Paul McCartney and Kendrick Lamar to headline resurgent Glastonbury

As the festival returns from Covid-enforced hiatus, over half of the acts announced so far feature women

Paul McCartney, Kendrick Lamar and Olivia Rodrigo have been announced as among the stars performing at this summer’s Glastonbury festival.

Out of the 89 names announced so far, 48 are women or acts that include female artists, meeting festival co-organiser Emily Eavis’s previously stated intention for Glastonbury to achieve gender parity on its bill. “Our future has to be 50/50,” she told the BBC in 2020.

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Diana Ross: Thank You review – an anaemic comeback that should have been great

With disco enjoying one of its periodic moments in the sun, a supremely classy 21st-century reboot was possible. But this isn’t it

In 1982, Diana Ross was interviewed by Smash Hits magazine. Her presence in among the breathless coverage of Duran Duran and Haircut 100 was testament to her continued commercial success two decades on from the Supremes’ first hit. She talked a little about that band’s 60s heyday, but, as befitting an artist who had just enjoyed two platinum albums stuffed with Top 10 singles, insisted that the 80s were the real “golden age. There’s so much opportunity.”

But not, as it turned out, for Diana Ross, whose recording career stalled shortly afterwards. She had her last US Top 10 hit, a tribute to the recently murdered Marvin Gaye called Missing You, 37 years ago. Britain remained under her sway a little longer – Chain Reaction, a flop in the US, rightly reached No 1 in 1986 – but even so, it was all over bar the shouting by the early 90s.

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Mary Wilson: the Supremes’ tenacious star who refused to accept defeat

The co-founder of the Motown group was overshadowed by Diana Ross but won her battle to protect the group’s integrity

Mary Wilson: Supremes co-founder dies age 76

In November 1969, Diana Ross announced her departure from the Supremes. It was not an entirely unexpected turn of events for anyone who knew about the internal workings of Motown Records. From the moment in 1963 when label boss Berry Gordy began taking an interest in the trio – whose seven singles to date had met with such commercial indifference they’d become known around Hitsville USA as the No-Hit Supremes – it was obvious who he thought the group’s star was. First Ross became the de facto lead singer on all their singles, with her fellow members Mary Wilson and Florence Ballard relegated to occasional leads on album tracks or on stage.

It was clearly unfair – Ballard and Wilson were fine singers, the latter’s soft-toned version of Come and Get These Memories from The Supremes A’ Go-Go (1966) is delightful – but you couldn’t argue with the commercial results: they had five No 1 singles in 12 months. In 1967, the band’s name was changed to Diana Ross and the Supremes, precipitating the departure of the increasingly troubled Ballard. From that point on, the Supremes were a Diana Ross solo vehicle in all but name: subsequent singles, including Love Child and I’m Living in Shame, featured Ross backed by session singers.

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Madonna, Motown and Mongolian metal: the music to listen out for in 2020

The queen of pop gets intimate, Taylor Swift feels the sunshine and Stormzy takes on the world … plus, classical celebrations begin for Beethoven’s 250th

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