Transformers: Queen Latifah
Queen Latifah in 1989
In 1988, there was a dawning of a new era as far as women in hip-hip were concerned. Unlike some of her more scantily-clad contemporaries, Latifah brought home a message of empowerment and liberation, kente cloth and all. Her seminal 1999 debut 'All Hail to the Queen' was a juxtaposition of hard-edged East Coast hip-hop beats, old soul samples, reggae riddems and thought provoking lyricism. The critically acclaimed Tommy Boy Records set spurred a string of club and radio favorites, including 'Ladies First,' 'Wrath of My Madness,' and 'Come Into My House.'
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The Queen in 1991
Though she also had supporting roles in movies such as 'House Party 2,' and 'Juice,' Latifah struck a chord in Hollywood with Spike Lee's controversial 'Jungle Fever,' in 1991. In the racially-charged movie, which starred Wesley Snipes, Annabelle Scoria, Samuel L. Jackson, Ruby Dee and Ossie Davis, Latifah made the most of her moments on screen, she portrayed a true WWA (Waitress With Attitude). Her no-holds barred character served up more than soul food at Harlem's legendary soul food haunt, Sylvia's.
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1991: The Queen's Year for Big Things
On the business-front, Latifah took control off her destiny co-founding Flavor Unit Entertainment with childhood friend Shakim Compere in 1993. The company, which was housed in reconverted firehouse in Newark, not only served as Queen Latifah Central -- it also helped launch the musical careers of rugged rapper Apache, platinum-selling hip-hop trio Naughty by Nature, and neo-soul's dynamic duo Zhane. Throughout the years, Flavor Unit would manage a stable of urban music notables, including OutKast, Faith Evans and Monica. The company would also expand into other genres of entertainment, producing TV and film projects, and an Sony Music-distributed imprint.
1994: On to Motown
For her 1993 Motown Records debut, 'Black Reign,' Latifah let her true voice be heard -- literally. The gold-selling opus, which fused jazzy instrumentation with Latifah's melodic trademark prose, helped set the stage for the neo-soul sound that blew up a few years later through artists such as D'Angelo, Erykah Badu, Jill Scott and Lauryn Hill. While she poured her heart and soul out on the touching ballad 'Winki's Theme' -- an ode to her late brother Lancelot Owens, Jr. -- the set's biggest single 'U.N.I.T.Y.' became her signature song, and also garnered a Grammy Award (for Best Rap Solo Performance).
1995: The Jump to Hollywood
In 1993, Latifah made the jump to Hollywood in a major way -- leading up the cast of Yvette Lee Bowser's 'Living Single.' The FOX Network sitcom became and instant hit among black television viewers, further proving that Latifah was a natural in front of the camera. As Khadija James, a flourishing urban magazine editor Khadija, she brought much 'Flava' to the boob tube. Seasoned sitcom pros Kim Fields ('Facts of Life'), Kim Coles ('In Living Color') and Erika Alexander ('The Cosby Show') rounded out the cast of the multiple NAACP Image Award winning show.
On-screen Gangstarr
In 1996, Latifah jumped through the screen with her daring role as Cleopatra "Cleo" Sims in the drama 'Set It Off.' As the bold and brazen lesbian -- whose sexuality served as her badge of honor -- the plaited-coiffed character was the ringleader of an intricately designed all female, all black bank-robbing scheme. Made for $9 million, the F. Gary Gray-directed flick broke form from the usual urban movie fare, and wound up grossing nearly $40 million dollars. Having in-demand actresses such as Vivica A. Fox, Kimberly Elise and Jada Pinkett as a part of the ensemble made for picture perfect box-office fare.
Talk Show Queen
From 1999 through 2001, Latifah served as the host of her nationally syndicated television talk show, 'The Queen Latifah Show' -- during the period where they were at its all-time high in the industry. For her show, she took the high road and dealt with social issues affecting its target young, urban demographic. Around the time of the show's debut (on most FOX stations), Latifah made her literary debut with the memoir 'Ladies First: Revelations of a Strong Woman.' Written with Pulitzer Prize winning journalist/biographer Karen Hunter and published by Harper Collins, the hardcover instilled messages about confidence and positivity, while also tracing Latifah's hood rich roots.
It's Oscar Time
As Matron Mama Morton, Latifah brought much spunk to the role of the head diva in charge in 2002's 'Chicago.' Originally written for a white woman, she reportedly beat out Bette Midler and Rosie O'Donnell for the part -- and it was well worth it. For her work in the big screen adaptation of the long-running Broadway musical, which starred Rene Zelwegger, Catherine Zeta Jones, Richard Gere, John C. Reilly and Taye Diggs, the Newark native channeled her best Pearl Bailey and shimmied it up for the masses -- helping make the movie a box-office hit. Along the way, she picked up a few awards and honors, including the most coveted: an Oscar nomination for Best Supporting Actress.
The Walk of Fame
In 2004, Queen Latifah released her debut jazz project, aptly titled 'The Dana Owens Album.' The set, featuring covers of songs popularized by The Mamas & The Papas, Nina Simone, Bill Withers and Al Green. 'Album' was nominated for a Grammy Award for Best Jazz Vocal Album. A year later, she took her show on the road; for the sell-out The SugarWater Festival, she pared with Neo Soul high priestesses Erykah Badu and Jill Scott as co-headliners.
The Queen as Cover Girl
As the newest CoverGirl model, Latifah has gone where no other has gone before. Not only does she represent the cosmetics giant as a big, beautiful woman of color, she also is the face of her own CoverGirl brand: The Queen Collection, which is geared towards women of color. "I stand behind companies I believe in, and I get involved in projects where I know I can make a positive impact," she said in an interview about her deal. She's now in a league with former CoverGirl spokeswoman Christie Brinkley, Tyra Banks, Faith Hill, Drew Barrymore, Rihanna and Brandy. Procter & Gamble (CoverGirl's parent company) isn't the only corporation feeling Latifah; she also can be heard in Pizza Hut commercials and is the spokeswoman for Curvation, a full-figured apparel brand.
Ledisi
'Blues in the Night'
For this hearty and robust tour-de-force, this New Orleans-born, Oakland-bred vocal powerhouse lets it all hang out for what some consider to be the collection's most prized work. Ledisi, a neo-soul musical wunderkind on-the-rise, recently made this vampy track --about what her "mama done told" her -- a part of her live repertoire. And her continually growing fan base just eats it up. Though her approach to the material has a new and contemporary feel, it's steep in rich, full-bodied emotion. "Being apart of the Ella Tribute is not only an honor but a dream come true for a southern girl like me who grew up in a city known for being the heart of jazz," she said. "Ella was and still is the heart of jazz -- the "ultimate" jazz vocalist. I'm proud that others considered me worthy enough to be apart of such an exquisite body of work. I am eternally grateful."
Linda Ronstadt
'Miss Otis Regrets'
The leading lady of the post 60s rock era has simmered down in her older age. And that's a good thing. For this somber and suspensful tune -- about a velvet-dress wearing woman who is hanged for killing her lover, but sends her regrets to her female lunch companion -- Linda Ronstadt offers a sweet, endearing storytelling quality that draws in the listener. In a 1985 interview with 'Downbeat' magazine, the Grammy, Emmy, Tony and Golden Globe Award winning singer, songwriter and producer spoke highly of Fitzgerald: "My favorite singers are always the ones who pay the most respect to the melody -- who can riff, but basically are kind of restrained," she said. "Ella is really terrific at that- she sings the melody very, very clearly, and then every once in a while she makes an excursion to another planet."
Gladys Knight
'Someone to Watch Over Me'
"Ella was the sweetest and most beautiful person as a talent and as a human being," Gladys Knight recently beamed about Fitzgerald. The seven-time Grammy Award winning R&B veteran, who was recently announced as the recipient of the 2007 Ella Award -- for her philanthropic endeavors, sings this dreamy George and Ira Gershwin classic with much verve in the classy and relaxed fashion she's been known for throughout her 60 year career. "I cared, respected and loved that lady," Knight said in a recent interview. "She was so....you haven't met a person more down to earth than her with all of her talent....with all of her skills... I was so in awe of her."
Etta James
'Do Nothin' Till You Hear From Me'
On this classic Duke Ellington composition, which has been sung by nearly everyone from jazz blues legend Billie Holliday to British rocker Robbie Williams, Etta James delivers the gusto and turns out a most soulful rendition. Known for her timeless romantic anthem, 'At Last,' the 70-year-old soul siren has paid tribute to Fitzgerald --via song-- with previously released renditions of her classics.
k.d. lang
'Angel Eyes'
"I brought an Ella record probably when I was 20 and I studied it, just studied it," the androgenous Canadian singer k.d. lang shared. And she proved a great study, too. Who knew this modern day song stylist had so much soul? For this melancholy Fitzgerald standard, the four-time Grammy Award winner proves she can stand with the best of them. The lush instrumenation bodes well for lang, mostly known for her country and pop material. "...One of the things I love about Ella so much is the texture and the tone, where she chooses to sit the note, it's exciting...To me, she's just like one of the greatest musician's singers there is."
Michael Buble
'Too Close for Comfort'
Michael Buble took the American music scene by storm with his sparkling 2003 debut, which fused his soulful pop flare with classic jazz standards. He's like a third coming of Frank Sinatra with a touch of Harry Connick, Jr. For his efforts, he's topped music charts, won Juno Awards and sold millions of albums. He seems to be right at home with the aforementioned musical greats paying homage to Fitzgerald's legacy. Of that, he said, "the color in her voice, her intimation, her feel, it's just scary when you hear it because she's marvelous." The Vancouver crooner went as far to say that he wishes "she was still around now because I'll pay anything to just go sit through a set and watch everything she does."