SnapShot Press Release | I AM MY OWN WIFE

ALL PHOTOS BY MICHAEL BROSILOW

“It is a record of living...of lives”. 

I may have heard it wrong, but the sentiment still remains the same. The record, the story, the archive, etc is what lives on as a note of existence. It becomes the validation of history and the note of truth. But who dictates what remains intact and what is meant to be forgotten? As a trained/degreed Ethographic Researcher & Lived Archivist [shameless plug], I have spent a hefty part of my adult life listening to people tell their stories from their perspectives. In contrast, this work has also led me into countless hours of discovery in reading rooms, where boxes of documents, images, and other tangible assets hold the “burden of truth”.  From this, I have noted several discrepancies, in which the privileged [of power, money, social hierarchy] are the victors of the narrative [& usually the war . . . any & every war]. Yet, there are more truths, more perspectives, and more realities that should be added to the canon of existence. And the lens of  Charlotte von Mahlsdorf is one of them.

Sunday’s [January 25th, 2026] Milwaukee Chamber Theater’s performance of I Am My Own Wife challenged the record of validation with Jonathan Riker’s performance, taking us through memory, transcript, audio recording, historical narrative, and analysis all at once. Jonathan is Charlotte von Mahlsdorf, as they are John Marks [the American Journalist], Tante Luise [Charlotte’s aunt], a Stasi Agent, Alfred Kirschner [Charlotte’s friend & possible love], Karl Henning, Pradeep Gupta, and the list goes on and on. The play asks us to imagine how a trans woman [Charlotte] could survive Nazi Germany. The terror of inhuman practices of the time, mixed with the social scrutiny of anything outside of cultural dictatorship [sound familiar?], it seems inconceivable. And yet, Charlotte lived. 

There is no surprise here why playwright Doug Wright received a Pulitzer Prize for Drama [2004] for this work of art. As Alexander Coddington thoughtfully directed this one-person performance, you discover the intimacy of interpretation and the subtlety of existing on the periphery of a society that mocks anything authentic. It is in the slight repositioning of the furniture [Charlotte and her furniture], the caressing of small artifacts [to hold a bit of history in the palm of your hand], and the secret bar in the basement [on stage, a glass wall, a preserved scene just like in any museum]. However, it is the undressing on stage to the satin [or was it silk?] slip that did it for me. The vulnerability that is Charlotte, that is Jonathan, that is the body, that becomes a question of access, of denial, of performance, of practice, of potrail. . . we watched. We watched as she/they/them [all of them] stripped themselves of the ensembles that are often used to define roles, gender, and status in society. A patterned dress, a modest black skirt with a matching blouse and headscarf, a bold red coat, and the prisoner's sweater. And then again, we watched as they dressed themselves. In this garb, to be seen as this being, as if what we saw underneath had changed [Had it changed?].

As Riker shows us range with thick German accents, more than one American dialect, a full spectrum of femininity and masculinity, you believe that they are all these people. You believe that Tante Luise sees the young Charlotte's need for queer affirmation as he notes his own position as a trans man. You believe John Mark's anxiety as a journalist when Charlotte’s Stassi file contradicts her anecdotal recollection from her interviews. You believe that Charlotte fears her abusive father with his threat to kill her mother & siblings. You believe that this lens, this truth, this archive, is as rich as all the ones that have dominated our way of seeing for far too long, and here any embellishment, any uncertainty, any fantastical note, is just as plausible as the policy propaganda the powers that be say is “truth” [new regime, same fugazi]. 

There is more to say, but I think anyone who walks into the lion's den and lives to tell about it deserves to share their side of the story. 

If you believe in humanity, if you believe in inclusivity, if you believe in thought-provoking theater, and if you believe in art that resonates and informs its audience with threads of contemporary [& historical] rhetoric that values more than the status quo, grab your ticket to see I Am My Own Wife.  

[& well if you don’t believe in those things, I will say it on the record . . . F*ck you!]

Lexi S. Brunson  | Editor-in-Chief /CW

---

YOUR INVITED! Civic Studios: The Creative Exchange

A WORD FROM CULTURE X DESIGN:

Civic Studios is a creative platform where media, community, and public life intersect. Rooted in the belief that storytelling is a powerful civic tool, Civic Studios uses creative production to explore how we live together, address shared challenges, and imagine better futures for our communities.

It is both a forum and a studio: a place for dialogue and a space for making.

The Creative Exchange is its quarterly showcase, spotlighting new ventures, emerging projects, and the creatives shaping Milwaukee’s cultural and creative future.

Through short presentations, conversation, and networking, it creates space to share ideas, elevate new work, and build connections that move creative projects forward.

Whether you’re a creative entrepreneur, cultural organizer, media maker, or community supporter, this event invites you to experience innovative projects before they launch, connect with emerging creative leaders, engage in thoughtful dialogue about creativity, culture, and community impact, and grow your network in an open, welcoming civic space.

Meet our creatives:
- Shannon Sims, Mic’d and Ready Media
- Element Everest-Blanks, The Culture Plug
- Kellen “Klassik” Abston, Independent Artist
- Dante Nash, Avra
- Lexi S. Brunson, Copywrite Magazine

Join us to discover bold ideas, connect with creative leaders, and build meaningful relationships in a space where creative work becomes civic work.

A Woman's Place On Set Is In The Director's Chair with Jocelyne Berumen | By /CW Guest Writer Jolee Mallmann

Jocelyne Berumen is a filmmaker, artist, and friend I have had the pleasure of getting to know over the span of several years and dozens of sets. We’ve worked together all over Wisconsin, from Green Bay to Rhinelander, Milwaukee and all the way back to the Fox Valley again. In a creative community that naturally ebbs and flows, Jocelyne’s passion has been consistent since the very beginning.

It’s hard to remember the very first time we had the opportunity to work together but one of the earliest memories I have on set with Jocelyne was for a music video she was directing at the Tarlton Theatre in Green Bay. Jocelyne had put out a call for an all local crew. I was able to join her set to help with props and behind the scenes photography. She commanded the set with a confidence and kindness I honestly wasn't entirely familiar with at that point. It was the first time I had ever worked with Jocelyne in this capacity and still she showed me an immediate trust that allowed me to do my job without second guessing anything. This was one of the first times I was ever able to join a set Jocelyne was directing and it greatly inspired me to continue working with her at any opportunity I could. 

Since then, I’ve found myself on the set of multiple different music videos, photoshoots, and short films with Jocelyne. Throughout every project I’ve had the pleasure of working with her on or the opportunity to cheer on the sidelines for, I’ve noticed Jocelyne maintains a strong sense of integrity and purpose to her work. Between her own personal media business, 48 hour films, working on the sets of other local filmmakers, and one million other projects, Jocelyne is almost always in a cycle of creation. It’s clear she has a stamina and staying power that is very hard to find in a culture that doesn’t necessarily reward individuals for pursuing creative endeavors over capitalist ventures. 

I find myself inspired by Jocelyne and women like her in the independent film world. For every reason she has to be cocky about the incredible and consistent work she does, Jocelyne finds a way to remain humble. I’ve never met someone quite as talented with the same urge to give back to other filmmakers and her community as Jocelyne. I’ve got a grip truck’s work of anecdotes about Jocelyne and the unique energy of the sets she creates, but the best way to understand this incredible filmmaker is to check out her work yourself. There are few filmmakers who will go out of their way to make sure everyone on set feels just as valid as the person in the director’s chair. Jocelyne Berumen is the filmmaker who taught me how extremely important that sentiment is. 

Introduce yourself a bit! Where are you from and where are you living now? Do you feel like your experience growing up and your background with Wisconsin have had any impact on the kind of projects you choose to create? 

I really love telling people I was born in Chicago, IL but at 9 months my mother ran away from my father and sneaked back to her home country Mexico. It sounds a little dramatic, but it really was that way. My mother was brought over illegally against her will, then I was born. She couldn’t handle the daily stress of being an illegal immigrant in such a huge city, so she took her baby and ran back home. I grew up in the tiny village of Huitzila, Zacatecas, Mexico. Tucked away within rows and rows of mountains, dirt roads, and endless cacti plants. I have vivid memories of the home I lived in and the freedom I had. When it rained, the roof leaked, and I remember my sibling and I watching the buckets fill up under candlelight. As soon as pre-K, I was sent off alone to school across town, and I remember my mother handing me some coins so I could stop by my aunt's shop to grab a snack on the way. We had a huge yard full of rose bushes, and a giant avocado tree where mom would swing us over what seemed the biggest creek of water. I share all of this, because I remember how free and confident I felt at such a young age. 

When my father convinced my mother to return to the USA, now legally, we moved back to Chicago. I was now confined to the tiny basement of a three floor building. It was bitter cold, and the traffic was so noisy and terrifying. My mother said I would come home bawling my eyes out because I couldn’t understand anyone at school. When we moved to Green Bay, everything felt suddenly calmer. Quiet farm roads, lessening traffic, and kind people. I still wasn’t a fan of the cold winters, and not being able to take walks on my own. I felt like my mother was also trapped because for fun she would take the family camcorder and make us act some story she made up. This was not new, as when we were in Mexico my mother loved getting her cousins together and making movies. Being confined to the walls of our home actually boosted my creativity. All of the liveliness I had inside, I had to channel it somehow. So, yes, I feel like WI has taught me over the years how to tell stories within, and around the walls that we have. I spent so much time writing during the winter, and then letting those stories out during the summer. I think, maybe, that is the magic of WI. 

You live in Green Bay but you shoot all over the state. Where are some of your favorite places in Wisconsin you’ve had the opportunity to film and do you think there is anything a little extra special about filmmaking in our state?

My favorite place visually has to be the sunset in Door County. I shot a music video for a client up in the peninsula, and it is still one of my favorites! Another is the private beaches in Two Rivers, again for a different music video. Lastly, I truly love filming in Milwaukee. The amount of studios, locations, and community that are available is so refreshing. I think it is special that we have both beautiful landscapes, and a thriving city community that allows us to create just about anything.  

Has Wisconsin’s independent film community shaped your work in any significant way? 
The community here has allowed me to keep growing into the filmmaker I aspire to be some day. At first, I felt very defeated about being in WI. I kept asking myself, “How will I ever tell the stories I want to tell here?”, and I did meet some people that tried to break my spirit early on. After meeting, collaborating, and creating with many amazing people in the community, I realized there are SO many stories that I can tell here in WI, and there are people who will have my back to make it happen. I feel that the film community here is eager to show that cool people, things, and stuff happens in Wisconsin too. 

What is your favorite genre of films to watch in general and what are your favorite kinds of films to make?

As someone that grew up with a family that liked making fantasy horror films, I have to say that I lean towards that genre a lot. Films like Pan’s Labyrinth shaped my writing as a child. As an adult, I grew to appreciate world building films such as Mad Max. Films that take you into a whole new world, and make you want to be there, whether dystopian or not. Recently, I have been appreciating 60s and 70s Mexican and other countries filmography. The stories that are told, the effort into the set design, character design, and special effects have been drawing me in. Due to those interests, I try to fall into projects where we take the audience to another world. Hence why you may see a 50s themed music video, or a 20s themed, or maybe the setting is heavily french rococo. I just love creating here in WI what people don’t think exists. 

You’ve worked on multiple short films, music videos and commercial projects. What are some of the projects you enjoyed working on the most and why? 

Any project I did with Bourbon House I heavily enjoyed because they were just as eager to create something fun and ambitious as I was. Any time they would say, this needs to be 20s themed or 50s, I would get so excited about planning it out. In addition, most recently I was DP and helped produce Hailey Olson’s two latest music videos - Saturn’s Return and Ancient Evenings. When she shared her ideas, I was SO happy! It was extremely hard work, but I learned so much, and was given the opportunity to shoot some of the coolest scenes ever. It allows me to reach into that curious and creative little girl I have inside me, and let her loose. 

How did you get your start in filmmaking and what was your inspiration to start in the first place? 
I have to blame my mom and her brothers for this one. In Huitzila, my uncles loved film and bought one of those giant panasonic cameras to make their own films. By the time I was in Mexico, my mother would borrow it and create her own films. Most of the times her films were scary – about witches and monsters. When we moved to Green Bay, she continued this, and I have some super fun memories of her creating with us. I became a writer at a young age. As soon as I learned how to write in the 1st grade, there was no stopping me. During recess, my friends and I would play pretend. I directed them, giving them roles and a storyline, and then we would play. After recess, it was writing time, and I feverishly wrote down the story we just played. By 2nd grade, my teachers had me reading my stories out loud to classmates. The stories were always some sort of fantasy and tragedy. In the 5th grade, when asked what we wanted to be when we grew up, I wrote down director. I promised our veteran janitor that one day I would make a movie about him. My teacher submitted me for the gifted and talented group in order to continue my writing. I remember seeing the paper and the signature, and telling him, “Hey, that isn’t my parent’s signature,” and he shushed me. Mr. Long, really believed in me. 

I could tell you my whole life journey with writing and filmmaking, but, to not make this freakishly long, that is basically where it started!

What’s your favorite role to play on set and why?

I really love directing/producing. I love putting all the pieces together, bringing the vision to life, and seeing the finished work after is everything to me. 

Who are a few filmmakers you find major inspiration in? 

Guillermo Del Toro is high up there. Dark fantasy, romance, horror. With a touch of crazy set design and costuming. All the way Guillermo Del Toro.

Park Chan-Wok has to be another. His storytelling is beyond this world. Additionally, the work he puts into making beautiful films from a tragic or disturbing story is also an awe of mine. 

Do you have any fun memories from working on film sets? Could you describe any challenges or learning experiences from your time on different sets?

A fun memory I had was helping out Max Hauser for his music video “Nighttime Boy”. I volunteered to dance in this amazing skull mask that Jolie Mallman made. I had to work the next day at 5AM and stayed on set until 12AM and was an hour away from home. I had SO much fun and loved watching the guys put the set together, that I didn’t feel tired at all! 

A challenge I constantly have is not being on film sets enough to understand the lingo and the set rules. All my projects I have created and done with people in my area, and the little training I had was with a commercial production company…but it never stopped me from continuing to pursue these projects. It just made it harder to understand what people wanted from me when they had an entirely different experience on set. The more I am involved though, the more I learn and it is my goal to be 100% fluent in their language. 

Do you have any advice you can share with someone just starting their career in film?

My advice would be to take what others say about you with a grain of salt, and do it anyway. People won’t always support what you do, but if you fight hard enough for it, you may inspire others to join in. Don’t wait for someone to give you the green light to start doing what you want to do. You will fail, make mistakes, and create some really bad films, but it is necessary in order for you to grow. This industry is not easy, and you’re quite crazy for pursuing it, but honestly, embrace the crazy and push through! You won’t regret it!

What are you looking forward to next in your career in film? Do you have any projects in the works or things you’re excited to try next?

Yes! In GB, we are hosting a monthly filmmakers meetup to help each other in the community finally finish projects. I am guilty of writing tons of things and never doing anything with them. With the monthly workshops I am holding for writing, my hope is to create my first short film (non-48 hour related) next summer! Be on the look out for a zombie quinceañera tale coming soon! 

Where can we find Jocelyne’s work?

jocelyne.berumen

https://vimeo.com/cyclopsgirl

---

Into independent film? Want to learn more?

THE PHONE BOOTH W/ COPYWRITE | EPISODE 1 - KIA RAP PRINCESS

---

THE PHONE BOOTH is a cutting-edge music performance series based in the heart of Milwaukee’s Bronzeville. Inspired by platforms like COLORS and NPR Tiny Desk, this series celebrates the city’s diverse and underrepresented musical genres—R&B, alternative R&B, pop, true hip-hop, and eclectic sounds [& other vocal performance creatives like poets & comedians]—offering artists a dynamic platform to showcase their artistry.

We have decided to launch our series on @outletmobileapp a collaborative partner based right here in Milwaukee [with incredible industry reach]. So make sure you download the app to be in the loop on all premiere episode releases.

If you are interested in being a part of the series as a creative performer, sponsor & more hit us up at copywrite.mke@gmail.com || Attn: The Phone Booth

The Milwaukee Repertory Theatre PresentsThe Fisherman’s Daughters: How Sisterhood Strengthens The Beauty of Home & Self-Discovery

PHOTO ACCREDITED TO MICHAEL BROSILOW

Home. For millions in mankind, it’s the physical four walls that contain all of the charming emotional, and familiar aspects of their childhood. Others dedicated to their emotional intelligence deem home as a feeling or sense of belonging. What warm memories and sultry smells immediately pop into your mind when you think of home? Whether it’s a set of overwhelming feelings or a memory of a physical house, the reminiscence of home always leads to one of two results: eagerness to leave home and create a new one for yourself, or the comfort and protection it brings for many to never want to leave. 

PHOTO ACCREDITED TO MICHAEL BROSILOW

On Sunday, (January 11th,2026), Wisconsin playwright Katie Dahl’s words had life breathed into them as the lights went on during the opening night of The Fisherman’s Daughters at the legendary Milwaukee Repertory Theatre [located at 108 E Wells St, Milwaukee, WI, 53202]. Walking into the Stackner Cabaret, an intimate and cozy dinner-theatre, that will be home to The Fisherman’s Daughters until March 1st, it quickly became evident that the expectations and previous knowledge I had of the heartwarming play were going to be displayed more intricately and from a deeper perspective. It is more than a tale of two sisters who are like oil and water when it comes to analyzing their personalities and lifestyles. Director Molly Rhode created a musical testament whose purpose was intended for not only the characters but also the audience members to remember where we came from and what’s worth fighting for. As the curtains unrolled at the beginning of opening night, I was confident that the uncertainty of what I was about to witness would leave a lasting impact on my impression of a world full of sisterhood, home, and unknown challenges.

As the spotlight hits centerstage, the clock turns backwards and the year of 1908 rolls in. The quaint, wholesome, and modest town of Door County in Fish Creek, Wisconsin, takes on the role of home and the significant place of where the story begins to unfold. Older siter, Sarah Peteterson, demands the attention of the audience with her unknowing humor, unbothered attitude of what others think of her, and Peterson’s ability to remain herself around anyone and in any room. She’s the woman who walks 3.2 miles into town daily, wearing a long dark grey trench coat that belonged to her father, who went on to glory, who has never left Peterson Point and has taken on the responsibilities and legacy of the home her father created. It is displayed early on that Sarah is fascinated with the city of California, but struggles with exploration and intellectual activities such as reading. Although she leads a life full of simplicity and independence, that does not erase the fact that her father’s bloodline does not end with her.

PHOTO ACCREDITED TO MICHAEL BROSILOW

A calm and serene transition from greenery and woodlands to translucent pink and blue colors changes the atmosphere of the stage. Nora, the younger sister of Sarah Pete, is riding a ferry back to Door County after not being home for over 2 years since her father’s death. It was no solo trip, as she was sharing the ferry with a charismatic and joyful man named John. Her mind is scattered, with one part thinking of how her life drastically shifted while living in Chicago, and the other side full of doubt, fear, and uncertainty of how her sister will react once she returns home—unannounced. Nora and John emotionally connect through their love and intrigue of not only how Door County looks on the outside, but also how the small town makes them feel warm and cozy on the inside in times when they are longing for home. To be strangers and meeting for the first time, many intimate details of their childhood and current life struggles were discussed so freely. 

PHOTO ACCREDITED TO MICHAEL BROSILOW

Nora’s return to Fish Creek was no scene in a family sitcom. Although everyone else in town, such as Charlie, the town’s energetic burst of energy, whose occupations were a handyman and delivery driver, was ecstatic about her returning home, Sarah Peterson’s reaction was just as her sister predicted it to be–as cold as a Wisconsin winter. You would think Nora was about to be put on trial the way she was bombarded with questions as Sarah began to interrogate her. 

“Why did you leave right after dad’s funeral?”

“Why didn't you tell me you were coming?”

“How come you stopped sending me letters?”

“Why are you here?” 

spewed out of the mouth of her hurt older sister, Sarah, and each question hit Nora like a ton of bricks she didn't see coming. The first few days after making an abrupt yet therapeutic entrance back into her hometown, the contrasting sisters clashed over values and how they both are coping with the loss of their parents and the strong foundation of what their sisterhood used to be. Nora quickly got accustomed to rural life after spending over two years in the big city of Chicago working as a schoolteacher. Assisting Nora in a smooth transition back home was the last priority of Sarah Peterson, but over time, the love and bond she once had with her sister were slowly being reignited, although she was battling it as if her life depended on winning that war. Little was she aware that a difficult decision was about to come their way head-on that would test not only what family meant to both sisters but also the significance of their home as well. 

PHOTO ACCREDITED TO MICHAEL BROSILOW

After sharing a unique and overwhelming connection with Nora, John stepped off the ferry with a mission: fulfill the governor’s request for all Door County residents to sell their homes and move away so that the beautiful and glimmering Peninsula state park could be constructed on those acres. His charm, wit, and hundred-dollar smile swayed many residents to choose embarking on a new home over honoring the rich history of where they’d made a life for themselves in the small yet heartfelt city of Fish Creek. However, a few residents immediately declined and did not let John’s enchanting personality persuade them to build a new life elsewhere, specifically Nora. It was almost ironic to me as an audience member how Sarah Pete, who had lived in the family home from birth, was easily wanting to sell it, but Nora, who left home as soon as her father passed and became a city girl, didn’t hesitate to protect the significance and impact of her childhood home. This made her realize she was longing to stay there for good; this wasn’t a quick trip home for a few weeks, and then she’d resume life back in Chi-Town. Nora wanted to water her roots and stay in Door County for good. Not only was this a shocking revelation to herself but also to everyone else—-specifically her guarded and independent older sister, Sarah Pete.

PHOTO ACCREDITED TO MICHAEL BROSILOW

While Sarah had it made up in her mind that their family home would be preserved and still standing after selling the home to John and the governor of Door County, John’s honesty and Nora’s intelligence soon shared with her the harsh reality. After snapping back into reality, both sisters agreed not to sell the house they had grown up in and were currently shaping a new life inside, but John was determined for the women to sell it. The musical numbers added light-hearted fun and the spirit of joy throughout the play, but also emphasized the pain points of both sisters and why their childhood home meant so much to both of them. With the loss of her dear friend and feeling empty while living in the big city, Nora needed a reset, and Fish Creek was just that. The honoring and remembrance of the fisherman, also known as her dad, was Sarah’s reasoning; tearing down all their family history was not worth trading it in for the Peninsula State Park to be eye-candy to folks who would pass through the town on voyages. Throughout their entire lives, Nora was labeled as book-smart and Sarah Pete was labeled as handy, just like her father; she was the one who came up with how to save the house. A life-lease! 

PHOTO ACCREDITED TO MICHAEL BROSILOW

Once John witnessed the toughing reconnection of sisterhood, family, and sense of belonging, he asked the governor if the two daughters of the fisherman could keep their home by having a life-lease: as long as they were alive, their home would not be demolished but protected during the construction of the Peninsula State Park. Due to the similarities of overcoming hardship and the origin story the governor shared with their father, the life lease was issued! [YES, THE LADIES SNATCHED THAT WIN UP DIDN’T THEY] With the certainty of Nora returning home, Sarah Pete went on an adventure herself to California–something she or anybody else thought she was ever capable of. She soon realized home was where she belonged, but that exploration is still rewarding even when you don’t stray from home long. Once transparency, unspoken expectations, hard conversations, and a threat of their childhood home being demolished came into play, sisterhood, community, and self-discovery became top priorities for the Peterson sisters, making their bond stronger than ever!

I walked away with a deeper appreciation and new perspective of what my home, Milwaukee, really means to me. So I ask again, what is home to you? Want to be reminded of the beauty of where you came from? Have you been feeling like home is where you need to be? Maybe we all get so caught up in the lives we’ve built for ourselves that we forget from time to time what truly matters. Sometimes it takes someone coming in from the outside who has no connection to what you’re used to, for you to realize just how special home can be. Grab your sister, brother, mother, or neighbor and experience a joyous, lighthearted, and innocent musical! Don’t wait until it’s too late for you to see the magic and specialty of The Fisherman’s Daughters. Buy your tickets now at https://www.milwaukeerep.com/shows/show/the-fishermans-daughters/. The show is running from January 1th-March 1st, 2026. Comment down below what is special about your home.

Desriana Gilbert | Entertainment & Social Journalist for /CW

Making The Most of Milwaukee’s Indie Art Scene with Natalya Cook | By /CW Guest Writer Jolee Mallmann

Milwaukee’s independent art scene is entirely unique; a city with an ecosystem of artists creating independently and collaborating with one another for the sake of creation over the need for notoriety. You could really never say Milwaukee is known for just one kind of art scene. From photographers to filmmakers, our local music scene and modeling community; artists from every niche of our community have seen success and had their work showcased beyond the boundaries of Milwaukee. What makes our city such an artistic niche in the Midwest sometimes seems like a mystery; why is all of this incredible art coming out of Milwaukee, Wisconsin? Artists like Natalya Cook are part of the enigma. 

Soft spoken, sweet and so easy to talk to; the first time I met Natalya Cook there was an overarching feeling of calm surrounding her. Natalya was shooting a DIY fashion show in Madison the first time I ran into her. The event was chaotic in the best way; Natalya was the current of calm wading through the entire evening. When we wrapped and I had the chance to check out her portraits from the show, I felt so much energy behind every shot. Natalya was able to shoot every model in their own aesthetic, highlight each designer and individual collection all while maintaining this collaborative vision for the entire show. I knew I needed to work with her again.

When I finally got to know her a little more, I realized Natalya Cook is a case study for Milwaukee artists making it happen for themselves. Natalya is self taught. She built up her portfolio, diversified her experience as a model, and carved out a space for herself in Milwaukee’s creative scene all on her own accord. Her work speaks to versatility, community connection; capturing her subjects in such a secure light. You can see the comfort in the eyes of her subjects; muses feel safe to be captured by Natalya. Because of this, she is able to create incredibly intimate pieces of art. 

Watch out for her work all over the Midwest. Natalya is actively collaborating with local artists, making leaps and bounds in her artistic career and luckily, she's willing to share her journey with us and take Milwaukee along for the ride.

Could you introduce yourself a bit? Do you feel like your experience growing up and your background with Milwaukee have an impact on the kind of projects you choose to be a part of? 

My name is Natalya Alexandra Cook, Versatile Creative from Milwaukee, Wisconsin. I’ve also resided in Yakima, Washington and Baltimore, Maryland. 

Milwaukee leaves a lasting imprint on my creative identity. Milwaukee is where it all began. The juxtaposition of its grit and warmth has influenced me to create from a place of transparency. Most importantly, Milwaukee has taught me resilience. My journey hasn’t been easy, it’s been full of trials, tribulations, and moments where I had to find my radiance within. But through all of the pain and ache, Milwaukee helped me realize that creativity isn’t only about expression. It’s about survival, healing, and the metamorphosis of the human condition. Every project I take on carries that essence, an exploration of rawness and storytelling. My art is a reflection where I’ve been, however it motivates me to bolster others to discover, claim their strength, and creatively heal. 

Has Milwaukee's artist community shaped your work in any significant way? 

Absolutely! Milwaukee’s artist community has played a huge role in shaping who I am creatively. Being surrounded by artists who create from emotion, truth, and their experiences inspired me to do the same- to fully embrace vulnerability and authenticity. 

Do you think there is a connection between photography and filmmaking?

I strongly believe that photography and filmmaking are deeply connected. They are both grounded in storytelling. Photography freezes emotion, captures composition, and light; filmmaking takes those elements and stretches it out over time, allowing stories to inhale and exhale. For me, both have helped me see and feel every shot, and understand how moments connect and evolve. 

What’s your favorite movie and what do you like most about the aesthetic of that film? 

My favorite movie is Eternal Sunshine of the Spotless Mind. What I love most about this film is how its dreamlike aesthetic captures the feeling of memory and authentic, human emotion so elegantly. 

You’ve shot a few different fashion shows and DIY events around Wisconsin. What do you enjoy about creating with the indie artist community in our state? 

I love creating with the indie artist community here because there’s a deep sense of liberation and autonomy that you feel when you walk into the room. Everyone is creating from a place of expression, that kind of freedom is impactful and powerful. You see artists building their own path ways and allowing their stories to unfold; being a part of that reminds me that art can be a place where we reclaim ourselves. It feels like a true community where you have the permission to exist, live, and flourish. 

How did you get your start in photography and what was your inspiration to start in the first place? 

I’ve been drawn to photography ever since high school. Even then, it felt like a safe space where I could express everything I carried but didn’t know how to say out loud. I’ve always wanted my work to evoke emotion, the kind that makes people feel valued, seen, understood, and less alone. That connection is what propelled me to start investing in photography. I began with what I had: my IPhone, youtube tutorials, a lot of days and nights teaching myself how to edit and understand the fundamentals of photography. In 2021, I made a real commitment to myself and my vision. I purchased my dream camera, the Sony A7 IV. Ever since then, I allowed myself to grow by taking portraits of myself, friends, and family. That’s when it all clicked for me. 

Who is a photographer or filmmaker you find inspiration in? 

I find a lot of inspiration in photographers like Manny Ortiz and Sptmbrborn, especially in portrait photography. I really admire how they evoke emotions and are fearless when it comes to experimenting with lighting, composition, and mood. Their work inspires me to explore new ways of capturing people and moments; creating portraits that help others to feel confident, deeply connected with themselves, and channel their authenticity. 

What kinds of creative projects are you hoping to get into in the next year?

The direction I’m moving towards is creating spaces, not just images. In the next year, I want to begin hosting my own creative pop-ups where artists, photographers, designers, and creators come together, collaborate, and feel seen. I am also hoping to take steps toward having my own gallery space. I want a place where my photography and the work of other local artists can be shown in a way that feels personal and full of purpose. 

Do you have any advice you can share with someone just starting their journey in photography?

I am still learning this myself but don’t be afraid to make mistakes. Don’t get discouraged by “bad” photos, it’s a part of the process. Each shot teaches you something. Allow yourself to experiment new things and explore your own style as well. It takes time, however, you begin to find your voice. Lastly, you don’t need to have an expensive camera and gear to create something meaningful. I started on my IPhone and it taught me so much about storytelling. Keep going. Never stop. Stay connected to your “why”. 

Where can we find Natalya’s work?

@natalyavc_

www.versatilecreativeinnovations.com/

---

Into independent film? Want to learn more?

NOT SORRY WE'RE CLOSED | 2025 /CW REFLECTION

Some. Not all of it.

When? Now. More? Maybe later.

Available? Absolutely! For those who know on a need-to-know basis.

Is this code? Naaaahhhhhhh, you may just need to read a little closer.

---

LEXI’S REFLECTION:

Image by Boutique Photographer Linda Smallpage 

Unbeknownst to me….

[Haha, I just felt like that was a random way to start a reflection.

Unbeknownst to me, 2025 would be the reckoning of disillusion. The stubborn bull-headed Taurus I am would have to stop chewing on my dandelion in the field and show my horns to those whom I never wanted to see them [I hardly use them anymore]. 

I have to admit, for years, I have been misinterpreting the people around me & my role in their journey. When someone says they are passionate about something, I always imagine them approaching it with the same gravitas that I have. To pour into one's craft [even when nobody is watching], to want to learn about it from many perspectives, to be dedicated to its growth…nurturing it…doing the parts you don't want to do, so you get to bask in the parts that make your soul glow. 

Listen, my truest and deepest apologies…I don't have the ability to steward anyone who is unwilling [or unwanting] to perform their own growth labor. It's just not a talent I have. This year SHOWED me that words without action don't serve. And the thing is, that I believed people when they said they WANTED, that they WOULD. So that's a reality that slapped me in the face! [Hard to…left a little mark]. I had been making space for what could serve others in their passion journey, and I had disregarded how to maintain my own [in the way that would still bring me joy]. A lesson that has a $100,000 price tag….Weeeeeeeeaaaakkkkkkkk!

So as I sit on the 28th day of December, closing out a year, a space, a 22-issue dynasty [a forever thing], I hear the mumbling of people asking, “Well, what are you going to do now?”...

To that, I answer:

• Focus on me & mines.

• Focus on my other careers [Professor Lexi is thinking abroad & Interior Designer Shawty would love to help you personalize your space for a better quality of life…and baby, I'm good at it].

• Focus on being a muse [no explanation needed]. 

• Focus on the parts of CopyWrite [the pulse] that bring me joy [archival media…so the future won't forget]. 

• Focus on living….¡Pura vida!

Nothing profound. IYKYK.

/Lexi, the CREATOR of /CW

---

IMANI’S REFLECTION:

It never occurred to me that the way I can compartmentalize my thoughts and emotions would be the leading factor and armor of “taking life to the chin” this year. I won’t introduce myself by misleading with advice about how being “strong” through the hard times will be beneficial or the strumming of your heartstrings with the  “Things will be better soon” line that is often opted in for fluff. Truth is - it’s all subjective. You set the pace for your healing. I think the most important part about this year is realizing the beauty of choosing to stay who you are when you have every reason to get lost in everything else, everywhere around you. We lose things all the time but what fun is it if you’re offering yourself up to something that you're bigger than? Life is guaranteed to get difficult - so it should be guaranteed that you’ll get creative. I learned that your emotions can’t be bigger than the program. You can leave a small piece of yourself in those moments of initial grief but never let it be anything that will anchor you in that space. To me, for me – this year has been a random tsunami of riddles and paradigm shifts. I am – unsure of how to begin to describe the experience and whirlwind that comes with losing a parent but hopefully, you find yourself and your families safe this holiday season with a lot more time than I had. 

How much time is that? 

How much time was that?

Riddles,

Imani for /CW

---

DESRIANA’S REFLECTION:

The world has always been my revolving literary playground from every experience and interaction, making several notebooks and pencils a safe and comforting space where writing became second nature. Being the new kid on the block of CopyWrite (if you’re like me and want to call one year in newbie material), to an acclaimed and household name filled with heavyhitters all around, I assumed every article, interview, and research project would serve the identical function of bringing everyone else’s visions and upcoming projects from the drawing board to real life; however this year I wasn’t expecting the creative dissect that led to a intricate and unforeseen transition unfolding before my eyes. Standing in an abyss with the foundation of change, pivoting, and the overwhelming feeling that the I’m only one who didn’t leave home, journalism began wearing unfamiliar faces and circulating fresh and unique purposes I never knew it identified as. Each assignment felt different than the process I used before, even in how I would approach and ideate them. Experience was the biggest anchor for me. From interviewing legendary idols not only from Milwaukee, gaining trust for monumental assignments, walking into rooms I never thought I’d be in, and being offered opportunities I wasn’t even aware had my name attached to them, while struggling constantly with what my true creative value was, I had a battle within myself this year. When looking around and not seeing the faces you used to aid with their creative projects; you feel as if you no longer have purpose at home; but then it struck me that I now had to step up and bring my own ideas and visions to life as a creative. From fashion shows, flights, and galas my mind has rotated countless ideas to create. The intensity and endless joke about one’s identity being attached to creativity is that the party never ends; your brain constantly forms ideas and you always remain a creative, even when it seems you’re being pulled away from it through certain seasons. I learned that I have to stop playing it safe and follow through on my own thoughts, goals, and ideas creatively. This year was filled with accomplishments I rarely took in for myself as well as the one and only CopyWrite Magazine. I fell in love with in-field work as I was constantly experiencing new places, people, and communities for journalism. 2025 was the eye-opener and journey back home as well as to why writing is second nature to me and how /CW being my home consistently challenges me mentally and creatively. 2026 will be the year where I hold myself accountable and stop hiding behind others’ vision and pour into my own creativity just as much as I would support others with theirs in the past. 

It’s time to get to work and stay out of the comfort zone that I was suddenly removed from early on in the year; with /CW as the forefront of my creative responsibility and fresh new playground where opportunities are endless and my thoughts can be amplified.

Desriana Gilbert | Entertainment & Social Journalist for /CW

For Us, By Us, and To Inspire Us: How Carvd N Stone's Loren Martin Hintz Gala Recognized Emerging & Established Creatives

“Creativity fuels our imagination, and our imagination fuels our dreams of a better world”

— Greta Thunberg, Swedish Environmental Activisr

Today’s word of the day is canvas. It is where every spark, thought, and light bulb embedded in your imagination travels to the moment they enter the colorful pathways in your mind. One would often assume that a canvas only has a single depiction–a tan colored square dimension placed on a wooden easel for paintbrushes to stroke against it.

On Thursday, December 11th, 2025, the groundbreaking national news company, Carvd N Stone, proved the assumption of a canvas only being one medium and used solely for one purpose wrong in a bold yet classy manner. Founder of the positive-focused media hub, Nyesha Stone, presented the 2025 Carvd N Stone Loren Martin Hintz Travel Writing Scholarship Gala; this is where the beauty of creativity collided with the hidden elegance and representation of the extraordinaires that are in our very city. The inspiring scholarship ceremony was held at Radio Milwaukee, located at 220 E. Pittsburgh Ave, Milwaukee, WI 53204. From the young evening hours of 6 PM-8 PM, affirmative networking conversations filled the intricate walls of the innovative venue. At this moment, I witnessed a cultural and professional atmospheric shift in the room.

HOST, STEPH CROSLEY, ENGAGING WITH THE AUDIENCE

What I assumed would be an event where accolades were being given to one individual and an exciting excuse to dress up like some of my favorite characters from the 1989 comedy, Harlem Nights, was far much more than luxurious clothing and a crystallized award that resembled an Oscar or Golden Globe being gifted to someone. As Nyesha and Steph gracefully began the start of an exhilarating night, I quickly learned the essence and origin of how this rare scholarship came into effect. Loren Martin Hintz was a prolific storyteller in Milwaukee who utilized his talents in photography and journalism by traveling throughout various nations. Hintz’s purpose and hunger that kept the fire inside him to keep going was telling stories nobody had passionately expressed before, while all the while, representing people and cultures that no one else deemed as picture-worthy or glamorous enough to capture through their camera lens or pen. Since his death in 2020, Hintz’s legacy continues to strengthen and be electrified by not only his work, thoughts, and creativity, but also his family.
During 2022, Hintz’s son, Steve, demonstrated a strong and invigorating act of leadership as he approached Nyesha with the idea of collaboration between their family legacy and Stone’s successful media company. The creation of the CNS Loren Martin Hintz Travel Writing Scholarship was launched. In 2022, it was opened to all writers up to the age of 29 who reside in the city of Milwaukee, annually rewarding one writer who responds to the question at hand in the most organic way with $1,000 and a personalized plaque that screams, “YOU DID THAT!” The question surrounded with emphasis and spotlights this year was as follows: “In what ways has traveling away from your hometown and exploring new places changed you?” For the past two years, the process and explanation of the recipient’s answer has been displayed through a remote award ceremony, but this year Carvd N Stone made it their mission to hold the very first in-person ceremony to reward and shed light on the 2025 CNS Loren Martin Hintz Travel Writing Scholarship winner.

2025 CNS LOREN MARTIN HINTZ TRAVEL WRITING SCHOLARSHIP AWARD RECIPIENT, ALIVIA ALLEN

Ambitious, bold, and courageous nineteen-year-old Marquette University student, Alivia Allen, graced the stage and was the epitome of “The Youth Is Our Future”. Allen carried elegance, poise, and authenticity as she accepted the first award of the night. The studious winner expressed her passion and intrigue with writing since she was a child, and how her family’s roots play an immense part in her talents and interests. As Allen and I transitioned into a quiet area inside the venue for one on one conversation, I learned how her grandmother, Francina, symbolized fearlessness and bravery in the Black Panther movement. Her winning essay struck eyes because of how inspiring, heroic, and similar her journey traveling to Washington, D.C at age 10 was compared to her grandmother sneaking there at 13 years old. She is majoring in political science while also minoring in communications with a goal to be in office one day, tackling worldly issues one by one. Her heart, history, and being an active helping hand throughout the community, by currently interning at the Milwaukee County office solidifies just how genuine and committed Allen is to using her creativity for impact as well as self-confidence. She will be using the monetary award towards school tuition and educational funding.

“My grandmother taught me that education is powerful. The more knowledge you have, the more you can help others and protect yourself. I want to help this world as much as I can and leave real impact”

— Alivia Allen

FOUNDER, NYESHA STONE, WITH AWARD RECIPIENTS, OLIVIA BURKS AND RANELL WASHINGTON

There was a certain energy of uniqueness that roamed throughout Radio Milwaukee during the award ceremony. Nyesha and the Carvd N Stone team generously spread recognition, homage, and appreciation to multiple shining stars in the city of Milwaukee, granting the audience a night of giving those they admire their flowers and learning about one’s impact on the city, not just one person, as many assumed. For instance, two other distinct awards were presented later on throughout the galvanizing evening. Vibrant self-taught artist, Olivia Burks, was eagerly awarded the 2025 Inaugural Positive Creative Impact Award. She has an intriguing technique of pulling people into her paintings by using bright, spirited, and lively colors that quickly tell the harsh realities of the daily black experiences we face. Burks was chosen because of her continuous efforts to challenge narratives, spread positivity through her work, and elevate the creative scene. Her acceptance speech left the audience with significant call to actions, create, build community within one another, feel all the feels, and stay an optimist through it all. The vibrant and honest work Olivia creates lives at the CR8TV HOUSE gallery studio located at 3536 W Fond Du Lac Ave, Suite 3, Milwaukee, WI 53216.

2025 INAUGURAL POSITTIVE COMMUNITY ADVOCATE AWARD recipient ranell washington

The ladies in the house are not the only ones who have the city on lock when it comes to strengthening and developing Milwaukee’s stamp when the words positivity and creativity arise. The last award of the night was given to none other than Milwaukee’s big brother and community service leader, Ranell Washington. He was awarded the 2025 Inaugural Positive Community Advocate Award. Washington is the co-founder of social and community engagement consulting group, SocialXMke, and captain of FearMKE. He has dedicated his career to empowering others through leadership, service, and mentorship, which is actively strengthening his city. Ranell’s work perfectly reflects the spirit of his award. His mission is to honor those who inspire hope, create change, and lead with nothing but positivity. As he spoke to the audience, emphasis on being a light was his primary topic.

“You never know what anyone is going through. Try your hardest of being a light in this world that will not only spark kindness but also inspire emerging creative ideas as well”

— Ranell Washington

The charismatic and luxurious gala was concluded with the founder of Carvd N Stone, Nyesha Stone, recognizing the other three winners of the Loren Martin Hintz Travel Writing Scholarship from previous years. Stone also prioritized giving us all a recap of what themes her media company has experienced this year. Stone has been running her business for over eight years, and she is a living testament to the highs and lows of entrepreneurship. One of their biggest achievements was gaining a partnership in January with Amazon, which also presented this year’s CNS award ceremony. Stone became vulnerable and also shared the lows, such as losing both her incredible intern and videographer at the same time this year. She reminded the crowd of the many times Stone doubted herself and didn’t know how Carvd N Stone would continue financially. By the grace of God, this year Carvd N Stone is out of the red and in the black-making it public that they are financially stable and secure for the first time in a long time. 2026 will be a year of expansion of events held in both Atlanta and Milwaukee, partnership with Milwaukee Film, as well as some more bold moves that will just have to unfold before your eyes.

To stay in the know about another exciting event Carvd N Stone has in their vault and to support their mission of sharing original positive news, please follow them on all social media platforms at carvdnstone. Tag along all three winners creative journeys by tapping into their social media handles as well. It is as follows:

Alivia Allen-@alivia.all3n, Ranell Washington-@ranell.io, and Olivia Burks-@livmke

Desriana Gilbert | Entertainment & Social Journalist for /CW

Thespian Legend Set To Direct Monumental 10th Anniversary Production of “Black Nativity”

What comes to mind when you think of this time of year? The festive array of depictions shown around the holiday season often includes winter wonderland markets, filled ice skating rinks, tree lighting ceremonies, and countless trips to shopping malls so that the babies can sit on Santa’s lap. Uniquely, the city of Milwaukee has always shed light and built much anticipation around its very own holiday staple for the community. That timely and riveting holiday staple has become the theatrical adaptation of “Black Nativity” by trailblazing poet, Langston Hughes. Unlike other holiday-inspired traditions and communal staples, this joyful and spiritual production goes beyond the surface of the true reason for the season of Christmas from a divine perspective, rather than being commercialized.

Over the last ten years, non-profit and Black-led organization Black Arts MKE has showcased the soul-stirring, culturally rich gospel song-play, Black Nativity, through a diverse and multifaceted lens. Every director has been granted the fulfilling opportunity of bringing their significance and vision of Black Nativity to life at least twice for the hopeful and buoyant characters that keep the streets of our city alive and energized. What has now become a highly anticipated holiday classic in Milwaukee has brought everything but disappointment over the past decade. Black Nativity boldly celebrates the holiday season from an African-American viewpoint and never fails in placing a glimmering spark inside of the eyes of everyone who sees the production. Although the intriguing essence and authentic spiritual message of the work of art consistently shines through the audience and cultivates much impact, the heavy-hitting song-play is reimagined every year in a completely different way.

As this year marks the 10-year anniversary of the stellar and exhilarating showcase of admirable, Langston Hughes’ Black Nativity, the production embarks on a new journey after taking on fresh and seasoned leadership. The next visionary who has been given the occasion to reimagine the song-play by transitioning the meaning and theme living in their head onto the vibrant stage is none other than thespian legend, Sheri Williams Pannell. Before Pannell became Associate Professor of Theatre at the University of Wisconsin-Milwaukee, Co-Founder and Producing Artistic Director of Bronzeville Arts Ensemble, and Co-Director of the Fine Arts Ministry at Calvary Baptist Church, she was just like all of us, someone who completely fell in love and immersed themselves in the Black Nativity story--ten years ago. After several successful showings of this masterpiece and a theatrical abundance of talented directors who have ignited their own fires inside of Black Nativity, the million-dollar question is, what can everyone expect from Pannel’s reimagination of it this year? How will it represent something it has never displayed before, or how similar in style and music will the high anticipated song-play be compared to previous years?

“From the rhythmic dancing, eye-catching costumes, and carefully crafted storytelling, right away I thought, ‘Oh one day I would like to direct this show.”

— Thespian Legend, Sheri Williams Pannell

“She is a distinguished author/playwright, a phenomenal theatrical talent, with an impressive historical reservoir of the culture and community”

— Barbara Wanzo, Executive Director of Black Arts MKE

Origins and taking a deep dive back into our complex and fascinating roots are the tools being utilized the most by Pannell as the thespian legend has begun directing this year’s showcase of Black Nativity. The intentional artistic director wants to strongly emphasize the original text Langston Hughes wrote in 1961. Pannell’s primary goal is to increase the excitement and enthusiasm people have for celebrating African-American traditions. The feeling of authentic joy and being fully represented in all aspects—mind, body, and soul is the foundation she has cultivated to set the tone for the entirety of the show. Not only is one side of African-American history being brought to life on stage, but also underrepresented traditions as well, such as the unifying Kwanzaa celebration. Her intentionality shows effortlessly. For example, a new partnership with Members of Divine Nine has emerged with Pannell’s Black Nativity showcase. The kind and stylish members have donated authentic African garments and textiles that have been utilized as inspiration for the costume design. She is paying attention to every detail, but wants the message to remain the same: find joy and gratitude in life, Jesus Christ’s life, and never let your trials and tribulations define you.

“It is my goal to maintain the spirit of faith, hope, and joy in the birth of the Christ Child, which Hughes so lovingly expressed in his musical, while infusing African American traditions practiced during the holiday season, especially on New Year’s Eve known in the Black community as Watch Night. This musical is our holiday offering to the world. To recognize that even in the most difficult moments in our history, African-American people have found a way to have joy. Black Nativity is an example of this beautiful truth.”

— Director-Sheri Williams Pannell

Want to celebrate this holiday season in a unique and electrifying way? Is indulging in the colorful and cultural soul-play already a tradition for you and your family? Purchase tickets today and reimagine the true meaning of this holiday season.

Performance Schedule

Each show features a post-show talkback and a full runtime of two hours.
• Thursday, December 11, 2025, 7:30 p.m. (Student Matinee 11:00 a.m.)
• Friday, December 12, 2025, 7:30 p.m. (Student Matinee 11:00 a.m.)
• Saturday, December 13, 2025, 2:00 p.m. and 7:30 p.m.
• Sunday, December 14, 2025, 2:00 p.m.

TICKETS ON SALE NOW
blackartsmke.com/blacknativity

$62 | Reserved Seating
Group, Student, and Artist rates available.

Tickets available at the Marcus Center Box Office, 929 N. Water St., Milwaukee, WI, or by calling 414-273-7206.
Groups of 10 or more should contact Group Sales at 414-273-7121 x210.
Special discount rates are available for students and artists.

Black Arts MKE’s season is generously supported by Bader Philanthropies, Greater Milwaukee Foundation, Herzfeld Foundation, and Johnson Controls Foundation. Additional support for Black Nativity by Langston Hughes has been generously provided by the Forest County Potawatomi Foundation, the Harri Hoffman Family Foundation, Gruber Law Offices, and the Wisconsin Arts Board.

Desriana Gilbert | Entertainment & Social Journalist for /CW

Milwaukee’s Most Humble Never Disappoints: On Set With Tiera Trammell | By /CW Guest Writer Jolee Mallmann

Tiera Trammell comes off quiet, confident and quite sure of herself. The first few times I met Tiera, I was a little struck by her abundant aura of cool to introduce myself. With every mutual friend and filmmaker I knew between us, I found myself asking, “What is Tiera like to work with?” Tiera Trammell was a total enigma to me. So many filmmakers and artists in the city follow a public route; you know who they are because they tell you. But Tiera seemed to let her work speak for herself. I just hadn’t had the opportunity to work with her yet. 

Finally, I had the opportunity to work with Tiera on the set of a mutual friend and filmmaker Breanna R. Taylor’s short film In Holding. I joined the set for SFX Makeup and Tiera was a Producer. It was a perfect opportunity to really see how well she coordinated the chaos of a film set and honestly, I was immediately impressed. While I was able to stay parked on set behind the scenes doing makeup for talent, I saw Tiera and the entire production team running circles around the entire location making sure everything happened on time, the way Bre had hoped it would. After In Holding, I had my own plans to shoot a second short film and knowing the direction I wanted this production to take, I knew I wanted to invite Tiera to join the crew.

Trusting someone to join your set for the first time on an indie production can be a gamble even if you have met them in person before. When the budget is low you can’t expect a lot from people. To give their free time away or even take off for your low budget short film is a lot to expect. Tiera showed up every day of filming with a clear head on her shoulders. While I was just getting to know her between the busy tasks of a filming day, she kept me oriented as a director and her personality was so easy to bring into the flow of my set. I could trust her to keep us afloat as our 2nd AD, but it was more than that. She read the script notes and stayed in the scene with the actors in a lot of key moments that helped motivate our story. The suggestions Tiera made during filming made me wish I had her involved in the writing of the script. What sets Tiera apart from a lot of filmmakers and creatives in my opinion is her connection to story and comedy. She’s a friend that I see willing to help the fellow creatives in her life, but Tiera is more than a hard worker, she’s a filmmaker with a clear narrative vision. 

I think we will be hearing a lot about Tiera Trammell and the work she’s a part of in the upcoming year. Milwaukee is very lucky to have someone as kind and community-driven as her behind the scenes but I’m personally hoping to see Tiera take the lead in more Director’s roles in the near future. This interview has been a long time coming, so I really hope you enjoy learning a little more from Tiera. 

Where are you from and where are you living now? Do you feel like your experience growing up and your background with Milwaukee have had an impact on the kind of projects you choose to be a part of? 

Hey, I’m Tiera Trammell. I’m from Milwaukee, Wisconsin. I say I grew up on the Northwest side, near 60th & Silver Spring and Westlawn but I also moved around a lot so I’m familiar with a lot of places. I’m still living in Milwaukee, on the east side for now. I spent a lot of summers in Tennessee when I was younger as well. I feel like that has significantly shaped my outlook now as well. I definitely see and know growing up in Milwaukee has had a huge impact on my projects and projects I like being a part of. Projects I think about the most are directly tied to the everyday things I see here or things I’ve experienced. I like stories that seem familiar, or stories about relationships whether that’s friendships, familial or romantic. I think relationships and relationship dynamics are universal so I like to work on projects that explore those.

You’re a pretty avid runner. Do you feel like the meditation of running finds its way into the craft of filmmaking for you?

Yeah… I be running. Shout out to my cousins who got me into it, cause I always thought it was the craziest thing to go out and run for miles, one mile was already stretching it.  Running is like a mindgame for me. I really think it builds my mental endurance seeing how far I’m able to push my body and mind through discomfort, pain and plain just not wanting to mentally. I think that shows up in filmmaking for me by just sticking with the thought that pursuing this craft is worth it and can be an actual sustainable path. When things get hard, being able to adapt in real time, finding alternative routes when one seems like it’s not going to pan out for the best. When you’re in a race there’s a finish line. I look at every goal like that now. There’s no mistaking if you did what you needed to or not. I said I would never run a marathon, but it might be on the list in the next few years. When I need another mental push. Right now I'm chilling with my 13.1. I think any type of regular exercise is good for anyone who works on hard things. When you’re able to show yourself, and see that you can push past your limits, your mind automatically starts thinking of new ways to succeed rather than quit. 

Has Milwaukee's independent film community shaped your work in any significant way? 

Absolutely. I’ll speak from my experience where I’ve really got the chance to come on people's sets and learn in a way I never would’ve been able to, not going to traditional film school. I feel like there’s some great people out there willing to answer questions, and be patient and give advice for someone who was once so and still am in a number of ways inexperienced. So now the way I work is to also try to create those types of spaces and opportunities for people. Another thing that goes into that is also seeing people willing to work with limited resources and still put out very good projects is getting me out of my head. It’s allowing me to be more creative in how I achieve something and not focus too much on it needing to be like “picture perfect” or look a certain way to be considered a worthy piece of work. I’ve seen people pull off ideas and I’ve been like “Oh I love how they did that” and getting ideas on how to “cheat” stuff with the resources I have. 

What is your favorite genre of films to watch in general and what are your favorite kinds of films to make?

I think right now I’m really into comedies. I’m thinking of some more dramatic stuff as well, but mostly comedies. I feel like I laugh through a lot to process life. And have had to figure my way out of a lot and the best way through it has been finding a way to laugh through it. As far as genres to watch, I can’t lie, I really love romcoms, or like whatever brand of comedy of “This is 40” is. I like “good bad” movies. Idk how to describe that better than that. I like feel good movies! I like a movie that’s gone make me laugh and that I’ll watch 20 more times. I love dramas too. The only thing I really won’t watch is horror or witch crafty for real. Like I mentioned before I like stories about relationships between people so I would say I like themes more than genres. Movies about friendship/ movies about choices & decisions / movies about perspective / movies about historical events. I was just able to get into period pieces after seeing “The Harder They Fall.” I love experimental films. One of my friends was over checking out my movie collection and they mentioned I have a wide variety of films so I couldn’t tell you. I’ll watch whatever if I’m in the right mood. Back when you could buy movies in the store, I’d just pick something off the cover and the price. 

You’ve worked on multiple local short films, features and series. What are some of the projects you enjoyed working on the most and why? 

I will never stop talking about trying to get a casket on top of a mini SUV and safely drive it back from Waukesha to Milwaukee for In Holding. I think that’s when I really started believing in the determination of Breanna Taylor. That was definitely one of my favorite projects to work on to really see from beginning to end. It taught me a lot. I learned a lot and didn’t feel the pressure of messing it up so much but more so like wow, we’re making a film. It gave me a battery to be like wow, I did that once, I bet I could do it again with and with everything I learned from the first time. The crew was great, I really liked the way that set felt. Same with working on Cursed Tooth! I thought so many times like “Wow, this is a beautifully curated team.” And I feel like that starts from the top down, so shout out to Jolee Mallmann for putting that out and getting everything on board. The personal touches of photos, scripts, and shirts were super cool too. On top of a great idea and script, I could tell Jolee really thought A LOT about the people who were involved, who would view it, who were supporting it and they made everyone feel like a very vital piece. That’s definitely something I’ll be putting in my bag. 

How did you get your start in filmmaking and what was your inspiration to start in the first place? 

I’ve always wanted to tell stories. I took a documentary class while I was in undergrad. I originally pursued journalism because I liked telling stories, hearing about people's stories, and reporting on stories I thought were important. Once I took this class, I’m like I don’t have to confine my storytelling to this lane. I’ve always always wanted to write a book that was going to get adapted into a movie. That was my literal goal. And I’m like, why don’t you just write the movie… I think back when I was thinking journalism I was also thinking of being like a media writer, writing on music and movies. Then I started to not like that idea either because I also think you can't be a legit commentator if you’ve never been in it and done it before. So after I stopped trying to critique movies, I’m telling myself like well you make something.  

What’s your favorite role to play on set and why?

I really want to AD but I haven’t yet. Mostly because I really think it would be like cracking a code figuring out how to be on time. It would be a good challenge for me. Being a PA has allowed me to learn a lot and practice different roles, and be exposed to a lot. Right now, I’m loving trying my seat in directing. Being able to make that creative choice of course always feels good. I also want to edit more. I would love to be able to tell the story that way as well. Maybe I’ll start seeing who trusts me enough to try it out.

Who are a few filmmakers you find major inspiration in? 

You know, I grew up in a time where most of the movies I watched were around the house. I mean, I’m pretty sure I went to the theater to see new films but I don’t really remember going until High School. I was watching a lot of movies about Black families and friendships like Soul Food, The Five Heartbeats or The Best Man. I feel like a lot of my influence comes from Keenan Ivory Wayans and the older Wayans family members in general. The standup or sketch comedy and spoof movies from the early 2000s back when I was very impressionable.  Robert Townsend for how he displays characters and relationships, Michael Gondry for his experimental films. Whitney Houston as a Producer. That was like my foundation. As I got older I got to know more of the women filmmaker catalogues and got exposed to Kasi Lemmons, Portia Cobb of course. I was really stuck on the kitchen scenes in Portrait of a Lady on Fire so I’ve started trying to pay more attention to Celine Sciamma films. There’s probably more I’m missing but I think I got the creators of most of my favorite films. 

Do you have any fun memories from working on film sets? Could you describe any challenges or learning experiences from your time on different sets?

I’ve really learned to just treat everybody with respect and consideration. Speak to people, greet people, say goodbye when people are leaving, address people by name. The work that people are willing to put in when they feel respected can’t be matched simply with a check or dollar amount. Right now the funniest moment on set was when we realized we ordered catering from somewhere in Appleton, Wisconsin instead of the Appleton street in Milwaukee. It wasn’t funny then but it’s funny now. Definitely was a challenge considering I think we spent our last few hundred dollars that we literally had in the bank, in our pockets, whatever. It’s perspective shifting when the budget runs out or we’re running out of time for something but there's still money that needs to be spent or a shot that needs to happen. You need to get creative. It was also a plus having people on our team that were quick with problem solving, resourceful, able and willing to jump in where needed. So back to the people, it’s good to have good people around you who care about the work, project and crew as much as you do. 

Do you have any advice you can share with someone just starting their career in film?

Just do something. Try something and see it to the end. Put something out. It’s not going to be perfect, it might not even be good but you can’t just keep all of your ideas and work to yourself. The more you do the more you learn. You learn about your voice, your audience, what works and what doesn’t. But you have to put something out. You have to let it live in the world and be whatever it’s going to be. Then close that chapter and  move on to the next thing. So cliche but just stay consistent and develop some discipline around something, anything. It’ll have so much impact on everything you do.

What are you looking forward to next in your career in film? Do you have any projects in the works or things you’re excited to try next?

I’m really looking forward to sending out First Impressions to a few festivals. That was like my first project and we shot it this past summer. Right now, I just want to focus now on building some creative techniques like shots, color and trying out different stories. I feel like working on a bunch of mini projects, 1-3 minutes, I can learn quickly from. I have a couple feature scripts I wrote that I would like to revisit. I’m also looking forward to building a community and a regular team. I love when I see people have done that and think it makes for a really solid foundation. 

Where can we find Tiera’s work?
@19inety3 on Instagram just to know what I’m up to and what’s coming.
@TProducing on YouTube. You’ll find some BTS and more random things I’ve uploaded. I need to use YouTube more.

---

Into independent film? Want to learn more?