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if-you-fan-a-fire · 5 months ago

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Clinton Prison

"On December 25, 1959, a small group of Muslims gathered in the Clinton Prison recreation yard for Jumu'ah. As one of the prisoners remembered, it "was snowing and it was very cold, but as usual, on Friday we would meet to [do] a short prayer regardless of inclement weather or anything else." Fewer than ten feet from the men was prison guard John Emery Duquette, who was assigned to monitor the congregation that day. It was common for a guard to stand nearby and observe, and the group had routinely met in this designated area for almost a year, drawing anywhere from ten to seventy men. As James X Walker recalled, as "the Muslims grew we began to receive more area." By late 1959, the physical space had grown to fifteen yards long and seventy yards wide and was paved using stones the men had collected from the yard. It featured a stove for cooking and an oven for baking, since the mess halls did not offer halal cooking:

We would all more or less join together to purchase food and things of that nature so that we could cook it ourselves.

It also offered a vibrant intellectual life, with a blackboard for illustrations and classes on current events, Black history, Arabic, and readings from the Qur'an on Fridays such as this." As Joseph X Magette later testified, we "were tolerated. I wouldn't say we were admitted, but we weren't denied the right to meet."

Then, Magette recounted, "all of the sudden the situation changed completely. Thereafter we were in complete segregation" (solitary confinement). Duquette claimed that he heard one of the prisoners say that they were going to take over solitary confinement and filed a disciplinary reporting the familiar argument that the group's religious intentions were disingenuous. The men were charged with hosting an "unauthorized meeting under the guise of an assembly for religious purposes." Sammy X Williams, who allegedly made the remark, was locked up immediately, and the other men were soon taken to disciplinary court and moved to a minimum privilege area, which was accompanied by a loss of 360 days of good time. Some of the men remained in solitary confinement until June of the following year.

Clinton, like other prisons across New York, California, Illinois, and Washington, D.C., had become a central battleground for the Nation of Islam by the late 1950s. In 1957, Attica's warden, Walter Martin, wrote to prison commissioner Paul McGinnis that four prisoners at Attica had been identified as Muslim. This

fad for Qur'an... has been developing over recent months. I have been trying to puzzle out what the 'gimmick' is in this matter but haven't solved it yet.

Muslim prisoners requested access to the Qur'an in Arabic, religious literature published in Black newspapers, and correspondence with ministers such as Malcolm X in Harlem and Robert X Williams in Buffalo. They challenged the lawfulness of punishing them for their religious beliefs with such measures as solitary confinement and loss of good time. In many of these cases, the state used the Ahmadiyya Movement in Islam (AMI) to undermine these claims, offering prisoners only English translations of the Qur'an and correspondence with Ahmadi religious leaders. An early precursor to the contemporary "good Muslim/bad Muslim dichotomy in the United States, which as Mahmood Mamdani points out, put "good" secular westernized Islam against "bad" pre-modern, radical Islam, was the state's privileging of the AMI over the NOI. The racial particularity of the Nation of Islam's Black Nationalism provided the foundation for the state's argument that the group was insincere in its religious convictions and was merely using Islam as a front for its political agenda.

Muslim prison organizing and litigation in New York joined the first wave of cases that prompted the attention of the courts. No figure was more important in this movement than Martin X Sostre. His parents, Saturnino, a Communist merchant seaman, and Crescencia, a cap maker, migrated from Puerto Rico and settled in New York in 1925, two years after he was born. Sostre was influenced by Lewis Michaux's African National Memorial Bookstore and the stepladder orators on 125th Street in Harlem. He left school in the tenth grade to help his family earn money during the Great Depression and was drafted in 1942. After being dishonorably discharged in 1946, he was arrested in 1952 for heroin possession. Sostre arrived at Clinton Prison in 1953 and, like many eventual converts, listed his religion as that of his childhood: Catholicism. He later recalled that there were thirty Muslims belonging to "at least four different sects of Islam": AMI, MST, NOI, and Sunni, Like many before him, Sostre was introduced to Islam through the AMI.

He first wrote to the movement in 1958 in an attempt to get a copy of the Qur'an and credited his conversion to another Ahmadi prisoner named Teddy Anderson, who brought his Qur'an from Green Haven Prison. It was the only copy at Clinton. Sostre remembered:

We would have to consult with him and borrow it from him. He was reluctant to lend it out, naturally, but usually he would loan it out to ones that wanted to peruse it.

In this sense, Sostre's conversion was typical of prisoners during the 1950s. Another key organizer, Thomas X Bratcher, later testified that he was raised Roman Catholic but converted to Islam at Auburn Prison in 1959 after receiving teachings on the Ahmadiyya faith. He also described a robust Muslim community at Auburn:

Some were Ahmadiyya, some were Moorish Science Islams, some were Sunni Muslims, some were Wahapi [Wahhabi].... We had a non-sectarian class. That means that we did not lean to the teachings of any so-called sect in Islam.

Although the men were introduced to Islam through the AMI, a small but growing community was drawn to the teachings of the Muslim Brotherhood. Citing the state's sanctioning of the AMI, Bratcher asked to write to Elijah Muhammad. "Since permission is granted to the Ahmadiyya Muslims to correspond with religious advisors," he wrote to prison commissioner Paul McGinnis, "I assume similar permission shall be granted to me."

Despite the efforts of prison officials to divert Muslim converts toward the AMI, the Muslim Brotherhood continued to thrive in New York prisons throughout the 1950s. Because they were not given a formal space to hold services within the prison, informal prayers such as those described at Clinton often took place in the prison yard. Men relied on an oral tradition of memorized prayer, and surahs were passed from prisoner to prisoner. As Willam X SaMarion remarked, these prayers were "learned by heart, to be able to speak about." Many of these lessons were based on editorials by Elijah Muhammad and Malcolm X published in Black newspapers in the late 1950s. "Most of us have never seen the inside of a Temple," Thomas Bratcher wrote Malcolm X. "We have had to make up our own lesson from articles appearing in the Los Angeles Herald Dispatch."" Newspapers that reproduced these editorials were forbidden at some prisons and monitored at others. In 1958, for example, the California director of corrections notified all wardens and staff that

requests to subscribe to the Pittsburgh Courier or the Amsterdam News should be screened as possible indications of interest in Muslemism.

The stark contrast between the "tolerance" described by Magette prior to December 1959 and the various punishments levied against Muslim prisoners thereafter points to the state's strategizing to suppress political activities and the spread of Islam in New York prisons. The timing of the response by prison officials was certainly not merely coincidental. Shortly after the airing of The Hate That Hate Produced, an entire apparatus of state control, which included local surveillance and a national network of shared information about the Nation of Islam, was erected. Just as the sensationalist miniseries had prompted fear among its largely white viewership and denunciation from moderate civil rights leadership, prison officials who had been puzzling over the growth of the NOI in prisons now took decisive action.

Just two weeks after the Jumu'ah raid, "all pens, pencils, paper--anything that could be used to write a writ, was confiscated." "I was told that I could not purchase any more legal paper nor could I have a pen in my possession, Joseph Magette recalled. Walker and Magette were handcuffed together and taken to meet with prison administrators, where Magette claimed he was struck across the face by a prison lieutenant and Walker was told that he must "withdraw this petition and give up this... ridiculous idea of a so-called religion." At the time of the Clinton reprisals, Muslim prison litigation was just beginning to be developed as a coherent strategy. Martin Sostre. William SaMarion, James Pierce, and Edward Robert Griffin (who had been paroled by the time of the trial) had submitted what was believed to be the first writ by Muslim prisoners." As the judge later noted at trial: "These complaints were drawn the same day, same thing. Apparently even the wording is practically identical."

The writs from Clinton Prison became the basis for the Pierce v. Lavallee case, which was argued by Jawn A. Sandifer and Edward Jacko. Both attorneys were graduates of Howard Law School and protégées of Charles Hamilton Houston. Having won the largest lawsuit against the City of New York on behalf of the Nation of Islam in the Johnson X Hinton police brutality case of 1957, the attorneys were again employed by Elijah Muhammad on behalf of Muslim prisoners at Clinton. Commissioner McGinnis responded to the threat of judicial oversight by extending state surveillance into the daily activities of Muslim prisoners. That summer, he asked wardens to submit monthly reports on all Muslim activities in New York prisons, which the senior prison inspector, Richard Woodward, eventually used to compile a summary that was distributed to each prison administration. As a final measure meant to quell the activities of Muslim prisoners, SaMarion, Sostre, Magette, and Walker (but not Pierce) were all transferred to Attica Prison on June 28, 1960. There they joined an active Muslim community that continued to grow through religious conversions and prison transfers until it included almost sixty members and became one of the most active political communities in the U.S. prison system.

- Garrett Felber, Those Who Know Don’t Say: The Nation of Islam, the Black Freedom Movement, and the Carceral State. Chapel Hill: The University of North Carolina Press, 2020. p. 55-59

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kahztiy · 1 year ago

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Flash Memoir: YD6~06 Reporters Enticing SoWeTO's Black Youth To Revolt

Vitrine of Consciousness: Chapter 6

Subscribe + Comment = Editor, or, I'd like to know who reads my work: age group, gender, and your opinion in a sentence.

Here is The Story

I’m lying in the double bed in the guest room, fresh decor, bogged in my life adventures, and pondering while gazing through the small pane but large window, while white skies awakening. opening across Sunnyway, a Kelvin rooftop amid suburb’s trees’ canopies, a bird’s-eye view to Jean’s house with the boys. I lazed in bed, with an ear pricked. until footsteps arouse, from afar across the upper floor far west wing, the Knowles’ pass my door, evanescent downstairs.

In a restless jump to my feet, I slip on a shirt and pants, stepping into shoes, toward the door, to crank the door lever pull and clear the passageway. Around the corner I descend the dogleg stairway, eyesight stumble to the east wing door. Crank the lever at my pace, swing the door. I crossed the television room to the kitchen, greeted the couple, Martin in the kitchen with Jessica, and their little boy at the kitchen table. From the offside percolator, I grab the coffee jug, pour myself a cup of coffee, exchanged a few greeting words while concerned about my endeavor. I excused a table’s dished eggs, tracking back to the hallway, stepping offside in the west wing. I head toward the bright daylight to my sunken office. Approaching the window grid to the mowed grass, pose my cup on the sill, and turned around, pace to face the flank of the room gleaming plastic bundled books, as delivery by the printer.

Uncomfortable at proceeding with my endeavor, I heave a thick, clear plastic wrapped bundle of booklets from the stacked up corner. Embraced the bundle, step away up the two elongated slate treads, shun cross the bare slated floor kink my way offside to the hallway, unlatching the door. I step across the porch to sunlight. On the brick paved driveway apron, shifted the bundle of books to my left thigh, picked the trunk lock, tweaked the key, lifting the lid to pose in the shadowy trunk. The plentiful space spare, allot my niece, Tania, her bundle. I returned inside the house to fetch another bundle of books - smack - the trunk lid closed on the booklet’s without other perspective. I head back to my office. ‘_Can’t let coffee go to waste!_’ drink the cold coffee, looped through the kitchen, now deserted. I pose the cup on the sink, and head on a journey to merit the rewards of my venture, apart from clients’ dedicated line to my desk, enlightening the route to home renovation.

At a glance at my gold-plated wristwatch’s white crystal and a golden hour marker to spare, appeasing my steps away from the trunk. I picked the lock listening to the sight of the unlocking doors, to step inside, tweak the ignition key, the six pistons’ to the engine’s heavy breath, before awaking a purr. Slew a glance exercise my body’s wringing. The porch slips upfront, to the west wing and onto the garage doors to a hold. I uncoil in my seat, to toggle gears into drive, the gateway to sight, onto easing past veering on the dirt Roseway, riding the carriage to my destiny. Accentuated at a slow pace, the dirt street intersects Fairway. the car rocks through the gutter, leading to the asphalt, mapping in mind to fetch Tania and Paul.

I’m riding through mottled cool shades, the eucalyptus’ suburban remnant shed, and engaged on naked Old Pretoria Road. I’m cruising through the shadows of the Buccleuch interchange overpass, the east-western highway. For my delight, the right’s grassland returning wild grown eucalyptus to the wayside’s heavy trunks, joined by the left, to an acute reminiscence fee-wheeling the overseeing valley. In the tracks of the Voortrekkers’ ox wagons’ course, sweeping the hillsides across the Jukskei River’s weir. Lost in the countryside, another period higher stone-sculptured bridge, to slog pedaling the rolling siding from the deep valley. The Halfway House horses outpost, messengers’ horse changes remnants to a short-lived steep eased ledge. After a break, the straggling eucalyptus from the treacherous grassland’s wave, the town’s retailers shifted to the successive plateau. Herds of eucalyptuses returned wayside to the parent trees, to the rollover hill crest, on a clear day, to sight Pretoria’s Voortrekker monument. ‘/Yesterday, when I was young / The taste of life was sweet like rain upon my tongue / I teased at life as if it were a foolish game. . ./’

Oblivious to the sweat dried on my skin, as the Mercedes hood’s circled star’s 3 points sweeps to the side street, under the asphalt, to my regret the dirt road — Uncle Beux and Aunt Carla’s house and poultry shed on the small agricultural holdings. Which vanished, ghosting amid the surreal. The mountain sliced spearheading the highway, toward the Hillbrow Television Tower. the flare’s lanes through the intersection herd abundant automakers’ thriving showrooms. Tapered upfront, eager to hold on to my fourteenish’s driving the farm’s Volkswagen panel van, through grasslands sprinkled by small holdings fetching eggs to bringing home for distribution.

Up comes Ilona’s property to sight, asphalt paved raised from the bed of the ancient dirt road I’ve learned to know through grasslands, and short of spotted the next door thatched roof house to plum hue brick gatepost. I steered the Mercedes coasting down the steep ramp toward leading tracks through the grassland, hissing the undercarriage, approaching the white brick gable wall to the saddled tiled roof running further toward the rear. I turned to the driveway dirt apron to halt short of the juxtaposed triple carport, gazing through cottage windows into the interior’s shadows for figures’ motion. When a figure in the distant porch’s shadows surges, Tania's peppy gait approaching under the tiled eave, her brother Paul, lagging in their approach under the vine’s foliage laden wooden pergola. She turns at the gum pole railing to the terrace, descends into sunlight, to the crazy-slate front yard path to round the car. The door swings. Tania steps inside, closing the door, while Paul steps in behind his sister in an exchange of brief greetings.

With the closing door, I gazed past Paul, reversing the car to the extended driveway apron to halt, toggle the gears to drive. We crawl away, rotating to face the beaten tracks, cutting the golden savanna property in halves. The undercarriage hiss cruising, approaching pillar’s ramped up gateway, turning into the street. In silence, accelerating along the low wire meshed fence, continuant of my earlier course. Around the block to a small holding, shielded hedgerow tight knitted and high foliage swells. Opposing a barbed wire fence to grassland, we pulled up at the junction — Unimaginable Mrs. Noble, while a post office clerk, also a storekeeper, to the adjacent whitewashed brick shacks. From a Boer storekeeper to an Indian family. An absent mechanic and pump attendant, at a pair of gas pumps on a concrete, crumbling driveway. in front of a workshop’s somber mucky thick dust window panes — Aberrant, the alternation didn’t elicit a wink from either sibling, as a translucent red and white iconic Spar spur dominates Crowthorne’s corner.

I’m steering the Mercedes turned from the Stop sign, the broadened country road — so acute morphed during years, since Igor and I cycled at first light, the first hillside wave, me to a construction site, he to school, in Pretoria. At dusk, the last leg home — White lane marking doubled, crawl the corner. Facing the roadway, swag across the culvert, propelled on our bikes toward the road fork. Freewheeled through the bend at the crotch of a triangulated grass traffic island. Beyond the corner house’s orchard, the gritty driveway apron welcomed us home. To cross the clanging cattle guard, to honoring rows of wide skirted conifers, lining the peaches and plumes orchards. Clearing the squatted white plastered walls capped by the orange ridges and valleys tiled roof, to a sweep driveway broadening to end to the double garage.

Tania and Paul didn’t spare a squint passing the driveway to the neglected house on plot 8 in Kyalami, siblings’ curiosity of parents’ teen exhausted. as I’m driving my Mercedes sitting back, my heart crying the arid property, to gaze at the leading Bryanston road with a bird’s-eye view toward the converging Western Bypass highway. We passed the Leeuwkop Prison gates; the roadway ditching the steep sidings across the Jukskei River to raise and crest. Across the intersection, to the Fourways hillside ledge to a workshop filling station outpost, the road rises farther. deviated since cycling on the road, threads our way into the subway, and out crest where the Bryanston suburbs and Randburg meet at either side of the roadway, where we’ll meet the access ramps to the Western Bypass highway.

When we pulled up, into the Rand Easter Trade Show’s gateway, the parking lot asphalt with its making lay bare but a few cars, and stalled near the entrance, to a simultaneous opening of doors, to rise tall by the car - smack, smack, smack - with Tania and Paul, congregating at the Mercedes’ trunk. I raised the lid hand duck, ripping the plastic wrap, handing back to Tania and Paul a stack of ten booklets. I lowered the trunk led, to catch up with the distancing siblings, for the doorway. It dawns on me, privilege by the customer attendant’s words, left me weird without an official document. We crossed the threshold, to a corner booth’s elegant and youthful men and women on standby at the crotch of branching aisles. We hesitated. Tania nods right and heads off with Paul. I dare ease from an invisible state, step deeper in a channel margin by rows of booths. Without a niche to stand exposed, I’m turning shoulders from the men and women attendants to trade booths, my back to the diving partition nib. Ignored by the attendants, I eased, facing the entrance’s framing a penetrating glow.

From the bright light, shadows arise, morphing to silhouettes. My eyesight on a steeplechase of approaching figures colors clothing. I’m stepping away from the edge. In the open, facing one after the other man, I trot with a leading booklet, saying. “All you need to know about home improvement — Four Rand fifty.” White people trickle the passageway, each person ditching eyes, tears, a timid rejection, shunt off course. A black man walks up, while repeating my slogan. The man’s hand digs into his back pocket. He returns a fiver, in exchange for a booklet.

My fingers fumble my hip pocket to say, “_’Holly sh-t_’ — I have no change!”

The black man says. “Keep it.” Sauntering away.

I run woozy eyesight, guilt stricken, after the black man. ‘_Can’t we make some arrangement? — That’s a folly_’. My heart sinks over the stupidity, returning to grip a crowd streaming out the glowing sunlight, a few people splashing curious eyes on the bright cover, but the flow shaping me, drudging a handout, I step away into the upcoming crowds, in unison with Tania, coming from the blind corner, drained eyes, Paul trailing her. We turned away through a crowd of figures breaching light, we emerged to a glittering parking lot.

In harmony, we paced up to the orange Mercedes. Approaching the trunk, motioned to relieve Tania and Paul’s hands from the stacked books, returning mine in the trunk, feeling. ‘_This is not the place to distribute booklets_.’ Tania and Paul amble around the rear fender as I slam the trunk lid close, heading toward the other flank. The sighs pop up the door sill buttons, in unison ease to our seats. As I’m pulling my doors behind, with a glance at Tania, her gaze expressed my thought. ‘_Where to now_’ To say. “Let’s call it a day.” I tweak the ignition key, pulling away toward the gateway, ashamed for them believing in my enterprise.

#consciousness #Aetheria #Psyche #Memoir

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the-paintrist · 10 months ago

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Eugène Samuel Grasset (25 May 1845 – 23 October 1917) was a Swiss decorative artist who worked in Paris, France in a variety of creative design fields during the Belle Époque. He is considered a pioneer in Art Nouveau design.

With the growing popularity of French posters in the United States, Grasset was soon contacted by several American companies. In the 1880s, he did his first American commission and more success led to his cover design for the 1892 Christmas issue of Harper's Magazine. In 1894 Grasset created "The Wooly Horse" and "The Sun of Austerlitz" for The Century Magazine to help advertise their serialized story on the life of Napoleon Bonaparte. The "Wooly Horse" image proved so popular that Louis Comfort Tiffany recreated it in stained glass. Grasset's work for U.S. institutions helped pave the way for Art Nouveau to dominate American art.

Grasset taught design at the École Guérin from 1890 to 1903, at the École d’Art graphique in the rue Madame from 1903 to 1904, at the Académie de la Grande Chaumière from 1904 to 1913, and at the École Estienne in Paris. Grasset had freely adapted the alphabet of Nicolas Jenson (1471) with the intention of using it to print a book on his own method for ornamental composition, inspired by the courses he gave to the Guérin school. Georges Peignot acquired Grasset's alphabet and obtained an official patent on 7 October 1897 for the typeface under the name, "Grasset". He then gave Henri Parmentier, the workshop's punchcutter, the mission to engrave it.

In 1896 he published a dissertation on the use of plants in designs, that featured images of designs prepared by his students. Among his students were Paul Berthon, Georges Bourgeot, Paul Follot, Marcelle Gaudin, Augusto Giacometti, Arsène Herbinier, Anna Martin, Mathurin Méheut, Juliette Milési, Otto Ernst Schmidt, Auguste Silice, Maurice Pillard Verneuil, Aline Poitevin, Pierre Selmersheim, Tony Selmersheim, Camille Gabriel Schlumberger, Eliseu Visconti, and Philippe Wolfers

At the Universal Exhibition of 1900 in Paris, the G. Peignot et Fils typefoundry introduced the "Grasset" typeface, an Italic design created by Eugène Grasset in 1898 for use on some of his posters.

Eugène Grasset died in 1917 in Sceaux in the Hauts-de-Seine département, southwest of Paris.

Eugène Grasset

La morphinomane

1897

Victoria and Albert Museum collection, London

#eugène grasset #swiss #morphine #poster #history

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mmorshedjr · 4 years ago

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Block Paving Nottingham UK - Paul Martin Paving Contractors

Paul Martin Paving contractors provide expert paving and block paving services in Nottingham. We specialize in groundworks and landscaping services such as block paving, tarmac driveways, Patios and Paths. Moreover, we also provide groundwork maintenance services such as driveway maintenance, block paving maintenance, and patios repair. Whether it is a new driveway installation or garden landscaping, we strive to provide our customer quality services. https://www.paulmartinpaving.com/

#Paul Martin Paving

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scotianostra · 2 years ago

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Happy Birthday Fran Healy of Scottish Band Travis.

Although born in Stafford, England, Healy grew up in Glasgow his parents’ hometown. His mother had moved back to Scotland after divorcing her husband, who was abusive (towards her); as a result of this, Healy continues to refuse any contact with his father. Healy has said that both his mother and his grandmother were major influences on him as a child. Healy attended Holyrood Secondary School in Glasgow.

Although as a young child at primary school, he had been awarded a book of Rabbie Burns poems and a certificate “For Outstanding Singing Abilities” after singing the old Scottish song “Westering Home” while dressed in a kilt, Healy showed no further interest in singing until his teens. His obsession in song writing began to take shape when he got his first guitar in 1986 at the age of 13, having seen Roy Orbison perform his hit Pretty Woman on The Last Resort With Jonathan Ross. First songs played on the guitar were old rock'n'roll numbers like Johnny B. Good and 3 Steps To Heaven by Eddie Cochran. His first complete song was written about the Headmaster of his school, Peter Mullen entitled “Mr. Mullen Blues”

He played in a couple of school bands until drummer of Glasgow band Glass Onion Neil Primrose asked if he would like to audition. This band would become Travis, named after the main character in Wim Wenders movie Paris, Texas.

Travis’ first single, “All I Want to Do Is Rock”, was written by Healy while on a visit to Millport on Greater Cumbrae, a small island in the Firth of Clyde. Going there with the sole intention of composing the best song he had ever written, Healy surprised even himself when the track was born. In spite of Healy’s success as a songwriter since, he is without formal musical training. As the band have risen to prominence, Healy has continued to be Travis’ main songwriter, as well as the band’s main spokesman and most recognisable member.

Healy’s songwriting has been praised by Paul McCartney, Elton John and Noel Gallagher. In 2005, Coldplay frontman Chris Martin called himself “a poor man’s Fran Healy”. In interviews, Healy has talked of being influenced by songwriters such as Joni Mitchell, Paul McCartney and Graham Nash (of the Hollies and Crosby, Stills, Nash and Young fame). Healy has since played with both McCartney and Nash. Although Healy predominantly plays guitar, he has also been known to write and perform with piano.

Travis have twice been awarded British album of the year at the annual BRIT Awards, and is credited as having paved the way for British bands such as Coldplay and Keane. Travis have released nine studio albums, beginning with Good Feeling in 1997.

Fran is involved with the Save the Children Organization, for which he has just launched the biggest ever global campaign to help the ten million children who die unnecessarily each year survive, he has made visits to Sudan to highlight the plight of children in third world countries. He is a keen runner, having been a member of the Glasgow athletics club Bellahouston Harriers in his youth, and took part in the Berlin Relay Marathon in 2012.

I’ve chosen my favourite Travis song, Fran Healy wrote it while on holiday in Israel. He wanted to go somewhere sunny because in his hometown of Glasgow it rained all the time. In an interview at the Live 8 concert, he explained that he was spending a short holiday in the southern vacation city Eilat in the middle of the winter. The city is known for it’s hot weather even during the winter time, but surprisingly it began to rain for two days during his stay. The line “is it because I lied when I was 17 is about him lying to get a job in a nightclub as a teenager.

Why Does It Always Rain On Me was their first top ten hit and when Travis began to perform this song at the 1999 Glastonbury Festival, after being sunny for several hours, it began to rain exactly when the first line was sung and ended when they finished the song!

#Scotland #scottish #anglo-scottish #musician #singersongwriter #happy birhtday

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rivyuus · 1 month ago

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The Beatles - She Loves You (Song Review)

Released in 1963, "She Loves You" by The Beatles stands as a landmark single in the annals of pop music history. Written by John Lennon and Paul McCartney during the height of Beatlemania, this song not only exemplifies the infectious energy of the early Beatles sound but also encapsulates the lyrical sensibilities that propelled the band to international fame. With its catchy hooks, innovative musical structure, and relatable themes, "She Loves You" remains a quintessential representation of the band’s artistry during the early 1960s.

Musical Composition

Musically, "She Loves You" is marked by its distinctive hook, characterized by the iconic "yeah, yeah, yeah" refrain. This catchy phrase not only serves as a memorable chorus but also redefined the importance of an easily singable refrain in mainstream pop. The song centers around a driving rock and roll beat, supported by jangly guitars and rhythmic drumming that reflect the energetic spirit of the era.

The song is structured in a classic AABA format, where the verses build a narrative while the bridge provides a contrast. Lennon’s vocal delivery, bursting with enthusiasm, is complemented by McCartney’s harmonies, creating a rich vocal tapestry. The interplay between the lead and backing vocals showcases the band’s tight cohesion and their ability to blend harmonies seamlessly.

The instrumentation is relatively straightforward yet tremendously effective. The combination of electric guitars and a prominent backbeat position "She Loves You" firmly within the rock genre, while also appealing to the pop sensibilities of the time. The use of simple chord progressions allows the melody to shine, ensuring that it remains accessible to listeners of all ages.

Lyrical Themes

Lyrically, "She Loves You" deals with themes of young love, heartbreak, and reconciliation. The narrative perspective invites listeners into an intimate moment of emotional urgency, where the protagonist attempts to convey a message of love and hope to a friend. This relatable theme resonates universally, allowing listeners to connect with the content on a personal level.

The songwriting showcases Lennon and McCartney's skill in crafting catchy, memorable phrases that encapsulate complex feelings in a straightforward manner. The song is imbued with a sense of optimism, despite its exploration of relational tension. The repeated encouragement for the protagonist to make amends serves as a reminder of the importance of communication in relationships, particularly during the tumultuous teenage years.

Cultural Impact

Upon its release, "She Loves You" became a defining anthem for a generation. The song topped charts globally, including the UK and the US, and solidified The Beatles' reputation as one of the leading bands of the British Invasion. Its impact extended beyond mere commercial success; the fervor surrounding “She Loves You” contributed significantly to the phenomenon of Beatlemania, which saw thousands of fans fervently supporting the band.

The song's cultural significance is further highlighted by its role in shaping the pop music landscape of the 1960s. It paved the way for future acts, establishing a template for rock songs that combined infectious melodies with relatable narratives. Additionally, it reflects the shifting musical tastes of the time, bridging the gap between earlier rock and roll influences and the emerging sound of British pop.

Production Quality

Produced by George Martin, the song benefits from a polished sound that enhances its appeal. Martin’s expertise in studio production allowed The Beatles to experiment with various sonic textures, making “She Loves You” stand out in an era filled with rock offerings. The recording captures the raw energy of the band while maintaining a level of sophistication that would become a hallmark of their later works.

The use of stereo sound also plays a crucial role in the song’s overall impact, with instruments and vocals expertly placed in the mix to create depth. The sonorous quality of the production complements the vibrant tone of the performance, ensuring that each element shines through.

Conclusion

In conclusion, "She Loves You" is not just a song; it is a monumental cornerstone of popular music history. The combination of its catchy melody, relatable lyrics, and impeccable production quality has ensured its lasting legacy. As The Beatles transitioned into more experimental phases of their career, this track remains a testament to their ability to craft universally appealing music that resonates through generations.

The song's infectious spirit and emotive strength make it an enduring classic, a track that continues to charm new listeners while retaining its nostalgic appeal for those who grew up in the midst of Beatlemania. As we reflect on the cultural landscape of the 1960s and beyond, "She Loves You" stands tall—a shining example of The Beatles' extraordinary contribution to music and society, and an unassailable piece of artistic achievement in the world of entertainment.

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artisticlegshake · 3 years ago

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24 SEVEN LONG BEACH RESULTS 2022

MINI SOLOS:

1st Addison Price - THE ROCK STC!

2nd Regan Gerena - P21 STC!

2nd Addyson Paul - PAVE STC!

2nd Aliya Yen - STUDIO X STC!

2nd Eliana Kuai - BOBBIE’S STC!

2nd Roxie Onellion - THE BASE STC!

3rd Annabella Atkinson - THE ROCK STC!

4th Lex Vancura - MOTION STATE STC!

4th Mila Renae - STUDIO X STC!

5th Myla Winnick - BRENTWOOD STC!

5th Francesca Garcia - BOBBIE’S STC!

5th Melina Biltz - THE ROCK STC!

5th Nicholas Turner - STUDIO X STC!

5th Sebastian Mancini - BOBBIE’S STC!

5th Diana Kouznetsova - P21 STC!

5th Esme Lee - OCPAA STC!

5th Zsabrina Grenevitch - DANCEOLOGY STC!

5th Makayla Jackman - DANCEOLOGY STC!

6th Grace Howerton - OCPAA

6th Bella Mendez - STUDIO X

6th Elliana Anbardan - P21

6th Brinley Lowe - OCPAA

7th Aurora Brady - AURORA MONROE

7th charlotte danceology

7th Gabby Peralta - THE ROCK

7th Kaylee Townsend - PAVE

8th Alyssa Mastroianni - OCPAA

8th fStevie Men - STUDIO FUSION

8th Lilianah Walters - AURORA MONROE

8th Olive O’Connell - OCPAA

8th Morgan Jones - THE SURGE

8th Jordyn Rockett - OCPAA

8th Harley Gross - MOTION STATE

9th Kate Matthews - STUDIO X

9th Leighton Godlewski - OCPAA

9th Phoenix Shelton - AURORA MONROE

9th Lyla Martin - STUDIO 1

9th Oliviana Mancini - BOBBIE’S

9th Savanna Musman - STUDIO X

9th Jeanne Garcia - K2

9th Emma Gerberding - STUDIO X

10th tHarper Mueller - TO THE POINTE

10th Ariel Lantz-Loza - OCPAA

10th Madison Lee - BRENTWOOD

MINI DUO/TRIOS:

1st Ready Of Not - STUDIO X STC!

2nd The Blue Or Red Pill - P21

2nd We Must Be Dreaming - BOBBIE’S

3rd 3 Blind Mice - DANCEOLOGY

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citylightsbooks · 4 years ago

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City Lights Bookstore’s Antiracist Reading List | UPDATED

Human creativity is integral to revolutionary resistance—the urgent plea, the silenced cry, the righteous rage. It is imperative that we educate and illuminate ourselves to deepen our commitment to justice and equity for Black people and all people of color, and to pave the way for radical systemic change.

***

Of Poetry and Protest: From Emmett Til to Trayvon Martin Edited by Philip Cushway and Michael Warr 9780393352733 Norton Have Black Lives Ever Mattered? Mumia Abu-Jamal 9780872867383 City Lights Invisible Man Ralph Ellison 9780679732761 Vintage A Black Women's History of the United States Daina Ramey Berry and Kali N. Gross 9780807033555 Beacon W.E.B. Dubois' Data Portraits: Visualizing Black America The W.E.B. Du Bois Center at the University of Massachusetts Edited by Britt Rusert and Whitney Battle-Baptiste 9781616897062 Princeton Architectural Press Race Man: Selected Works 1960-2015 Julian Bond Edited by Michael G. Long 9780872867949 City Lights Hood Feminism: Notes from the Women That a Movement Forgot Mikki Kendall 9780525560548 Viking The Warmth of Other Suns: The Epic Story of America's Great Migration Isabel Wilkerson 9780679763888 Random House

The Echo Tree: The Collected Short Fiction of Henry Dumas Henry Dumas 9781566891493 Coffee House Everywhere You Don't Belong: A Novel Gabrielle Bump 9781616208790 Algonquin The Meaning of Freedom and Other Difficult Dialogues Angela Y. Davis Foreword by Robin D.G. Kelley 9780872865808 City Lights

No Fascist USA!: The John Brown Anti-Klan Committee and Lessons for Today’s Movements Hillary Moore and James Tracy Foreword by Robin D.G. Kelley 9780872867963 City Lights The New Jim Crow: Mass Incarceration in the Age of Colorblindness Michelle Alexander 9781620971932 The New Press Emergent Strategy: Shaping Change, Changing Worlds adrienne maree brown 9781849352604 AK Black Skin, White Masks Frantz Fanon Translated from the French by Richard Philcox 9780802143006 Grove The Wretched of the Earth Frantz Fanon Translated from the French by Richard Philcox Commentary by Jean-Paul Sartre and Homi K. Bhabha 9780802141323 Grove Citizen: An American Lyric Claudia Rankine 9781555976903 Graywolf How to Be An Antiracist Ibram X. Kendi 9780525509288 One World The Fire Next Time James Baldwin 9780679744726 Random House No Name in the Street James Baldwin 9780307275929 Vintage How To Be Less Stupid About Race: On Racism, White Supremacy, and the Racial Divide Crystal Marie Fleming 9780807039847 Beacon The History of White People Nell Irvin Painter 9780393339741 Norton Heaven Is All Goodbyes: City Lights Pocket Poet Series No. 61 Tongo Eisen-Martin 9780872867451 City Lights Afropessimism Frank WIlderson III 9781631496141 Liveright If They Come in the Morning . . . : Voices of Resistance Edited by Angela Y. Davis 9781784787691 Verso So You Want to Talk About Race Ijeoma Olua 9781580058827 Seal Troublemaker for Justice: The Story of Bayard Ruskin, the Man Behind the March on Washington Jacqueline Houtman, Walter Naegle, and Michael G. Long 9780872867659 City Lights We Are Not Yet Equal: Understanding Our Racial Divide Carol Anderson with Tonya Bolden Foreword by Nic Stone 9781547602520 Bloomsbury Stamped: Racism, Antiracism, and You - A Remix of the National Book Award-Winning Stamped from the Beginning Jason Reynolds and Ibram X. Kendi 9780316453691 Little, Brown Woke: A Young Poet's Call to Justice Mahogany L. Browne with Elizabeth Acevedo and Olivia Gatwood Illustrated by Theodore Taylor III Foreword by Jason Reynolds 9781250311207 Roaring Brook Betty Before X Ilyasah Shabazz with Renée Watson 9780374306106 FSG Clifford's Blues John A. Williams 9781566890809 Coffee House Native Son RIchard Wright 9780061148507 Harper Perennial Training School for Negro Girls Camille Acker 9781936932375 Feminist Press They Can't Kill Us Until They Kill Us: Essays Hanif Abdurraqib 9781937512651 Two Dollar Radio Just Mercy: A Story of Justice and Redemption Bryan Stevenson 9780812984965 One World The Source of Self-Regard: Selected Essays, Speeches, and Meditations Toni Morrison 9780525562795 Vintage Oreo Fran Ross 9780811223225 New Directions Sister Outsider: Essays and Speeches Audre Lorde Foreword by Cheryl Clarke 9781580911863 Crossing Press Ghost Boys Jewell Parker Rhodes 9780316262262 Little, Brown Monument: Poems New and Selected Natasha Trethewey 9780358118237 Mariner The Sword and the Shield: The Revolutionary Lives of Malcolm X and Martin Luther King Jr. Peniel E. Joseph 9781541617865 Basic Dear White People Justin Simien Illustrated by Ian O’Phelan 97814769809 37 Ink Black Panther: The Revolutionary Art of Emory Douglas Edited by Sam Durant Preface by Bobby Seale Foreword by Danny Glover 9780847841899 Rizzoli Power to the People: The World of the Black Panthers Stephan Shames and Bobby Seale 9781419722400 Harry N. Abrams Press In the Break: The Aesthetics of the Black Radical Tradition Fred Moten 9780816641000 University of Minnesota Press The Known World: A Novel Edward P. Jones 9780061159176 Amistad Counternarratives: Stories and Novellas John Keene 9780811225526 New Directions Beloved: A Novel Toni Morrison 9781400033416 Vintage The Bluest Eye: A Novel Toni Morrison 9780307278449 Vintage Playing in the Dark: Whiteness and the Literary Imagination Toni Morrison Vintage 9780679745426 Mumbo Jumbo Ishmael Reed 9780684824772 Scribner Our Nig: Or, Sketches from the Life of a Free Black Harriet E. Wilson Edited with an introduction by Henry Louis Gates Jr. and Richard J. Ellis 9780307477453 Vintage Burn This Book: Notes on Literature and Engagement Edited by Toni Morrison 9780061774010 Harper I’m Not Dying with You Tonight Gilly Segal and Kimberly Jones Sourcebooks Fire 9781492678892 The End of Policing Alex S. Vitale 9781784782924 Verso The Crisis of the Negro Intellectual: A Historical Analysis of the Failure of Black Leadership Harold Cruse 9781590171356 NYRB Classics How Capitalism Underdeveloped Black America: Problems in Race, Political Economy, and Society Manning Marable 9781608465118 Haymarket From #BlackLivesMatter to Black Liberation Keeanga-Yamahtta Taylor 9781608465620 Haymarket Still Black, Still Strong: Survivors of the War Against Black Revolutionaries Dhoruba Bin Wahad, Assata Shakur, and Mumia Abu-Jamal 9780936756745 Semiotext(e) Frederick Douglass: Prophet of Freedom David W. Blight 9781416590323 Simon & Schuster Parting the Waters : America in the King Years 1954-63 Taylor Branch 9780671687427 Simon & Schuster Pillar of Fire: America in the King Years 1963-65 Taylor Branch 9780684848099 Simon & Schuster At Canaan's Edge: America in the King Years, 1965-68 Taylor Branch 9780684857138 Simon & Schuster A Taste of Power: A Black Woman's Story Elaine Brown 9780385471077 Anchor Angela Davis: An Autobiography Angela Y. Davis 9780717806676 International Publishers Co. My Bondage and My Freedom Frederick Douglass 9780140439182 Penguin Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself: A New Critical Edition Frederick Douglass and Angela Y. Davis 9780872865273 City Lights Black Reconstruction in America, 1860-1880 W.E.B. Du Bois 9780684856575 Free Press

#reading list #city lights bookstore #antiracist

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vistmedia · 3 years ago

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Single words to inspire you

Check out these motivational words and famous quotes to explain perfectly the importance of these words, curated by the Vistmedia review team.

Believe

"Believe it can be done. When you believe something can be done, really believe, your mind will find the ways to do it. Believing a solution paves the way to solution."

—David Joseph Schwartz

“Be brave to stand for what you believe in even if you stand alone.”

—Roy T. Bennett

"Believing in yourself is not for you; it's for every person who has touched your life in a significant way and for every person your life will touch the same way five minutes from now, or five centuries from now."

—Jaye Miller

Clarity

"Clarity precedes success."

—Robin Sharma

“A lack of clarity could put the brakes on any journey to success.”

—Steve Maraboli

“Clarity affords focus.”

—Thomas Leonard

Challenge

"The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy."

—Martin Luther King, Jr.

“The key to life is accepting challenges. Once someone stops doing this, he’s dead.”

—Bette Davis

“I don’t run away from a challenge because I am afraid. Instead, I run towards it because the only way to escape fear is to trample it beneath your foot.”

—Nadia Comaneci

Commitment

"Once you have commitment, you need the discipline and hard work to get you there."

—Haile Gebrselassie

“Commitment is an act, not a word.”

—Jean-Paul Sartre

“Commitment is what transforms a promise into a reality.”

—Abraham Lincoln

For more inspirational content you will love to read, check out Vistmedia today.

#books #ebooks #vistmedia review #vistmedia reviews

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tabloidtoc · 4 years ago

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Entertainment Weekly, November

Cover: The Oscar Race Begins -- Jennifer Hudson stars as Aretha Franklin in a new biopic

Page 1: Contents, Jennifer Hudson

Page 2: Sound Bites

Page 4: Editor’s Note, EW is releasing a special digital cover and tribute book for Chadwick Boseman and rereleasing the Guide to Supernatural just in time for the series finale on November 19

Page 6: The Must List -- The Trial of the Chicago 7, Q+A with Aaron Sorkin

Page 8: Keanu Reeves in Cyberpunk 2077

Page 9: There’s No Such Thing as a Fish podcast, The Nolan Variations by Tom Shone

Page 10: This Far from Sade, American Utopia

Page 11: Let Him Go, Q+A with Diane Lane and Kevin Costner

Page 12: Belushi, To Be a Man by Nicole Krauss, Virgin River

Page 13: My Must List -- Tracee Ellis Ross

Page 15: First Take -- The White Tiger -- Ramin Bahrani’s Netflix adaptation of Aravind Adiga’s novel featuring Priyanka Chopra-Jonas in a rare gloss-free role will roar its way into the Oscar race at the end of the year

Page 19: Barack Before Obama by David Katz

Page 20: Cover Story -- Amazing Grace -- as Aretha Franklin in the Oscar-buzzy biopic Respect Jennifer Hudson takes on the role of a lifetime; good thing she was anointed by the Queen of Soul herself

Page 28: The Awards Race Begins -- Kate Winslet in Ammonite

Page 31: Anthony Hopkins in The Father

Page 32: Viola Davis in Ma Rainey’s Black Bottom

Page 33: Steven Yeun in Minari

Page 34: Michelle Pfeiffer in French Exit

Page 35: 3 questions for Riz Ahmed in Sound of Metal, Winston Duke in Nine Days

Page 36: The cast of Let Them All Talk -- Meryl Streep, Dianne Wiest, Candice Bergen

Page 37: Carey Mulligan in Promising Young Woman

Page 38: Daniel Kaluuya in Judas and the Black Messiah

Page 39: Sophia Loren in The Life Ahead

Page 40: Glenn Close in Hillbilly Elegy

Page 42: Regina King in One Night in Miami

Page 44: Denis Villeneuve of Dune

Page 45: Paul Greengrass of News of the World

Page 46: Chloe Zhao of Nomadland

Page 47: George Clooney of The Midnight Sky

Page 49: Your Fall Preview

Page 50: Movies -- Kristen Stewart, Mackenzie Davis and director Clea Duvall take us behind the scenes of Happiest Season, their jolly holiday rom-com with a queer twist

Page 52: Sylvie’s Love

Page 54: Moved But Not Forgotten -- 2020′s biggest blockbusters got off to a late start and we’ll be honest, we still don’t know for sure when we’ll be able to see some of them but we’re getting closer -- No Time to Die, Black Widow, Wonder Woman 1984, Soul, Free Guy

Page 55: Jingle Jangle: A Christmas Journey, Lovers Rock

Page 56: TV -- Netflix’s Selena: The Series is a show fit for a queen -- of Tejano music -- celebrating one of the most influential Mexican-American entertainers of the 20th century

Page 57: Big Sky

Page 58: A Teacher, Truth Seekers

Page 59: Equal

Page 60: Supermarket Sweep superfan Leslie Jones is just as excited to be host of ABC’s reboot as the contestants playing for $100,000

Page 61: Despite the never-ending pandemic new holiday TV movies will start piling up under your tree before Halloween; to help guide you through the blizzard of choices we present you with a few trends that are lighting up the 2020 slate

Page 62: Previously On...how did recent seasons of your favorite shows end? What’s to come this fall? Here’s a look at six returning shows -- His Dark Materials

Page 63: Superstore, black-ish

Page 64: The Crown, This Is Us, Station 19 and Grey’s Anatomy

Page 66: Music -- facing exhaustion and a scary bout of tinnitus the shutdown offered a welcome pause but Brothers Osborne are ready to press play on a new album

Page 68: Busta Rhymes

Page 69: Kylie Minogue

Page 70: News + Reviews -- One hundred years after Agatha Christie’s debut novel the British author is still the biggest name in mystery on the page and stage and screen

Page 73: Actor-director Kenneth Branagh is Agatha Christie’s biggest modern evangelist

Page 74: Movies -- his roles as ghostbuster and groundhog chaser and royal tenenbaum have charmed and confounded us for nearly 50 years but will Sofia Coppola’s new film On the Rocks finally bring Bill Murray an Oscar?

Page 75: Sofia Coppola reveals her own road to inspiration

Page 76: Making the Scene: Rebecca -- director Ben Wheatley breaks down the tense Manderlay face-off from his lush take on Daphne Du Maurier’s classic 1938 novel

Page 77: Ammonite, High Anxiety with Vanessa Williams -- the star of Hulu’s Bad Hair tells us what freaks her out

Page 78: TV -- even a pandemic can’t stop the Winchesters -- the Supernatural cast Jensen Ackles and Jared Padalecki and crew talk returning to set to finish their 15-season run

Page 79: The Undoing

Page 80: Unaired Pilots -- 35 years after Lynda Carter’s debut and five years before Gal Gadot NBC lassoed Adrianne Palicki for its Wonder Woman pilot

Page 82: TV drama has lost its chill -- Fargo and Ratched are the latest shows to fall victim to narrative hysteria

Page 84: From superspy to Game of Thrones scene-stealer Diana Rigg paved the way both on and off screen for strong female characters and pop culture heroines everywhere

Page 87: What to Watch

Page 94: Music -- Juicy J -- the Three 6 Mafia member has been dropping hits for 20 years; ahead of his new solo effort he shares some of his music-making secrets

Page 96: Ty Dolla $ign -- the multi-hyphenate on the artists and sounds that inspired his new album Dream House

Page 97: 3 questions with Sasha Sloan, three years after his death one of Tom Petty’s most pivotal albums gets the respect and the reissue it so richly deserves

Page 98: Matt Berninger -- we asked The National frontman and newly minted solo artist about his famously brooding baritone

Page 100: DaBaby -- he may not know the TikTok dance to his own hit song Rockstar but he knows his musical influences

Page 101: Sharon Jones & the Dap-Kings

Page 102: Books -- Former tech exec Susie Yang enters the literary fray with White Ivy a delightfully dark debut with a protagonist who refuses to let the privileged class of the hook

Page 104: Martin Amis -- in a hefty new book he dubs novelized biography a literary lion offers his Inside Story on love and loss and mortality

Page 107: Pop Culture of My Life -- Bryan Washington -- the Houston native and breakout author of 2019′s Lot and the upcoming Memorial reveals his cultural and culinary inspirations

Page 108: In Red Comet Sylvia Plath expert Heather Clark presents a definitive biography of the poet observing her oft-examined life through a new lens

Page 109: Biographer Scott Eyman paints a complex portrait of Hollywood’s original leading man in Cary Grant: A Brilliant Disguise, the essential Cary Grant

Page 112: The Bullseye

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blackkudos · 5 years ago

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Diana Ross

Diana Ross (born March 26, 1944) is an American singer, actress, and record producer. Born and raised in Detroit, Michigan, Ross rose to fame as the lead singer of the vocal group The Supremes, who during the 1960s became Motown's most successful act, and are the best-charting female group in US history, as well as one of the world's best-selling girl groups of all time. The group released a record-setting twelve number one hit singles on the US Billboard Hot 100, including "Where Did Our Love Go", "Baby Love", "Come See About Me", "Stop! In the Name of Love", "You Can't Hurry Love", "You Keep Me Hangin' On", "Love Child", and "Someday We'll Be Together".

Following her departure from the Supremes in 1970, Ross released her eponymous debut solo album that same year, featuring the No. 1 Pop hit "Ain't No Mountain High Enough". She later released the album Touch Me in the Morning in 1973; its title track was her second solo No. 1 hit. She continued a successful solo career through the 1970s, which included hit albums like Mahogany and Diana Ross and their No. 1 hit singles, "Theme from Mahogany" and "Love Hangover", respectively. Her 1980 album Diana produced another No. 1 single, "Upside Down", as well as the international hit "I'm Coming Out". Her final single with Motown during her initial run with the company achieved her sixth and final US number one Pop hit, the duet "Endless Love" featuring Lionel Richie, whose solo career was launched with its success.

Ross has also ventured into acting, with a Golden Globe Award-winning and Academy Award–nominated performance in the film Lady Sings the Blues (1972); she recorded its soundtrack, which became a number one hit. She also starred in two other feature films, Mahogany (1975) and The Wiz (1978), later acting in the television films Out of Darkness (1994), for which she also was nominated for a Golden Globe Award, and Double Platinum (1999).

She 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; and as an ensemble member (We are the World-USA for Africa). In 1976, Ross was named the "Female Entertainer of the Century" by Billboard magazine. In 1993, the Guinness Book of World Records declared her the most successful female music artist in history, due to her success in the United States and United Kingdom for having more hits than any female artist in the charts, with a career total of 70 hit singles with her work with the Supremes and as a solo artist. She had a top 10 UK hit in every one of the last five decades, and sang lead on a top 75 hit single at least once every year from 1964 to 1996 in the UK, a period of 33 consecutive years and a record for any performer.

In 1988, Ross was inducted to the Rock and Roll Hall of Fame as a member of the Supremes, alongside Mary Wilson and Florence Ballard. She was the recipient of the Kennedy Center Honors in 2007, the Grammy Lifetime Achievement Award in 2012, and the Presidential Medal of Freedom in 2016. 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. In Billboard magazine's Greatest of All Time Hot 100 Artists chart, she ranked 16th as the lead singer of the Supremes and 26th as a solo artist. Diana Ross ranks among the Top 5 artists of the rock era (1955 to date) on the Billboard Hot 100 when combining her solo and Supremes' hits.

Early life

Diana Ross was born in Detroit, Michigan on March 26, 1944. She was the second-eldest child of Ernestine (née Moten; January 27, 1916 – October 9, 1984) and Fred Ross, Sr. (July 4, 1920 – November 21, 2007). Ross's elder sister is American physician Barbara Ross-Lee.

According to Ross, her mother actually named her "Diane", but, a clerical error resulted in her name being recorded as "Diana" on her birth certificate. She was listed as "Diane" during the first Supremes records, and she introduced herself as "Diane" until early in the group's heyday. Her friends and family still call her "Diane".

Ross's grandfather John E. Ross, a native of Gloucester County, Virginia, was born to Washington Ross and Virginia Baytop. Virginia Baytop's mother Francis "Frankey" Baytop was a former slave who had become a midwife after the Civil War.

Ross and her family originally lived on Belmont Road 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 father moved with his children to live with relatives in Bessemer, Alabama. After her mother recovered, her family moved back to Detroit.

On her 14th birthday in 1958, her family relocated to the working-class Brewster-Douglass Housing Projects settling at St. Antoine Street. Attending Cass Technical High School, a four-year college and preparatory magnet school, in downtown Detroit, Ross began taking classes including clothing design, millinery, pattern making, and tailoring, as she had aspired to become a fashion designer. She also took modeling and cosmetology classes at the school and participated in three or four other extracurricular activities while being there.

Ross also worked at Hudson's Department Store where it has been claimed in biographies, she was the first black employee "allowed outside the kitchen". For extra income, she provided hairdressing services for her neighbors. Ross graduated from Cass Tech in January 1962.

Career

The Supremes: 1959–1970

At fifteen, Ross joined the Primettes, a sister group of a male vocal group called the Primes, after being brought to the attention of music manager Milton Jenkins by Primes member Paul Williams. Along with Ross, the other members included Florence Ballard, the first group member hired by Jenkins, Mary Wilson, and Betty McGlown. Following a talent competition win in Windsor, Ontario, in 1960, the Primettes were invited to audition for Motown records.

Later, following local success via live performances at sock hops, etc., Ross approached former neighbor (and rumored childhood former boyfriend), William "Smokey" Robinson, who insisted that the group audition for him first. Robinson agreed to bring the Primettes to Motown, in exchange for letting him and the Miracles hire the Primettes' guitarist, Marv Tarplin, for an upcoming tour. Tarplin played in Robinson's band(s) for the next 30-plus years.

In her autobiography, "Secrets of a Sparrow", Ross wrote that she felt that deal was "a fair trade". The Primettes later auditioned for Motown Records, before various Motown executives. In Berry Gordy's autobiography, To Be Loved, Gordy recalled he was heading to a business meeting when he heard Ross singing "There Goes My Baby" and Ross's voice "stopped me in my tracks". He approached the group and asked them to perform it again but, learning of their ages, Gordy advised them to come back after graduating from high school.

Undeterred, the group went to Motown's Hitsville U.S.A. headquarters regularly, offering to provide extra help for Motown's recordings, often including hand claps and background vocals. That year, the group recorded two tracks for Lu Pine Records, with Ross singing lead on one of the tracks. During the group's early years, Ross served as hair stylist, 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's studio, many written by "Smokey" Robinson, who, by then, was vice president of Motown ("Your Heart Belongs to Me" and "A Breathtaking Guy"). Gordy, too, composed songs for the trio, including "Buttered Popcorn" (featuring Ballard on lead) and "Let Me Go the Right Way". While these songs were regional hits, they were not nationwide successes.

In January 1961, Gordy agreed to sign the group on the condition they change their name. Eventually, 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 name on January 15, 1961.

A year later, Barbara Martin left the group, reducing the quartet to a trio. In late 1963, the group had their first hit with "When the Lovelight Starts Shining Through His Eyes", peaking at number 23 on the Billboard Hot 100 pop chart. At the end of the year, Gordy assigned Ross as the group's lead singer, even though Ballard was usually the lead vocalist.

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. The group had also become a hit with audiences both domestically and abroad, going on to become Motown's most successful vocal act throughout the sixties. Following significant issues with her comportment, weight, and alcoholism, Florence Ballard was fired from the Supremes by Gordy in July 1967, hiring Cindy Birdsong from Patti LaBelle and the Blue-Bells 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 Ross leaving the Supremes for a solo career in 1966 but changed his mind because the group's success was still too significant for Ross to pursue solo obligations. Ross remained with the Supremes until early 1970.

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. Still, Wilson and Birdsong continued to sing on recordings.

Gordy, drove Ross diligently throughout this period and Ross, due to anxiety arising from Gordy's demands of her, 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 herself 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. In November, Ross confirmed a split from the Supremes in Billboard. Ross' 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.

Solo career,Touch Me in the Morning, Duets album, Lady Sings the Blues soundtrack and diana: 1970–1981

In May 1970, Ross released her eponymous solo debut, which included her signature songs, "Reach Out and Touch (Somebody's Hand)" and "Ain't No Mountain High Enough", the latter becoming Ross' first number-one solo single. Follow-up albums, Everything Is Everything and Surrender came out shortly afterwards. In 1971, the ballad "I'm Still Waiting" became her first number-one single in the UK. Later in 1971, Ross starred in her first solo television special, Diana!, which included the Jackson 5.

In 1972, the soundtrack to her film debut, Lady Sings the Blues, reached number one on the Billboard 200, selling two million units. In 1973, Ross had her second number-one hit with the ballad "Touch Me in the Morning". Later in the year, Motown issued Diana & Marvin, a duet album with fellow Motown artist Marvin Gaye. The album became an international hit. Touring throughout 1973, 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 46th Academy Awards, with John Huston, Burt Reynolds, and David Niven.

After the release of a modestly successful LP, Last Time I Saw Him, Ross had a third number-one hit with "Theme from Mahogany (Do You Know Where You're Going To)", from her second feature film, Mahogany. A year later, in 1976, Ross released her fourth solo number-one hit, "Love Hangover", a sensual, dramatic mid-tempo song that bursts into an uptempo disco tune. Later that year, Ross launched her "An Evening with Diana Ross" tour. 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, 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, and a Special Tony Award.

The albums Baby It's Me and Ross sold modestly. In 1979, Ross released The Boss, continuing her popularity with dance audiences, as the title song became a number-one dance single. 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. Later that year, Ross hosted the HBO special, Standing Room Only, filmed at Caesar's Palace's Circus Maximus Theater in Las Vegas, Nevada, during her "Tour '79" concert tour. 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 album's title track as a featured artist during the Macy's Thanksgiving Day Parade, in New York City.

In 1980, Ross released her most successful album to date, Diana. Composed by Chic's Nile Rodgers and Bernard Edwards, the album included the hits "I'm Coming Out" and "Upside Down", the latter becoming her fifth chart-topping single. Prior to leaving Motown, 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.

Ross began negotiations to leave Motown at the end of 1980. After over 20 years with the label, Ross received 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. Allegedly, before signing onto the label, Ross 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, Ross's was music history's most expensive recording deal.

Film career: 1972–1999

In 1971, Diana Ross began working on her first film, Lady Sings the Blues, which was a loosely based biography on singer Billie Holiday. Despite some criticism of her for taking the role, once the film opened in October 1972, 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 No. 1 on the Billboard 200 staying there for two weeks.

Ross's second film, Mahogany, was released in 1975. The film reunited her with Billy Dee Williams, her co-star in Lady Sings the Blues and featured costumes designed by Ross herself. 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 assumed the director's chair himself.

In addition, 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."

In 1977, Motown 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, (instead of Stephanie Mills, who portrayed Dorothy on Broadway) 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 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. 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. At the time, it was the most expensive film musical ever made. The film's failure ended Ross's short career on 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. The Wiz was Ross's final film for Motown.

Ross had success with movie-themed songs. The soundtrack for Lady Sings the Blues peaked at number one on Billboard's Pop chart, selling over 300,000 copies in its first eight days of release. While her version of Holiday's "Good Morning Heartache" only performed modestly well in early 1973, her recording of "Theme from Mahogany (Do You Know Where You're Going To)" gave Ross her third number-one hit, in late 1975.

Three years later, Ross and Michael Jackson had a modest dance hit with their recording of "Ease on Down the Road". Their second duet, actually as part of the ensemble of The Wiz, "Brand New Day", found some success overseas. Ross scored a Top 10 hit in late 1980 with the theme song to the 1980 film It's My Turn. The following year, she collaborated with former Commodores singer-songwriter Lionel Richie on the theme song for the film Endless Love. The Academy Award-nominated title single became her final hit on Motown Records and the number-two record of the year.

Several years later, in 1988, Ross recorded the theme song to The Land Before Time. "If We Hold on Together" became an international hit, reaching number one in Japan.

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, although she did not win. 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.

Continued solo career and development: 1981–1999

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.

In early 1982, Ross sang the "Star-Spangled Banner" at Super Bowl XVI and appeared on the dance show Soul Train. The program devoted a full episode to her and Ross performed several songs from the Why Do Fools Fall in Love album.

On May 6, 1982, Ross was honored with a star on the Hollywood Walk of Fame.

In 1982, 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-ten 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.

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 required that the show be stopped after 45 minutes. Ross urged the large crowd to exit the venue safely, promising to perform the next day.

The second concert held the very next day was without rain. The funds for the playground were to be derived from sales of various memorabilia. However, they were destroyed by the storm. When the mainstream media discovered the exorbitant costs of the two concerts, Ross faced criticism from New York City's then-mayor Ed Koch and the city's Parks Department commissioner and poor publicity. During a subsequent mayoral press conference, Ross handed Koch a check for US$250,000 for the project. The Diana Ross Playground was built three years later.

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' album and Iglesias' 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 died earlier that year. Swept Away garnered gold record sales status.

Her 1985 album, Eaten Alive, found major success overseas. "Chain Reaction" reached number one on the UK charts as well as in Australia and Ireland and the title track also performed well. Both songs had strong music videos that propelled the tracks to success. The Eaten Alive video was patterned after the 1960s horror film, The Island of Dr. Moreau while the "Chain Reaction" music video saluted the 1960s American Bandstand-style music shows. "Experience", the third international single's video reignited the "Eaten Alive" romantic storyline with Diana and actor Joseph Gian. The track, Eaten Alive, a collaboration with Barry Gibb and Michael Jackson, became a top 20 hit internationally.

The Barry Gibb-produced album garnered an international number one in "Chain Reaction" and a Top 20 selling album. It is believed Michael Finbarr Murphy, a distant cousin of Alan Murphy, guitarist for singer Kate Bush, Level 42 and others, played the guitar parts on "Chain Reaction". Michael was the producer for Unknown Quantity, the backing vocalists featured on the "Chain Reaction" track, are also featured as Ross' backing singers in the track's video. There were four members of Unknown Quantity, however, only 3 were needed for the video.

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 (No. 39 Billboard Top R&B Albums chart; No. 12 Sweden), found less success than the prior album. The accompanying acclaimed television special was nominated for three Emmy Awards, winning two (Outstanding Costume Design for a Variety or Music Program - Ray Aghayan and Ret Turner; Outstanding Lighting Direction (Electronic) for a Miniseries or a Special - Greg Brunton).

On January 27, 1986, Ross hosted the 13th annual American Music Awards. Ross returned the next year to host the 14th annual telecast.

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 sold it to MCA Records in 1988. 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.

Ross' next album, 1989's Workin' Overtime was not a commercial success, despite the title track reaching the top three of the Billboard's Hot R&B/Hip-Hop Songs chart. The album peaked at number 34 on the Billboard Hot R&B Albums chart, and achieved top 25 placings in Japan and the UK, attaining a silver certification in the latter country. Subsequent releases, such as The Force Behind the Power (1991), Take Me Higher (1995), and Every Day Is a New Day (1999) produced similar results. Ross's albums achieved more international than domestic success.

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.

"The Force Behind the Power" sparked an international comeback of sorts when the album went double platinum in the UK. led by the No. 2 UK hit single "When You Tell Me That You Love Me". The single's duet version with Irish group, Westlife, also hit No. 2 in the UK in 2005. The album performed well across Europe and into Japan as "The Force Behind the Power" achieved Gold record status in the nation. The album produced an astounding 9 singles across international territories, including another Top 10 hit, "One Shining Moment".

In 1994, One Woman: The Ultimate Collection, a career retrospective compilation, became a number one hit in the UK, selling quadruple platinum, and selling well across Europe and in the English-speaking world. 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, where she infamously missed a penalty kick that was part of her act, and during the pre-match entertainment of the 1995 Rugby League World Cup final at Wembley Stadium.

On January 28, 1996, Ross performed the halftime show at Super Bowl XXX. Earlier that month, Ross' Tokyo concert, "Diana Ross: Live In Japan" filmed live at the city's Nippon Bodukan Stadium, was released.

In May, 1996, Ross received the World Music Awards' Lifelong Contribution to the Music Industry Award.

On November 29, 1996, 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)".

On February 8, 1997, EMI released the Japanese edition of Ross' album, A Gift of Love, featuring the single, "Promise Me You'll Try".

In May, 1997, Ross performed with operatic tenors Placido Domingo and Jose Carreras again at the Superconcert of the Century concert, held in Taipei, Taiwan.

On May 6, 1997, Ross inducted The Jackson 5 into The Rock & Roll Hall of Fame.

On February 19, 1998, Ross hosted the Motown 40 telecast on ABC.

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, pasty-covered nipple, amazed at the young rapper's brashness.

Supremes reunions, Return to Love and 2002 solo tour

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 dePasse'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. 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."

In 1999, Ross and mega-tour promoter SFX (which later became LiveNation) 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' 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 The Today Show and The Oprah Winfrey Show, as well as VH1's 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.

Diana Ross' 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' 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 9/11 terrorist attacks, Ross performed "God Bless America" at the U.S. Open tennis championships 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 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.). Ross teamed with legendary singers Patti LaBelle, 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.

U.S. ticket sales for the new tour were brisk, from coast to coast. Venues such as Long Island, New York's Westbury Music Fair and 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 and Ontario, Canada, 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 later sentenced to 48 hours in jail, which she served near her home in Greenwich, Connecticut.

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 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 & Blues Foundation honored The Supremes with its Pioneer Award.

Later career: 2004–present

In May 2004, Ross and daughter Tracee Ellis Ross appeared on the cover of Essence Magazine, in celebration of its 50th anniversary. On December 8, 2004, Ross was the featured performer for Stevie Wonder's Billboard Awards' Billboard Century Award tribute.

On January 14, 2005, Ross performed at the Tsunami Aid: A Concert of Hope TV concert to help raise money for Indonesian tsunami victims. On January 20, 2005, Ross launched her M.A.C. Icon makeup collection, as part of the beauty corporation's Icon Series. In 2005, Ross participated in Rod Stewart's Thanks for the Memory: The Great American Songbook, Volume IV recording a duet version of the Gershwin standard, "I've Got a Crush on You". The song was released as promotion for the album and later reached number 19 on the Billboard Hot Adult Contemporary chart, marking her first Billboard chart entry since 2000. Ross was featured in another hit duet, this time with Westlife, on a cover of Ross's 1991 hit "When You Tell Me You Love Me", repeating the original recording's chart success, garnering a number 2 UK Singles Chart hit (number 1 in Ireland).

Also in 2005, Ross was featured as an honored guest at Oprah Winfrey's Legends Ball Weekend, a three-day celebration honoring 25 African-American women in art, entertainment and civil rights. On May 22, 2006, a year after the celebration, a one-hour program about the weekend aired on ABC, including celebrity interviews and behind-the-scenes moments. On March 22, 2006, Ross' televised Central Park concerts, entitled "For One & for All", are named TV Land Awards' Viewer's Choice for Television's Greatest Music Moment.

In June 2006, Universal released Ross's shelved 1972 Blue album. It peaked at number two on Billboard's jazz albums chart. Later in 2006, Ross released her first studio album in seven years with I Love You. It would be released on EMI/Manhattan Records in the United States in January 2007. EMI Inside later reported the album had sold more than 622,000 copies worldwide. "I Love You" peaked at No. 32 on Billboard's Hot 200 albums chart and No. 16 on Billboard's Top R&B Albums chart. Ross later ventured on a world tour to promote I Love You. In 2007, Ross was honored with the BET Awards' Lifetime Achievement Award and, later, as one of the honorees at the Kennedy Center Honors.

On August 28, 2008, Ross performed at the opening of the US Open tennis tournament, as part of a tribute to Billie Jean King. Ross headlined the 2008 Nobel Peace Prize Concert in Oslo, Norway.

In October 2009, Ross was the featured performer at the annual "Symphonica in Rosso" concert series, held at the GelreDome Stadium in Arnhem, Netherlands.

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.

In 2011, Diana Ross was inducted into the Michigan Rock and Roll Legends Hall of Fame.

In February 2012, Ross received her first Grammy Award, for Lifetime Achievement, and announced the nominees for the Album of the Year. In May, a DVD of her Central Park concert performances, For One & For All, was released and featured commentary from Steve Binder, who directed the special. A month later, on December 9, she performed as the marquee and headlining performer at the White House-hosted Christmas in Washington concert, where she performed before President Barack Obama. The event was later broadcast as an annual special on TNT. In 2013, Ross completed a tour in South America and a tour in the United States. On July 3, 2014, Ross was awarded the Ella Fitzgerald Award for "her extraordinary contribution to contemporary jazz vocals", at the Festival International de Jazz de Montréal. On November 20, 2014, Ross presented the Dick Clark Award for Excellence to Taylor Swift at the American Music Awards.

In 2015, Ross appeared in the video for the song "How to Live Alone" performed by her son Evan Ross. 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. On November 27, 2015, Motown Records/Universal released the album Diana Ross Sings Songs from The Wiz, recorded in 1978. The album features Ross' versions of songs from the film version of the musical The Wiz, in which she starred along with Michael Jackson, Nipsey Russell, Ted Ross, Richard Pryor and Lena Horn.

In February 2016, Ross resumed her In the Name of Love Tour, which began in 2013. On November 22, 2016, Ross was awarded the Presidential Medal of Freedom by President Obama.

In December 2016, Billboard magazine named her the 50th most successful dance artist of all time.

On June 30, 2017, Ross headlined the Essence Festival in New Orleans, Louisiana, with her daughter Rhonda Ross-Kendrick performing as the opening act. On November 19, 2017, Ross received the American Music Awards Lifetime Achievement Award. Ross performed several of her hits, ending with "Ain't No Mountain High Enough", during which she brought all of her grandchildren onstage. Her eldest grandson, eight-year-old Raif-Henok Emmanuel Kendrick, son of Rhonda Ross-Kendrick and husband, Rodney, performed an impromptu dance behind Ross, which gained attention. Ross was then joined onstage by all of her children, their spouses, first ex-husband Robert Ellis, Smokey Robinson (who brought Ross to Motown) and Motown founder, Berry Gordy.

In December 2017, Ross appeared on the Home Shopping Network to promote her first fragrance, Diamond Diana. The fragrance sold out within hours. Ross made several hour-long appearances on the network, and also released a tie-in CD retrospective collection of her music entitled Diamond Diana. Diamond Diana peaked at number six on the Billboard R&B Albums chart and number five on its Top Album Sales chart. The CD's first single release, "Ain't No Mountain High Enough 2017", remixed by Eric Kupper, reached number one on the Billboard Dance Club Songs chart.

On February 8, 2018, Ross began a new mini-residency at The Wynn Las Vegas Hotel & Casino. On August 4, 2018, Ross scored another No. 1 hit on Billboard's Top Dance Chart with "I'm Coming Out/Upside Down 2018" She performed a song from a to-be-released compilation Christmas album at the Macy's Thanksgiving Day Parade on November 22, 2018.

In December 2018, Diana Ross consolidated her status as a dance diva by ranking #3 in the Billboard Dance Club Songs Artists year-end chart.

On February 10, 2019, the Recording Academy honored Ross at the 61st Annual Grammy Awards. Ross performed "The Best Years of My Life" and "Reach Out and Touch (Somebody's Hand)". In 2019 her song "The Boss" was remixed by Eric Kupper as "The Boss 2019", and reached number one on Billboard's Top Dance Chart on April 13.

On October 10, 2019, it was announced that Diana Ross would play the Sunday legends slot on the Pyramid Stage at the Glastonbury Festival for the festival's 50th anniversary.

Personal life

Relationships and family

Ross has been married twice and has five children.

In 1965, Ross became romantically involved with Motown CEO Berry Gordy. 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, 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 and Chudney Lane Silberstein, born in 1972 and 1975, respectively. Ross and Silberstein divorced in 1977, and Ross moved to New York City in the early 1980s, after living in Los Angeles since Motown relocated to the area in the early 1970s.

Ross dated Gene Simmons, bass guitarist and singer for the band Kiss, from 1980 to 1983. They began dating after Cher, who had remained friends with Simmons following their break-up, suggested he ask Ross to help him choose her Christmas present. Simmons, in his autobiography, contends that he was not dating Cher when he met Ross. Ross ended her relationship with Simmons when he gave Ross the erroneous impression that he had resumed his relationship with Cher. Simmons' story differed in 2015 when he revealed that he fell in love with Ross while dating Cher, which ended Ross and Cher's friendship.

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). Ross and Næss divorced in 2000, after press reports revealed that Naess had fathered a child with another woman in Norway. Ross considers Næss the love of her life. Næss fell to his death in a South African mountain climbing accident in 2004. Ross remains close with her three ex-stepchildren.

Ross has six grandchildren: grandson Raif-Henok (born in 2009 to her daughter Rhonda); grandsons Leif (born on June 5, 2016) and Idingo (born 2017), born to her son Ross Næss; granddaughters Callaway Lane (born in 2012) and Everlee (born October 2019) born to Ross's daughter Chudney; and granddaughter Jagger Snow (born in 2015 to Ross's son Evan).

Religious views

Diana Ross considers herself a Baptist. She used to sing in a church, where she gained her initial musical experience. Her mother Ernestine's father, Reverend William Moten, served as a pastor in the Bessemer Baptist Church in Bessemer, Alabama. The Ross children spent considerable time with their maternal grandparents during their mother's bouts with tuberculosis.

2002 arrest

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

Legacy

Ross has influenced many artists including Michael Jackson, Beyoncé, Madonna, Jade Thirlwall, Questlove, Ledisi and the Ting Tings.

Various works have been inspired by Ross's career and life. The character of Deena Jones in Dreamgirls was inspired by Ross.

Several of Ross's songs have 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, 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 number 1 "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.

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.

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. 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".

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). While Mariah Carey is the only solo female artist to have 18 number-one U.S. singles, Ms. 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-USA for Africa). Ross was featured on the Notorious B.I.G.'s 1997 number-one hit, "Mo Money Mo Problems" as 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. In 1993, she earned a Guinness World Record, due to her success in the United States and United Kingdom for having more hits than any other female artist in the charts with a career total of 70 hit singles. 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.

Ross was given credit for the discovery of the Jackson 5. Her "discovery" was simply part of Motown's marketing and promotions plan for the Jackson 5. Consequently, their debut album was titled Diana Ross Presents the Jackson 5. It was actually Motown producer Bobby Taylor who discovered the Jacksons. Even so, Ross embraced the role and became a good friend of Michael Jackson, serving as a mother figure to him.

In 2006, Diana 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.

Diana Ross was named one of the Five Mighty Pop Divas of the Sixties along with Dusty Springfield, Aretha Franklin, Martha Reeves, and Dionne Warwick.

Awards and nominations

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.

Discography

Studio albums

Diana Ross (1970)

Everything Is Everything (1970)

Surrender (1971)

Touch Me in the Morning (1973)

Diana & Marvin (with Marvin Gaye) (1973)

Last Time I Saw Him (1973)

Diana Ross (1976)

Baby It's Me (1977)

Ross (1978)

The Boss (1979)

Diana (1980)

Why Do Fools Fall in Love (1981)

Silk Electric (1982)

Ross (1983)

Swept Away (1984)

Eaten Alive (1985)

Red Hot Rhythm & Blues (1987)

Workin' Overtime (1989)

The Force Behind the Power (1991)

A Very Special Season (1994)

Take Me Higher (1995)

Every Day Is a New Day (1999)

Blue (2006)

I Love You (2006)

Soundtrack albums

Diana! (1971)

Lady Sings the Blues (1972)

Mahogany (1975)

The Wiz (1978)

Endless Love: Original Motion Picture Soundtrack (1981)

Live albums

Live at Caesars Palace (1974)

An Evening with Diana Ross (1977)

Greatest Hits Live (1989)

Stolen Moments: The Lady Sings... Jazz and Blues (1993)

Christmas in Vienna (with Plácido Domingo and José Carreras) (1993)

Filmography

Lady Sings the Blues (1972)

Mahogany (1975)

The Wiz (1978)

Out of Darkness * (1994)

Double Platinum * (1999)

(* = made directly for television)

Television

T.A.M.I. Show (with the Supremes) (1964)

Tarzan (with the Supremes) (1968)

TCB (with the Supremes) (1968)

The Dinah Shore Special: Like Hep (with Dinah Shore and Lucille Ball) (1969)

G.I.T. on Broadway (with the Supremes and the Temptations) (1969)

Diana! (1971)

The Jackson 5ive (1971)

Make Room for Granddaddy (1971)

Here I Am: An Evening with Diana Ross (1977)

The Muppet Show (1977)

Standing Room Only (HBO) (1980)

Diana! (TV Special) (1981)

Motown 25: Yesterday, Today, Forever (1983)

Diana Ross: Live in Central Park/For One and For All (Showtime) (1983)

Diana Ross: Red Hot Rhythm and Blues (1987)

Diana Ross: Workin' Overtime HBO: World Stage (1989)

Diana Ross Live! The Lady Sings... Jazz & Blues: Stolen Moments (1992)

Christmas in Vienna (1992)

BET Walk of Fame (1993)

Always is Forever: 30th Anniversary (1993)

1994 FIFA World Cup (1994)

Super Bowl XXX (1996)

Super Concert of the Century (1997)

An Audience with Diana Ross (1999)

VH1 Divas 2000: A Tribute to Diana Ross (2000)

The Making and Meaning of We Are Family (documentary) (2002)

Tsunami Aid (2005)

BET Awards 2007 (2007)

Kennedy Center Honors (2007)

Nobel Peace Prize Concert (2008)

The Oprah Winfrey Show: Farewell and Salute (2011)

Christmas in Washington (2012)

The Voice (2014)

HSN (2017)

Ashlee+Evan (2018)

Stage

An Evening with Diana Ross (1976)

Tours

Headlining

Co-headlining tours

Superconcert of the Century (with Placido Domingo and Jose Carreras) (1997)

Return to Love Tour (with former members of the Supremes) (2000)

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