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Sister Souljah Reveals Status Of "Coldest Winter" Movie, More Books

What do you feel that this book will accomplish that the first Midnight didn’t?

I don’t really look at it that way⎯like this one will accomplish something that the first one didn’t. I love Midnight a Gangster Love Story and in fact, at the time that I wrote midnight, it was my favorite of all three books that I had written so I don’t think that Midnight a Gangster Love Story failed to accomplish any thing. I think that Midnight a Gangster Love Story, which is a book that made me a New York Times best selling author, was just solid and credible and deep feeling and moving, so I don’t look at comparing the two stories that way. I just look at it as an artist, as an author⎯that every time that I put out a book it should be better than the last one and I think that that’s what I’m sticking to.

Going back to the street lit term, how do you feel about how popular the genre has become in terms of so many different authors putting out books and getting more exposure?

Actually, I can’t give you a genuine feeling because I don’t read it. I’m a huge reader of nonfiction. I really love autobiographies and biographies and I love to read about foreign countries and languages and cultures, so that’s the heaviest concentration of my reading⎯nonfiction. If I pick up fiction it’s always has to be something that’s teaching me something that I don’t already know, so that’s kind of my criteria for my writing and my criteria for my own personal reading. I can just say that I’m happy that a lot of African people have been introduced⎯their writing has been introduced into the world of literature, which I think is excellent. I think that every library and every bookstore can have such an incredible selection of books because I think different people connect to different things, characters, and they can have choices. So I’m glad that other African authors are in the field of literature because I think it’s a good field to be in and I think it’s providing good choices for the readership.

What are some of the challenges that you’ve dealt with as a Black female author?

I think just making people understand that what you’re writing is literature and having it placed properly in the bookstore, so that when they see the category of literature, or just fiction, or American Fiction, that it’s there. I think it shouldn’t be that some one has to walk to the back of the bookstore in the deepest darkest corner to find literature written by an African author. That’s pretty much it but as far as handling my business, I handle my business at a quality level because I just don’t accept anything less, so I haven’t really had a problem with that.

There was buzz about a Coldest Winter Ever movie for years. What’s the status of that?

I still own the film rights to Coldest Winter Ever and I haven’t found the business package that I’m satisfied with yet. When I do, there will be a film but until then, I try to do everything in a very proper order⎯a very common sense order like, 1-2-3-4-5 and I try not to get swept away by things that Hollywood tries to sweep people away with like, “Don’t you just want to see your name on the big screen?” And “Don’t you want to see your face?” And “Don’t you want this story to be called…” and just trying to appeal to an author’s egos, or an author’s insecurities and then they try to short change them on the business package. I’m not really interested in any of that. I’ve handled all my work and business from the beginning to the end and I think if you don’t handle it that way you wont be respected.

What ‘s your ideal situation for this movie to happen?

I wouldn’t really articulate my ideal business scenario in an interview because that’s a whole different situation. My business is private. The point where the reader comes in is if they decide whether they want to watch the film or not, which I hope they’re still interested in it.

What else are you working on?

I’m coming out with the Porsche Santiaga story next.

Winter’s little sister?

Yeah. That’s the next book I’m coming out with, hopefully some time within the next year and a half.

Is there anything you want to add?

I would be grateful if you could put in the article that people can find me at Sistersouljah.com and when you spell “Souljah,” don’t leave the h off because that’s why a lot of people can’t find me. And also to let them know that I’m on twitter and my twitter @SouljahBook

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Music Sermon: The Groundbreaking Sprite and St. Ides Hip-Hop Campaigns

Today, rap music is used to sell everything from electronics to tax filing services to nut butter grinding machines at Whole Foods. We understand that hip-hop culture is essentially the root of everything cool and hip in culture, period, and it’s been commodified and appropriated within an inch of its life. But in the early ‘90s, the genre was far from Madison Avenue-friendly. Aside from the groundbreaking deal between Adidas and RUN DMC, brands didn’t yet see full value and impact of hip-hop…except in the food and beverage industry.

Beverage companies centering campaigns for the urban demo around black music was nothing new; Coca-Cola had ads featuring artists such as New Edition and Anita Baker singing their hearts out for the cola in the ‘80s, and Schlitz Malt Liquor had a legendary – and hilarious - run of spots featuring The Commodores, The Four Tops, Teddy Pendergrass and more through the ‘70s and early ‘80s. However, in the early ‘90s two brands put their entire business on hip-hop’s back, by not only building their brands but spring-boarding the recognition of the music and artists as a marketing and advertising tool: Sprite soda and St. Ides malt liquor.

In the ‘80s, Sprite was languishing behind competitor 7Up when parent company Coca-Cola decided to focus on the youth market, and the quickly growing hip-hop culture was part of the strategy. African-American ad agency Burrell Communications tagged hip-hop acts for a series of spots that began a long-standing marriage between the brand and the culture, starting with Kurtis Blow in 1986. It was one of the first national TV ads to feature a rapper.

KURTIS BLOW - 1986

In 1990, the brand kicked off the “I Like the Sprite in You” campaign, using rap acts that matched the soft drink’s bubbly energy, starting with Heavy D & the Boyz before partnering with Kid ’n Play the following year. The ads featured the artists clad in lemon-lime fare, rhymin’ about lymon.

HEAVY D - 1990 KID’N PLAY – 1991

With Kriss Kross, they turned it up a notch and had us crunk inside the Sprite can. Edgy. Also, this was catchy as hell.

KRISS KROSS - 1993

Then in 1994, a young brand manager from Clark Atlanta University named Darryl Cobbin had an idea for a new direction: Gen X was about authenticity and independence of thought, not following the hype. Sprite ditched the pop-friendly crossover acts and identified more “authentic” rap artists – lyricists with street and cultural cred – to rep the brand. “Lymon” was also out of the window, as they moved away from marketing taste and towards marketing attitude. (Cobbin later spearheaded the iconic, yet grammatically questionable, Boost Mobile “Where You At?” campaign.)

Gone were the bright yellow and green sets, because while the new slogan said, “Image is nothing,” it was all about image. Bright and shiny was traded for dark and gritty. Now we were in the studio; a fly on the wall for freestyle sessions. In the first spot of the series with Grand Puba and Large Professor, Puba closes with “First thing’s first, obey your thirst.” It’s legend even within Coca-Cola that Puba ad-libbed the phrase that then became the brand’s tagline that remains to this day.

GRAND PUBA & LARGE PROFESSOR - 1994 PETE ROCK & CL SMOOTH – 1994 A TRIBE CALLED QUEST – 1994

The “Obey Your Thirst” spots also took us the street corner, the club, and inside the ring when Sprite resurrected the legendary KRS One vs. MC Shan battle.

KRS ONE & MC SHAN - 1996 NAS & AZ – 1997 THE LOST BOYS – 1997

By the late ‘90s Sprite had spent roughly $70M on the “Obey Your Thirst” campaign, tripled sales, and commanded a majority market share of the citrus category (which also included 7Up, Sierra Mist, and Mountain Dew).

Sprite had also succeeded in becoming an official and established part of the culture. They were family. The brand further expanded into urban youth culture through a partnership with the NBA, while continuing to evolve the creative of the rap campaigns.

KOBE BRYANT, TIM DUNCAN & MISSY ELLIOTT – 1998

Near the end of the decade, Sprite explored the overlap between hip-hop culture, comics and martial arts with a series of posse spots based on Voltron (representing all hip-hop regions) and the 5 Deadly Venoms (with all female emcees).

VOLTRON SERIES - 1998 5 DEADLY VENOMS SERIES – 1999

Over the years, Sprite has continued to be one of the most consistent brands in hip-hop. We’ve grown accustomed to spotting the logo everywhere from music festivals and shows to the background of BET’s hip-hop cyphers. They revitalized the “Obey Your Thirst” campaign with Drake in 2010 and paid homage to the greatest lyricists in rap with the “Obey Your Verse” campaign featuring iconic rappers and cans with classic lyrics in 2015.

SPRITE "Obey Your Verse - Cooler" (starring Rakim) from SHOUT IT OUT LOUD MUSIC on Vimeo.

St. Ides’ run with hip-hop doesn’t have the same happy ending as Sprite’s. The brand’s usage of rap petered out in the mid-90s after wide backlash and a series of lawsuits.

For St. Ides, hip-hop was the brand campaign. It’s how they built their business. The brand was introduced in 1987 and their rap campaigns launched in 1988. The malt liquor 40 oz., with significantly higher alcohol content than beer at around a $2 price point, was already a staple in lower-income neighborhoods and hip-hop culture. The “Crooked I” capitalized on that.

Parent company McKenzie River secured Ice Cube as their anchor spokesperson and tapped West Coast producer DJ Pooh to spearhead advertising creative. Pooh lined up a veritable who’s who of additional West Coast rappers over the years, including Geto Boys, Cypress Hill, Warren G, Snoop and Tupac; plus the thorough-est from the East, including Eric B and Rakim, Wu-Tang Clan, Biggie and EPMD.

EPMD & ICE CUBE - 1991 GETO BOYS & ICE CUBE – 1992 ERIC B & RAKIM - 1992

Unlike Sprite’s campaigns which were first jingles and still felt like commercials, even when elevated to trading hot bars for Obey Your Thirst. St. Ides spots, however, looked and felt like straight up music videos with album-worthy production and flow.

ICE CUBE – 1993 MC EIHT – 1994 NOTORIOUS B.I.G. – 1995

Complex even named Wu-Tang’s St. Ides spot “Shaolin Brew” as one of the collective’s 100 best songs! (But at least it’s ranked near the bottom; #97.)

WU-TANG CLAN - 1995

In fact, in 1994, the brand did turn the hottest of the joints into an album, with the St. Ides promotional mixtape dropping at your neighborhood liquor store. It featured full-length songs about getting twisted off the malt liquor from Ice Cube, Wu-Tang Clan, Scarface, MC Eiht, Snoop Doggy Dogg, and Nate Dogg.

The Snoop and Nate track is low key a jam, still. Homegirl in the background starting at the 10-second mark is a whole mood.

This blatant marketing of malt liquor directly to black and brown youth wasn’t going to go unchecked indefinitely. It was all irresponsible, even while being genius for the demo. In 1991, the Wall Street Journal listed the St. Ides ad campaign among one of the worst of the year, which probably didn’t matter at the time since WSJ readers weren’t St. Ides’ base.

In 1991, Public Enemy released Apocalypse ’91: The Empire Strikes Back. The album featured “100 Bottle Bags,” a direct criticism against malt liquor companies marketing specifically to urban communities “…but they don’t sell that sh*t in the white neighborhoods.” Shortly after the release, St. Ides found itself in Chuck D’s crosshairs, and he fired the first in a series of big shots against the brand, marking the beginning of the end of their love affair with hip-hop. An 80-second radio spot featuring Cube used a sample of Chuck’s voice without his permission. The ad had already aired over 500 times on rap radio shows when Chuck sued St. Ides parent company McKenzie River for five million dollars (they settled out of court).

Then, St. Ides and McKenzie River fell under legal scrutiny from the New York State Attorney General in 1992 for using verbiage like Cube’s lyric “Get your girl in the mood quicker, make your jimmy thicker…St. Ides.” to suggest the malt liquor increased sexual prowess. Can you imagine the think pieces if that spot ran today?

They were later in hot water with the New York AG’s office again, along with the Bureau of Alcohol, Firearms and Tobacco (the ATF) for advertising perceived to the be targeted towards minors, with complaints that it glamorized gang affiliation and promoted sex. After having production completely shut down for a short while and getting hit with heavy fines, St. Ides tried to clean up its act, adding “drink responsibly” messaging into the spots.

By ’96 the run was over. Hip-hop was growing up, getting money and moving towards more sophisticated alcoholic beverage choices. Alizé and Hennessy, anyone?

The relationship between hip-hop and alcohol never ended, of course, but has continued to evolve to match the evolution of the lifestyle. We don’t go to the corner store no more, homie (save a brief return in the early aughts of Four Loko). We’re toasting to the good life with premium brands, some of which are now owned by the artists.

We can look back now with the wizened, woke eyes of maturity and possibly scrutinize our artists selling out at the expense of the community, but for the young and burgeoning hip-hop culture, both the St. Ides campaigns and the Sprite campaigns opened the door for the power and commodification of hip-hop and consumer brands. For better or for worse.

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Police Forced A Bronx Woman To Give Birth While Handcuffed

A Bronx woman who was 40 weeks pregnant went into labor while in a holding cell. The police then took her to a local hospital where her wrists were handcuffed to the bed and her ankles shackled. The doctors at Montefiore Medical Center urged the patrolling guard to remove the restraints stating it would harm the mother, but the guard persisted.

According to a lawsuit filed, the woman has asked to remain anonymous. “I haven’t made sense of it myself and I’m not ready to explain it to my child,” she said in an affidavit.

The woman was 27 at the time endured an hour of excruciating labor pains before the guard relented and freed one of her arms. Jane Doe was only fully free nine hours after giving birth.

“The fact that pregnant women and women in labor would be subject to the most draconian treatment imaginable, particularly when they stand accused of a misdemeanor, speaks volumes about the macho culture of police departments and corrections,” Donna Lieberman, executive director of the New York Civil Liberties Union, said.

A judge arraigned Jane Doe in her hospital bed for violating a protective order. The woman's lawyer Katherine Rosenfeld explained to the New York Times the order stemmed from a protective-custody case involving her former partner. Ms. Doe spent almost 30 hours in protective custody.

“The fact that they disregarded the medical advice of doctors suggests that they didn’t use any humanity and sort of blindly followed what they perceived to be the policy in the Patrol Guide,” Ms. Rosenfeld said.

READ MORE: The Federal Government To Launch Database Tracking Deadly Police Encounters

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A Man Claiming To Be El Chapo's Nephew Threatens To Have Tekashi Mother Deported

In the never-ending saga of Tekashi 6ix 9ine, The Daily Beast has obtained a voicemail recording of a man alleging to be El Chapo's nephew and using the proposed connection to threaten the rapper's mother with deportation.

“His brother lives there. His mother lives there. She don’t even have no f**king papers,” he can be heard saying.

Jose Avila left a 49-second voicemail on Nov. 15 after the rainbow hair rapper failed to show up to an appearance he was promoting in Austin, Texas. At the time, Tekashi was on probation for a sex video stemming from 2015 involving a 13-year-old girl. Avila threatened to use his connection to have Tekashi placed in jail.

“I know a lot of government people and I’m going to send his ass to jail if he doesn’t come to Austin, Texas, today. He f**king makes me lose money already.” Avila said. "He needs to f***king come and be a fucking man. Or I’ll put his ass in jail.”

Reportedly, Tekashi wasn't made aware of the threats of imprisonment, but he did know of the supposed family connection because Avila texted Tekashi's booking manager, Tasea Ferguson.

“My uncle [is] in New York,” Avila reportedly texted. “Guzman Loera... My uncle sons control all USA.”

El Chapo's full name is Joaquin Archivaldo Guzman Loera and he's currently on trial in Brooklyn. The allegation Avila leveled proved to be false. El Chapo's attorney Jeffrey Lichtman denied knowing of any nephew by that name.

When Tekashi, real name Daniel Hernandez, finally got in contact with Ferguson, he was brought up to speed and took to social media to announce he wouldn't be in Austin, Texas that evening.  “I spoke to the promoter, Jose Avila with Avila Music. We are going to be in business. I am coming back to Austin, Texas.”

Surprisingly, after Tekashi was taken into federal custody on racketeering charges, the Daily Beast reports Avila was in the courtroom and doted upon Tekashi's mother, who is often referred to as Nati. He even posted a picture with him. In the coming weeks, Availa also claimed he was Tekashi's manager. A source close to the rapper quickly dismissed the comment.

"There’s nothing to manage. Danny’s in jail.”

READ MORE: Mos Def Calls Tekashi 6ix 9ine  The Most Depressing Sh*t He's Ever Seen

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