Diana: By itself, the name is just another five-letter word. Not overly powerful, not overly dramatic until it’s connected with another four-letter word: Ross. The combination allows magic to happen, conjuring up a myriad of other D-words: divine, delicious, delirious, delectable, and of course, diva.

Diana Ross, an untiring gay and cultural icon, born Diane Earle on March 26, 1944, brings her North American “Forever Diana Tour” to San Diego on Tuesday, Nov. 9, at the Civic Theatre.

Ross has expressed the idea of wanting to move forward in her life and career with a candid, constant eye upon reflection – reflection towards a past that is both filled with glorious achievement and offset with a few darker moments. With such a vast body of work, not only as a singer but also as an actor, author, philanthropist and producer, she remains the consummate entertainer.

Over the expanse of her career she has touched people from all walks of life: gay, straight, black, white. At the age of 15, she vocalized with the Primettes for her first single release (“Tears of Sorrow”) in 1959. Two years later, she signed with Motown and history was made. In 1964, The Supremes struck gold three times with “Where Did Our Love Go”, “Baby Love” and “Come See about Me”, followed by an appearance on “The Ed Sullivan Show” where they strutted their stuff before millions.

Our gay coalition seemed better with Ross raising our collective hands in unison to the lyrics of “Stop in the Name of Love” or crying together about the subsequent, predictable breakup with “Nothing But Heartaches”. Oh, yea – a reflection of Ross’ life is a reflection of our own, but with song.

Just what is it about Diana Ross that allows us to reach out to her?

Perhaps it’s her birdlike, fragile form.

In 1967, soon after Florence Henderson’s exodus from the group, the Reflections album was released with an expanded moniker: Diana Ross and the Supremes. That was the first sign that Ross would soon walk down life’s yellow-brick road, bravely, by herself. In 1969, she appeared alongside Lucille Ball in her first primetime acting stint. And shortly after that, the Frontier Hotel hosted the last Supremes gig.

Ms. Ross wasted no time in establishing herself as a one-woman phenomenon, releasing “Reach Out and Touch” and “Ain’t No Mountain High Enough”. She took these song lyrics to heart, touching and then marrying Robert Silberstein. Climbing further up that mountain, their joint venture produced the first of three daughters, Rhonda. To Ross’ credit, she has had five children and all seem to be quite well adjusted.

Ross basked in the glow of both family and career. She was voted number one Female Vocalist by Billboard in 1971. She didn’t let her fans down; she held that crown firmly on her wigged head while “Lady Sings the Blues” was released and in its first eight days sold some 300,000 copies. This was followed by an Oscar nomination for the movie of the same name.

Perhaps it’s the music – that silky, sulky, self-confident quality.

It seemed like Ross was on a train ride and gays all over the planet just hopped on board for the ride. Part of the reason why so many walking under the rainbow flag are drawn to Ross may be that the music from her ongoing career speaks loudly and directly to many of us. How many times have we played “Touch Me in the Morning” for our flavor-trick of the night? And how many times have we asked one another the time-honored coming of age question, “Do You Know Where You’re Going To?”

Adding to the still smoldering fire caused by Ross’ move to a solo career, Florence Ballard died penniless in 1976 and Ross’ star power turned the funeral dirge into headline fodder, much of it slanted unfairly and some of it pointedly negative.

Perhaps it’s her staying power.

Ross didn’t allow the controversy to diminish her gold-glittered star power, racking up yet another number-one hit with “Love Hangover” and humbly accepted – as divas do so well – Billboard’s Female Entertainer of the Century Award in 1976.

Ross, like a well-oiled and maintained machine, bulldozed her way through a one-woman show, a movie called The Wiz, and the ultimate sign of making it, a guest appearance on “The Muppet Show” with Kermit and Ms. Piggy. It seemed as if Ross had it all and we vicariously basked in her triumphs.

Perhaps it’s her ability to dictate fashion.

She graced countless magazines with her flawless, elegant sense of style, and each album cover was a work of art, showcasing her slenderella figure with the best rags money could buy. Through it all, Ross remained our fairy tale princess.

In 1981, after attending the Academy Awards with Michael Jackson, she planted another number-one hit, “Endless Love” and it basked in the Billboard garden for a mere nine weeks.

Between more number-one hits and numerous tours both here and abroad, she found time to romance and marry a second time with a ruggedly handsome European named Arne Naess, which produced a male progeny to compliment her female herd.

If the last decade or so has been a bit more tranquil for Ross, she deserves a little rest and quiet. Still, she continues to be a working gal, as attested by this month’s anticipated visit to the Civic Theatre subtitled “An Intimate Evening With Diana Ross”. For Ross, a show with several thousand fans is still called “intimate” and is of itself a testament to her longevity.

Perhaps it’s her ability to grab the headlines, good and bad.

But even a diva like Ms. Ross has an occasional bad hair day. Her “Extreme DUI” bust in Arizona in 2002 and recent rehab visits seem to be reported by those in the press intent on getting their daily dosage of schadendreude. I, for one, will always forgive Ross her minor struggles with life and law enforcement.

Perhaps it’s the gay anthems she has gifted to the community and her ability to cut through divisions of class, gender and race.

It’s always behind diaphanous curtains and perfect backlighting that Ross sings “I’m Coming Out”, and we are with her, screaming out the words, proud and loud. Her style is routed in a celebration of the female, but it translates to the gay male just as easily.

Perhaps it’s her way of telling it just like it is.

In her book, Secrets of a Sparrow, and as an author, Ross speaks to us about many things, including her tremendous ambition that she openly admits is simply a natural part of her life force. For her ambition, she has received a Tony for her “An Evening With Diana Ross” show, an Oscar nomination, 10 Grammy nominations and Guinness recognition for the best-selling female artist, among other accolades.

When Ross came out with her album diana in 1980, she was still our diva with a capital D. She searched for new singing styles to incorporate into her music—like counterpoint, recitative and baroque. Her voice continued to be magic; her face and body continued to define glamour; and both were always a part of her act. She employed the best costume designers (think Yves Saint Laurent) and the best writers (think Jule Styne, Gershwin and Stevie Wonder).

Perhaps it’s her ability to cast aside rags and stay with the riches.

In 1989, Ross returned to Motown, this time as an equity partner. She continued to produce her own shows and work as an actor, garnering some of the best reviews of her career for a TV movie called Out of Darkness.

Perhaps it’s her ability to give.

Ross continues to reach out to others, especially charities that benefit children.

Recently, she assisted in an AIDS benefit for children, and in 2000 performed for President Clinton.

I suppose that many in the gay community will continue to reach out to Diana Ross for all of the above reasons: her music, her staying power, her underlying fragility, her fashion sense and her ability to cut across class distinction and entertain all of us.

No matter what songs Ross sings from her vast repertoire on Nov. 9, you can expect that she will deliver; and most likely she’ll be belting out “I Will Survive” among so many other favorites – because no matter how many demons surface in Diana Ross’ life, she’s one of those D-words that just keeps giving and giving and giving.

Diana Ross appears at the Civic Theatre Tuesday, Nov. 9, at 8:00 p.m. Tickets are $38-$100. Call the box office at (619) 570-1100 for tickets and further information, or visit this article at www.gaylesbiantimes.com for a link to the Civic Theatre’s website.