"Years ago I wanted to buy an apartment in New York City. I was a single female - I had gone through my divorce - I had three children, I was in show business and black. It was, like, impossible"
About this Quote
Diana Ross compresses an entire civic indictment into one shrugging, devastating “It was, like, impossible.” The power is in the list: single, divorced, three kids, show business, Black. Each clause is a door quietly closing, and the cumulative rhythm mimics the way discrimination actually operates in New York real estate: not as one dramatic rejection, but as a stack of “concerns,” “policies,” and “standards” that somehow always land on the same people. She’s not pleading for sympathy; she’s documenting a rigged maze.
The throwaway casualness - “Years ago,” “like” - matters. Ross speaks in the vernacular of someone recounting a memory, but the subtext is institutional: this wasn’t about taste or timing, it was about access. Even as a celebrity with money and visibility, she frames herself as structurally outmatched. That’s the cultural gut-punch: if Diana Ross couldn’t buy her way into the supposed meritocracy of Manhattan housing, what chance did a non-famous Black mother have?
Context sharpens the sting. Postwar New York was notorious for steering, redlining’s afterlives, and co-op boards that used “character” as a velvet rope. Ross’s specific bundle of identities also exposes how racism piggybacks on sexism and respectability politics: divorced becomes “unstable,” children become “undesirable,” entertainment becomes “unserious,” Black becomes “risky.” Her sentence is an anatomy of how prestige doesn’t erase prejudice; it just changes the script.
The throwaway casualness - “Years ago,” “like” - matters. Ross speaks in the vernacular of someone recounting a memory, but the subtext is institutional: this wasn’t about taste or timing, it was about access. Even as a celebrity with money and visibility, she frames herself as structurally outmatched. That’s the cultural gut-punch: if Diana Ross couldn’t buy her way into the supposed meritocracy of Manhattan housing, what chance did a non-famous Black mother have?
Context sharpens the sting. Postwar New York was notorious for steering, redlining’s afterlives, and co-op boards that used “character” as a velvet rope. Ross’s specific bundle of identities also exposes how racism piggybacks on sexism and respectability politics: divorced becomes “unstable,” children become “undesirable,” entertainment becomes “unserious,” Black becomes “risky.” Her sentence is an anatomy of how prestige doesn’t erase prejudice; it just changes the script.
Quote Details
| Topic | Single Parent |
|---|---|
| Source | Help us find the source |
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