"Criticism, even when you try to ignore it, can hurt. I have cried over many articles written about me, but I move on and I don't hold on to that "
About this Quote
Fame is often sold as armor, but Diana Ross admits it’s more like sequins: dazzling, thin, and easy to pierce. The line hinges on a quiet contradiction - “even when you try to ignore it” - a concession that celebrity coping mechanisms are mostly performance. Ignoring criticism is supposed to be the mature move, the show-business mantra. Ross punctures that myth with one plain verb: “hurt.” No metaphors, no bravado. Just the body keeping score.
The emotional honesty lands because it’s calibrated, not confessional sprawl. “I have cried over many articles” names a very specific kind of pain: not private heartbreak, but public narrative. “Articles” means strangers shaping you into a story you don’t control, then watching that story outrank your own experience. For a Black woman who became a global symbol in an era that demanded both glamour and gratitude, criticism wasn’t merely aesthetic; it often came loaded with expectations about race, femininity, “diva” behavior, and the price of ambition. Tears, here, are less fragility than evidence of pressure.
Then comes the second act: “but I move on and I don’t hold on to that.” Ross refuses the two usual celebrity scripts - either the unbothered icon or the wounded victim. The intent is strategic: acknowledge the sting without granting critics permanent power. The subtext is boundary-setting, a survival skill learned in an industry that profits from applauding you one minute and dismantling you the next. She’s not denying sensitivity; she’s insisting it won’t be her brand.
The emotional honesty lands because it’s calibrated, not confessional sprawl. “I have cried over many articles” names a very specific kind of pain: not private heartbreak, but public narrative. “Articles” means strangers shaping you into a story you don’t control, then watching that story outrank your own experience. For a Black woman who became a global symbol in an era that demanded both glamour and gratitude, criticism wasn’t merely aesthetic; it often came loaded with expectations about race, femininity, “diva” behavior, and the price of ambition. Tears, here, are less fragility than evidence of pressure.
Then comes the second act: “but I move on and I don’t hold on to that.” Ross refuses the two usual celebrity scripts - either the unbothered icon or the wounded victim. The intent is strategic: acknowledge the sting without granting critics permanent power. The subtext is boundary-setting, a survival skill learned in an industry that profits from applauding you one minute and dismantling you the next. She’s not denying sensitivity; she’s insisting it won’t be her brand.
Quote Details
| Topic | Moving On |
|---|---|
| Source | Help us find the source |
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