It is 1980. The disco ball is losing its luster, and the high-octane shimmer of the seventies is fading into something a bit more grounded, maybe a bit more cynical. Diana Ross, the undisputed Queen of Motown, is standing at a massive crossroads. She’s just coming off the massive success of the Diana album—the one with "Upside Down" and "I'm Coming Out"—which basically reinvented her for the dance floor. But then, she pivots. She releases a power ballad that feels less like a chart-topper and more like a manifesto.
It's My Turn by Diana Ross wasn't just another soundtrack single. It was a line in the sand.
Honestly, if you look at the landscape of pop music in the early eighties, everything was shifting toward synthesizers and neon. Yet, here was Ross, working with Michael Masser and Carole Bayer Sager, delivering a track that felt deeply, almost uncomfortably, personal. It’s a song about the terrifying moment you decide to stop living for everyone else.
The Movie Connection Everyone Forgets
People usually remember the song, but they forget the film. The track served as the theme for the 1980 romantic comedy of the same name, starring Jill Clayburgh and Michael Douglas. The movie is fine—it’s a decent "woman finding herself" flick—but the song? The song became an entity of its own. It outlived the film's cultural footprint by a mile.
Michael Masser, the guy who co-wrote "Touch Me in the Morning," knew exactly how to weaponize Diana’s voice. He didn't want the "Stop! In the Name of Love" coo. He wanted the mature, slightly weary, but ultimately defiant Ross.
The lyrics by Carole Bayer Sager hit a nerve because they weren't about a breakup. Not really. They were about an internal divorce from expectations. When Diana sings about "giving up the ghosts," she isn't talking about ex-boyfriends. She’s talking about the versions of herself she created to make other people comfortable.
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Why the Production Still Holds Up
Musically, the song is a slow burn. It starts with that lone piano—melancholic, a bit lonely. You’ve got those lush strings that scream 1980s prestige. But listen to the drums. They don't kick in with a heavy thud; they provide this steady, heartbeat-like pulse that builds as she gains confidence.
It reached the Top 10 on the Billboard Hot 100 for a reason. It peaked at number nine, actually. While it didn't hit the number one spot like "Endless Love" would shortly after, it stayed on the charts for months. People were buying the sheet music. They were calling radio stations. They were playing it at graduations and divorces.
It’s a transitional song. It sits right between her Motown peak and her RCA era. It’s the sound of a woman who knows she’s about to leave the nest that built her.
It's My Turn by Diana Ross: The Lyric Breakdown
Let’s get into the weeds of the lyrics for a second. There’s a specific line: "I'll take my chances / I'll forget my past." That’s a bold thing for a woman who was already a living legend to sing. By 1980, Ross had nothing left to prove, yet the song suggests she felt she was just starting.
- The "No More" Factor: The song rejects the idea of being a supporting character in someone else’s story.
- The Vocal Choice: Notice how she stays in her mid-range for most of the track? She’s not screaming. She’s stating facts.
- The Longevity: It has been covered by everyone from Aretha Franklin to Patti LaBelle, but nobody captures the specific "vulnerability-as-strength" vibe like the original.
Aretha’s version, which appeared on her 1981 Love All the Way album, is powerhouse stuff. It’s soulful. It’s churchy. But Diana’s version feels like a private conversation you’re eavesdropping on. That’s the magic of the Ross delivery—she makes you feel like she’s telling you a secret.
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The Impact on the "Diva" Narrative
We use the word "diva" so loosely now. Back then, for Diana Ross, it was a brand and a burden. It's My Turn by Diana Ross helped shift the narrative from "difficult superstar" to "autonomous woman."
The song arrived during a period of massive personal change for her. She was finishing her contract with Motown, the only professional home she’d ever known since she was a teenager in the Primettes. Berry Gordy had guided every move she made. This song was the sonic equivalent of her handing in her two weeks' notice.
It’s about the right to fail on your own terms. Most pop songs are about winning. This one is about the risk of trying.
How to Listen to It Today
If you go back and listen to the track on a high-quality stream or, better yet, find an original 7-inch vinyl, pay attention to the bridge. The way the orchestration swells right before the final chorus isn't just "big for the sake of big." It’s designed to feel like a breakthrough.
A lot of people lump this in with "easy listening" or "adult contemporary." That’s a mistake. It’s a protest song. It’s just a very polite, melodic protest. It’s the sound of someone politely but firmly closing a door.
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Common Misconceptions
Some fans think this was a Diane Warren song because it has that classic power ballad structure. Nope. It was Masser. Others think it was written specifically about her leaving Motown. While the timing fits perfectly, the lyrics were penned by Bayer Sager with a more universal "self-actualization" theme in mind. But let’s be real—Diana knew what she was doing when she picked it.
The song also marked a shift in how soundtracks worked. Before the eighties really exploded with MTV, a "theme song" like this was the primary marketing tool for a film. If the song was a hit, the movie had a chance. In this case, the song became a standard, while the movie became a trivia question.
Actionable Insights for the Modern Listener
To truly appreciate the depth of this era of Diana's career, don't just stop at this one track. Use these steps to contextualize the music:
- Listen to the "Diana" (1980) album first. Hear the disco energy. Then, immediately play "It's My Turn." The contrast tells the story of her versatility better than any biography could.
- Compare the Aretha Franklin cover. Listen to how Aretha emphasizes the "soul" while Diana emphasizes the "story." It’s a masterclass in how different vocalists interpret the same message of independence.
- Watch the 1981 Live in Central Park footage. While this song wasn't always the centerpiece of the high-energy outdoor shows, the ballads from this era show her ability to hold 450,000 people in total silence.
- Read Carole Bayer Sager’s memoir. She talks about writing for the greats, and you’ll get a better sense of how these "empowerment" anthems were constructed in a room before they ever hit a studio.
It's My Turn by Diana Ross remains a touchstone for anyone standing on the edge of a big life change. It’s a reminder that taking your turn isn't a gift someone gives you; it's a right you claim for yourself. Whether you’re quitting a job, ending a relationship, or just deciding to dye your hair a weird color because you felt like it, this is the soundtrack for that moment of "enough is enough."