Inside Diana Ross’ Dramatic Rise To Fame

Right from the start things weren't exactly smooth sailing for the future musical legend. Born in Detroit, Michigan, in 1944, the superstar-to-be was actually given the name "Diane Ross" at birth. However, an easily-avoidable error with the paperwork resulted in her name being recorded as "Diana." The same typo was then repeated throughout her life — on both her high school yearbook and in the liner notes of The Supremes first album. Her friends reportedly still use her given name, but professionally, 'Diana' is her preferred moniker. Interestingly enough, though, music wasn't her first choice when it came to her future.

Before her passion for music really took hold, a young Diana took an early interest in fashion design. Despite going on to become an undisputed fashion icon, a career in the clothes industry just wasn't what fate had in store for the talented teen. Diana began her foray into music at 15 when she joined the Primettes, a sister group to the all-male Primes. Alongside neighborhood friends Florence Ballard, Betty McGlown, and Mary Wilson, Diana and the Primettes soon became one of the most popular acts in Detroit.

After winning competitions, Diana convinced another neighborhood friend, William "Smokey" Robinson, to let the Primettes audition for his Motown label. The founder, Berry Gordy, reportedly "stopped in his tracks" at the sound of Diana's voice. "They had come into Motown and were singing in the lobby when I walked by. Their singer, Diana Ross, had this whiny voice. They put so much into the song and were so young and cute that I asked them to sing it again." But even though Gordy was impressed with the youngsters' talent, he refused to sign them. The producer simply didn't want to be the reason that any of the then-seniors dropped out of their studies.

But Diana was persistent, and at 16 she joined Motown — just not in a musical sense. Not one to be deterred by Gordy's refusal, a level-headed young Ross took a job there as a secretary instead. And as luck would have it, the job gave her and the Primettes the perfect excuse hang around the label and make themselves known. On occasion they even volunteered as backup singers for other artists. Their persistence would pay off, too, as big things were on the horizon for the group.

Finally, after years of trying, the Primettes were signed to Motown Records in 1961. At Florence Ballard's suggestion the group became the "Supremes." Believe it or not, though, Diana actually hated the name and feared they'd be mistaken for a male act. She was wrong that the group may be mistaken for men, but perhaps that would have been preferable to the difficulties they did face.

There may have been some truth to these fears, as the newly named group found little success at first. According to producer and executive, Gordy, it took a whole three years for the label to find songs that really worked for The Supremes. In fact, they were even known as "the no-hit Supremes" around Motown due to their low record sales. But then, in 1963, everything changed. With a shaky start and growing disinterest from the public, the label had plans for the group that wouldn't necessarily go down well with the all-female members.

Following the departure of Barbara Martin, who'd replaced Betty McGlown in 1960, Gordy made the decision to swap Florence for Diana as the lead singer of the new trio. Changing up the leading lady may have ruffled some feathers among the women, but the move worked like a charm, and in 1964 the Supremes scored their first number-one hit with "Where Did Our Love Go?" In the years since their big break Diana's bandmates have spoken out about suggested favoritism, to which Gordy has admitted. "There was never any question in my mind as to who the lead singer was," he stated to Playboy.

And, unfortunately, it was decisions like this one that would prove disastrous for the group as the years rolled on. For the next decade the Supremes were one of Motown's hottest acts, rivaling the Beatles with an impressive string of eleven number-one singles. But even with success after success coming their way, all was not well behind the scenes. Bubbling under the surface was the perfect recipe for disaster.

By this time, Florence had grown resentful toward Diana for replacing her as the Supremes' lead vocalist, and with tensions mounting she was eventually fired from the group and replaced with Cindy Birdsong in 1967. Rumors swirled about the reason for Florence being axed, but as it happened the root of the problem ran far deeper than just jealousy. In Gordy's words, "Flo had a great attitude—a sarcastic, funny attitude. When she was in a good mood, everyone was in a good mood. When she wasn’t, no one was." He went on to explain another far more serious issue, too.

Unbeknownst to Gordy, Florence had been suffering from alcoholism. "I didn’t know that she had a drinking problem for a long time—Mary and Diana hid it from me. When I heard about it I was furious, because by that time it was out of control. She was showing up drunk or at times not showing up at all." So with Florence out and Cindy in, the revised trio was renamed "Diana Ross & the Supremes," cementing Diana as the group's undisputed leader — at least, for a time.

Tensions resurfaced again when Cindy and Mary Wilson also grew jealous of the attention Diana was receiving, and so, with Berry's blessing, she left the group altogether in 1970 to pave a path all of her own. It was time to embark on a solo career. The Supremes continued on with Jean Tyrell, though it was clear that all eyes were now on Diana. She released her eponymous debut album that year, topping the charts right off the bat with her now-famous cover of "Ain't No Mountain High Enough." The song even earned her a Grammy nomination, proving that all Diana needed to be a superstar was herself.

Around this time, Diana also branched out into acting, starring as jazz icon Billie Holliday in 1972's Lady Sings the Blues. Her performance earned her critical praise and even an Oscar nomination. On the film's release, The New York Times posed the question, "How is it possible for a movie that is otherwise so dreadful to contain such a singularly attractive performance in the title role?" And so it seemed a budding career on the big screen could be calling, though Diana's next slate of films were a completely different story.

In stark contrast to her initial success, her following 1975 film Mahogany was panned by critics, and the songstress actually walked out on the project after clashing with the director — none other than Motown's Berry Gordy. Even though they butted heads, that didn't change the producer turned director's opinion of his leading lady. In an interview with Vanity Fair he gushed about Diana, "it was just like heaven working with her because she would surpass anything." It wasn't just Gordy's opinion that mattered, however.

Following another failure when she starred in 1978's The Wiz, Diana — perhaps sensibly — decided to call it quits on her movie career. Fortunately, music still came naturally to the superstar, which is why in 1980 she left Motown for a hefty contract with RCA Records. The deal was set to pay her a whopping $20 million over the course of seven years, effectively making Diana the highest-paid female artist of all time.

Yet Diana never forgot where it all began. And so, after her successful stint with RCA, she returned to her original label, Motown, just eight years after she left. Accepted back into the folds of where her fame took root, in addition to a shiny new high-paying contract, Diana was also given shares of the label as a part-owner. Not bad for a former secretary! That same year, the Supremes were inducted into the Rock & Roll Hall of Fame, making them the first female group to receive the honor. Diana, however, refused to attend the ceremony; she couldn't bear to share the stage with one of her ex bandmates.

Though more than one member of the former group may have given her reason to duck out of accepting the honor, it was Mary Wilson's presence that really bothered Diana. Mary's autobiography, Dreamgirl, paints a picture of the group's lead singer as a ruthless diva who would have no qualms forcibly pushing her bandmates out of the limelight — literally. With so much bad blood between them, then, it's little wonder Diana chose to sidestep the appearance. Luckily, her recognition started to take many forms from there on out.

For example, in 1993 Diana would be honored again, this time by the Guinness Book of World Records. Over the course of her 32-year career, Diana had sold more than 100 million albums and racked up 70 hit singles, making her the most successful music artist of all time. Diana headed to London to accept her award, making a characteristically glam appearance at the St. James' Court Hotel. But despite her ex-bandmate's claims, interviews the the songstress at the time revealed her humble side, "I was suprsised today when he said that I'd had a hit record every day for 30 years. I can't believe it."

And that surprise may just have been genuine! As even though Diana had established herself as an undisputed megastar, she didn't receive a single Grammy during that time. Not even with 12 nominations and decades' worth of success under her belt. It wasn't until 2012 that she finally reached this mountaintop, taking home the Grammy Lifetime Achievement Award for her contributions to music. For Diana dans, her acceptance speech was yet another example of her huge heart. The first thing she did on taking the mic was to introduce her family and call them her true lifetime achievement.

This award no doubt spurred her onward, as even today, at almost 80 years old, Diana is still touring and performing with the same energy and tenacity that she had way back in the '60s. Even with Diana's unequivocal success, the road to some of her smash hits was far from smooth. And though not widely publicized, there was one duet in particular that had the potential to derail things completely. Just years into her solo career, Diana was faced with a situation that left her reeling.

When it comes to Motown and soul, Marvin Gaye was one of the best. He earned the nickname "Prince of Soul" during the peak of his fame for good reason. The singer helped shape the music of Motown, and still today, people all over the world recognize his hits like "Ain't No Mountain High Enough" and "Sexual Healing." However, despite the positive message behind his songs, Gaye's life behind the scenes was anything but loving. And Diana experienced first hand the ill-effects of Marvin's darker side during the creation of their joint album Diana & Marvin in the early 70s.

Recording for the much-anticipated duet took place between 1971 and 1973, during which time the beloved pair were forced into close confines at the Motown Recording Studios in Hollywood. Hal Davis, the album's producer and driving force behind getting the two stars to collaborate knew that he had to tread carefully. "I had to handle them with kid gloves. I was diplomatic with both. I would get my artistic points of view across without hurting either one." Sadly, his soft-touch approach didn't work out. Diana, you see, was pregnant at the time, and Marvin's vices caused palpable tension when they came together to create.

“It was extremely tense. Marvin would wander in, sipping wine and smoking a joint, ready to sing while Diana was much more formal,” shared Art Stewart, a Motown staff engineer. Marvin's drug use was a step too far for Diana, especially as she was expecting. And as a result, the songstress refused to work in the same space as him. “We did the first couple of things together, and then I wouldn’t record with him in the studio, so we starting singing separately," she shared. Despite the clash, the album was released in 1973 and was received well. Sadly, the success of the album didn't stop Gaye's dark past from taking over.

Unlike Diana, whose career involved a few speed bumps, Marvin's fate was far more turbulent. Even with the positive messages behind his songs, his life behind the scenes was falling apart at the seams. Drugs, failed marriages, and an incredibly strenuous relationship with his father all culminated in one of the most tragic moments in music history. There may not have been a mountain high enough to keep Marvin Gaye from reaching the top of Motown music success, but the peaks in his personal life were nearly impossible to scale. And they would come to define his legacy.

On April 2, 1939, Marvin Pentz Gay Jr. (yes, without the e) was born in Washington, D.C., to a loving mother named Alberta and a horrifically abusive father, who was also the church minister. Surrounded by violence, Marvin was drawn to music at a young age. He discovered his talent for singing when he was young. He could deliver a four-octave vocal range, and he performed in church choirs to showcase his talent. People began to take notice of the young boy's voice.

Even though Marvin Jr. found solace in music, his home life was made miserable by his father, Marvin Sr. Constant verbal and physical abuse even gave his son suicidal thoughts. So, early in his adult life, Marvin made a bold move to rebel. Taking inspiration from a man he greatly admired, "The King of Soul" Sam Cooke, Marvin added an "e" to the end of his name to distinguish him from his father. From there, he would continue to grow.

After entering high school, Marvin associated with music every chance he could. He joined the glee club and performed in several doo-wop groups. At age 17, Marvin made an uncharacteristic decision no one saw coming. After being kicked out of his house by his father for the umpteenth time, he figured joining the military would help. However, he hated the menial day-to-day tasks, so he actually faked mental illness to get discharged.

Not long after Marvin left the military, he met his first wife, Anna Gordy (center), who was the daughter of his producer. At the time, Marvin was in a band called Harvey and the New Moonglows, but he soon released his first solo album. Unfortunately, his album titled The Soulful Moods of Marvin Gaye didn't take to audiences like he wanted, which definitely was a huge hit to his ego. However, he still had the support of his partner Anna.

The lack of success from his first solo album meant he had to return to life as a session musician to pay the bills, but he still had confidence he'd find the right music for a mass audience. Funnily enough, Marvin found ways to earn a living that didn't involve music at all: movies! He starred in The Ballad of Andy Crocker and then Chrome and Hot Leather shortly after. Music, though, was where his heart lay.

Marvin eventually did begin cranking out successful songs, and people started listening in droves. He became one of the most influential singer-songwriters of his time — sometimes his admirers copy him a little too much. In fact, you might remember the incident in 2015 when Pharrell and Robin Thicke were successfully sued for plagiarizing the song "Got to Give it Up." Marvin's growing success, however, led to a downward spiral. Copious drugs, divorce, depression, and a horrific relationship with his dad caused serious problems. Although his music was garnering tons of positive attention, he was growing quite unstable.

At one point, cocaine had Marvin so paranoid about people hurting him that he actually wore a bullet-proof vest throughout one of his tours, as well as hiring armed guards to follow him everywhere. Marvin finally hit rock bottom in 1981. In order to combat everything that was happening, he took time off, traveling to Ostend, Belgium. The city was so proud to have him they eventually built a statue in his honor.

Luckily, Marvin managed to overcome most of the struggles plaguing him throughout his career. Sadly, his 1983 performance of "The Star Spangled Banner" at an NBA All-Star game was last time anyone saw him on television. On April 1, 1983, during a vicious verbal spat with his ailing mother and father, Marvin physically confronted his dad. Moments later, his father returned with a gun and murdered Marvin. It was a tragedy that rocked the music world.

Marvin was survived by three children, one adopted son with Anna Gordy, and two conceived by his second wife, Janice Hunter. His daughter Nona was the most successful, following her father into music, but also starring in Hollywood films, as well. Regardless of Marvin's struggles throughout his life, there's no denying he was a one-of-a-kind talent. Hollywood honored him with a star on Walk of Fame, and to this day, people enjoy his hits. Gaye was gone too soon, just like one of his biggest musical influences.

Gaye adored Nat King Cole and even recorded a tribute album to the crooner. Few singers stepped up the microphone with the ability to send calming waves through the radio and television that relieved the stress of the day. Then again, few singers had the talent Cole did. The world was introduced the the eventual superstar on March 17, 1919. Nathaniel Adams Coles was born in Montgomery, Alabama, and from an early age developed a passion for music that would carry throughout his life.

The very first instrument he began playing was the piano. With the help of his church choir director mother, his ivory-tickling started at age four. Because his father was a Baptist pastor, it was likely he started off playing religious music. He loved the piano so much growing up that his parents provided him the professional training, and by his early teens Cole was versed in classical music. But he gave all of it up to chase jazz, his real interest.

Not only did he abandon classical music, but he also his scholastic studies. Nat dropped out of school at only 15 to pursue music, and he and his brother Eddie linked up and jammed out. Cole's very first professional recordings came about due to Eddie's connections, and pretty soon Cole was carving out a name for himself in the jazz world. He joined a national tour at one point, but then branched off to create his own group.

The group was called the King Cole Trio. They toured for years simply trying to get noticed, and in 1943, they finally landed on the charts with a song called "That Ain't Right." The group was now a household name. In fact, it was the very first time when white families made a point of watching a Black singer on television whenever he performed. Race, at the time, was a very touchy subject, but it seemed Cole was different.

The King Cole Trio continued to find success with songs like "The Christmas Song" and "(I Love You) For Sentimental Reasons." But, Cole eventually broke off and did his own thing, which led to more masterpieces. Not only was Cole now alone on the stage garnering praise from everyone who watched, but he was now able to work with his lifelong idols, like Louis Armstrong and Ella Fitzgerald.

He even managed to befriend the great Frank Sinatra, who was nothing but supportive of the Montgomery man taking the jazz world by storm. Cole was even offered something no previous Black performer ever dreamed of. In 1956, Cole cemented himself in history books as the very first Black man to host his own variety show, appropriately called The Nat King Cole Show. Although it only lasted one year, Cole kept up his television presence.

Cole frequented the stage on The Ed Sullivan Show and The Garry Moore Show. It didn't matter that he was Black during a time of racial tension. People adored what Cole brought to the table, especially the ladies. Obviously a man who was famous, handsome, and wealthy attracted plenty of female attention. But, many people don't understand that, outside his adoring fan base, were people who absolutely despised him.

Because he hit it big prior to the Civil Rights movement, Cole faced tons of backlash from white Americans who absolutely did not want to see a Black face in their community, especially ones that was rich and famous. The country was nearly entirely segregated at the time. In fact, Cole was physically attacked by a group of white supremacists in Alabama while touring the south in 1956. He miraculously survived, but he faced harsh criticism from his own race as well.

Some Black people believed Cole should have been completely on their side and left the white fans behind. However, Cole adopted a neutral stance, stating he was born to be an entertainer, not someone on the front lines of racial activism. Amazingly, up until his premature death at age 45, Cole wowed all different ethnicities around the world. Big names like Frank Sinatra and Jack Benny attended the Los Angeles funeral. Cole's daughter even continued on the family legacy.