International Diana Ross Website

Diana Ross Tour 2010 - Love you more today than Yesterday 



Boston - Foxwoods - Red Bank - New York Radio City Music Hall - Bethesda

BOSTON CONCERT MAY 16th 2010 -

Career-spanning reflections from Diana Ross

Diana Ross would rather you not be reading this review. In her defense, Saturday at the Citi Wang Theatre was the opening night of a tour that takes her across the country and into mid-June. Two days prior to the Boston concert, Ross’s publicist indicated there would be no tickets for reviewers.

DIANA ROSS  At: Citi Wang Theatre, Saturday

       

Ross needn’t have worried so much. Even though the Citi Wang show was far from perfect (quite far, actually), it was also futile to resist a natural entertainer as iconic and compelling as Ross.

The opening-night kinks were obvious straight away during “The Boss,’’ with a muddy sound mix that did little to elevate Ross’s voice over her 15-piece band and three backup singers. You hardly noticed it by the time she launched into a string of classics from the Supremes — “Reflections,’’ “You Can’t Hurry Love,’’ “Come See About Me,’’ and “Stop! in the Name of Love’’ — and to Ross’s credit, they weren’t mashed haphazardly into a medley.

       

Mostly, though, the set list skewed heavily on Ross’s solo career, from singalong anthems (“I’m Coming Out,’’ “Ain’t No Mountain High Enough’’) to club classics (“Upside Down’’) to sugar-sweet ballads (“Touch Me in the Morning,’’ “Endless Love’’). There were some nice surprises, too, including a fierce rendition of the Supremes’ “Love Child’’ and “It’s My House,’’ with the unintentionally hilarious line, “There’s my chair/ I put it there,’’ as if Diana Ross has ever had to move her own furniture.

It was an evening of memories, as Ross said early on, and it was a pleasure to see her evolution from one decade to the next, from Motown ingénue in the 1960s to international pop star and fashion plate soon after. The show was not quite sold out, but it traded on a contagious electricity from fervent fans who treated Ross as if she had been away for decades. She hasn’t, of course, but if there’s one thing Ross inspires, it’s devotion.
       
Vamping in various costumes and just a little bit flirtatious, she soaked up the adoration, head back and arms outstretched. But Ross’s chemistry with her band left a lot to be desired — she routinely said “anytime’’ to prompt the next song — and she wasn’t especially in synch with her backing singers, either, who introduced themselves presumably because she didn’t remember their names. (Hey, there’s no shame in using a teleprompter at this point.) Ross also had trouble recalling some lyrics, occasionally substituting “oohs’’ where verses would normally go.

More often Ross seemed engaged in the songs, particularly during a jazz interlude that paid homage to her title role in the Billie Holiday biopic “Lady Sings the Blues.’’ The band finally retreated and put the focus on her voice, which still sounds almost as good as she looks at 66.

Closing out the night, Ross sang a heartfelt tribute to Michael Jackson that featured “Missing You’’ and his “You Are Not Alone.’’ Ross’s choice for a first encore was a head-scratcher: Gloria Gaynor’s “I Will Survive,’’ which Ross recorded, but it still felt odd and unnecessary.

Clearly, I was in the minority opinion. The guy two seats down from me, with arms waving, openly professed his love for this particular moment. “Oh, my God, Carol. My mind. Is blown.’’ To which Carol, peering straight ahead at the stage, replied deadpan: “Exactly.’’

Guest blog post: Diana Ross in concert at Strathmore


Diana Ross gave a concert Tuesday night at Strathmore, a relatively intimate space for such a pop icon. I had a great time there -- this was my first live encounter with Ross -- except for the sound system, which confused loudness with effectiveness much of the night (initially, the star's voice disappeared into the mass of sound, and, although you could see five string players sawing away all night in the band, you almost never heard them).

I was impressed with how well Ross has maintained her voice over the decades; most of her singing was as technically solid as it was emotionally alive. And when she had a chance to do some subtle phrasing, especially in a couple of Billie Holiday numbers, the results were remarkably effective. Above all, Ross demonstrated the keen instincts and tireless energy of a true entertainer. She owned that house and everyone in it for 90 action-packed minutes. Cool.


But, hey, don't take my word for it. Here's a guest blog report from one of the world's most devoted Diana Ross fans -- my longtime partner, Robert. This was his fifth Ross concert (the first two were in the days of The Supremes, so that gives him bragging rights for a start), and he was looking awfully happy after this one. I invited him to share his reactions here:

The sold-out crowd at the Music Center at Strathmore last evening was eagerly anticipating pop diva Diana Ross as the lights dimmed and the band began to play. The music was unfamiliar, non-Motown or RCA-era Ross, but the images of vintage Diana Ross and The Supremes albums flashed on a screen behind the band helped to set the mood. When the music led into the first recognizable notes of 1979’s “The Boss,” Miss Ross rose from the back of the stage and the audience rose from their seats (some of them stayed upright for the entire concert, much to the annoyance of folks in the row behind them.)

Diana looked sexy and glamorous -- at least 

20 years younger than her 66 years -– in her first of five Bob Mackie-style gowns she wore during the evening. It was an infectious opening number. "The Boss” was followed by “More Today than Yesterday,” one of two selections she performed from her latest studio album, “I Love You.” It was a lively performance.

Telling the crowd that “tonight is truly about memories,” Miss Ross launched into a grouping of Supremes tunes. Unlike in her 1980s-era concerts, which disposed of a Supremes medley in short order, these songs were sung in their entirety for this concert.

Beginning with "Reflections” (vintage photos and videos flashed on the screen behind her), she continued with “You Can’t Hurry Love,” and “Stop! In the Name of Love.” “Love Child” ended this segment too soon. Hearing her iconic, still strong and clear voice singing these much-loved songs united the racially diverse crowd in a true love-fest.

The disco anthem “Love Hangover” led into more of Miss Ross’ solo hits. There was a new gown for “I’m Coming Out,” “Upside Down,” “It’s My House,” “Ease On Down the Road” and “Why Do Fools Fall in Love?”



Another change of costume and another change of mood led into a jazz-blues segment, with “Fine and Mellow” and “Don’t Explain,” two Billie Holiday songs Diana originally performed in “Lady Sings the Blues.” (It’s worth remembering that Diana was nominated for an Academy Award for that film role.) Her heartfelt interpretations of these songs highlighted her versatility as a songstress. The other song from her latest album, a cover of Dusty Springfield’s “The Look of Love,” with a hot saxophone solo adding to the impact of the number, was well received, as were “Endless Love” and "Touch Me in the Morning."

Diana was warm and personable throughout the evening, waving and talking to the crowd, inviting a fan on stage to dance and thanking everyone for being there. She also personally introduced every member of her band by name – and it’s quite a sizable ensemble.

The last segment began with a medley of “I Will Survive” and “Take Me Higher,” two of her hits after her return to Motown. During “Reach Out and Touch,” her first single after leaving the Supremes, Diana did reach out and shake the hands of those lucky fans in the first row. The Theme from “Mahogany” (“Do You Know Where You’re Going To?”) led into “Ain’t No Mountain High Enough.”

The almost 90 minute concert came to a close with a brief tribute to Michael Jackson; a picture of the late singer and Diana was shown on the screen. Although this was touching, this segment should have been a bit earlier so that “Ain’t No Mountain High Enough” could have ended the show in a more rousing fashion.


In secure, sweet voice and looking fabulous, Miss Ross proved again that she remains a true superstar. Our music world would be empty without her.

Diana Ross gives flawless, fashionable  performance

Diana Ross  performs at the Fox Theatre. (Sarah Conard)

By Kevin Johnson ST. LOUIS POST-DISPATCH 07.06.2010

Pity the poor concertgoer who waited for a moment of filler during Diana Ross’ concert Sunday night to use the rest room or head to the concession stand.

Such moments didn’t exist during the crisp, colorful concert at the Fox Theatre.

Ross combined one of music’s most storied repertoires with voluminous hair and a gratuitous array of costume changes to make for a memorable evening.

It was mostly flawless especially compared to that of another timeless legend, Liza Minnelli and her gig with the St. Louis Symphony Orchestra at Powell Symphony Hall the night before. Sure, Ross, discreetly stumbled during her grand entrance and later obviously missed a cue, but she was still the boss.

In fact, she opened her 90-minute show with the disco-flavored "The Boss," rising up from beneath the stage in a lime-colored floor-length cape, which she flung to the floor to reveal the first of several sequined evening gowns.

Ross didn’t spend any real time getting to know the audience with chit-chat. Instead, she stuck to business, first with a stream of Supremes hits including "Reflections," "Stop! In the Name of Love" and "My World is Empty Without You," while various images, including vintage clips of the singing trio, flew by behind her.

"Do you remember these songs?," Ross asked, before moving on to more Supremes songs, "Love Child" and "Can’t Hurry Love." She didn’t shortchange her Motown hits with that storied girl group, and why should she? They’re golden.

Ross ushered in her solo library with necessary nuggets such as "I’m Coming Out," "Upside Down," "Touch Me in the Morning" and "Love Hangover," and the less necessary but still welcome "It’s My House" and "Take Me Higher." "Ease on Down the Road" from "The Wiz" soundtrack was a favorite no one saw coming.

A jazzy interlude featured "The Look of Love" and others, followed by big pop hits "Endless Love," "Why Do Fools Fall in Love," "Theme From Mahogany (Do You Know Where You’re Going To)" and "Ain’t No Mountain High Enough."

During the encore, she said she dedicated the tour to Michael Jackson, then performed the loving ballad "Missing You," an ’80s hit for Ross written by Lionel Richie in response to the death of Marvin Gaye. "Missing You" segued, a tad awkwardly, into Jackson’s "You Are Not Alone."

She then left the stage one more time to change into her final outfit — a black jogging suit and a pair of white sneakers for a quick reprise of disco song "I Will Survive."


 

Detroit --  In the pantheon of modern feminine archetypes, there have been several  urban goddesses: Billie Holiday was one, albeit a melancholy goddess.

When Diana Ross comes soaring up on a  riser at the Fox Theatre Saturday night to greet her audience, arms  aloft, all smile and hair and chartreuse feathers over a shimmering  column of black and silver sequins, it is a goddess moment, and a  triumphant one.

And  of course, she's singing "The Boss."

Ross, blowing kisses and making intense eye contact  with at least half the audience, was performing just a short walk away  from her high school, Cass Tech, and on a stage she knew well from the  Motortown Revues that took place at the Fox in the 1960's.

She was a girl then; with a light,  silvery voice. Today, at 66, her voice is deeper but with that same  lilting quality, and over almost two hours of singing it held up  admirably.

A string  of one-nighters had her worried about straining her voice, she said.

"I wanted to keep it for you,  Mo-town," she said, drawing the nickname out.

After singing "More Today Than  Yesterday," a remake of the '60s pop tune that she did on her last  album, Ross segued into a series of Supremes songs; "Reflections,"  "Can't Hurry Love" "Stop! In The Name of Love" and "Love Child,"  performed full-length, thankfully, not in medley form, as videos of the  Supremes, and photos of Motown acts like Martha and the Vandellas and  Marvin Gaye, and of Berry Gordy and Hitsville flashed behind her.

The diva has behind her three backup  singers and a 16-piece orchestra, including four horns, and six strings. As large as that is in today's touring concert world, one guitarist had the task of performing what three Funk Brothers guitarists used to do  at Motown.

Still, he executed some of the signature riffs well enough behind Ross' girlish  voice (particularly on "Love Child") that it created an alternate world  Motown sound that pleased and transported the audience.

Ross made sure the visuals were up to  her standards as well, and she came whirling out in a red sequined,  drop-waist gown, a poufy pink dress with a sweetheart neckline, and for  her "Lady Sings the Blues" Billie Holiday set, a blue sequined frock.

She was able to whirl offstage for no  more than three or four minutes at a time, while the band vamped, get  zipped into a new number and come strolling back out.

Ross' body language and vocals were  more girlish on her Supremes numbers; she seemed looser on her '70s  disco hits, including "I'm Coming Out," "Upside Down" and "Love  Hangover."

The next  set, with blinking "neon" lights signaled a noir, bluesy mood, and the  lower timbre of Ross' voice was pleasing on "Fine and Mellow" and "Don't Explain."

"Lady  Sings The Blues," she murmured after each one, and that of course was  her Oscar-nominated role as Billie Holiday in the 1972 film.

The transcendent moment of the concert was when Ross segued from "Theme From Mahogany (Do You Know Where  You're Going To") to "Ain't No Mountain High Enough," bringing the  audience to its feet.

The Valerie Simpson/Nick Ashford-written and produced song was  upbeat and intensely romantic in the hands of Marvin Gaye and Tammi  Terrell, but when Diana Ross sang it, it became a majestic and anthem,  the ultimate testament to the inner strength and compassion of the girl  from Cass Tech.

The  show was a family affair, with Ross waving to relatives, including her  sister Rita. She pulled two men up to dance, including Derek Thornton,  who many recognized from his tour duties at the Motown Historical  Museum.

In a more  serious mood, Ross said she was dedicating her tour to Michael Jackson,  and sang two numbers she said expressed her feelings about him, "Missing You" and "You Are Not Alone."

Then she turned maternal, instructing everybody to  sit down and listen to her for a minute. "I hope you saw the videos and  pictures we got up earlier. It's all about coming home," she said, to  cheers. "Last year, I stayed home. My daughter made me a grandmother --  and no, I am not called 'grandmother,' but 'Deeda,'" she said, laughing.

At 9:45 the band exited and the lights came on -- clearly the show was over. The audience started to trickle  out, but apparently Ross wasn't done.

There was a brief flurry at the side of the stage,  and she and the band re-emerged. Ross sang "Reach Out And Touch," and  then spoke again to the audience, striking a personal note to her  beleaguered hometown.

"If you need me, call me," she said. " I love you. I know it's a difficult time ... But you will survive."

http://detnews.com/article/20100530/ENT04/5300315




Review: Ross still reigns supreme

BY STEPHEN PETERSON SUN CHRONICLE STAFF

MASHANTUCKET, Conn. - Diana Ross seems as ageless as her music.

The legendary rhythm and blues and pop singer performed Sunday night at the MGM Grand Theater at Foxwoods Resort Casino as part of her "More Today Than Yesterday" tour that carries through the summer across America. It kicked off Saturday night in Boston's Wang Theater.

One of Ross's biggest tours the past decade, it features a new song list, elaborate stage and light show, and plenty of costumes. The show lasted nearly two hours - almost double the length of recent tour shows, easily allowing Ross to fit in many of her solo hits and several numbers from her Supremes days.

Making a grand entrance, Ross was lifted into view atop a large platform on the stage that held an 18-member band. She first slid into "Too Shy to Say Right" and a cover of The Spiral Staircase's only hit, "More Than Yesterday."

That led to a string of No. 1 and No. 2 Supremes hits from the 1960s, including "Reflections," "Can't Hurry Love," "Come See About Me," "Stop in the Name of Love," "You Keep Me Hangin' On," and "Love Child." Video of the Supremes and Ross, the group's lead singer, was shown as the concert turned into a trip through the history of Motown.

Despite being 66, Ross's voice was strong, and her energy seemed as unlimited as her glamorous outfits, which she changed throughout the show. Ross wore a lime-colored boa/sparkling dress to start things off.

"I'm Coming Out" from 1980 merged into another disco song from that year, "Upside Down," a No. 1 track, and highlighted the four-member horn section.

After "Mirror, Mirror," it was on to the beautiful "Touch Me in the Morning," a No. 1 song from 1973. In January, Motown released the extended version of that classic album.

The disco "Love Hangover" was very abbreviated. That song, hitting No. 1 on the charts in 1976, marked the first time a female vocalist had four No. 1 songs.

Ross's three backup singers took over on "Ease on Down the Road" from "The Wiz" as she changed outfits once again.

The mood changed abruptly with a few jazzy/blues numbers, including "Good Morning Heart."

After a cover of Frankie Lymon and the Teenagers' 1955 smash, "Why Do Fools Fall in Love," Ross returned with a pink gown to sing her 1975 No. 1 "Theme from Mahogany (Do You Know Where You're Going To)."

The crowd stood for Ross's version of Marvin Gaye and Tammi Terrell's gem "Ain't No Mountain High Enough." That was Ross's first solo hit, placing No. 1 on the charts in 1970.

The encore featured a cover of Gloria Gaynor's disco anthem "I Will Survive." Ross then lit into "I'm Missing You" as a tribute to her close friend and mentor Michael Jackson, who was shown on the video screen.

Ross was also supported by a five-member string section that featured four violinists and bass player, as well as two guitarists, two keyboardists and two drummers.

STEPHEN PETERSON can be reached at 508-236-0377 or at speterson@thesunchronicle.com.

Diana Ross: More Today Than Yesterday

Reviewed By: Brian Scott Lipton · May 21, 2010  · Touring Productions

There's a distinct irony to the fact that Diana Ross has dubbed her new U.S. tour, More Today Than Yesterday, since the show -- which played a sold-out gig at New York City's Radio City Music Hall on Wednesday, May 19 -- is blatantly designed as a "greatest hits" extravaganza celebrating the singer's five decades of chart-topping tunes. But what makes this 90-minute show not just one of the most extraordinarily evenings I've had recently, but so fresh and lively as well, is the use of a kick-ass 15-piece orchestra (plus three backup singers) that brilliantly augment Ross' still pleasing if slightly thin voice.


Truth be told, Ross' success was never dependent solely on her vocal instrument. What still blazes as brightly as ever, if not even brighter, is her unparalleled star quality; as she glides across the stage in a series of figure-flattering ensembles that show off her superb 66-year-old body and delivers dazzling smile after dazzling smile, the joy one feels to be in her presence can't be contained.

For that reason alone, Ross doesn't need to rely on elaborate pyrotechnics or muscular back-up dancers to have the audience feel they're part of a wholly satisfying experience. Indeed, a series of projections, mostly showing Ross in various stages of her career, are the only major visual effect other than the singer herself!

Ross barely engages in patter -- speaking only briefly at the encore to honor her great friend Michael Jackson -- which helps her cram a remarkable assortment of songs into the show's tightly-packed running time. Theater lovers can take pleasure in a truly joyous take on "Ease on Down The Road" (from The Wiz, in which Ross appeared as Dorothy in the film version) and a heartwarming rendition of "What About Love" (from The Color Purple); and there's a brief yet excellent section of blues songs, highlighted by the singer's sublime rendition of the Billie Holliday classic "Don't Explain" (which she originally performed in the film Lady Sings the Blues).


Still, most audiences are on hand to hear the chart-toppers, and Ross delivers the goods: "You Just Keep Me Hanging On," "Stop In the Name of Love," "Love Child," "I'm Coming Out," "Touch Me in the Morning," "Endless Love," and "Ain't No Mountain High Enough" to name but a few.

She's also smart enough to know that these numbers will turn into sing-alongs and dance-alongs whether she wants them to or not, and generously encourages the audience to participate.


And even though, to my surprise, she never asks us to reach out and touch somebody's hand, you're likely to be reaching out and touching someone's something in the frenzy of the moment!

Ross commands Garden show -- Soul singer dazzles crowd with brisk set, gracious air

By Mark Jordan
Motown came to Soulsville on Saturday night as Diana Ross, the Detroit label's iconic diva, kicked off the 10th season of the "Live At the Garden" concert series.

More than 6,000 people filled the Memphis Botanic Garden to hear Ross deliver a brisk and boogie-inspiring survey of her remarkable career, from her days as lead singer of the best-selling girl group The Supremes through her '70s and '80s solo career.

Ross' current tour is dubbed the "More Today Than Yesterday Tour" a reference to the spiral-staircase number that she performed early in her 90-minute set after making a dramatic entrance from a riser to the tune of her disco hit "The Boss." But as those two songs might suggest, this night was absolutely more yesterday than today.

Much of the first half of the show was taken up by a rundown of hits by The Supremes, the most successful vocal group of all time, which Ross fronted from 1961 to 1970. Ross delivered satisfyingly faithful versions of eight of the group's hits, including "Reflections" and "Stop! In the Name of Love."

On the last of The Supremes numbers, the chart-topping domestic drama "Love Child," she let her wonderful 18-piece band - complete with horn and string sections and a full accompaniment of backup singers - really break loose, turning the song into an extended salsa breakdown.

Though the 66-year-old struggled at times vocally - the high notes on "My World Is Empty Without You" were a particularly rough patch - this stretch of the show showcased Ross' enduring strength as a performer. Unlike today's melisma-crazed "American Idol" aspirants, Ross is a classic singer, focused not on showing her range and control but on serving the songs, something she did exquisitely this night. Of course, it helps that she has some of American pop's best material from which to choose.

Ross easily could have filled the entire show with numbers made famous by The Supremes. (What? No "Where Did Our Love Go"? No "I Hear A Symphony"?) But that would have left out many great fan favorites.

Ross kicked off the portion of the show focusing on her solo career with the infectious floor-filler (or, in this case, lawn- filler) "I'm Coming Out." Other highlights included "Upside Down" and "Why Do Fools Fall In Love?"

She also cast a spotlight on her brief-but-noteworthy film career with selections from "The Wiz" ("Ease On Down the Road"), "Mahogany" ("Theme From Mahogany (Do You Know Where You're Going To)"), and the Billie Holiday biopic "Lady Sings the Blues" ("Fine and Mellow" and "Don't Explain," which, with their softer, lighter, jazzier tones, were somewhat lost in the night ether).

Ross ended the show on several inspirational notes, closing the main body of the show with her rendition of Gloria Gaynor's "I Will Survive" before coming back for a encore that included the anthem "Reach Out and Touch (Somebody's Hand)" and "I Love You (That's All That Really Matters)," which, like the tour itself, was dedicated to her late friend and Motown labelmate Michael Jackson.

Throughout the evening, Ross was gracious and engaged, showing no signs of the diva behavior that has dominated her portrayal in the press in recent years. Her eagerness to entertain showed in the production, from the extravagantly large band to the glittery and glowing light and video effects. And at the center of it all was Ross - commanding the stage, pulling off quick costume changes and keeping the show's breakneck schedule on time - setting a pace that would have left even her younger, modern-day successors like Beyonc winded.

Originally published by Mark Jordan Special to The Commercial Appeal .

(c) 2010 Commercial Appeal.

 

Diana Ross is supreme at Roy Thomson Hall
By JANE STEVENSON, QMI AGENCY


Everything about Diana Ross on Monday night at Roy Thomson Hall was big.

Her band was big - 18 players including a four-man horn section and five-person string section.

Her voice was big.

Her hair was big - isn’t it always?

Her outfits were big - and billowing.

And her entrance was big too.

Ross, now 66 but looking about two decades younger, first appeared coming out of the floor at the top of her stage,
also big, and dominated by a staircase and a large video screen.
Dressed in a flourescent lime green feathered coat - if Big Bird were a drag queen he’d wear it - she made a
glamorous, dramatic fashion statement, as she would repeatedly as the 90-minute show progressed, changing into
gowns, coats and boas more glorious than the last.

The new outfits actually prompted gasps and applause each time she re-appeared on stage.

Even her eyes were big as she stared out into the audience and took them through her impressive 50-year career of
Motown soul, blues, gospel, disco, and pop starting with the ho-hum late ‘70s hit The Boss and before quickly moving
into Supremes era-gold like More Today Than Yesterday, Reflections, You Can’t Hurry Love, Stop In The Name of
Love, You Keep Me Hanging On, and the granddaddy of them all - Love Child.

There was some crazy Supremes footage too, like the girls playing ping pong and dancing freestyle.
Eventually, Ross ditched the lime green feathered coat - nobody throws a coat on the floor like this lady - to reveal a
black sequined gown as she minced around the stage, pushing her hair off her face and staring up into the upper
balconies.

“While you’re staring at me, I’m staring back at you,” said Ross right before her encore.
And whenever she did leave the stage to change clothes, her band took over while striking film footage of her posing in
various outfits at photo shoots was displayed.

It sounds ridiculous, but it was actually riveting due in no small part to Ross’ knowledge of how to use her body and
face in various clothes and wigs to make striking imagery.

After the Supremes segment, Ross kicked it up a notch with a fun and frothy disco section kicked off by I’m Coming
Out, and Upside Down, which drew two guys up on stage to dance with her.
That moment was only briefly tethered by the ballad Touch Me in the Morning, which saw another male fan present her
with flowers, before Ross returned to disco with Love Hangover.

She also proved to be a capable blues interpreter as she donned a purple sequined gown, for Fine And Mellow, and
Don’t Explain, and nicely closed out the set with the ballads Do You Know, and Endless Love, before delving into her
anthemic Ain’t No Mountain High Enough and a cover of Gloria Gaynor’s I Will Survive.

Ross’ latest trek is called More Today Than Yesterday: The Greatest Hits Tour, but when she finally spoke to the
audience, just as the show came to a close, she said she was touring in the memory of Michael Jackson, who she
loved very much.

“All my thoughts are in the lyrics of this song,” she said before closing with an encore made up of her own Missing You,
Jackson’s You Are Not Alone, and a snippet of I Love You while a picture of her and Jackson was projected on the
video screen.
It was a touching end to what had otherwise been an over-the-top night of music and fashion.