The bodies of two Houston women, a lesbian couple, were discovered near a dumpster in Galveston County, Texas. Crystal Jackson and her girlfriend Britney Cosby, both 24, had been together for two years and lived together. Their bodies were found Friday morning next to a convenience store dumpster, reports Houston’s ABC 13.
Relatives say the two women went to Galveston for Mardi Gras. Detectives believe they were killed elsewhere and their bodies moved. Reports also indicate that they were murdered in different ways. It’s currently unclear whether this was a hate crime or there was some other motive for the murder.
“That was her girlfriend, that was her soulmate,” James Randle, neighbor to Britney Cosby, told ABC.
Investigators are looking for a silver 2006 Kia Sorrento with paper tags–a car the couple recently purchased together. It is missing and whoever took it may be the same person who took their lives, reporters say.
Anyone with information regarding the victims’ deaths or the stolen vehicle is asked to call the Galveston County Sheriff’s Office tip line at 866-248-8477.
Chiwetel Ejiofor on his short film, which focuses on how the wealth generated by a mineral mined in the Democratic Republic of the Congo remains out of reach of the country’s people
Earlier this year , I was on stage at London’s Young Vic playing Patrice Lumumba – a remarkable man who made a remarkable journey from being a beer salesman to the Democratic Republic of the Congo’s first prime minister. The play was called A Season in the Congo, and it focused on the years in which the country won its independence from Belgium. Lumumba was elected to office in June 1960; less than three months later, he was ousted in a coup. The following January, he was killed by firing squad. The plot was almost certainly organised with the backing of Belgium and the US.
The play, by the Martinique-born writer Aimé Césaire, made me think – about the relationship between African nations and western ones, about the violent history of Congo and its struggles to deal with its past. As I started working on a script for the short film that would become Columbite Tantalite, I knew that I wanted to weave in the firsthand experiences I’d had travelling to Goma and Kinshasa, and draw on the wider politics of the region. Though my story would partly dwell on Congo’s past, I wanted it to be set in the present. Congo now and Congo then.
Without giving too much away, the story focuses on a character who has made a life out of coltan and his attempts to come to terms with his past. Interwoven with this is another strand, which focuses on a new computer game that’s being developed, a game so lifelike that it’s almost like stepping into another world. The young guy promoting the game has no sense at all of how he’s involved in the wider scheme. Indeed, the idea that he is connected to a conflict in a remote part of the world would seem absurd.
But, in a way, that’s what was interesting to me: the capitalist system itself being almost like a game. A game with winners and losers, a game that has had terrible, devastating consequences for so many people in the world. A game that we all play, and in which we manage to silence the horrors that implicate us.
During the 15th to 19th Century, the island of Gorée in Senegal was known as the ‘largest slave-trading centre on the African coast’. The Island of Gorée testifies to an unprecedented human experience in the history of humanity. Indeed, for the universal conscience, this “memory island” is the symbol of the slave trade with its cortege of suffering, tears and death. Located two miles from Dakar, the nations capital, Gorée ‘serves as a reminder of human exploitation’ and ‘a sanctuary for reconciliation’. Most of the Islands original structure is still in tact including the fortresses and castles that were built by the British, French, Portuguese and Dutch colonizers. Formally a resident of Dakar, French photographer Francoise Gaujour could see the silhouette of the Island through her window. Finally she was able to make a trip over to Gorée. As we can see from the following images (below), she captured the island in all its glory in a beautiful photoset that visualizes some of the islands original structures.
Image Source: ‘My Island’ by Francoise Gaujour Text Excerpt: UNESCO
Under the spell of Baduizm: The reigning queen of future vintage soul revisits her peerless career. God bless AmErykah.
Erykah Badu needs little introduction. Her seminal works like Baduizm and the New AmErykah series have successively upped the ante in terms of what can be done within the soul spectrum, fusing cosmic b-girl bravado and street-wise poetry with the forward-thinking sounds of producers like the Soulquarians collective, Madlib, Flying Lotus or Bonobo to create a sonically varied body of work selling millions of albums in the process. And it is not just on an economical level that her impact on hip hop and soul can only be measured by, say, mid-90s Mary J. Blige, although Erykah always made sure to save her strongest performances for her own recordings. When she’s not busy reminding contemporary r&b of its own intellectual and soulful possibilities, Erykah Badu heads up her own record label, Control FreaQ, and has even been caught on the ones and twos recently, under the mysterious DJ Lo Down Loretta Brown moniker.
The 90’s was truly a golden age for woman rappers. And like a many a 90’s nostalgist, I’m still stuck on the smooth, melodic rhymes of Lauryn Hill. Her seemingly effortless flow preached the empowerment of women and the love of self, but it was always clear she could give male MC’s a run for their money.
Submissions open October 15th 2014 to January 15th 2015
great weather for MEDIA seeks poetry, flash fiction, short stories, dramatic monologues, and creative nonfiction for our annual print anthology.
Our focus is on the fearless, the unpredictable, and experimental but we do not have a set theme for our anthologies. We highly recommend reading one of our previous collections to get a feel for the type of work we are interested in. Let us know in your cover letter how you found us, and any feedback on what we have done so far. We are based in New York City and welcome submissions from national and international writers. For submission tips, check out our interview on Duotrope.
Submissions are open from October 15th throughJanuary 15th every year. Need a reminder? Sign upto our monthly newsletter.
Beginning October 2014, we will be accepting work through Submittable only. Work sent via email or snail-mail will not be read. You may set up a Submittable account for free and we do not charge a reading fee. Your account will be created during the first step of the submission process.
Finally, please read the guidelines! We do tweak them each reading period in order to improve our submission and selection process.
We do not consider previously published work, whether print or online. This includes limited edition chapbooks and personal blogs.
If your work appears in our most recent anthology, please wait a year before submitting again.
Payment: One contributor copy, plus $10 for writers based in USA. International writers receive two copies.
1-4 poems of any length. If you are submitting more than one poem, include them all in one document. Do not submit multiple poems in separate files. Single-spaced please, or how it should appear on the printed page. Start each poem on a new page.
1 prose/creative nonfiction piece, 2 if under 500 words. Maximum word count: 2,500.
Please submit only once in each genre (poetry / prose)and do not submit again until you have received a response.
Simultaneous submissions are fine – just notify us with your good news immediately. If you wish to withdraw part of your submission, please log in to your Submittable account to add a note to your submission activity and list the title no longer available for consideration. If you wish to withdraw your entire submission, log in and update your Submittable account – instructions here.
We usually respond in 1-3 months. If you have not heard from us after four months, please contact us.
Copyright: great weather for MEDIA holds first serial rights for material that we publish. The copyright automatically reverts to the author upon publication. All work may be permanently archived online. We ask that great weather for MEDIA be acknowledged in any subsequent publication of the work.
All writers who submit are added to our monthly email newsletter. You are welcome to unsubscribe at anytime – no hard feelings!
An Intergenerational Feminist Media Studies: Conflicts and Connectivities
A special anniversary issue of Feminist Media Studies
Edited by Jessalynn Keller, Jo Littler and Alison Winch
This special 15th anniversary issue of Feminist Media Studies will explore the interconnections between different generations of women and girls in the contemporary media landscape, building upon several successful roundtables we convened around this topic in London in autumn 2014.
While feminism has become increasingly visible within western popular media cultures over the past few years, little scholarly attention has been paid to the ways in which age and generation shape mediated conversations about feminist politics globally. This collection will address this oversight, aiming to problematize dominant media representations of intergenerational “catfights” and feminist “bickering,” while simultaneously interrogating the ways in which mediated conflicts and connectivities shape the potential to work together to enact feminist social change.
We ask: What kind of shared conversations do women have across age groups and how do these circulate in media cultures in various global contexts? How can intergenerational alliances be built while still remaining sensitive to differences of experience? How are feminist connections being formed via digital media technologies and platforms? How do new forms of mediated activism over sexual violence, queerness, racism, and social reproduction relate to those of their predecessors? How is feminist conflict mediated and how might it operate productively? How do particular issues such as “sexualisation” become indicative of intergenerational conflict?
Considering these questions in relation to the growth of feminist media studies over the past fifteen years, this issue will simultaneously foreground how feminist media studies can contribute, and how it has contributed, to an understanding of such intergenerationality. How do different generations of feminist media scholars talk to each other? What impediments arise in these conversations? How do geographical and cultural locations impact these conversations? How do we theorize these generational divides and dialogues? Does an effective intergenerational feminist media studies exist, or do we need to invent or extend it?
Possible paper themes might include, but are not restricted to:
· the mediation of age and ageing
· feminist alliances within austerity and neoliberalism
· feminist ‘waves’ in transnational contexts
· intergenerational activism challenging global power inequalities
· the mediation of feminist conflict and crisis
· intersections of ‘race’, class, sexuality and generation
· generational politics within digital media cultures and practices
“You can be a 22 year old from Southside Stockton with a father in jail and mother who had you as a teenager, and still have a seat at the table.”
Back in March we first told you about the documentaryTrue Son when it had its world premiere at the 2014 Tribeca Film Festival. Well now the inspiring film is will be released this Friday in New York and in November 7th in Los Angeles.
True Son is the story of Michael Tubbs, a 22-year old Stanford University graduate destined for an affluent career in the private, tech or political sectors. But instead he returns home to Stockton, California, considered one of the worst cities in the United States and riddled with financial crisis and crime rates rivaling Afghanistan. Yet where everyone else saw hopelessness, Tubbs saw possibility. In 2012, he ran for City Council, building his campaign from the ground up by rallying hundreds of young Stockton residents between the ages of 14 and 21 to join his movement. In Kevin Gordon’s passionate and inspirational documentary he sets out to beat a politician twice his age and bring his community back from bankruptcy.
We caught up with Tubbs and Gordon to get more a more in-depth perspective on the film and each of their motivations in bringing this exciting story to film audiences.
Two years and one inspiring documentary film later you are still on the Stockton City Council. How has your life changed since then? And, has their been any effective change you’ve seen either in the city, the city government or the people of Stockton?
Michael Tubbs: I’ve learned that the words of Dr. Martin Luther King Jr. are so true when he said that, “change does not roll in on the wheels of inevitability, but comes through continuous struggle.” Over the past two years we’ve made some gains as a city but have a long way to go. Over the past two years, I’ve had a leadership role in creating an Office of Violence Prevention in the city, establishing a summer literacy program for youth in public housing, passing ban the box legislation (allows ex-offenders the opportunity to apply to work for the city), and piloted anti-recidivism back to work programs. I’ve also worked with community leaders to establish coalitions including: the Black Community Crusade, Alliance for Boys and Men of Color, and the Reinvent South Stockton Coalition.
Kevin, ‘True Son’ focuses on Michael’s evolution into a believable political candidate. What evolutions have you made as a filmmaker, fresh out of film school yourself, since making ‘True Son’ and getting it into the Tribeca Film Festival, among others?
Kevin Gordon: TRUE SON was the first feature length project for our whole team and it was definitely a learning experience. Just as Michael and his team were figuring out how to run a campaign, we were figuring out how to make a feature film. As invaluable as film school was for me, nothing can fully prepare you for the experience of making a feature. I came away with a much stronger connection to my filmmaking intuition and even more confidence to tackle the next project.
Michael, You seem very even tempered, but were there any moments during the filming, especially since your campaign’s inexperience was mirrored with a first time feature filmmaking crew, that the filming got too annoying to you?
Tubbs: During the hot summer months, campaigning was difficult enough and even more so with cameras following you around. Several times I would get frustrated with the cameras and found their ubiquitous presence incredibly annoying!
In other interviews Kevin, you mention ‘Street Fight’, but are there any other political documentary films or campaign films that inspired the final cut for ‘True Son’ – whether going with or against their styles?
Gordon: Before production began, I must have watched every major campaign documentary. Bits of each of them were probably bouncing around in my head at different times. My major takeaway was that many of those films focused on the people around the candidate or the opponent, but our strength laid in our intimate access to the candidate himself and his personal journey, so we made that the center of the film. We also wanted the city of Stockton and its challenges to be the main opponent so to that end we looked to other films that tackled urban crises, in particular The Interrupters, for models.
TRUE SON director Kevin Gordon
It’s mentioned that you have social justice ‘roots.’ Can you share what some of those are and briefly explain how they helped you in deciding to direct ‘True Son’?
After college I worked for a human rights group abroad and then spent three years working as an investigator on appeals for men on death row. It was my job to travel across California to interview our clients’ family members, friends, neighbors, teachers, and doctors – anyone who had ever known them – in order to put together a complete profile of who they were. The goal was to try to humanize them, contextualize their lives, and provide some explanation for their actions. It was a crash course in the realities of life for America’s underclass but tragically there was little we could do at such a late stage in our clients’ lives and these important stories were buried in court archives instead of being shared with the public. Frustrated with the law, I turned to filmmaking as a more effective tool for change and in Michael’s story I saw so many of these themes played out but with an inspirational twist. I knew this was a story I wanted to help broadcast.
Lastly, in one of the film’s greatest moments, you declared, “Change is not going to happen because one person gets elected…It’s going to happen because that one person elected is a catalyst to bringing a whole lot of people into that process of creating change.” How have you been able to implement this into the youth and adults of Stockton since being elected to City Council? If you haven’t yet, how do you plan to do so?
Tubbs: Some of my greatest successes have been in building coalitions and strategic partnerships that are leveraged to bring citizens not usually a part of the policy making process to the table. A great example of that would be the Community Assessment work done by a coalition I created in my district called the Reinvent South Stockton Coalition. Over the summer, the coalition trained 40 youth organizers and brought 800 new voices to the table to articulate policy priorities and solutions.
True Son will make its theatrical debut this Friday, October 31st at Cinema Village in New York City and its Lost Angeles theatrical release on November 7th at Laemmie Music Hall. You will leave the theater ready to evoke real change in your city or neighborhood. For more information on this film go towww.TrueSondoc.com
Featuring: Michael Tubbs, Nicholas Hatten, Lange Luntao