1969- Diana Ross

Michael thanks people for their support and messages after his burn, The Dispatch, 31st Jan 1984


Branca said Jackson wanted to thank his friends and fans “for the love, flowers, telegrams and support they have been sending him… He especially wants to thank his dear friends Jane Fonda, Brooke Shields, Diana Ross, Yul Brynner, Liza Minnelli, John Travolta, Quincy Jones and Paul McCartney.”

Michael says Diana is like a peacock to him, Jet 6 Feb 1984


During the interview, Michael made these observations about:
Diana Ross: his lasting inspiration: “To me, she is a peacock… That’s what she is. She has so many colors. She’s not only a singer. She’s a philosopher. She teaches you all kinds of things. She told me to forget about the business side of business because we’re friends and that’s what counts.”

Michael says Diana is his best friend, Focus Magazine, February 1984


RO/CLASS: Did the Wiz’s failure disappoint you?
Jackson: I was sorry. Sorry for Diana, me, all of us. But that seems so long ago, now.

RO/CLASS: Are you and Diana Ross still extremely close?
Jackson: Always. She’s my best friend. I love her.

Speaking of Michael's ambiguous relationship with Diana, "Michael Jackson: Body and Soul" by Geoff Brown, 26th April 1984


“Then, of course, there was always Diana Ross, his ‘mother-lover-friend’ as he often described her. There are two persistent rumours surrounding Michael and his relationship with Diana, only one of which seems at all plausible. One is that he is none other than her son (despite the fact that they only looked alike after his nose surgery). The other is that she initiated him into manhood before he “slipped away entirely”. Whatever the truth, Michael clearly has a very strong attachment to her, and she to him, though her expressed knowledge of him isn’t as thorough or intimate as one might expect: “Michael has a lot of people around him but he’s very afraid. I don’t know why. I think it came from the early days.” Genuine ignorance of him, or polite evasion of the question?”

Jermaine says Michael is close to Diana, 1984


He’s also very close to Diana Ross but he isn’t obsessed with her.

Diana speaks about how Michael is afraid to be alone at night and how she tries to get him out of the house, Sept 11, 1984


Diana Ross says her favorite time with Jackson is their private moments.”When I’m with him, I try to give him exactly what he needs-a little peace and the feeling that he is loved and that he can trust you”, she said by the phone from New York.

”I also try not to talk about any of the things that other people would talk to him about. I bring up our little trips together or his love of art of his sketching and ask where he is with that.”

“I care for Michael but I don’t worry about him. I think sometimes that he’s got angels on his shoulders to protect him.

He spends a lot of time — too much — by himself. I try to get him out. I rented a boat and took my children and Michael on a cruise and he loved it. He has so many people around him but he’s still afraid, especially to be alone at night. I don’t know why but he’s always been very cut off and distanced. When you get to be a star from age six and never knew any normal teenage life, when you were just used to the limousines and the tour buses, I guess it is understandable.”

1983, 85, 86, Michael works on Dirty Diana


Michael writes the first draft of Dirty Diana in 1983, updates it in 1985 and finishes writing it in 1986.

Michael spotted as a houseguest of Diana's during the Christmas holidays, SUN VALLEY SERENADE, Jan 7, 1985


All of Sun Valley was atwitter, having Michael Jackson amongst them for the holidays (as Diana Ross’s houseguest). Another Sun Valley duet: . Barbra Streisand and new beau, Richard Baskin.

EATEN ALIVE written by Michael and the BeeGees for Diana, registered July 1985

Song written by Michael with Barry and Maurice Gibb – two of the Bee Gees.

Originally written, and registered in March 1985, by Barry and Maurice Gibb. Michael heard their demo and felt it needed something else; Barry offered to share credit with Michael, if he wanted to supply what he thought was missing. Michael agreed and a second demo – recorded by Michael – was registered in July, with the note, ‘words and music in the choruses have been completely rewritten’.

Both demo versions, recorded in Los Angeles, remain unreleased. Recorded by Diana Ross in mid 1985 in Los Angeles, with Michael and the Gibb brothers on backing vocals, for her album of the same title, issued in September 1985.

Produced by Michael with Barry Gibb, Karl Richardson and Albhy Galuten. Michael was present during the recording of the instrumental tracks, and judged whether they were suitable by dancing to them in the studio. He also supervised the mixing, settling on one that Galuten wasn’t too happy with.

Diana Ross releases the song Michael wrote for her, "Eaten Alive", September 1985


A song co-written and including vocals from Michael, which includes the lyrics; “One flick of my tongue changes/The meaning of the world… Gotta do her, crawl all over me/You can rip my shirt, drag me in the dirt/I will be your slave, anything you say/I don’t ever wanna be, eaten alive.”

Michael Sees Diana For The First Time After Her Marriage To Arne Naess And Is Visibly Jealous, 1986


According to Adrian Grant’s book, Michael showed up half way through the AMA 86 ceremonies with Liz Taylor. Diana had already gotten married to Naess in a private ceremony in Oct ’85 and her public wedding in Switzerland was to be in Feb ’86. MJ apparently cancels his attendance at the public wedding at the last minute and doesn’t attend.

Michael Jackson was truly heartbroken that Diana Ross planned to marry Arne Naess, and would later say that he was particularly hurt that she hadn’t even introduced him to Arne, especially since they were already man and wife. “I was jealous because I’ve always loved Diana Ross and I always will.”

Report on Michael having a Diana Ross shrine, Pepsi Official Will Never Forget Evening With Mike, 1986


Michael asked if we would like a tour of the house. Bubbles went back in his cage while the rest of us began the tour with the room next to Michael’s bedroom – the Diana Ross shrine.

With a convex ceiling and white brick walls, the room looked like a wine cellar. Every square inch was covered with photos of Diana Ross from her earliest years with the Supremes. On shelves, tables and the floor were hundred of candles that Michael kept burning 24/7 to “honor his friend.” We were speechless.

Michael Commented On The Book Dreamgirls That Sam Bono, a Bad Background Actor, Was reading, 1987


Bono said that he and Michael talked about girls and family.

Sam got a surprise reaction to the the Mary Wilson book. He recalls, “Being that we were on the train for five hours, and we spent a lot of time waiting. I pulled a book out of my bag. It was the new Mary Wilson book, Dreamgirl. I asked Michael if he would write something in the book for me. When I handed the book to him he looked almost shocked. Michael said, “Are you reading this book?” He said, “I won’t read this book. Mary is so jealous of Diana. You should have seen her at the Motown 25th special…” “He just went on and on recounting, as if I were there.” Sam recalls, “So I jokingly said to him that I knew just what he was talking about, I spoke to Diana last night. She said to tell you Hi… and we both laughed about that.”

Report on Michael reportedly turning down an invite to make an appearance on her show, Sep 6, 1987, Toronto Star


Diana Ross, who had become a second mother to Jackson, reportedly asked him to make an appearance on her TV show. He declined and the frost set in. He did not even attend her wedding to a Norwegian shipping magnate.

Michael talks about Diana and how he will always love her in his book Moonwalk, 1988


You’ll hit the charts just as Diana Ross and the Supremes did.” This was almost unheard of in those days, but he was right; we turned around and did just that. Three in a row.

So Diana didn’t find us first, but I don’t think we’ll ever be able to repay Diana properly for all she did for us in those days. When we finally moved to Southern California, we actually lived with Diana and stayed with her for more than a year on a part-time basis. Some of us lived with Berry Gordy and some of us with Diana, and then we would switch. She was so wonderful, mothering us and making us feel right at home. She really helped take care of us for at least a year and a half while my parents closed up the Gary house and looked for a house we could all live in here in California. It was great for us because Berry and Diana lived on the same street in Beverly Hills. We could walk up to Berry’s house and then go back to Diana’s. Most of the time I’d spend the day at Diana’s and the night at Berry’s.

This was an important period in my life because Diana loved art and encouraged me to appreciate it too. She took the time to educate me about it. We’d go out almost every day, just the two of us, and buy pencils and paint. When we weren’t drawing or painting, we’d go to museums. She introduced me to the works of the great artists like Michelangelo and Degas and that was the start of my lifelong interest in art. She really taught me a great deal. It was so new to me and exciting. It was really different from what I was used to doing, which was living and breathing music, rehearsing day in and day out. You wouldn’t think a big star like Diana would take the time to teach a kid to paint, to give him an education in art, but she did and I loved her for it. I still do. I’m crazy about her. She was my mother, my lover, and my sister all combined in one amazing person.

[...]

Once “I Want You Back” came out, everyone at Motown prepared us for success. Diana loved it and presented us at a big-name Hollywood discotheque, where she had us playing in a comfortable party atmosphere like at Berry’s. Following directly on the heels of Diana’s event came an invitation to play at the “Miss Black America” telecast. Being on the show would enable us to give people a preview of our record and our show. After we got the invitation, my brothers and I remembered our disappointment at not getting to go to New York to do our first TV show because Motown had called. Now we were going to do our first TV show and we were with Motown. Life was very good. Diana, of course, put the cherry on top. She was going to host “The Hollywood Palace,” and big Saturday night show; it would be her last appearance with the Supremes and the first major exposure for us. This meant a lot to Motown, because by then they had decided that our new album would be called “Diana Ross Presents the Jackson 5.” Never before had a superstar like Diana passed the torch to a bunch of kids. Motown, Diana, and five kids from Gary, Indiana, were all pretty excited. By then “I Want You Back” had come out, and Berry was proven right again; all the stations that played Sly and the Beatles were playing us, too.

[...]

I was already a devoted fan of film and animation by the time “The Jackson Five” Saturday morning cartoon show started appearing over network television in 1971. Diana Ross had enhanced my appreciation of animation when she taught me to draw, but being a cartoon character pushed me over the brink into a full-time love of the movies and the kind of animated motion pictures pioneered by Walt Disney. I have such admiration for Mr. Disney and what he accomplished with the help of so many talented artists. When I think about the joy he and his company have brought to millions of children – and adults – the world over, I am in awe.

[...]

Motown bought The Wiz for one reason, and as far as I was concerned, it was the best reason possible: Diana Ross.

Diana was close to Berry Gordy and had her loyalties to him and to Motown, but she did not forget us just because our records now had a different label on them. We had been in touch throughout the changes, and she had even met up with us in Las Vegas, where she gave us tips during our run there. Diana was going to play Dorothy, and since it was the only part that was definitely cast, she encouraged me to audition. She also assured me that Motown would not keep me from getting a part just to spite me or my family. She would make sure of that if she had to, but she didn’t think she’d have to.

She didn’t. It was Berry Gordy who said he hoped I’d audition for The Wiz .

[...]

When we were doing The Wiz , I was being instructed in the choreography along with my characters – the Tin Man, the Lion, and Diana Ross – and they were getting mad at me. I couldn’t figure out what was wrong until Diana took me aside and told me that I was embarrassing her. I just stared at her. Embarrassing Diana Ross? Me? She said she knew I wasn’t aware of it, but I was learning the dances much too quickly. It was embarrassing for her and the others, who just couldn’t learn steps as soon as they saw the choreographer do them. She said he’d show us something and I’d just go out there and do it. When he asked the others to do it, it took them longer to learn. We laughed about it, but I tried to make the ease with which I learned my steps less obvious.

[...]

The problems on the set were really few and far between and it was great working with Diana so closely. She’s such a beautiful, talented woman. Doing this movie together was very special for me. I love her very much. I have always loved her very much.

[...]

I still enjoy seeing The Wiz and reliving the experience. I am especially fond of the scene where Diana asks, “What am I afraid of? Don’t know what I’m made of . . .” because I’ve felt that way many times, even during the good moments of my life. She sings about overcoming fear and walking straight and tall. She knows and the audience knows that no threat of danger can hold her back.

[...]

Diana’s singing and dancing and acting have stayed with me ever since. She was a perfect Dorothy. After the evil witch had been defeated, the sheer joy of our dancing took over. To dance with Diana in that movie was like an abridged version of my own story – my knock-kneed walk and “bigfoot” spin were me in my early days; our tabletop dance in the sweatshop scene was where we were right then.

[...]

[Tatum and I] developed into a real close relationship. I fell in love with her (and she with me) and we were very close for a long time. Eventually the relationship transcended into a good friendship. We still talk now and then, and I guess you’d have to say she was my first love – after Diana. When I heard Diana Ross was getting married, I was happy for her because I knew it would make her very joyous. Still, it was hard for me, because I had to walk around pretending to be overwhelmed that Diana was getting married to this man I’d never met. I wanted her to be happy, but I have to admit that I was a bit hurt and a little jealous because I’ve always loved Diana and always will.

Michael speaks about Diana, Interview about Bad, 1988


Interviewer: (Diana) Ross discovered the Jacksons when you were only 10. Are you still close?

Michael: Yes, very close. When we don’t see each other, we talk on the phone. She’s in Connecticut with her Norweigen husband, Arne Naess and their baby son a lot of the time.

Interviewer: There’s an expectation that the two of you will record together again.

Michael: I’ve written songs for Diana, but we haven’t been able to sing together for some time. We sing in spirit; we’re always together.

Interviewer: Another Disneyland is due to be built near Paris, where your friend Diana Ross has bought a home. There have been rumours you’ve considered doing the same.

Michael: Both good reasons to live there but i have no plans to move to France.

Releases Leave Me Alone, February 13th, 1989


Includes the lyric, “Ain’t No Mountain I Can’t Climb, Baby”… One of Diana Ross’ biggest hits was the song, “Ain’t No Mountain High Enough.”