Customer Reviews

A Lifetime To Get Here: Diana Ross: The American Dreamgirl

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1 star:		(5)

 

 

Not since J. Randy Taraborelli's first Diana Ross book (the glowing "Diana: A Celebration of Her Life and Career", circa 1985) have I been so excited to read about Diana Ross. The cover, the facts, and the insider tidbits make this an enjoyable read for this ardent Supremes fan. I especially like the behind the scenes of the Supremes aborted - Return to Love tour as well as the stolen moments at certain venues that I was in attendance -- makes it all the more enjoyable to read. Overall, the book succeeds in making Ross look like the super human being that she is as well as a great super star that she became. I think the Billboard charting information is a real added plus to this book.

As a Diana Ross fan for over four decades, I read this book with trepidation: would it just be a rehash of the same information all over again? It was not! Chock full of new details told with the right mix of journalistic integrity and gossipy dish - I couldn't put it down. The author names names, dates and corrects prior published untruths about The Supreme Supreme - supported by facts. An excellent read. Lots of unpublished pics from throughout her career make this the most sumptuous book on Diana Ross EVER!

When I first became aware of Tom Adrahtas' book, "Diana Ross...A Lifetime to get Here: The American Dreamgirl," I was intrigued by the controversy it had stirred up. After obtaining a copy to make my own judgment, I have to say that it is a throughly enjoyable read. One of the most interesting elements of the book are the "reflections" if you will, of fans, woven into the fabric of this biography, that underscore how important Diana Ross was in context of the social landscape of the time.

These flashbacks stirred some memories of my own, transporting me back to a simplier, more carefree time in my own life. If was a hot August evening in Montreal at Expo '67. A friend of mine, Eric Pressman, the President of the Supremes Fan Club in Canada, and I attended the first of six concerts over a three day period. I was 16 years old and was excited to be covering the show as a "teen reporter" for the "Ottawa Citizen." It was my first adventure away from home on my own, which in retrospect would not be allowed to happen in today's world.

The girls' hit record at the time was "Reflections," and their billing had just recently been altered to "Diana Ross and the Supremes." When I attended the press conference at the Hotel Bonadventure, I was stunned to discover that Florence Ballard had been replaced by Cindy Birdsong, and that only Diana Ross would be in attendance to speak to the press. Being largely ignored because of my youth, but emboldened by it as well, I knelt down between Diana and a radio DJ who was taping her on a portable tape recorder. The DJ asked Diana to describe the "Motown Sound" and while she thought of a reply, I nonchalantly whistled out a beat while moving my hands as if drumming. The hapless DJ shot me a look that could kill, but Diana looked at me, batted those long eyelashes, snapped her fingers and cooed, "That it, that's it!" In that single moment of connection, I knew I loved her!

Two days later, Eric and I hung around the hotel lobby where the Supremes were staying hoping to see them. We were rewarded by spotting Diana and her entourage waiting for an elevator. We slipped in unnoticed and rode up to her floor. I was party to a less than pleasant encounter. A reviewer had mentioned that Cindy Birdsong, formally a member of Patti LaBelle & The Bluebelles had joined the group, and Diana was incensed that Patti's name was mentioned. I remember shuddering when Diana hissed to an aide, "How dare they mention that [...] name in my review!" This was my moment of innocence lost, and I was shaken by this candid exchange. However I remained a loyal fan of both Diana Ross and of the Supremes as they morphed over the years.

I was pretty sure that I knew all there was about Diana Ross, but I have to say I was pleasantly surprised about some new facts that Tom Adrahtas has uncovered. This book made me question some of the negative conceptions that I harbored. I want to reread mary Wilson's account and reexamine what I previously had thought of as being the truth. If Florence Ballard had lived to tell her story, perhaps yet another aspect of the truth would have emerged.

Of particular interest is the chapter dealing with the Return To Love Tour. Diana took a beating on that and the author's sleuthing opens up some room for discussion. With a new recording, television appearances and an upcoming tour being planned, Diana Ross is experiencing a renaissance at this time. Tom Adrahtas' evenhanded examination of her life sheds light on the accomplishments of a truly gifted performer who has provided the soundtrack for so many lives. For whatever sins perceived or otherwise Diana Ross has committed to offend her detractors, she has surely spent enough time in purgatory, and deserves the opportunity to do what she does best, reach out to her fans. I enthusiastically recommend this book to anyone who is interested in a well researched assessment of Diana Ross and her impact on popular culture.

I love Diana Ross. She is an all around great entertainer in the category of Josephine Baker. For the last 25 years she has been unfairly characterized as a selfish and mean person who dispensed with personal relationships to achieve a goal of success. The author attempts to bring balance and understanding to many myths and misperceptions purported by her so-called sister, Mary Wilson and Mr. Taraborelli who penned "Call Her Miss Ross". Like all great artistic people she is a complex personality with many facets to that persona. Thomas Adrahtas does a good job of putting many things in a reasonable light. This is done particularly well regarding the "Return to Love" tour. In this more informed account of the conflict between Diana Ross and Mary Wilson. Diana looks generous and fair minded in her dealings with Mary. This was done in spite of Mary's bitter "Dreamgirls" memoir. The fact that Diana was willing to share a stage again with Mary points to her generosity of spirit and her willigness to forgive Mary's open letter to the world about her 30 years of resentment towards her sister/friend. In this biography the drive and demand for excellence and perfection Miss Ross requires for those in her employ is put in a reasonable context. Her versatility as a songstress and entertainer are highly praised and duly appreciated.

What is missing is a fair look at some of the valid, selfish and vain actions of Diana Ross in her early years as a Motown artist. Her competiveness and apparent insecurites (Which were enforced by her peers' limited view of her talent and appeal) often alienated others and began the unbalanced reputation that has dogged her since the 1960's. The comment from Gladys Horton (of the Marvelettes and an early peer of Diana) is invaluable to Ross fans in humanizing Diana's ambition. Diana's observation of Berry Gordy's favoritism and the effect it had on others in the Motown family is helpful to readers in understanding why she was so widely vilified by Motown artists.

The biography reveals this legend's apparent growth as a woman, an artist and as a dedicated, loving and supportive parent. It is true that the groundbreaking work of Diana Ross along with fellow Supremes, Florence Ballard, Mary Wilson and Cindy Birdsong paved many roads for other Motown artists to "crossover" into mainstream venues. Their collective presentation of sophistication, beauty and elegance is forever etched in the fabric of American entertainment. Diana's foray into movies, televison and her reknowned solo concerts that showcased her charisma and talent further established Diana as a cultural icon for three generations. This book gives Diana Ross her due and it's long OVERdue indeed.

On the positive side, the book is well-written and presents a solid documentation of the history of Diana Ross' multi-faceted career. Personally, I would have preferred a comprehensive look of what transpired in her life from the 1990s on, as much of what is featured before that decade has already been covered in previous books.

That said, while I understand where author Adrahatas is coming from - and I write this review as a long-standing Diana Ross fan - the book is as biased as the others written about her (e.g. Mary Wilson's). The overall tone is one in which the subject comes off as a nearly-perfect being, incapable of a personality flaw (save for the drunk driving incident), wherein any negative attribute of Ross is defended as reasonable and just behavior by the author.

For example, while it is well established that Ross' career nosedived in the U.S. in the mid 80s, the reader would be left with the impression that she has had nothing but spectacular success to this day (sold-out concerts, smashing album reviews, charting singles). I wish this was true; however, this interpretation remains only among the diehard fans. I feel that Diana Ross is partially responsible for the decline, as evidenced on her new CD, "I Love You." Despite reading raves from fans, I listened to the release, and the song selection and production are below par of what she is capable and will not bring her back to the contemporary music scene.

I do believe that Diana Ross has been unfairly maligned by jealous entertainers, disgruntled employees and those who call themselves professionals yet opt not to behave in a manner befitting the description. Is she tough? Probably. Those who set high standards are often misunderstood (and disliked), but I believe she has another side to her that she chooses to keep private. For one to be open, one has to be vulnerable, and when one has been betrayed as I feel Ross has repeatedly experienced (search YouTube for a clip of Mary Wilson outrageously backpeddling her version of events regarding the RTL tour), it is reasonable to expect one to be more protective of themself.

Between this book and "Call Her Miss Ross" and "Dreamgirl" perhaps exists the real story.

Never-before published revelations about the tragedy that was the Return To Love Tour come to light seemingly vindicating Diana once and for all, and while Diana's detractors will likely say this is one of many instances of several heavy-handed attempts to present Diana in the best light possible, her fans and skeptics aside will want to read this and enjoy every moment of it to further celebrate the legend that is Diana Ross.

Diana's end-take for RTL was to be predicated solely on the success of the show and when Mary heard 500,000 per show was going to be made when that was in reality money to cover costs she then looked at 30-40 shows and mistakenly she felt Diana was being paid for 15 million but this book apparently tells a different story.


She was not guaranteed 15-20 million dollars. It was all resting on the success of the tour. Mary would have had a guarantee of 3 or 4 million but it is Diana, according to Thom, that had no guarantee but would have had her pay predicated on the success solely of the sales of the tickets for the tour.

Also interestingly enough when they were doing exploratory polls before the tour one of the surveys/polls they did amongst the American public showed that Cindy Birdsong has a higher recognition factor as a former Supreme than Mary Wilson does -- perhaps on account Ms. Birdsong's name which is another interesting tidbit which emerges.


Despite a few inaccuracies and misrepresentations -- especially the claim that Diana's album "Every Day is a New Day" went Top 10 in England when in reality it only reached #71 - this book is a must-read. It was likely meant that maybe it went Top 10 on the Official Soul Album Chart and not the Official British Pop 75 Album Chart there or if that is not the case then alternately that the single "Not Over You Yet" culled from the album "Every Day is a New Day" was to what Thom was referring which was in fact a smash Top 10 there for Diana.

One aspect which really impacts negatively upon the perception of the accounts in this book, however, is the multitude of grammatical erros and typos.

Some of the quotes from other stars and veterans and contemporaries -- including Dionne Warwick -- which often served as the preludes to the
different chapters of the book are interesting and often satirical playing with the portrayal of Diana Ross as a cold and calculating diva making a mockery of the more sensational presentations from years past which have so influenced America's opinon of Ross.

Conversely, though,
Aretha Franklin comments
about "girlfriend's ability to pull it off" in reference to what she thought before seeing "Lady Sings the Blues" then Franklin readily admitting after seeing the film Diana pulled it off showed "respect" from one diva to another and as from someone termed in the past Diana's rival and competition.

This respect shown for Diana as a singer from someone deemed a vocal heavyweight( no disrespect or pun intended), especially when the Grammys decades-in decades-out snub Ross and praise Queen Ree is quite poignant about Ross' ability in "Lady Sings the Blues" and her all-around vocal ability.

The quote from Dionne Warwick jokingly feeling,"Diana may have been there to kill
her when she opened her eyes in the hospital room" was also quite amusing but yet another overt attempt to hyperbolize the year-in year-out image-problem Ross has suffered from for decades at the hands of the press and starting from of course, as Ross fans assert, at the hands of Mary Wilson with whom they insist the character assasination began in her book "Dreamgirl: My Life as A Supreme".


There is a glowing tribute to Diana from Jody Watley who the press obviously noted modeled her entire career and style around from day one and in this tome this is one of many examples of the ways in which industry veterans and peers - not just fans -- value Ross for the better. The element of respect for Diana is finally represented in black- and-white where so seldom in biographies and accounts written about her it has been lacking.

I have been a Diana Ross fan for the greater part of my life. As I stare forty squarely in the face in three months, I am proud of the fact that I have honored Diana's legend for 31 years. My love affair with Diana began in 1975 with "Do You Know Where You're Going To" and has continued through her recent artistic triumph, "I Love You." I have ravenously sought out any literature or journalism that can provide insight into the elusive legend. Tom Adrahas' new biography of the legendary Diana Ross has finally provided balance to stories that read too much like maudlin soap operas to be credible. I strongly recommend Diana Ross: The American Dreamgirl...A Lifetime to Get Here to anyone who may have heard the unfair criticisms that have been levied against this superstar for four decades and/or who has had the thoughtfulness to ask "Well then, how did she get SO far? " There has not been a great deal that has sated my desire to see this performer get the credit that she deserves for her place in American--and more specifically--international pop music culture. This is unfortunate. I was in College when Dreamgirls: My Life as A Supreme and the tabloid trash counterpart, Call Her Miss Ross were unleashed like toxic venom into the American psyche. Both of these books read like shady, suspect stories more befitting of the National Enquirer than useful biography with any historical merit or moral integrity. Unfortunately, these suspect pieces have stood as definitive sources of the Ross mystique and few have challenged the unsophisticated, immature, and vengeful tone that each author took in describing such a glorious superstar's career.

As I read these books twenty years ago, I was appalled, saddened, and angered that the American public lacked the critical thinking skills to see the spliced together accounts of two authors, each lacking a legitimate license to share HER legendary story, a story that would inspire so many millions of people across so great a time span: 1) an obsessively jealous, resentful, and disgruntled background singer (Wilson) whose star had rapidly fallen after Diana separated her magic from the group that DIANA had made famous, and 2) the shameless media gimmickry of a lackluster writer (Taraborrelli) who would capitalize on the enormous contemporary success of preeminent female entertainer of the early eighties to make a quick buck and to masquerade as a "Diana Ross expert" and long-time devoted fan less than five years after publishing a less economically successful tribute. Tom Adrahas' new biography FINALLY responds to their painfully obvious oversights and the many "missing pieces" of their accounts.

When I recently learned of the forthcoming publication of the new biography (from Dick Ketler's comprehensive Diana Ross tribute site) to be published by Tom Adrahtas, I was understandably skeptical. Another "unauthorized" biography, I lamented, would soon rehash the unfair and unbalanced gossip that had circulated for years about Diana Ross and for which there were only a handful of hearsay testimonials from those with frail egos, career regrets, and shameless desires to steal a moment of fame and a bundle of dollars from a public with an insatiable appetite for sensationalism. My fears were not justified. It is true that like other biographers, Tom Adrahtas, the author of this logical, carefully reasoned, thoughtful biography, does NOT have the benefit of Diana's voice, but at long last, there is an author that uses critical thinking and natural analytical powers to point out the glaring omissions and careless, mean-spirited inconsistencies that were painfully obvious to me in the texts alluded to earlier. He acknowledges, with great insightfulness and common sense, what Ross' detractors have never done: She is a superbly talented performer with an unrivalled work ethic who could have NEVER achieved such a level of success based mostly on her alleged diabolical personality tendencies. Moreover, he explains with compelling arguments that there is no way that a career could span 40+ years based on cunning and cruelty. Instead, he describes what others have glossed over. Simply: Diana worked harder than any other artist at Motown and perhaps harder than any other pop legend in a time when African-Americans were not embraced by mainstream America. This she did in pursuit of her dreams and the dreams of Berry Gordy. Diana honed her innate talent on the sheer force of will, self-determination, careful study of her fans and by taking the advice of her teachers to heart. Finally, Diana has on multiple occasions demonstrated compassion, generosity, and a magnanimity that precedes those of her petty, irresponsible detractors and has rarely publicly dignified their negativity with a public mudslinging contest.

As an African-American gay male who is a social psychologist by profession and has studied ethnic identity issues and gender identity issues at great length, it was most refreshing to see an astute author acknowledge that the burden of criticism that Diana has had to bear reflects the inescapable identity confluence of her Blackness and her Womanhood. Bravo to Tom Adrahtas for underscoring --throughout your thoughtful work-- that ignored barrier to her star's full luminance. The parallels between Diana's story and the legendary Bette Davis' story was something that I wrote about in a paper given at a gender roles conference many years ago. I was vindicated to see it supported with Adrahas' well reasoned arguments.

In sum, I enjoyed reading this excellently written work because her story finally makes sense. Unlike the writings of his pernicious predecessors, Tom Adrahtas acknowledges the "rumors" and places an alternative, and much more plausible explanation, for the fantastic myths which have sadly tarnished Diana's brilliance. I was heartened that this author was brave enough to do what so few others have done. He offered a humane set of attributions for behavior that is too complex to be simplified in the reductionist world of good/evil. With good writing that makes this book a great page turner, Adrahtas presents an "Oprah-alternative" to the "Jerry Springer" world of biography that characterized Wilson's and Taraborrelli's works. It is refreshing to see that there is someone willing to write with a penchant for positive journalism rather than giving more fodder for simple minds.

I take issue with the other reviewers who have argued that Adrahas'writing was replete with grammaticos. As a college professor, I am a fairly attentive grammarian, and I can assure you that these typographical errors were sparsely distributed throughout the text and that the content certainly took precedence over the existence of such benign errors. What is refreshing to me as a person who loves good prose is the stylistic elegance of Adrahatas' writing. I have always found Taraborrelli's writing lackluster and long winded. Wilson's text was actually painful to read as well--due partly to her sad prose but due mostly to the "poor, poor me" victim theme that ran throughout both of her novels of sour grapes and revisionist history. It is unfortunate that both of these authors will see their pathetic works revived in the wake of Dreamgirls hype. It is most fortunate that there will finally be an intelligent counterpoint to the wicked writing we will be bomarded with once more.

At long last, there is a comprehensive work that addresses the raging questions that have pursued Diana Ross, one of America's greatest inspirations, for far too long. At long last, there is a logic that does not take the cognitive path of least resistance and probes deeper to ask the question: "Can someone really form a career that spans four decades, unites the entire globe, produces 18 number one songs, solidifies international celebrity, garners sold-out concert halls, and attracts several generations of admirers based primarily on blind, insensitive, ruthless, ambition?" The answer is finally revealed in a compelling work that gives us the answer we all knew all along: Of course not! At long last, perhaps, Ross' detractors will have to answer for their shameless four-decade smear campaign and take some personal responsibility for their languishing careers, their mediocre talents, and their shameless exploitation of one of the most inspirational stories ever told. And finally, Tom Adrahatas' work may help the new generation of individuals to more fully appreciate the magnitude of Diana Ross' contributions to the limitless possibilities of the "American Dream" under the mentorship of Berry Gordy, Jr., whose business acumen has also been sadly eclipsed by misguided others who were trying to make a buck at the expense of desecrating the contributions of "THE Original Dreamgirl." It would be poetic justice if this text could be offered with a ticket to those interested in the TRUE story of Dreamgirls as the film takes wide release. Tom Adrahas' work of non-fiction finally tells the story as it should be told: with Diana Ross at the center, with Diana Ross as the star, and with Diana Ross finally receiving her just desserts.

COULD NOT PUT IT DOWN. MY ONLY COMPLAINT WAS THE AUTHORS'S CONSTANT ATTACKS ON MARY WILSON.
HE BLAMES MOST OF THE BAD PRESS ON HER....AND DOES NOT PUT SOME OF THE BLAME ON MISS ROSS, WHO I AM SURE WAS NO ANGEL.
HE DEFENDS DIANA SO MANY TIMES THAT IT BECAME OVERKILL.
OTHERWISE VERY WELL WRITTEN.

As a longtime fan of Diana Ross, I just finished reading this very satisfying account of her career and its impact on fans and admirers around the world. I have read all of the prior (as of this writing) customer reviews of this book; and, like many of the earlier reviewers, I must say this account is certainly years over due!
I do think, to a large degree, that the sad fact that her music has not been as commercially successful in America, from the 1990s on, has much to do with the sad shape of the American music industry in general. Diana is one of only many well-established American acts who have continued to be very successful in other countries, including England, while being ignored here at home (think Donny Osmond, Tina Turner, the group Toto--almost anyone who is over 30 years old and, actually, sings as opposed to raps). I know there are many, many Americans who feel like they can no longer hear good music on the radio any more, unless they are listening to an oldies station.
As far as this book goes, I did find it interesting that the author J. Randy Tarabelli used to work with Martha Reeves. I think his books are about as factual as the National Enquirer or Globe Magazine. And, Mary Wilson--the former Supreme (that nobody ever paid much attention to)--comes across as less than honest and having a huge chip on her shoulder! Look at the chapter on the 2000 Diana Ross & the Supremes "Return to Love" tour.
When I think of the Supremes, I will always think of Diana Ross. After all, she was the voice of all of their most memorable hit songs. I have long admired her. And, after reading (towards the end of this book) about some of the personal difficulties she has had to endure the last few years, it makes my admiration of her grow to see her now touring and promoting the new "I Love You" album in the year 2007.
Author Tom Adrahtas has contributed a much-needed book on the legacy of Diana Ross. She is THE supreme entertainer!

Tom Adrahtas admits that his book is an effort to correct some of the incorrect assumptions that have been made about Diana Ross through the years. He admits that his take on her life is perhaps stilted in her favor, and for that, I respect him immensely. I loved this book, because I too am a Diana Ross fan and want to see something - anything! - positive and affirming said about her. In reality, though, this book may go a little too far in defending Diana. Adrahtas does a little too much reasoning and speculating as to why Diana may have reacted harshly or unkindly at times. It comes across as if he is desperate to make her actions, even when over the top, appear totally, completely, absolutely justified. While I love his take on matters and thoroughly enjoy the possibility that some of Diana's actions, long considered bitchy and extreme, may have actually been justified, I am not sure the author has the authority to really explain away all of Ross' negative actions through the years. He was not there. He did not live through those actions. He can only speculate, thus perhaps he goes too far in trying to make Diana look good. While I loved the book and will treasure re-reading parts of it from time to time, I believe casual readers may see it as a snowjob and overly positive account of the life of a woman who has undoubtedly made her share of mistakes and miscalculations... as have we all. Maybe Tom Adrahtas should have been a little more balanced in what he shares, if he truly wants this book to be taken for factual.