reflecting positive intergenerational dynamics.

Marriages, Children, and Berry Gordy Connection

Diana Ross married music promoter on January 20, 1971, shortly before the birth of their first child together, though the union dissolved in 1977. She wed Norwegian shipping magnate on October 23, 1985, in a private ceremony, and the couple divorced in 2000 after having two sons. Ross has five children: Rhonda Suzanne Ross Kendrick (born August 14, 1971), Tracee Joy Silberstein (born October 29, 1972), Chudney Anne Silberstein (born November 4, 1975), Ross Arne Naess (born October 7, 1987), and Evan Olav Naess (born August 7, 1988). Rhonda, Tracee, and Chudney were born during Ross's marriage to Silberstein, while Ross and Evan were born to Næss. Ross maintained a romantic relationship with Motown Records founder from approximately 1965 to 1970, which produced her eldest daughter Rhonda, whose biological paternity was initially undisclosed publicly and only revealed years later by Ross herself. Gordy, who signed to and closely mentored Ross's career, acknowledged fatherhood after Rhonda's birth but did not marry Ross; she wed Silberstein while two months pregnant with Rhonda, and Silberstein raised her as his own. This connection intertwined Ross's with her professional origins at Motown, where Gordy's influence extended beyond business to a paternal role for Rhonda, who later pursued a career in entertainment and maintained relationships with both parents.

Religious Beliefs and Philanthropic Efforts

Diana Ross was raised in the Baptist church in , where she sang in the gospel choir during her childhood in projects. Her early exposure to shaped her vocal style and enduring faith, which she has described as integral to her identity, family upbringing, and daily life without overt preaching. Ross identifies as a Christian, with sources characterizing her as a borderline devout Baptist whose beliefs emphasize personal and spiritual guidance over public proselytizing. Ross established the Diana Ross Charitable Foundation in 1994 as a private entity focused on select preapproved causes, though it reported no grants disbursed in recent years such as 2023. Her philanthropic activities have included funding the construction of a children's playground in New York City's Central Park and support for organizations addressing youth homelessness via London's Centrepoint, landmine victims in , and broader efforts in health, education, and alleviation. She has backed initiatives like the , (USO), and Parkinson Center, with performances raising targeted funds such as $780,000 in 2018 for Canada's National Youth Orchestra program benefiting music education for underprivileged children. Ross's giving aligns with causes in , efforts, and arts programs, reflecting a pattern of direct involvement in youth-oriented and health-related projects rather than broad institutional donations.

Controversies and Criticisms

Interpersonal Conflicts with Supremes Members

Tensions within the escalated in the mid-1960s as Diana Ross's role as lead vocalist drew increasing emphasis from Records, contributing to conflicts with founding member . Ballard, who had co-founded the group in and contributed background vocals and occasional leads, grew dissatisfied with her diminishing prominence amid Ross's spotlight and the label's promotional strategies. By late 1966, Ballard's personal struggles with , weight gain, and onstage unreliability intensified, leading executives, including , to view her as a liability to the group's polished image. On July 2, 1967, Ballard was officially removed from during a performance in , replaced by as part of a strategic shift that also renamed the act Diana Ross & in August 1967 to capitalize on Ross's star power. Ballard later alleged mistreatment and sued in 1968 for royalties and back pay, claiming she had been coerced into signing away rights, but the case was dismissed. While some accounts, including from Ballard's sister, suggest Ross provided financial aid to Ballard during her post-group hardships, Ballard's resentment toward Ross and persisted, framing her ouster as a casualty of Ross's ambition rather than performance issues alone. Mary Wilson, the remaining original member, experienced ongoing friction with Ross that dated back to the group's rise but sharpened after Ballard's departure and Ross's solo transition in 1970. Wilson described in her 1986 memoir Dreamgirl: My Life as a Supreme how Ross's ego and favoritism from created unequal dynamics, with Ross allegedly monopolizing attention and resources, straining their early friendship forged in Detroit's housing projects. Wilson recounted instances of Ross's "snotty" demeanor even in humble beginnings, escalating to professional slights like limited solo opportunities for Wilson and Birdsong. A notable public flashpoint occurred during the ' brief reunion at the 1983 25 , where Wilson claimed Ross physically pushed her aside onstage amid chaotic celebrations, prioritizing media optics over group harmony. Efforts at full reunions in the and foundered partly due to these animosities, with Wilson criticizing Ross's demands for top billing and higher pay in her writings. Ross, in contrast, praised Wilson's talent publicly in 1970 but offered minimal acknowledgment upon Wilson's death in 2021, fueling perceptions of enduring coldness. Birdsong, who filled Ballard's role from 1967 to 1976, faced subtler tensions tied to the group's reorientation around Ross but avoided the overt public disputes of her predecessors, departing amid internal restructurings rather than personal feuds. These conflicts underscore causal factors like Motown's commercial imperatives favoring Ross's marketability over ensemble equity, though Wilson's narratives, while detailed, reflect her perspective without direct corroboration from Ross, who prioritized individual ascent.

Public Behavior and Professional Disputes

Ross developed a reputation for imposing rigorous standards on collaborators and staff, demanding high performance levels that some characterized as behavior, particularly after departing in 1981 when company protections diminished. She articulated this approach in her 1993 memoir, stating, "I demand perfection from myself… and the best possible job from all those around me." Reports from associates, including biographer , describe instances where her daughter monitored employees for errors, documenting them in a notebook, and where Ross halted a concert to scream at crew members before kicking a sound monitor offstage. Public incidents underscored this exacting persona. At the , while co-presenting with , who wore a revealing purple jumpsuit exposing one breast, Ross touched the exposed area and remarked, "If you're going to show it, let me see it," eliciting mixed reactions; later viewed it fondly as playful, though expressed irritation at the onstage gesture. Concert promoters have recounted specific rider demands, such as requiring a tour manager to taste her food before consumption and insisting on promoter presence stage-side for immediate needs during a 2006 Melbourne performance, where she also complained vociferously about cold air conditioning, calling the promoter a "d**khead." Professionally, Ross clashed with Motown executives during the 1975 filming of Mahogany, physically slapping Berry Gordy on set in Rome amid arguments over his directorial demands. Tensions extended to rival acts; Martha Reeves reportedly pursued Ross backstage after a Motown revue, accusing her of deliberately upstaging The Vandellas by altering performance order and attire to mimic their style. In 2000, negotiations for the "Return to Love" tour with promoter SFX Entertainment soured over attempts to bind her to a five-year exclusive management contract, with threats to withdraw funding if she refused, highlighting disputes over artistic control and long-term commitments. These episodes reflect a pattern of assertive boundary-setting in high-stakes environments, though critics in entertainment media often amplified them as evidence of temperamentality without equivalent scrutiny of industry pressures on female performers. In December 2002, Diana Ross was arrested in , for after police observed her vehicle weaving and driving erratically on the wrong side of the road; breath tests indicated a blood-alcohol level of 0.20, more than twice the state's legal limit of 0.08. She was cited on three counts, including extreme DUI, and cooperated with officers during the stop, though a 42-minute video released in January 2003 captured the incident without audio of her statements. Ross pleaded no contest to a single DUI charge in February 2004, resulting in the dismissal of the other counts; Pima County James C. Ubaldi sentenced her to 48 hours in jail, a $318 fine, 36 hours of alcohol screening and , and two years of unsupervised probation. She served the jail time in February 2004 at a , facility under a work-release , avoiding full incarceration in after initial compliance issues led to a in April 2004 mandating her return to complete the sentence. The incident drew significant media attention, with outlets emphasizing Ross's status and prior professional disputes, framing it as emblematic of personal challenges amid her career; coverage included details of her claim of being "lost" during the event, which police reports contradicted based on observed impairment. In a separate civil matter, former employee Gail Davis filed a libel lawsuit against Ross in the 1980s, alleging defamation over a letter Ross sent to authorities accusing Davis of theft from her household; the U.S. Court of Appeals for the Sixth Circuit upheld dismissal in 1987, ruling the statements as non-actionable opinions protected under the First Amendment rather than verifiable facts. This case received limited media scrutiny compared to the DUI but highlighted tensions in Ross's personal staff relations, consistent with reports of abrupt dismissals in biographical accounts.

Legacy and Cultural Impact

Commercial Achievements and Industry Records

As of from 1961 to 1969, Diana Ross fronted the group during its peak commercial dominance at Records, including the release of on August 25, 1966, which became the first album by an all-female group to reach number one on the Billboard 200. The group's string of hits established multiple chart benchmarks, with twelve number-one singles on the featuring Ross's vocals, contributing to Motown's breakthrough in mainstream pop markets. Transitioning to a solo career in 1970, Ross achieved immediate chart success with her debut single "Reach Out and Touch (Somebody's Hand)" peaking at number 20 on the , followed by "," which reached number one in September 1970, marking her first solo chart-topper. Over her solo tenure, she secured six number-one singles on the , a milestone that positioned her as the first female solo artist to accomplish this feat. Key solo hits included "Touch Me in the Morning" (1973), which coincided with her first number-one solo album of the same name, and "Endless Love" with (1981), which held the top spot for seven weeks and remains one of the longest-running number-one singles in Hot 100 history for a . Ross's discography reflects substantial global sales, with her solo output accounting for approximately 63.4 million equivalent album units worldwide as of 2025 estimates. Her physical singles sales exceed 39 million units internationally, ranking her fourth among solo female artists in that category behind , , and . The 1980 album Diana, produced by and , stands as her highest-selling studio release with over 10 million copies sold globally and certifications including platinum in the United States. In recognition of these metrics, the Guinness Book of World Records has cited Ross for lifetime achievements in commercial performance, underscoring her status as one of the top-selling female artists.
CategoryAchievementDetails
Supremes SinglesConsecutive #1 HitsFive in a row on (1964–1965), a record for groups at the time.
Solo Singles #1sSix, first female solo artist to reach this total.
Album SalesBest-Selling Solo AlbumDiana (1980): Over 10 million worldwide.
Overall SalesEquivalent Album Units63.4 million solo (as of 2025).

Influence on Music, Fashion, and Empowerment Narratives

Diana Ross exerted considerable influence on popular music through her role in The Supremes and her subsequent solo career, which emphasized crossover appeal and sophisticated production. As lead singer, The Supremes achieved five consecutive number-one hits on the Billboard Hot 100 by 1965, elevating Motown Records to the status of America's most successful Black-owned business at the time and demonstrating the market potential of refined R&B for white audiences. This breakthrough normalized Black performers in mainstream pop, with Motown's output, including Ross's contributions, pushing soul-infused tracks into collective consciousness and influencing the integration of Black music into broader commercial success. Later, her solo work set templates for diva-era artists; Beyoncé and others have explicitly credited Ross's vocal style and stage presence as formative, underscoring her role in shaping female-led pop and R&B trajectories. In fashion, Ross pioneered a glamorous aesthetic that fused opulence with performance, featuring coordinated ensembles during Supremes performances and extravagant solo-era looks like sequined gowns and voluminous wigs. Her collaborations with designers such as , who crafted her costumes, and , who created custom pieces for her in 1993, highlighted her as a muse for high-drama attire that blended music and couture. This style—marked by metallics, sheer fabrics, and sparkle—has informed modern performers, with elements evident in Mariah Carey's glamour, Beyoncé's poised extravagance, and Rihanna's evolving wardrobe innovations. Empowerment narratives surrounding Ross often portray her ascent as a paradigm for , citing her transition from Detroit's to global stardom as evidence of perseverance amid barriers. Yet, this influence stemmed causally from Motown's deliberate cultivation of a palatable, elegant image that facilitated racial crossover, rather than confrontational , enabling empirical gains in visibility and earnings for female artists. Subsequent figures like have invoked Ross as a mentor-like for professional ambition in , though her legacy in this realm is more accurately tied to commercial precedents than ideological movements. Mainstream accounts, potentially shaped by institutional biases favoring aspirational stories, amplify these tropes, but verifiable impacts include her paving multifaceted career paths in music, , and branding for women of color.

Balanced Critical Assessment and Persistent Debates

Diana Ross's career exemplifies a tension between extraordinary commercial dominance and more qualified artistic evaluation. She has sold over 100 million records worldwide, secured 18 American Top 10 hits with , and achieved six number-one singles as a solo artist on the , culminating in recognition as the most successful female music artist in history in 1993. Yet, critical reception often highlights her reliance on Motown's production polish and charismatic stage presence over raw vocal prowess, with reviewers noting that albums like her 1970 self-titled debut succeeded commercially but elicited mixed praise for lacking the soulful depth of peers such as . Her acting ventures, including the 1972 film Lady Sings the Blues, earned an Academy Award nomination for portraying , underscoring her interpretive strengths, though subsequent projects like (1975) faced derision for melodramatic excess despite box-office viability. A core debate persists regarding the causal role of Berry Gordy's favoritism in Ross's ascendancy, which propelled her from Supremes lead to solo superstar but exacerbated group fractures. Gordy, Motown's founder and Ross's onetime romantic partner, admitted to prioritizing her due to perceived market appeal—"she had the talent to justify that favoritism"—yet this dynamic contributed to Florence Ballard's 1967 ouster from the Supremes amid allegations of unequal treatment and personal tensions. Former members like Mary Wilson have publicly contested narratives crediting Ross predominantly for the group's 12 number-one hits, arguing that Motown's collective machinery and their shared contributions were understated in favor of her image as the indispensable star, a view substantiated by internal accounts of resource allocation favoring Ross's projects. Ross's vocal legacy fuels ongoing contention, with proponents lauding her economical phrasing, sensuality, and influence on subsequent pop divas—evident in tracks like "" (1970), her first solo chart-topper—as a deliberate stylistic choice over acrobatic displays, while detractors critique her limited range and as "thin" or "nasal," particularly in live settings where later performances (e.g., Glastonbury 2022) prompted accusations of lip-syncing or decline. This dichotomy underscores a broader appraisal: Ross as a pioneering emblem of female ambition in a segregated , breaking barriers in crossover appeal and fashion, versus perceptions of her success as image-driven rather than innovatively musical, with fewer competitive Grammy wins (none until lifetime honors) reflecting institutional undervaluation or genuine artistic limitations relative to her sales.

Awards and Honors

Major Grammy and Other Music Awards

Diana Ross received thirteen Grammy Award nominations across her solo career, spanning categories such as Best Female Pop Vocal Performance, Best R&B Vocal Performance, Female, and , but secured no competitive wins. Her first nomination came at the on March 11, 1971, for Best Contemporary Vocal Performance, Female, for "." Later nominations included recognition for her 1970 self-titled debut album, the 1973 single "Touch Me in the Morning," and her 2022 album Thank You in the category at the . In 2012, honored her with the Lifetime Achievement Award, acknowledging her contributions to recording history. Ross fared better at the , winning seven competitive awards out of nine nominations, primarily in soul/R&B categories reflecting her commercial dominance in those genres during the and . Specific victories include Favorite Soul/R&B Female Artist in 1975 and 1981, as well as Favorite Soul/R&B Single for "Upside Down" in 1981. She also won Favorite Album for the Lady Sings the Blues soundtrack in 1974. On November 19, 2017, Ross received the American Music Award of Merit, the ceremony's lifetime achievement honor, presented during a medley performance of her hits. Other notable music industry recognitions include multiple for outstanding female artist and album of the year in the 1970s, though these emphasize cultural impact alongside commercial metrics. Ross's award profile underscores her fan-voted successes at the AMAs over peer-judged Grammys, aligning with her 100 million-plus records sold worldwide.

Lifetime Achievements and Recognitions


Diana Ross has been honored with several prestigious lifetime achievement recognitions for her enduring impact on American culture through music and performance. These include the , the , and designations from record-keeping authorities affirming her commercial dominance.
On November 22, 2016, President awarded Ross the , the highest civilian honor in the United States, citing her rise from public housing to icon and her influence on stage, screen, and sound. This recognition highlighted her role in shaping and over decades. In 2007, Ross received the , an annual award for lifetime contributions to the performing arts, presented at the Center for the Performing Arts in Washington, D.C. The honor acknowledged her work with and as a solo artist, with tributes emphasizing her vocal legacy and stage presence. Ross earned a star on the for recording on May 6, 1982, located at 6712 , commemorating her solo career achievements. , including Ross, received a separate star in 1994 at 7060 . In 2017, the presented Ross with its Lifetime Achievement Award during the 45th ceremony on November 19, recognizing her as a pioneering entertainer with a medley performance of her hits. In 1993, the Guinness Book of World Records designated Ross the most successful female music artist in history, based on her 18 number-one singles in the United States across her and solo eras. This title underscored her chart performance and sales records up to that point.

Discography

Studio Albums and Key Singles

Ross initiated her solo recording career with the self-titled album Diana Ross on May 19, 1970, via Records, which peaked at number 19 on the and included her debut solo single "," reaching number one on the for three weeks. Later that year, she issued Everything Is Everything, an album emphasizing socially conscious themes with collaborations including The Jackson 5. Her second 1971 release, Surrender, yielded modest commercial impact, peaking outside the Billboard top 100. The 1973 album Touch Me in the Morning marked a commercial rebound, topping the Billboard 200 for three weeks and featuring the title track single, which held number one on the Hot 100 for a week. Also in 1973, Last Time I Saw Him reached number 38 on the Billboard 200, with its title single peaking at number 14 on the Hot 100. Subsequent releases in the mid-1970s included the 1975 soundtrack-influenced Mahogany, featuring "Theme from Mahogany (Do You Know Where You're Going To)," a number-one Hot 100 hit for three weeks, though primarily classified as a soundtrack rather than pure studio fare. Diana Ross (re-recorded 1976 edition) and Baby It's Me (1977) followed, with the latter peaking at number 57 on the Billboard 200 amid Motown production shifts. Ross (1978) introduced disco elements but charted at number 64. The 1976 single "Love Hangover" from an interim release achieved number one on the Hot 100 for two weeks, exemplifying her pivot. The Boss (1979), produced by Nickolas Ashford and Valerie Simpson, peaked at number 25 on the . Ross's 1980 album Diana, helmed by and of , became her biggest solo seller, reaching number two on the and yielding "Upside Down," a four-week Hot 100 number one, alongside "." Why Do Fools Fall in Love (1981) peaked at number 25, with its title track hitting number seven on the Hot 100. The duet "Endless Love" with , tied to the film, topped the Hot 100 for nine weeks that year. Later 1980s albums such as (1982, peaking at number 23, with "Muscles" at number 10 on Hot 100), Swept Away (1984, number 26), (1985, number 43), and (1987, number 38) reflected RCA-era experimentation, often prioritizing dance and R&B styles with varying chart success. Into the 1990s and beyond, Ross issued (1989, number 110), The Force Behind the Power (1991, number 72, featuring "When You Tell Me That You Love Me" at number 55), (1995), Every Day Is a New Day (1999), standards collections (2006) and I Love You (2006), and her most recent, Thank You (2021), a covers album peaking at number 25 on the Billboard Top Album Sales chart. Over her solo tenure, Ross charted six Hot 100 number-one singles, underscoring her enduring commercial viability despite inconsistent album performance post-1980s.

Compilations and Soundtracks

Ross's soundtrack albums, accompanying her acting roles, frequently blended original compositions with reinterpretations of standards, achieving notable commercial peaks. The Lady Sings the Blues soundtrack, released December 1972 by Motown Records, featured Ross portraying Billie Holiday and interpreting 12 Holiday-associated songs alongside score pieces by Gil Askey; it reached number 1 on the Billboard 200 for two weeks in April 1973 and number 2 on the R&B chart, certified gold by the RIAA for 500,000 units sold. The Mahogany soundtrack, issued September 1975 via Motown, supported Ross's starring role in the film and included the title track single, which hit number 1 on the Billboard Hot 100 in January 1976; the album peaked at number 26 on the Billboard 200 and number 4 on the R&B chart. For The Wiz, the 1978 original motion picture soundtrack on Atlantic Records showcased Ross as Dorothy in an all-Black cast production directed by Sidney Lumet, with Quincy Jones arrangements; tracks like "Ease on Down the Road" (duet with Michael Jackson) contributed to its number 6 Billboard 200 peak, certified gold for 500,000 copies.
TitleRelease DateLabelUS Peak (Billboard 200)Certification
Lady Sings the BluesDec 19721Gold
Sep 197526-
The Wiz (various artists)Sep 1978Atlantic6Gold
Compilations aggregating Ross's solo hits emerged periodically, sustaining her catalog sales amid shifting label affiliations from to RCA. Diana Ross' Greatest Hits, released July 12, 1976 by , compiled 10 singles including "Ain't No Mountain High Enough" and "Touch Me in the Morning," reaching number 13 on the and certified platinum for 1 million units. All the Great Hits (1981, RCA) expanded to 16 tracks from her Motown and early RCA eras, peaking at number 17 on the and featuring remixed versions of "Upside Down" and "Endless Love." Later efforts like 20 Golden Greats (November 1979, /Capitol in /) achieved platinum status in the with sales over 300,000, emphasizing international appeal through tracks like "." These releases, often reissued with bonus material in expanded editions, underscore Ross's enduring hit-making consistency, with compilations collectively outselling many studio efforts per format-specific sales data.

References

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