(C) Daily Kos This story was originally published by Daily Kos and is unaltered. . . . . . . . . . . Black Music Sunday: A belated birthday tribute to Queen Latifah's long legacy [1] ['Backgroundurl Avatar_Large', 'Nickname', 'Joined', 'Created_At', 'Story Count', 'N_Stories', 'Comment Count', 'N_Comments', 'Popular Tags', 'Showtags Popular_Tags'] Date: 2023-03-26 Gloria Cooksey and Nicole Elyse wrote Queen Latifah’s bio at Musician’s Guide. Her parents, Lance and Rita Owens, separated in 1978. After the breakup, Latifah lived in High Court in East Newark with her mother, a schoolteacher. She also maintained ties with her father, a police officer. At age eight, she was dubbed Latifah--from the Arabic word for delicate and sensitive--by one of her cousins of Muslim background. She embellished her nickname with the "Queen" appellation on her own. The intellectually gifted Latifah first began singing in the choir at Shiloh Baptist Church in Bloomfield, New Jersey. She added popular music, especially rap, to her repertoire around the time she entered Irvington High School, where she also played power forward on her school's championship basketball team. Latifah's love of rap inspired her to form a group called Ladies Fresh along with two of her friends, Tangy B and Landy D. The trio sang in talent shows and made other appearances. They eventually changed their name to Flavor Unit. The three young rappers attracted the interest of a local disc jockey and basement record producer named Mark James, which led to a contract for Latifah with Tommy Boy Music in 1988. Tommy Boy released Latifah's first single, "Wrath of My Madness," and the record proved highly successful. By the time Latifah graduated Irvington High School and entered Borough of Manhattan Community College, her first two single releases already had sold 40,000 copies. Steve Huey continues her story for All Music. In 1989, Latifah's full-length debut, All Hail the Queen, was released to strongly favorable reviews, and the classic single "Ladies First" broke her to the hip-hop audience. In addition to tough-minded hip-hop, the album also found Latifah dabbling in R&B, reggae, and house, and duetting with KRS-One and De La Soul. It sold very well, climbing into the Top Ten of the R&B album charts. Latifah quickly started a management company, Flavor Unit Entertainment, and was responsible for discovering Naughty by Nature. Her 1991 sophomore album, the lighter Nature of a Sista, wasn't quite as popular, and when her contract with Tommy Boy was up, the label elected not to re-sign her. Unfortunately, things got worse from there -- she was the victim of a carjacking, and her brother Lance perished in a motorcycle accident. Latifah emerged with a new sense of purpose and secured a deal with Motown, which issued Black Reign in 1993. Dedicated to her brother, it became her most popular album, eventually going gold; it also featured her biggest hit single, "U.N.I.T.Y.," which hit the R&B Top Ten and won a Grammy for Best Solo Rap Performance. By this point, Latifah had already begun her acting career, appearing in Jungle Fever, House Party 2, and Juice, as well as the TV series The Fresh Prince of Bel Air. In 1993, she was tabbed to co-star in the Fox comedy series Living Single, which ran until 1997; during that period, acting was her primary focus, and she also co-starred as a bank robber in the 1996 film Set It Off. Important to recognize and address are Latifah’s contributions to the dialogue addressing misogyny. I suggest you read “Ladies First: Queen Latifah’s Afrocentric Feminist Music Video,” by University of Arkansas professor Robin Roberts in the African American Review’s Black Women's Culture Issue (Summer, 1994). It’s an in-depth examination of the feminist and afrocentric images, content, and impact of her video. Now that you know what to look for, check it out: Now that you know what to look for, check it out: x YouTube Video Lyrics here. Queen Latifah raps onstage circa 1990. “Ladies First” is also the first part of the title of Latifah’s 2020 autobiography. From the blurb for Ladies First: Revelations of a Strong Woman, written with Karen Hunter: ... how did Dana Owens, a young girl from Newark, New Jersey, become Queen Latifah and make it to the top of the charts? The most powerful voice in rap has always been quiet about her life. Until now. At once autobiographical and inspirational, Ladies First is the story of a young woman, making tough decisions and terrible mistakes -- about sex and drugs and about who was real and who wasn't -- before she was old enough to drive. It is about the reign of depression that descended on her after her brother's tragic death and how she found a sustaining love in God when it seemed the world was trying to break her. Ladies First is about being confident and sensual in a big, strong body and about blocking out the junk to let in the good. It is about how anyone -- whether from the poorest means or the richest -- can hold her head high in a world full of attitude. The rap and video that would make the most powerful Black feminist statement to the misogynist world of hip-hop/rap was “U.N.I.T.Y.,” from Latifah’s third studio album, Black Reign. “U.N.I.T.Y.” went on to win the 1995 Grammy Award for Best Rap Solo Performance—making Latifah the first woman to win that category. With a jazzy sax riff and Latifah’s melodic hook, the song is as catchy as it is meaningful. The video—which tackles scenes of street harassment and domestic violence—is great. x YouTube Video The importance of Latifah’s vocal feminism in the world of ‘90s rap and hip-hop and beyond cannot be dismissed. This song became an anthem for a lot of young women across the nation—and many of us older Black feminist sisters looked on and listened with approval. I will never forget her shouting out, "Who you calling a bitch?" or her repeated refrain directed at young women: “You gotta let him know: You ain’t a bitch or a ho.” The "U.N.I.T.Y." lyrics are a must-read: Uh, U.N.I.T.Y., U.N.I.T.Y. that's a unity U.N.I.T.Y., love a black man from infinity to infinity (Who you calling a bitch?) U.N.I.T.Y., U.N.I.T.Y. that's a unity (You gotta let him know) (You go, come on here we go) U.N.I.T.Y., Love a black woman from (You got to let him know) infinity to infinity (You ain't a bitch or a ho) U.N.I.T.Y., U.N.I.T.Y. that's a unity (You gotta let him know) (You go, come on here we go) U.N.I.T.Y., Love a black man from (You got to let him know) infinity to infinity (You ain't a bitch or a ho) Instinct leads me to another flow Everytime I hear a brother call a girl a bitch or a ho Trying to make a sister feel low You know all of that gots to go Now everybody knows there's exceptions to this rule Now don't be getting mad, when we playing, it's cool But don't you be calling out my name I bring wrath to those who disrespect me like a dame That's why I'm talking, one day I was walking down the block I had my cutoff shorts on right cause it was crazy hot I walked past these dudes when they passed me One of 'em felt my booty, he was nasty I turned around red, somebody was catching the wrath Then the little one said (Yeah me bitch) and laughed Since he was with his boys he tried to break fly Huh, I punched him dead in his eye and said "Who you calling a bitch?" (Here we go) U.N.I.T.Y., U.N.I.T.Y. that's a unity (You gotta let him know) (You go, come on here we go) U.N.I.T.Y., Love a black woman from (You got to let him know) infinity to infinity (You ain't a bitch or a ho) (Here we go) U.N.I.T.Y., U.N.I.T.Y. that's a unity (You gotta let him know) (You go, come on here we go) U.N.I.T.Y., Love a black man from (You got to let him know) infinity to infinity (You ain't a bitch or a ho) I hit the bottom, there ain't nowhere else to go but up Bad days at work, give you an attitude then you were rough And take it out on me but that's about enough You put your hands on me again I'll put your ass in handcuffs I guess I fell so deep in love I grew dependency I was too blind to see just how it was affecting me All I knew was you, you was all the man I had And I was scared to let you go, even though you treated me bad But I don't want my kids to see me getting beat down By daddy smacking mommy all around You say I'm nothing without ya, but I'm nothing with ya A man don't really love you if he hits ya This is my notice to the door, I'm not taking it no more I'm not your personal whore, that's not what I'm here for And nothing good gonna come to ya til you do right by me Brother you wait and see (Who you calling a bitch?) (Here we go) U.N.I.T.Y., U.N.I.T.Y. that's a unity (You gotta let him know) (You go, come on here we go) U.N.I.T.Y., Love a black woman from (You got to let him know) infinity to infinity (You ain't a bitch or a ho) (Here we go) U.N.I.T.Y., U.N.I.T.Y. that's a unity (You gotta let him know) (You go, come on here we go) U.N.I.T.Y., Love a black man from (You got to let him know) infinity to infinity (You ain't a bitch or a ho) What's going on in your mind is what I ask ya But like Yo-Yo, you don't hear me though You wear a rag around your head and you call yourself a "Gangsta Bitch" now that you saw Apache's video I saw you wilding, acting like a fool I peeped you out the window jumping girls after school But where did all of this come from? A minute ago, you was a nerd and nobody ever heard of ya Now you a wannabe... hard You barely know your ABC's, please There's plenty of people out there with triggers ready to pull it Why you trying to jump in front of the bullet (Young lady) Uh, and real bad girls are the silent type Ain't none of this work getting your face sliced Cause that's what happened to your homegirl, right? Bucking with nobody She got to wear that for life (Who you calling a bitch?) (Here we go) U.N.I.T.Y., U.N.I.T.Y. that's a unity (You gotta let him know) (You go, come on here we go) U.N.I.T.Y., Love a black woman from (You got to let him know) infinity to infinity (You ain't a bitch or a ho) (Here we go) U.N.I.T.Y., U.N.I.T.Y. that's a unity (You gotta let him know) (You go, come on here we go) U.N.I.T.Y., Love a black man from (You must let him know) infinity to infinity (You ain't a bitch or a ho) Barriers Latifah broke in the course of her career also include a historic “first” at the Super Bowl, as reported by Jacinta Howard for Rock the Bells. On Jan. 25, 1998, Queen Latifah became the first rapper to perform at the Super Bowl, performing at Super Bowl XXXII between the Denver Broncos and the Green Bay Packers at Qualcomm Stadium in San Diego. Already, Latifah's career had been full of milestones and accomplishments -- in television, film, and music. In 1998, she further solidified her icon status, appearing on stage with a slew of legends for "A Tribute to Motown's 40th Anniversary," including Smokey Robinson, Boyz II Men, Martha Reeves, and The Temptations. Grant it, she performed "Paper" from her 1998 album, Order in the Court, which features her flexing her singing skills, not rapping (the song samples the Motown classic "I Heard It Through the Grapevine" written by Norman Whitfield and Barrett Strong and made popular by Gladys Knight & The Pips and later by Marvin Gaye). Still, the 1998 performance was a significant move for Hip-Hop and Latifah, who made two more appearances at the Super Bowl performing "America the Beautiful" before the start of Super Bowl XLIV in 2010 and at Super Bowl XLVIII in 2014. Here she is at that 1998 performance; the video is queued to her entrance. x YouTube Video And the aforementioned “America the Beautiful” in 2010, backed by a choir of children from her home state of New Jersey. x YouTube Video RELATED STORY: Black Music (Super Bowl) Sunday: Prince was awesome in the rain, but don't forget these Black bands For jazz fans, check out the album released in 2004 under her birth name: The Dana Owens Album. As Andy Kellman wrote in his review for AllMusic: The hooks on the rap records indicated it could be possible, the roles in Living Out Loud and Chicago made it possible -- the first record in which Dana Owens, better known as Queen Latifah, does nothing but sing. On The Dana Owens Album, she takes on vocal standards and an unlikely array of blues, pop, and soul classics that were adaptable to this intimate setting. The worst thing about it? It makes you upset that it isn't her seventh or eighth record in this vein. She even covers one of my favorite ballads, “Moody’s Mood for Love.” x YouTube Video Just three years later, in 2007, Latifah released another not-rap album, Trav'lin' Light, reviewed here by All Music’s William Ruhlmann: Trav'lin' Light, Queen Latifah's follow-up to her first collection of pop standards, The Dana Owens Album (2004), is, if anything, even better than that Grammy-nominated set. Contemporary performers often get into trouble when they take on music of the pre-rock era, but this one, who is by now so far removed from her origins that she probably should be referred to as a former rapper, not only has the vocal talent to carry it off, she also has put in the hard work with producers, arrangers, musicians, and (no doubt) a vocal coach to create a more-than-credible album. Previously, Queen Latifah made the jump from rapper to Oscar-nominated actress, and her acting classes also seem to have come in handy here. In song after song, she has come up with a character to portray through the lyrics, and that helps make her interpretations convincing. Sometimes, it is the songwriters themselves she seems to be channeling. "Poetry Man," the leadoff track, is not far removed from Phoebe Snow's original, although Queen Latifah wisely undersings where Snow elaborated. I’ve always been a fan of Phoebe Snow’s “Poetry Man,” and I have to agree with Ruhlmann: This cover by Latifah is superb. x YouTube Video Janine Coveney at JazzTimes also reviews the album, and gives a look into how it came about. Latifah says that she did “Poetry Man” for her mom, a major Phoebe Snow fan. “Certain songs I know my mom likes so I record them with her in mind, sorta like my little dedications to her,” she explains. [Producer Ron] Fair calls Latifah’s recording of the Snow hit “one of the most magical records I’ve ever done.” Songs like “I Love Being Here with You” and “Quiet Nights and Quiet Stars” (also known as Jobim’s “Corcovado”) came up as suggestions during the recording of The Dana Owens Album. “‘Quiet Nights and Quiet Stars,’ I love that song, but I fell in love with that song in Portuguese, so I wanted to do the English version,” says Latifah. Queen Latifah’s rise to respected singer and beloved media personality is now almost 20 years in the making. After making her mark in the world of rap, a medium very much about social immediacy and verbosity, Latifah’s laidback singing talent seems a surprise. That she would go from earning the first female rap Grammy (for 1994’s “U.N.I.T.Y.”) to performing music from the 1920s through the late ’70s is even more astonishing, as she tackles material made famous by Billie Holiday, Sarah Vaughan, Etta James and Peggy Lee with seeming ease. “The album title could have been Who Knew?” says Fair, laughing. “She’s extraordinary to be a black female in this society and rise from where she did, to being one of the leaders in hip-hop music, for her run through recording and a Grammy and being a producer, and TV and movies, and all this time, trapped in there, is this singing ability and the ability to interpret song.” Latifah’s musical artistry hasn’t been limited to albums; it’s been spotlighted multiple times on film. Her “Lush Life” in the 1998 film Living Out Loud is a superb interpretation of the Billy Strayhorn classic. x YouTube Video From the YouTube notes: From the movie "Living Out Loud." This clip from the DVD's "deleted scenes" includes both the 1st half of the song, which was omitted from the movie, due to length, as well as the 2nd half. Film directed by Richard LaGravanese. Song produced and arranged by Mervyn Warren. Latifah won a Golden Globe and was nominated for an Oscar for her role in the 2002 film Chicago, in which she played Matron “Mama” Morton. x YouTube Video 2007 found her acting and singing in the film adaptation of Hairspray. x YouTube Video One of my favorites was her role alongside of Dolly Parton, Keke Palmer, Jeremy Jordan, and Courtney B. Vance in the 2012 film Joyful Noise, which gave Latifah the spotlight to exercise her gospel chops. x YouTube Video She moved from gospel to blues when in 2015, Latifah received kudos for her portrayal of blues singer Bessie Smith in the HBO film Bessie—for which she received a Primetime Emmy Award for Outstanding Television Movie. Here’s a look behind the scenes. x YouTube Video She teamed up with Trombone Shorty for this "Preachin' The Blues" performance in 2016. x YouTube Video I’ve made my point about Latifah’s versatility and the sheer magnitude of her diverse, impressive career. And I didn’t even touch her two talk shows—one that premiered in 1999 and one that premiered in 2013. Both ran for two seasons. It was great to see this recent interview with the Queen on the Jimmy Fallon show—talking about the recent Grammy Tribute to Hip-Hop, and also about her Grammy for” U.N.I.T.Y.”. Queen Latifah performs during the 2023 Grammy Tribute to Hip-Hop. As Latifah notes, the rap awards weren’t even televised as part of the big show back then—a stark contrast against this year’s massive tribute. x YouTube Video Join me in the comments for more—and I hope you’ll share your Queen Latifah favorites! 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