In May 2026, Diana Ross, eighty-two years old, stood on a Japanese stage for the first time in eleven years: Yokohama's K-Arena, and Osaka-jo Hall, her first show there in twenty-eight years. More than sixty years after a girl from a housing project began singing with stomping feet, that voice is still gathering people across the ocean.
Chapter 1 followed her from the Brewster Projects through the days of the "no-hit Supremes" to twelve American No. 1s, ending in January 1970 when she stepped off the Las Vegas stage. Chapter 2 picks up from there. What mountains did she cross after going from "three" to "one"? Film, disco, a giant outdoor concert, a feud with an old friend, and the years past her eightieth birthday.
Here, too, the story of glory was no smooth road. The first song she released as a solo artist was called "Reach Out and Touch." The second was "Ain't No Mountain High Enough," which says that no mountain can stop me. Let's follow the journey that matched those words, step by step.
🏔️ "Ain't No Mountain High Enough" — The First Solo Step, a No. 1 in 1970
Six days after that farewell stage on January 14, 1970, Diana Ross was in the studio, recording her first solo single, "Reach Out and Touch (Somebody's Hand)." Berry Gordy had been eyeing her solo career for years. I think his plan had been moving forward quietly but surely since the day the group's billing was changed to "Diana Ross & the Supremes."
Released in April, the single reached number twenty in the United States. A decent number, but not yet a full answer to the expectations of people who knew "Diana of the Supremes." So Gordy chose a pair to work with her: Nickolas Ashford and Valerie Simpson. Songwriters and producers, later known together as Ashford & Simpson, they took on Diana's first solo album.
The heart of that album was "Ain't No Mountain High Enough." It had originally been a duet, sung in 1967 by Marvin Gaye and Tammi Terrell as a back-and-forth between two lovers. Ashford & Simpson boldly rebuilt it for Diana to sing alone. It opens with a whispered spoken passage, Diana quietly telling the listener to listen, and then the orchestra swells little by little until the song suddenly opens up toward the heights. The album version runs more than six minutes and is built like a small film.
Gordy, it is said, was not enthusiastic about releasing it as a single. But radio DJs began playing that one track from the album over and over. The listeners' response overtook the company's judgment. The edited single version finally reached No. 1 in September 1970 and stayed there for three weeks. It was nominated for a Grammy, but lost to Dionne Warwick's "I'll Never Fall in Love Again."
What draws me to this song, however many times I hear it, is its sense of release. A love song that says no mountain, no valley, no river can keep me from getting to you. But sung by Diana in 1970, it takes on another meaning. A woman who has just stepped down from the enormous billing of the Supremes sings, alone, that no mountain can stop her. A song addressed to a lover becomes, as it stands, a declaration to herself. I listen to this song as "the first cry of solo Diana."
Over the first two years or so, Diana released albums in quick succession: Diana Ross in 1970, Everything Is Everything the same year, and Surrender in 1971. As if searching for "her own voice" as a solo artist, she tried soul, pop, and various styles one after another. The freedom of being released from the Supremes' "mold," and the anxiety of "standing alone." I feel both quivering faintly at the edges of the records from this period.
In 1971, "I'm Still Waiting" became her first No. 1 in Britain. From a girl in the projects to a "singer of the world": the first step of that path was thus vividly taken. Around the same time she appeared in her first solo television special, Diana!, widening her territory a little at a time from records into the world of moving images. In Gordy's head, the next big plan was already in place.
🎬 "Lady Sings the Blues" — Diana the Actress, Playing Billie Holiday
Gordy's ambition did not fit inside the frame of a record company. He had launched Motown's film division and meant to set Diana up as its first star. The project was a film about the life of the legendary jazz singer Billie Holiday, Lady Sings the Blues (1972). It was her first film role, and she was playing a singer who had earned a place in history.
Billie Holiday left a voice in jazz history that does not fade, despite poverty, discrimination, and addiction. And now a girl from the Supremes, a Motown pop star, was to play her. At the time, many are said to have doubted the venture. But Diana chose not to "imitate" Billie Holiday, instead "living" the soul of her singing through her own voice and body.
The result was astonishing. The film was well received, Diana won a Golden Globe and was nominated for the Academy Award for Best Actress. The soundtrack album climbed to No. 1 on the American album chart, the only No. 1 album of her career under her own name. A "girl pop" figure from the Supremes years sang the dark, deep world of Billie Holiday and overwhelmed audiences.
Here I am made to think again about the essence of Diana Ross. She is a "singer," but also a "performer who plays someone else." The keen sense of "being looked at" that she had developed in front of cameras and on a three-person stage blossomed fully, for the first time, on screen. Playing Billie Holiday was also, I think, an attempt to free herself from the honor-student image of the Supremes.
In 1973, "Touch Me in the Morning" followed, a No. 1. Singing of a farewell to a lover in the quiet light of morning, it carried an adult melancholy unlike her earlier light-footed hits. In 1975 she starred in the film Mahogany, directed by Gordy himself. The film's reception was harsh, but its theme song, "Theme from Mahogany (Do You Know Where You're Going To)," reached No. 1 in 1976 and was nominated for an Academy Award for Best Original Song. The film may have been panned, but the song remained. That is what this theme teaches.
After Mahogany, Diana also took the Broadway stage. From 1976 into 1977 she performed the one-woman show An Evening with Diana Ross, and in 1977 she was awarded a special Tony Award for it. The girl from the Supremes touched the summit in three worlds: records, film, and stage. Even looking back from today, the breadth of it is astonishing.
🕺 "Love Hangover" and "The Wiz" — The Disco Queen, and Working With Michael Jackson
"Love Hangover," from 1976, is one of the most special songs of Diana's career. It begins as a slow, slightly languid ballad, the hazy happiness of a morning after falling in love. And then, suddenly, the beat leaps up and turns into a disco dance groove. That structure with "two faces" captivated listeners of the time, and the song went to No. 1.
The disco boom of the late 1970s became a new stage for Diana. She had sung Motown pop-soul, but riding a beat made for the dance floor, her light voice stood out astonishingly well. Her soaring high notes and glittering presence took on a new meaning under the mirror ball. It seems natural that she came to be called the "disco queen."
In 1978, Diana starred in the film The Wiz, an adaptation of the Broadway musical that transplanted The Wizard of Oz into a Black community. She played the lead, Dorothy. But she was thirty-four at the time, and many thought that was too old for a role that was supposed to be a girl. Even so, Diana is said to have lobbied the production earnestly to make the role her own.
On the set of The Wiz, another historic meeting took place. A young Michael Jackson, playing the Scarecrow, and Quincy Jones, who was handling the music, met there for the first time. When Michael murmured that he wondered if there was a producer right for him, Quincy answered, "What about me?" It is a well-known anecdote told often in Quincy Jones's biographies. And the partnership of the two would produce Off the Wall, Thriller, and Bad, the summit of pop music history. An era began on the set of a film Diana starred in.
"Ease on Down the Road," which Diana and Michael sing in the film, is a light and warm number about encouraging each other as you walk. In this duet, a Michael not yet at the time of Thriller stands beside Diana, tentatively but with undeniable radiance. Two stars walking one yellow brick road. Already, a premonition of later years faintly shines through the scene.
The film itself ended with harsh results, both commercially and critically. The plan for a solo album collecting the songs Diana sang was reportedly shelved as a result of the film's failure. Still, failing does not by itself decide a work's value. This challenge that Diana took on with everything she had clearly shows her attitude of "not fearing failure."
At the end of the 1970s, after running through three worlds, records, film, and stage, Diana was trying to return to "song." The partner she chose next was Chic, the band running at the front line of disco.
🎶 "diana" With Chic — "Upside Down" and "I'm Coming Out"
In 1980, Diana teamed up with Nile Rodgers and Bernard Edwards of Chic to make the album diana. The two, who had been shaking the world's dance floors with "Le Freak" and "Good Times," wrote entirely new songs for her. Inside Motown too, the project is said to have been seen as something of a gamble.
"Upside Down" is cool from the intro. A dry guitar chop and a rolling bass line. Over it, Diana sings, with a cool detachment, of a love that has turned her life upside down. That year the song went to No. 1 and stayed for nearly a month. It was her first No. 1 since "Love Hangover" in 1976. There is no longer any trace of the "girl from the projects." There is the poised voice of a queen of the dance floor.
The guitar on "Upside Down" is Nile Rodgers's own chopping, and the accumulation of short notes drives the whole song. There is space around every note. Into that space Diana's voice slips like a cat. She does not raise her voice; she leans into the gaps in the rhythm. I think this is the aesthetic of "subtraction" that she showed in "Where Did Our Love Go" in the 1960s, reborn in a new form in the disco era.
Another signature song, "I'm Coming Out," has a famous origin story. When Nile Rodgers visited a gay club in New York, he is said to have seen several men dressed as Diana Ross. Moved by the sight, he wrote Diana a song of self-liberation, one that declares "I'm coming out." The song reached the American Top 10 and came to be sung all over the world as an anthem of liberation and self-affirmation.
But the making of the album was not smooth sailing. Hearing the finished tracks, Diana is said to have been strongly dissatisfied with the mix. She had the album remixed by Motown engineers. Rodgers and Edwards were unhappy with the change. As a result of the dispute, none of the musicians who took part was credited on the album sleeve.
Even so, the result was overwhelming. diana became the best-selling studio album of her career, reportedly selling more than ten million copies. In 2020, Chic's original mix finally appeared on vinyl for the first time. Same songs, but a different face depending on the mix. One album with two personalities. That, too, I think, is proof of the curious flexibility of Diana's voice.
These songs also entered the world of hip-hop deeply. In 1997, "I'm Coming Out" was sampled in the Notorious B.I.G.'s "Mo Money Mo Problems," which went to No. 1 once again. A sound that was ringing on a disco floor in 1980 took over the hip-hop charts of the 1990s. Diana's voice crosses the boundaries of eras and cultures with ease.
💞 "Endless Love" — The Duet With Lionel Richie, and the Parting From Motown
In 1981, another major turning point arrived in Diana's life: the theme song of the film Endless Love. It was written by Lionel Richie, then still a member of the Commodores. Already established as a hitmaker with sweet ballads like "Three Times a Lady" and "Still," he wrote a beautiful song for a duet with Diana.
From August 15 to October 10, 1981, the song held the No. 1 position in America for nine weeks. For some weeks it sat at No. 1 on the Hot 100, the R&B chart, and the adult contemporary chart all at once. It was the biggest hit of her career, and her sixth and final No. 1 under her own name.
The charm of the song lies in how the two voices meet. Lionel's low, warm voice and Diana's light high notes wrap around each other. The deep respect between them seems to be reflected directly in the singing. The two sang it together at the 1982 Academy Awards, which is said to have been the only time they performed it together on a stage. The song was also nominated for an Academy Award for Best Original Song.
I think the reason "Endless Love" is still sung at weddings and anniversaries more than forty years later is its universality. It is not tied to a particular story; it simply sings that love for you will never end. It sounds right at the start of a romance and right after long years together. The warmth of the two voices quietly supports that breadth.
But behind this huge hit there was a quiet drama. Diana had already decided to part from Motown. The contract RCA Records offered was reportedly $20 million, at the time the largest in history. Gordy told Diana that Motown could not meet those terms. She signed with RCA. About two months after that, she ended up making one more single for Motown, and that single was "Endless Love." Through an arrangement between RCA and Motown, only the recording of this duet was specially permitted.
It is a strange coincidence, when you think about it. The company of Gordy, who had found a girl from the projects, polished her, and sent her out onto the world's stage. She gave that company her last No. 1 and left. Was it gratitude, or a farewell? Perhaps it was both, and neither. What is certain is that it carried the complicated afterglow of a long relationship between the two of them, in business and as human beings.
At RCA, Diana began walking a new path. In 1981 came "Why Do Fools Fall in Love," and her 1982 album Silk Electric included "Muscles," written by Michael Jackson. Here, too, you can see the tie between Diana and Michael that began on the set of The Wiz. "Chain Reaction," the single from the 1985 album Eaten Alive, was written by the Bee Gees and went to No. 1 in Britain the following year.
"Why Do Fools Fall in Love" is a cover of the doo-wop classic that Frankie Lymon and the Teenagers sang in 1956. Diana remade that old song as light pop and made it a No. 7 hit in America. I like to think that the memory of 1950s radio, which she might have heard as a girl in the projects, quietly lives in it. A new contract, a new label, a new challenge. In the middle of all of it, she was always glancing back, just a little, at the place where she began.
☔ Rain Over Central Park — The Legendary Concert of 1983
July 21, 1983. The Great Lawn of Central Park in New York. Diana Ross stood on the stage of an enormous outdoor concert. Its purpose was a charity to build a new playground for the park's children. A free concert, it drew roughly half a million people, with estimates ranging from four hundred thousand to nearly a million.
The opening was glamorous. After a performance that incorporated West African dance, Diana appeared in a coat by Issey Miyake, its rainbow-colored fringe swaying. A work by a Japanese designer lit up a stage the whole world was watching under the New York sky. Its beauty is still passed on in photographs.
Then the sky darkened. Strong wind and, soon, a downpour. The equipment was pounded by rain and the crowd began pressing toward the stage. In the confusion, Diana kept calling from the stage for people to stay calm. The concert was stopped after about forty-five minutes. The merchandise stands set up for the charity were destroyed by the storm.
Ordinarily, that would be the end. But as she left the stage, Diana suggested trying again the next day. She would not accept that a dream should be cut in half by rain. And on July 22, with permission from the New York City parks department, the concert was held again in the same place. This time it did not rain. An equally large crowd gathered, and Diana delivered the full show she had planned.
The concert was broadcast by an American cable television network, and the footage was later released on DVD. On screen, the first night is soaked with rain, buffeted by wind, and chaotic. Yet there is a strange composure in Diana's expression. Her figure, never taking her eyes off the audience and calling out to them even in the storm, seems to reflect the sense of responsibility of someone who stands on a stage. Every time I watch it, I think that a star's real worth shows most clearly in foul weather.
Whenever I think about the story of those two nights, I am reminded of the girls from the Supremes days, waiting. The girls who kept knocking on the door of Gordy's house. Turned away, they kept coming back. I believe that tenacity remained in Diana. The first night washed by rain, the second under a clear sky: because both existed, this legend took on its particular meaning.
Three years after the concert, the "Diana Ross Playground" was completed in Central Park. In a corner of America's most famous park, her name remains to this day, together with the laughter of children. Do you have a memory of a concert in the rain that stays with you?
💔 Motown 25 and Mary Wilson — The Reunion and the Rift Over "Someday We'll Be Together"
March 25, 1983. In Los Angeles, the taping took place for the special Motown 25: Yesterday, Today, Forever, celebrating Motown's twenty-fifth anniversary. It aired on May 16. It is still remembered as the night Michael Jackson first performed the moonwalk, during "Billie Jean."
On that same program, another "event" was taking place. Diana Ross, Mary Wilson, and Cindy Birdsong stood on the same stage for the first time in more than ten years. The song was the one from 1969, "Someday We'll Be Together." A song that had sung "someday we'll be together" was finally, in reality, sung by the three of them together. For fans, it should have been a dreamlike moment.
Behind the scenes, however, tension is said to have been high. A Supremes set of several songs had originally been planned, but with Diana ill with the flu, it is said to have been cut down to the single song "Someday We'll Be Together." On stage, when Diana stepped forward, Mary and Cindy stepped forward too. Irritated, Diana reportedly shoved Mary's shoulder. In the moment where Gordy was to be introduced, Diana reportedly had the microphone lowered, saying it had already been taken care of.
Those moments were cut from the broadcast edit. But they became known to the public through the news. Mary herself later spoke of her frustration that their "moment of coming together" had been spoiled and that they were not even able to finish the song. The night the three met again was also the night the rift between the two women became visible to the world. The details differ depending on who is speaking. But many people agree that something broke decisively that night.
Looking back, in Chapter 1 we saw the girls from the projects begin their group through "sharing." Mary with soft ballads, Florence with hot soul, Diana with pop. The airy atmosphere of the days when three voices each had their own place. When that was lost, what remained was an uneven picture: one "star" and two "former members." The night of 1983 may have been the first time that picture was exposed on a public stage.
In 1986, Mary published her memoir, Dreamgirl: My Life as a Supreme, and it became a bestseller. In 1990 she followed it with a sequel, Supreme Faith: Someday We'll Be Together. Her work of "telling the era from the inside" left another firm voice in the history of the Supremes. The story of the girls from the projects, which Diana's "star" viewpoint alone could not reveal, was recorded forever in her words.
In 2000, a reunion tour called "Return to Love" was planned. Diana reached out to Mary and Cindy as well. But the terms offered were very different. As reported, Diana's fee was about $15 million, while Mary was offered about $4 million and Cindy less than $1 million. Feeling the terms were unfair, the two declined to take part. Diana started the tour with Lynda Laurence and Scherrie Payne, who had joined the Supremes in the 1970s. But with resentment about high ticket prices and disappointment at the absence of the peak-years members, attendance dropped and about half the dates were cancelled.
On February 8, 2021, Mary Wilson died at her home in Henderson, Nevada. She was seventy-six. Berry Gordy expressed deep sorrow at losing an important member of the Motown family. Thirty-eight years after that night in 1983. In later years, it was reported that Diana and Mary had embraced and posed for a photo together at a party. The relationship between the two women carried, to the end, a complexity that cannot be put in a single phrase, and Mary passed away.
There is an earnestness here with the same structure as Florence's story. A success story is always next door to someone's "unfulfilled feelings." Knowing that the song that sang "someday we'll be together" never truly came to pass, even the bright melody of that tune sounds a little different. That is why, I think, the Supremes' songs still ring a little bittersweet.
🌍 From the 1990s On — From a World Cup Penalty to "Every Day Is a New Day"
In the late 1980s, while building her career at RCA, Diana was also walking a new path in her private life. In 1985 she married the Norwegian businessman Arne Næss, and they had two sons. And in 1989, after eight years, she returned to Motown. Coming back, after the years, to a place that she had once felt was "finished." It seems to me a quiet proof that life has such "returns."
A little earlier, in 1984, she sang "Missing You," a song in memory of her old friend Marvin Gaye, who had just died. Written by Lionel Richie, it remained in many hearts as a quiet tribute to the Motown family. Away from the flashy hits, Diana was also a singer who gently received the sorrows of her time.
June 17, 1994. The opening ceremony of the FIFA World Cup in the United States, at Soldier Field in Chicago. Diana appeared at center stage and, singing "I'm Coming Out," was to kick a penalty toward a specially built goal in the stadium. If the ball went in, the goal would split in two, and she would run through the gap to signal the start of the tournament. But her kick went well wide. Even so, the goal split in two as scheduled. Televisions around the world showed that moment.
Here I think again about Diana Ross's strength. Even after missing a moment that was meant to be perfect, she ran through laughing. The spectators, and viewers around the world, must have felt a strange affection for that sight. A generosity that turns a flaw into a laugh, more than perfection: that may be one of the important conditions for a star to be loved for a long time. Since the Supremes days, she had been asked to be a "perfect woman." And that same woman, in front of the world, laughed openly at her own miss. In that I see a kind of freedom.
In 1999, Diana released her last album from Motown, Every Day Is a New Day. The title song reached the British Top 10. The title, "every day is a new day," seems to express her attitude of that period exactly. After the course of the 2000 "Return to Love" tour, she went on to perform the Live Love Tour in 2004, and her stage kept going in places around the world.
As the mid-2000s began, the world started to speak of Diana Ross as "a great figure of the past." But she did not stop. She kept touring, appeared on television and at award ceremonies, and, receiving the many honors I will touch on in the next section, remained an "active entertainer." As the years piled up, her songs gradually took on a light of maturity. The whispering voice of her youth turned, over time, into a deep, warm voice. That change itself has become part of her story.
🏆 A Wealth of Honors — The Kennedy Center Honors and the Presidential Medal of Freedom
Diana Ross's list of honors is too long to recount. In 1988, she was inducted into the Rock and Roll Hall of Fame as a member of the Supremes. Two stars are set in her name on the Hollywood Walk of Fame. In 1977, a special Tony Award. And at the Grammys, though she has been nominated many times, she has never won in a competitive category. In its place, though, the Grammys' highest honor was given to her: the Lifetime Achievement Award in 2012.
In 2007, she received the Kennedy Center Honors, one of the nation's highest honors for contributions to the performing arts in America. The same year, she also received a Lifetime Achievement Award at the BET Awards. On a Washington stage, she received the gratitude of the American people in a form she could never have imagined in the days when she was a girl in the projects.
Her fellow honorees at the Kennedy Center that year included film director Martin Scorsese, the Beach Boys' Brian Wilson, comedian Steve Martin, and pianist Leon Fleisher. People of different genres and generations lined up on the same night as contributors to American culture. Scorsese is also the man who filmed The Band's "The Last Waltz." The history of music is quietly connected in unexpected places.
In 2016, President Barack Obama awarded her the Presidential Medal of Freedom, the highest civilian honor in the United States. Obama spoke of Diana in words to the effect that she carries herself with grace and that her influence is inescapable. In 2017 she also received the American Music Awards' Lifetime Achievement Award. And in 2023, she received the Grammy Lifetime Achievement Award a second time, as one of the Supremes, becoming the first woman to receive the award twice.
Guinness World Records also bears her name, as the female artist with the most hit singles on the charts in both the United States and Britain. Numbers always tell only a part of a story. Even so, this figure is one piece of evidence of how long and how widely her songs have reached people. The medal at the White House and the box seats at the Kennedy Center are connected by a single line to the voice of a girl singing in a project hallway.
I want to look at these honors from a little distance. A girl from the projects receives a medal at the White House. That is certainly one kind of "American dream." But behind that dream, Florence's solitude, the rift with Mary, and the complicated relationship with Gordy always lay quietly. Honors are not the end of a story; I think they are a signal that the story has been received by the world. And the fact that she has never won a competitive Grammy is, when you think about it, strange and interesting. Her music has walked through ground too broad to fit in the frame of any one award.
At award ceremonies she always says words of thanks. Among them, I believe, are surely thanks to Berry Gordy and thanks to her friends in the Supremes. For every honor received, there must have been something let go. Even so, looking forward and continuing to sing is what Diana Ross does.
⭐ Past Eighty — An Afternoon at Glastonbury, and the Songs That Are Passed On
In 2021, Diana released her twenty-fifth studio album, Thank You. Co-written and produced by her, the album was nominated for a Grammy. As the title says, it is a work full of gratitude. In a time when the world was shut in, she spoke to the world in the simplest and deepest words there are: thank you.
June 26, 2022. The Pyramid Stage at Britain's Glastonbury Festival. Diana Ross took the Sunday afternoon "legends slot." It was her first performance in Britain since 2008. Singing a run of hits from the Supremes years through her solo career, the set drew more than 3.1 million television viewers in Britain, reportedly the largest audience in the festival's history.
I can only imagine the air of that afternoon. But imagining it alone is enough to make my chest warm. Tens of thousands of people, across generations and nationalities, humming the same songs. A song that a girl from the projects began with stomping feet, sixty years later, layered with tens of thousands of voices on an English pasture. Is there a more beautiful "circle" than this?
In 2024 she released a Christmas work, Wonderful Christmas Time. And on New Year's Eve 2025, she stood on the countdown stage in Times Square in New York. At the moment the year turned, in a square drawing the eyes of the world, a singer in her eighties appeared with confidence. It was the most vivid proof of the word "active."
In 2026 she toured under the name "Diana in Motion." At the Wynn Las Vegas, the February Valentine's-week performances sold out, and further performances at the same theater were announced for October. And in May, Japan. May 23 at Yokohama's K-Arena, May 25 at Osaka-jo Hall. A visit after eleven years, and in Osaka her first concert since 1998, twenty-eight years.
A surprise awaited in Yokohama. Diana welcomed YOSHIKI onto the stage, and the two performed "If We Hold On Together," one of her signature songs, with piano and voice. The song, the theme of the 1988 film The Land Before Time, has long been loved in Japan as well. Among the impressions of those who attended were words like "hard to believe she is eighty-two." A song of a girl from a housing project, sixty years on, layered over the piano of a Japanese musician. It seemed to me a symbol of the "journey of a song" that is passed on across borders.
"I'm Coming Out" is still often played at Pride parades around the world, loved as a song that celebrates living as yourself. A single piece born on a dance floor stays close to turning points in individual lives. The name Diana Ross, I think, will continue to be measured not only by the number of her hits or awards but by the number of "songs that have a place in people's lives."
Her family's songs are being passed on as well. One of her daughters is the actress Tracee Ellis Ross. Her son Evan Ross works as an actor and musician. The story that began in the projects has widened into the story of one big family across three generations.
The reason Diana Ross's voice has been loved for so long is, I think, "closeness." In 1964, on "Where Did Our Love Go," she sang in a whisper, that voice at your ear. It has not changed at eighty-two. Singing in a huge arena in front of tens of thousands, she is still speaking softly to each person, one by one. When was the last time you listened to a Diana Ross song?
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"Ain't No Mountain High Enough": no mountain can stop me. More than half a century since the farewell stage of January 1970, the girl from the projects is still singing, past film, disco, the rain of Central Park, a feud with an old friend, and honors beyond counting.
The story that began with the sound of stomping feet is not yet over. 🎤
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