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Post by ranran on Jul 10, 2017 8:59:18 GMT
Listen obese lady-man Marv-Hector, not one record company has invested in old Moisty Walliams, not one. Contrary to the lies and bullshit that you and that old Cuban slut TWTR4EVAH that blow you every night, spread about Ross, Diana has had an amazing career that aunt mary can only dream of. While Diana was selling out stadiums and making movies Miriam Watkins was on her knees giving sloppy head.It didn't matter if they were married, single, gay or straight Black White or yellow, poor old mary would screw them. mary's talent was between those tree trunk thighs of hers. that's why she only know as mary wilson from the supremes. No talent whatsoever. she clapped and danced in the backgound from 1959 to 1975 and then was forgotten until she write that bullshit book trashing Berry and every living Supreme.the old Ho blew the bucks she made from the book sales on blow, liquor and chicken wings for her heifer of a daughter. Now list Marv-He tour-DetroitLIES313, should you be washing out your size 58 skid mark panties or sucking up to that old gray man who's ass you was up at that Detroit book signing. You have no shame BITCH. I guess we could debate this all day long, but what shouldn't be debated is that the 80s still loved Diana Ross. She was still packing them into stadiums- as I said earlier- throughout the decade. You don't do that when no one cares who you are. |
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Post by jobeterob on Jul 10, 2017 23:37:04 GMT
One non single that is classic is Summertime.
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Post by ranran on Jul 10, 2017 23:38:23 GMT
At Motown Diana was tops. Sure, she was sharing the mountain on the charts with Aretha, Gladys, Natalie, Donna, and I love that there was room for them all. They were all hitting it big with monster hits. Each lady (with the exception of Natalie and Donna who were newbies on the scene during the 70s) seemed to roll with the changes that R&B and pop music were going through from the time these women started in the 60s, while staying true to her artistry. (Although I would add that Diana seemed to be the most consistent toward the end of the 70s. I think Aretha's disco period is underrated but definitely understand why her core audience might have been turned off. Diana's audience seems to have embraced her entry into every new phase of her 1970s-1980/81 period.) I just don't feel the same about her RCA years.
But as you point out, it's also important to recognize that Diana in the States and Diana overseas can sometimes be two different discussions. Where in the US her popularity seemed to wane at a point in time, her popularity overseas seems to have stayed consistent. Fans outside of the US appear to always stay hyped over the legends while here in the US we tend to let the light dim some on certain stars, particularly Black women singers. Sad but true.
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Post by hector on Jul 10, 2017 23:40:25 GMT
We hated her in the United States. Now we just don't care. LOL!!!
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Post by jobeterob on Jul 10, 2017 23:41:09 GMT
At Motown Diana was tops. Sure, she was sharing the mountain on the charts with Aretha, Gladys, Natalie, Donna, and I love that there was room for them all. They were all hitting it big with monster hits. Each lady (with the exception of Natalie and Donna who were newbies on the scene during the 70s) seemed to roll with the changes that R&B and pop music were going through from the time these women started in the 60s, while staying true to her artistry. (Although I would add that Diana seemed to be the most consistent toward the end of the 70s. I think Aretha's disco period is underrated but definitely understand why her core audience might have been turned off. Diana's audience seems to have embraced her entry into every new phase of her 1970s-1980/81 period.) I just don't feel the same about her RCA years. But as you point out, it's also important to recognize that Diana in the States and Diana overseas can sometimes be two different discussions. Where in the US her popularity seemed to wane at a point in time, her popularity overseas seems to have stayed consistent. Fans outside of the US appear to always stay hyped over the legends while here in the US we tend to let the light dim some on certain stars, particularly Black women singers. Sad but true. I've always thought Diana Ross was acknowledged thoroughly and fully. I believe she thinks so as well - that is how she talks in concert when she makes comments. None of the 60's and 70's stars are as popular as Drake, Bieber and Beyonce. Frank Sinatra wasn't as popular as the Supremes in the 1960s. What has always seemed very odd to me is how a few people attack these role models and it seems even odder that they often attack role models from their own minority communities. It is almost like ingrained prejudice. Now why would anyone do that? |
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Post by peacenharmony on Jul 10, 2017 23:43:24 GMT
Why? Jealousy? Pettiness? Lack of anything else going on in their lives? Your example of the progression of a star's popularity is spot-on as well -
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Post by chainreaction on Jul 11, 2017 1:36:04 GMT
First Roberta75. Then PeacenHarmony and RanRan79. One fool goes away for awhile then you get replaced with two more. I'm tired of this.
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Post by chainreaction on Jul 15, 2017 12:11:47 GMT
At Motown Diana was tops. Sure, she was sharing the mountain on the charts with Aretha, Gladys, Natalie, Donna, and I love that there was room for them all. They were all hitting it big with monster hits. Each lady (with the exception of Natalie and Donna who were newbies on the scene during the 70s) seemed to roll with the changes that R&B and pop music were going through from the time these women started in the 60s, while staying true to her artistry. (Although I would add that Diana seemed to be the most consistent toward the end of the 70s. I think Aretha's disco period is underrated but definitely understand why her core audience might have been turned off. Diana's audience seems to have embraced her entry into every new phase of her 1970s-1980/81 period.) I just don't feel the same about her RCA years. But as you point out, it's also important to recognize that Diana in the States and Diana overseas can sometimes be two different discussions. Where in the US her popularity seemed to wane at a point in time, her popularity overseas seems to have stayed consistent. Fans outside of the US appear to always stay hyped over the legends while here in the US we tend to let the light dim some on certain stars, particularly Black women singers. Sad but true. |
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Post by hector on Jul 15, 2017 19:10:03 GMT
At Motown Diana was tops. Sure, she was sharing the mountain on the charts with Aretha, Gladys, Natalie, Donna, and I love that there was room for them all. They were all hitting it big with monster hits. Each lady (with the exception of Natalie and Donna who were newbies on the scene during the 70s) seemed to roll with the changes that R&B and pop music were going through from the time these women started in the 60s, while staying true to her artistry. (Although I would add that Diana seemed to be the most consistent toward the end of the 70s. I think Aretha's disco period is underrated but definitely understand why her core audience might have been turned off. Diana's audience seems to have embraced her entry into every new phase of her 1970s-1980/81 period.) I just don't feel the same about her RCA years. But as you point out, it's also important to recognize that Diana in the States and Diana overseas can sometimes be two different discussions. Where in the US her popularity seemed to wane at a point in time, her popularity overseas seems to have stayed consistent. Fans outside of the US appear to always stay hyped over the legends while here in the US we tend to let the light dim some on certain stars, particularly Black women singers. Sad but true. I've always thought Diana Ross was acknowledged thoroughly and fully. I believe she thinks so as well - that is how she talks in concert when she makes comments. None of the 60's and 70's stars are as popular as Drake, Bieber and Beyonce. Frank Sinatra wasn't as popular as the Supremes in the 1960s. What has always seemed very odd to me is how a few people attack these role models and it seems even odder that they often attack role models from their own minority communities. It is almost like ingrained prejudice. Now why would anyone do that? |
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Post by hector on Jul 15, 2017 19:11:08 GMT
At Motown Diana was tops. Sure, she was sharing the mountain on the charts with Aretha, Gladys, Natalie, Donna, and I love that there was room for them all. They were all hitting it big with monster hits. Each lady (with the exception of Natalie and Donna who were newbies on the scene during the 70s) seemed to roll with the changes that R&B and pop music were going through from the time these women started in the 60s, while staying true to her artistry. (Although I would add that Diana seemed to be the most consistent toward the end of the 70s. I think Aretha's disco period is underrated but definitely understand why her core audience might have been turned off. Diana's audience seems to have embraced her entry into every new phase of her 1970s-1980/81 period.) I just don't feel the same about her RCA years. But as you point out, it's also important to recognize that Diana in the States and Diana overseas can sometimes be two different discussions. Where in the US her popularity seemed to wane at a point in time, her popularity overseas seems to have stayed consistent. Fans outside of the US appear to always stay hyped over the legends while here in the US we tend to let the light dim some on certain stars, particularly Black women singers. Sad but true. |
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Post by mpn1jco on Jul 29, 2017 15:15:16 GMT
I've always thought Diana Ross was acknowledged thoroughly and fully. I believe she thinks so as well - that is how she talks in concert when she makes comments. None of the 60's and 70's stars are as popular as Drake, Bieber and Beyonce. Frank Sinatra wasn't as popular as the Supremes in the 1960s. What has always seemed very odd to me is how a few people attack these role models and it seems even odder that they often attack role models from their own minority communities. It is almost like ingrained prejudice. Now why would anyone do that?  Jobeterob you are are always a ripe and rich source of misinformation. Frank Sinatra placed 18 albums in the top ten in the 1960s. Additionally he placed another 11 albums in the top twenty. The combined sales of both Ross and the Supremes are a drop in the bucket compared to Frank Sinatra's total sales. Also remember he had numerous hit movies during the sixties. The Supremes were big, but not as big as the Chairman of The Board. The Supremes placed 6 albums in the top ten and had another 2 top twenty albums. |
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Post by mpn1jco on Jul 29, 2017 15:15:59 GMT
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Post by hector on Jul 29, 2017 15:25:18 GMT
Jobeterob is not only and embarrassment to himself and his family, he's an embarrassment to Canada!
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Post by mpn1jco on Aug 2, 2017 0:43:27 GMT
 Bluebrock is the perfect person to be embraced by the Little Girls of Soulful Detroit ( RanRan79 and Thanxal are outdoing themselves in that capacity). His fraudulent posts of the biggest names in the business where either scheduled to do a project for Ross, or are still actively pursing her to do a project are just what the Little Girls want to hear. The Little Girls want to live in their fantasy world where it is still 1977 and Ross is wowing audiences with a thrilling show. The sad reality is that she is a washed up, has been that has been reduced to touring the oldies circuit with a cheap show that hasn't changed in 11 years ( neither the set list or costumes ). Ross has not been able to move more than 100,000 units on an album since 1985, why would anyone invest money into her when her best days are behind her? Her audience , her voice, and her figure are GONE. |
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Post by hector on Aug 2, 2017 0:58:45 GMT
Bluebrock is the perfect person to be embraced by the Little Girls of Soulful Detroit ( RanRan79 and Thanxal are outdoing themselves in that capacity). His fraudulent posts of the biggest names in the business where either scheduled to do a project for Ross, or are still actively pursing her to do a project are just what the Little Girls want to hear. The Little Girls want to live in their fantasy world where it is still 1977 and Ross is wowing audiences with a thrilling show. The sad reality is that she is a washed up, has been that has been reduced to touring the oldies circuit with a cheap show that hasn't changed in 11 years ( neither the set list or costumes ). Ross has not been able to move more than 100,000 units on an album since 1985, why would anyone invest money into her when her best days are behind her? Her audience , her voice, and her figure are GONE. |
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