VOTE Vedale Hill to Be The People’s Artist | ONLY 1 DAY LEFT

Art isn’t just something you hang on a wall or scroll past online. Real art is lived. It is carried through pain, love, family, struggle, and hope. It is shaped by experience and shared with the world so others can feel less alone, more inspired, and more connected.

That’s exactly why Vedale Hill deserves your vote for The People’s Artist.

Vedale represents the kind of creative spirit our communities need more of — an artist who doesn’t simply create for attention or trends, but because creating is part of who they are. Every piece, every idea, every expression comes from an “endless well of thoughts” built through real-life experiences and an unwavering belief that art should mean something.

“I create because I can, and I can and do because I have an endless well of thoughts that are generated by my life’s amazing experiences.”

That mindset is what separates artists from creators of content. Honest art comes from lived experience. It comes from being willing to feel deeply, reflect honestly, and turn life into something meaningful that others can connect with.

For Vedale, inspiration doesn’t come from imitation. It comes from Pain, Love, Family, Life lived, and desired.

& that honesty matters. It also comes with an active pursuit to right his wrongs and create something that actively contradicts what he grew up thinking was his only option.

Too often, artists are expected to just“make art” while the world overlooks the deeper role creatives play in our communities. Artists teach. They share. They encourage. They build culture. They transform difficult experiences into something beautiful and human. They remind people that creativity still matters in a world that can sometimes feel disconnected.

Supporting local creatives like Vedale Hill means supporting people who live their art every single day not just when the spotlight is on. He has shown this with his work as an advocate for the creative community with CopyWrite, with his non-profit Jazale’s Art Studio, and with his adjunct professorship at MIAD.

What makes Vedale especially deserving of this recognition is the authenticity behind the work. There’s no pretending, no manufactured image — just someone committed to creating what they believe deserves to exist in the world.

When asked what kind of art matters most, Vedale answered:

“Honest art, that comes from one’s own experience with one’s own derivative style or process. If you believe it should exist and you're the best person to share the idea.”

That is the spirit of The People’s Artist.

And beyond the recognition, this campaign also supports a meaningful cause. Votes help support The Art of Elysium and their mission to use art as a catalyst for helping people overcome difficult life challenges.

If awarded the $25,000 prize, Vedale’s answer was grounded and real:

“Pay bills. I’ll always make art, with 1 cent or a million dollars. I’m going to be making something I believe is worth sharing with the world.”

vedale hill was the lead artist in milwaukee’s black lives matter community mural

That says everything.

This isn’t someone chasing fame. This is someone committed to creating no matter the circumstances, because art is not just what they do, it’s who they are.

So if you believe artists should be supported not only for what they create, but for what they give back to the world through creativity, resilience, and authenticity, now is the time to show it.

Vote for Vedale Hill for The People’s Artist. Cast your free daily vote, or make an even bigger impact through a donation while supporting a powerful cause through The Art of Elysium.

Support honest art. Support the creative economy. #SupportTheLocal

/CW

SnapShot Press Release | Uniting Each Voice [Milwaukee Film Festival 2026]

Tucked into a 22” x 20” [I’m guesstimating] movie seat, beneath the dimmed lights and flickers of projection, you can find me insainly jotting down illegible notes in the hope of remembering everything. As a press pass–holding journalist, I arrived with deadlines hissing in the back of my mind, personal burdens buzzing through my phone [DND me please], and a strong need to find reciprocity for me and the screen. But somewhere between the marquee’s glow and the 10 boxes of teeth sticking candy [I may or may not be over exaggerating], those concerns loosened their grip. What remained was a rare permission to sit still, to look closely, and to let the stories, the art, the whatever, reflect something truer than the noise I’d left outside.

Milwaukee Film Festival’s 2026 coverage from CopyWrite is a collection of reflections from the periphery. The type that tends to form and linger, offering nuanced perspectives that trace the emotional residue films leave behind. What follows leans into the quiet joys of simply existing alongside these films: noticing, wondering, and occasionally delighting in the unexpected. There’s room here for curiosity and a touch of whimsy, but it’s the kind that feels earned rather than ornamental [because once you're exposed to real, you are supposed to hate lame]. What impressions are left after the credits roll? What can we sit with, why does it matter, and who said so? From panels, parties, to the big screen, unity was at the forefront for both the audience and filmmakers. We recognize that uniting voices would be the unspoken theme waiting to be discovered.

With coverage from Lexi S. Brunson [Owner/Editor-in-Chief], and Desriana Gilbert [Entertainment & Social Journalist for /CW].

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PUBLIC ACCESS [Director: David Shadrack Smith]

I live for a good media archive & by all measures of the sentiment, PUBLIC ACCESS is the holy grail. Originating in New Your City [go figure] in the 1970’s, Public access TV, was a non-commercial, community-produced cable television designed for public expression. 

& it was WILD!

This film shows us all the complexity that comes with the rise of new mediated platforms, the pros, cons, and WTF of it all. It’s a timely dialogue of access and agency, the same contemporary battle that exists in what we now consider social media…but was this not the first of its form?

The platform itself had no programming standard, which meant you could do what you wanted. So what do people do with free will? They will it, LOL. There is a quasi-understanding of what is meant for public consumption, especially considering that we all have different thresholds of acceptability. Where some public access originators thought that “presenting alternative culture could be a strength”, alternative culture was & is not one note. Where it lives on the spectrum digs into intimacy versus spectacle. The film shows us that dichotomy in depth. 

Director David Shadrack Smith, shows us archival footage of cultural legends as they participate in the space of pubic acess TV,  including members of the band Blondie [Debbie Harry & Chris Stein], Musician & Activist Bob Marley [on Rockers TV, the first reggae music television series], and Artist Jean-Michel Basquiat [who was shown using the typed character generator] as a frequent guest & crew member of a public access show TV Party. Having the footage of these icons being very much off script seems like a win for a cultural critic like myself. 

However, that wasn't the only thing off script being shown. For example, The Grube Tube, hosted by Steve Gruberg, was literally him sitting at a desk with a phone [phone number floated across the screen, and he would request people call in to talk about anything & everything. . .LIVE! Just imagine the real-time sense of discernment [Ha! There wasn't any]. Or the number of times someone was called a cunt [every episode from what was shown in the film]. Or why the hell were random people calling in to talk to a belligerent stranger? [Well, that happens all the time on podcast & talk radio. . . Y'all be bored & like people in your business]. For a $25 an hour studio rental, you could be on TV and do what you want and nobody was stopping you.

On the other end of this, there was footage that was recorded and sent in. With the invention of the Portapak video camera, you could capture anything from anywhere. So here we have footage of Nadya pushing a baby out of her vagina up close and personal, [and depending on who you are], a more or less visceral scene filmed by artist Anton Perich with the hemorrhoid screw concept of sticking a lightbulb up the TV repairman's butt, where a need for censorship was called into question. This is followed by a growth in pornographic content on Public Access, including content that grasps the intersectionality of identity, like Emerald City [the first Gay television show].

Beyond the titillating erotica [that's a first for me at the fest!], this mediated experience really captured the contemporary origin story of content creation. Where we champion YouTube & MySpace for their contributions to user-based content, this archive shows that the true relic of  DIY media is Public Access. As we still live in a society that challenges who can take up space, what is worthy of public consumption, and what is “doing to much” versus human expression, we should be mindful of who broke the mold. 

So for the Art, the Sex, the Nerdy, and the Niche . . . SHOULD IT BE PUBLIC?

Lexi for /CW 

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IF I GO WILL THEY MISS ME [Director: Walter Thompson-Hernandez]

Greek mythology goes beyond the surface of sculptures in high-end art galleries and historical museums. There are several similarities between African-American families and Greek mythology, including family dynamics and personal struggles. If I Go Will They Miss Me is an authentic and eye-opening embodiment that displays those similarities to a T.

Now, I know hundreds of daddy’s girls; I’ll be the first to admit that was my first title in life. Each scene caused a different type of tear to fall, but as I looked to my left and right while in the audience, I knew this tear-jerker was intentional and uncensored. You know the saying, “It doesn’t hit the same”? That’s the feeling Lil Ant felt after witnessing a young boy admiring his father as a god in the media, which was taboo.

Twelve-year-old Lil Ant viewed his father as a Greek god, Poseidon, a larger-than-life human being who was stronger, smarter, and more beloved than anyone else. Despite his knowledge of his father’s struggles with incarceration and instability, Lil Ant only replayed the pleasant memories and used those as ammunition to accomplish change, which was praised and acknowledged by everyone but his father. He felt invisible, like nothing he did ever pleased his Poseidon. Not only was this strain confusing to him, but also to the matriarch, Lozita. Out of each of her children, Lil Ant was the one who believed his father could do no wrong and tried with all his power to be exactly like him—solidifying the only image he knew his father to be: his hero.

The excitement and admiration he felt after learning that Big Ant was returning home could not be contained. Unfortunately, Lil Ant and I, sitting in the audience, did not expect the strain and disappointment that soon followed after his hero’s release.

Violent person, he was not.

He attempted suicide after feeling the disconnect between him and his father and feeling unseen. It didn’t matter how many profound drawings he created of Big Ant or how many fights he won in school; the validation Lil Ant sought from his father was never fulfilled.

The main mystery behind this cinematic masterpiece is why this father-son relationship plummeted when it was once angelic. I could not help but want to jump into the screen and stand up for Lil Ant. Director Water Thompson-Hernandez must’ve had the gift of mind-reading when creating the film because it seemed like just as I was about to lose my marbles over why this admired father was not reciprocating loving energy to his seed, the flashbacks began rolling in. As the audience witnessed Big Ant’s upbringing and the mistakes that laid the foundation for the trajectory of his adult life, his actions after being released from prison became crystal clear.

After a traumatic experience in his teenhood, Big Ant always felt different, but nobody ever noticed. Being labeled as the “tough guy” and “untouchable” is a hard opening to any discussion about feeling out of place or having unique experiences, especially in Los Angeles. He treated his son differently once he was released from prison so that Lil Ant would stop paying attention to every detail about his dad. Big Ant was afraid that if his son looked too hard, he would learn just how different he really was, along with both his past and present mistakes. Fatherhood instilled fear inside of him because it was brand new; for most of Lil Ant’s childhood, he was not physically there to learn how to be an active father.

With deep reflection, Big Ant discovered a love for aircraft, and Lil Ant’s artistry would draw the two closer together, but this didn’t solve the exhaustion his wifey, Lozita, faced while feeling alone in their relationship and as if she were the only parent pouring into her children both internally and externally. Yes, we all became crybabies throughout the entire duration of the screening, but I quickly realized there were several different pain points each of us identified with.

[THIS WAS A MIRROR WE WERE NOT READY TO HOLD UP].

While, for some, the simple fact that they are empaths and feel everything around them hit home, for others, it was the familiarity of family not seeing or valuing you the way you value them. And for some, it was clinging to the question of what life would be like for people if they left this world on their own terms. Although the pictorial buffet concluded with Big Ant losing everyone who means the world to him after they moved out of their family home, an unbreakable bond is restored between a son who always wanted nothing more than to feel seen and valued by the father he graciously admired.

Desriana for /CW

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THE BIG CHEESE [Director: Sara Joe Wolansky]

The F*ck is a Cheesemonger?!?

For those of you who don’t know [like I didn’t], a cheesemonger is a highly trained curator of dairy-based joy; part food expert, part matchmaker, part flavor hustler. They know which cheese will change your life, which one pairs with wine, and which one smells like it’s been sitting too long next to a dumpster but somehow tastes amazing. Think of them as the sommeliers of cheese who age it, study it, slice it, sell it, and gently judge you when you ask for the basic cheddar from the grocery store.

As a Wisconsinite [The Cheese State Baaaabbbbyyy!], I am thoroughly ashamed of myself for not knowing that there was this wonderfully outlandish subculture/career that is obsessed with cheese in all the right ways. I mean, from the competitions, to the study sessions [sniffing, tasting, analysing origins], and designing out those lavish cheese “plate” presentations. . . I mean the commitment is top-tier. Director Sara Joe Wolansky increased our cheese culture lexicon by taking us on a journey of redemption where our main character, Adam Moskowittook [Mr. Moo himself] prepares a group of American Cheesemongers to win the Mondial du Fromage competition in France. As the world-class cheese “gurus” question what an American could even know about cheese [because we globally lack cultural expertise, hahah, but our collective egos tend to minimize that perspective], here is a man willing to propel his peers into the ooey gooey of it all to claim that honor and prestige. 

Side note: Did you know that the Wisconsin dairy industry contributes $52.8 billion annually to the state's economy? That’s a lot of cheese!

What I found fascinating about watching this film was how the entire audience seemed to be invested in watching Adam and his team prep Courtney Johnson & Sam Rollins, to take on their international rivals as we gnaw on the delectable cheese tasting box, provided by Hill Valley Dairy, Sartori Cheese, and Roth in the dim light of the movie projection [I now have the flavor tasting wheel on my refrigerator so I too can sound scholarly in my identification of cheese flavor profiles]. 

“It's giving notes on barnyard, stone fruit, and whey.”  

We don’t know these people, yet we are invested in the idea that there is privilege in practice, and even though we have only had a real cheese industry in the United States for 150 years, [nothing in comparison to our Europian counter parts], watching someone cut and eyeball a chunk of cheese by the ounce like a street pharmacist is fascinating stuff. Adam, and his big personality, let us see the intimacy of believing in something [though niche] that is bigger than you. He shows us how even the most chaotic of human experiences can be comforted by a good piece of cheese. 

And here is the thing… I’m not sure if it's because I was raised to love cheese or conditioned to root for the underdog, but there is a non-romantic love story that lives within every second of this film that was pleasantly heart-warming. 

Ummm, but MKE Film, you don’t have to wait for a cheese-themed movie to slide us over cheese samples. We will take those anytime LOL 

Lexi for /CW

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BLACK ZOMBIE [Director: Maya Annik Bedward]

Turning someone into a Zombie is like putting them back in slavery forever. 

We know it happened. We know it still happens. We know that the media has bastardized the truth, lived realities, and minimized any origin story that shows the actual villainy that came with colonization of the Black body. Well, just imagine if the concept of a Zombie actually comes from a narrative that raises questions about autonomy and agency? What if you further discovered that this canon of thought really comes from the Isles of Hati and has been misconstrued into the soulless grotesque versus the traumatized lost? 

Maya Annik Bedward challenges us to see beyond the horror genre of the fetishes of the zombie and into the cultural dialogue of a people who have fought for their survival, spiritual freedom, and the totality of their existence. There is a beautiful juxtaposition between the interpretation of a slave person becoming a Zombie [then how they snap out this forced trance, and become free by revolting against their capture] and the impact of the Haitian Revolution. It is filmed in what I would call a Black & White dream state, but it contrasts Haitian people in living color, discussing the misinterpretation of Voodoo, and media experts' criticism of the contemporary zombie trope. 

Where it gives us a name to blame, William Seabrook, [call that fool out] from his travelogue, The Magic Island, where he claims to have witnessed, “soulless, dead bodies reanimated by voodoo sorcery to work as slaves”. His lack of sophistication in Haitian cultural competency & the erks of colonization [I SAID WHAT I SAID], creates this idea that it is the act of Voodoo that made these Black laborers soulless. But the truth is, it was being taken from Africa and disrupting one's passage to Ginen [considered a sacred place where spirits & souls return], the trauma of being forced to do this labor, that really created the Zombie. 

It's complex. But it's the white gaze of anything unwesternized that really makes it unsettling. Do you remember when the United States of America occupied Haiti from 1915 to 1934? Yurp! That happened for what was claimed to be in the US economic interest, that “underlay racist stereotypes of Haitians as ignorant people incapable of governing themselves”. 

But then we question why Haitian refugees have been vilified. Tuh!

It is this Western fascination with the “other” that has given us The Night of the Living Dead, World War Z, and The Walking Dead. However, it is on the pain of real people who have been exploited. Black Zombie is a reminder that even in the mystic unknown their is a legacy to uncover, and truth that will always come to the light. 

So if anything is eating at your flesh, let it be the truth: slavery never ended cleanly for Haiti. It just changed uniforms, flags, and languages. Colonizers tried to break a people who dared to free themselves first. They occupied the land, demonized the spirit, mocked the rituals, and turned sacred Black survival into horror for entertainment. But Haiti still breathes. Still sings. Still dances in their Blackness. Because what they could never understand is that Haitian culture is not a costume, not a performance, not a trend for outsiders to imitate and consume. It is an ancestral memory. It is spirit tied to spirit.

And no matter how hard the white gaze tries to study it, market it, fear it, or flatten it into fiction, there will always be a part of it inaccessible to those who have never had to survive through it. Haiti exists beyond their understanding, bright, bold, and ironically alive.

Lexi for /CW 

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THE MILWAUKEE YOUTH SHOW PRESENTS: 

ALIVE AND FINE | Diego Villafuerte 

FACADE | Sam Slowik 

GRAVEDIGGER | Joseph Tzougros, Anika Oakland, Zoe Oakland 

HOLD CLOSE | Milwaukee Visionaries Project participants Nannerl’s Kügel | Lola Milanovic 

THE WEB | Erin Browning 

TOO MANY ANIKAS | Zoe Oakland 

WHO ARE YOU | Katie Hyde 

Film is always evolving, shifting, and outdoing itself. One of the main reasons behind this artistic phenomenon is that filmmaking has little to no restrictions. Making your own rules, amplifying your voice creatively, and creating a purposeful statement are what make CopyWrite want to bring our pen and voice to the media. Youth filmmakers are living proof that it is never too early to breathe life into your visions and magnify their stories on the big screen. 

The Milwaukee Youth Show exemplified not just a cultural array of youth filmmakers but also emphasized how large the film tray is, pertaining to how many different styles of storytelling there are. With every turn, the next generation of artists in our community is showing that they have the stuff to tell their stories, make people laugh, and enact change. This showcase of Milwaukee's young filmmakers proves that they are carrying the torch to bring light to our city. True passion and enjoyment were vibrantly displayed by all the youth filmmakers selected to be a part of the festival. Many of their ideas stemmed from school projects, a teacher seeing what they’re capable of, or an attempt to bring their friends closer together. I loved how, while watching the Milwaukee Youth Show, I was constantly on my toes and did not know what would fill my eyes next. Each youth filmmaker drew out different emotions, questions, and inspiration as they guided the audience on how the final product was carefully created.

To my surprise, I left the theatre with the knowledge that there once was a female Mozart who was just as talented as her brother, who has been internationally known for centuries, but because of her gender, Nannerl Mozart was never acknowledged for her talents and pure intelligence. [Yes, you read it right. Mozart had a sister who was just as musical-genius as he was but was never given the opportunities, nor recognition, because of something she was not in control of: her gender.] 

I felt as if I was traveling right along with director, Lola Milanovic, just because of how intimate, genuine, and insightful each scene of her documentary was. Milanovic, just like the other filmmakers, poured much dedication, editing marathons, and fiery enthusiasm into telling their stories. 

Witnessing not only the talented directors’ family and friends immediately gift a standing 

ovation to them, but also the teachers and mentors who were with them from the time the film was a rough draft script, was a full-circle moment. The Q&A panel held after the cinematic sensation was presented opened my mind to view filmmakers in an entirely new way. Every one of them has a unique story, outlet, and access to resources to share their form of storytelling, but age plays no role in filmmaking because their passion all remains the same.

Desriana for /CW

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Powwow People [Director: Sky Hopinka]

It’s the drums for me.

As a multi-ethinic women who has Choctaw, Blackfoot, and Cherokee ancestry, there is this part of me that gets overly emotional when I get to experience the intimacy of Native culture. Growing up, the only access I had to that piece of me was attending Powwows. Where I didn't have the words before, I now realize it as this magical culmination of tradition, celebration, and communal gathering, adorned in the intricacy of history & modernity.   

“Why am I tearing up?”

Sky Hopinka curated not just a documentary film experience but the actual Powwow that shows the nuance of intertribal care & inclusivity. This 3-day event showed us multiple perspectives of who the “Powwow People” are. The planners, the drummers, the singers, the dancers, the elders, the youth, they are all threads of this way of life. It showed parts I had never seen before like the construction of a teepee [one pole at a time], and the discussion of the Powwow “Circuit” [a network of annual Native American social gatherings and competitions spanning North America that many drummers and singers travel to as a part of their vocation]. 

It’s something about the bounce. 

What I found myself centered on in this film was the multiplicity of ways that one is present in their culture. The men's traditional foot slide dance had this aura to it; I just could not explain [that foot work goes crazy]. Jamie John, a non-binary dancer, reflected on identity via past practices, present participation, and what the future of these traditions may be, which reverberated an interdisciplinary dialogue that is often overlooked in mainstream media.  Then we have the  Master of Cermamony, Ruben Littlehead, who brought the natural satirical & comedic relief that held it together, the “OLD WAY”:

“Sky, this is where we turn the cameras off, or it's going to look like National Geographic.“

But the magic is in the filming of the ending dance special, where Sky films the dancers from the middle of it all, which shows the detail, the drama, and the discipline in a proximity that only another dancer ever really gets. Again, it feels like a sacred intimacy that is shared and a piece of existence I wish took up more space in the world [as it was meant to].

Powwow People is a reminder that Native American culture is not on the periphery of existence for all people. For some, this IS  life. 

 Lexi for /CW 

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MAKIN’ CAKE [Director: Dasha Kelly]

Now I know what you’re thinking. Yes...The title alone was more than enough for me to sprint to 

the Oriental Theatre and tune in. I mean, think about it, from weddings, birthdays, to anniversaries, cake is always placed at the very top of the sweets hierarchy and assigned as the celebratory dessert. The confectionery ensemble often symbolizes unity, abundance, joy, and celebration. Hence, much significance and excitement are shed on the sweet treat! Surprisingly, within the first five minutes of the intriguing documentary, I quickly learned that the impact the delectable delight held was far more than I’d ever imagined. 

What struck me first, while my eyes were glued to the screen, was that my ideology of cake, just like many Americans, has been linear and consistent since the time I indulged in my first bite of cake. Bold, creative change agent, Dasha Kelly daringly unpacked how the true layers of cake aren’t just different moist frosting types, but they are, in fact, classism, racism, and privilege. The inviting scenes of Kelly attempting to bake her personal favorite, carrot cake, while simultaneously emphasizing that she was not a baker, were not only filled with comforting childhood memories reimagined but also the cut-throat origins of cake and the immense role it played during several of the harsh and unjust time periods we know to date. 

Throughout the electrifying screening, Kelly invited a layered assortment of highly educated Wisconsin professors and historians to explain how being able to make the sugary ensemble was a direct reflection of how much money, access, inheritance, and the education you had back in the 20th century. Although the basic ingredients of crafting the confectionery treat seem affordable and a steal today, for many Americans 80 years ago, buying ingredients to make a cake meant their dollar couldn’t be stretched out as much as they intended.

Makin’ Cake surpassed the candied imagery I fantasized in my mind before entering the theatre doors. Whipped frosting, behind the scenes of some of the world’s most trophied bakers, and the rising of cake inside the oven were not the only moving parts that told the hidden story of how cake and power went hand in hand many specialty ovens ago! She quickly transitioned into showing the journey of her stage play, Makin’ Cake, which has made its way to the big stages all around the U.S, explaining to anyone and everyone the negative emotions cake once created. 

The brilliant stage play deeply paints the picture that just as easily as cake can bring a family, group of friends, or couples together, it was an even easier cakewalk, causing rifts in society and the game of power. Yes...You guessed correctly again that my mouth was craving a taste of any cake in sight as I watched Kelly’s magic. However, as the red velvet curtains closed, I left with more insight into the access many of us have today to step into the kitchen with our families and bake a buffet of sweet treats. Decades ago, roughly ⅓ of Americans could attend home agent school learning the process of baking, while on the other hand, more than 50% of them could only afford to purchase one of the several ingredients. Writer and performing artist, Dasha Kelly, expanded my mind that unjust and unequal opportunities are not always black and white. This is why you have to dive deep into the research of your history and make change one bite at a time!

Desriana for /CW

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#WHILEBLACK [Director: Sidney Fussell & Jennifer Holness]

The world has been marketing moments of Black pain for centuries. However, the introduction of social media to the masses has heightened this phenomenon tenfold.  

In this film, we encounter the realities of the virality of police violence toward the Black community, highlighting the act of witnessing the murder of George Floyd and Philando Castile. Both of these deaths were witnessed in the flesh, and documented through video technology [one a social media post & the other on Facebook Live]. 

As a society, we have collectively been grappling with a pain that was not personally our own but felt like a familiarity [it could have been us]. Where this is a normal response [that counters our desensitized reality], we are still not the first-hand witness. 

The way directors Sidney Fussell & Jennifer Holnes championed the perspectives of Darnella Frazier, who posted the original video of Floyd’s death, and Diamond Reynolds, the girlfriend who was in the car with her daughter when Castile was shot, is vital. It shows the different treatment of this woman [Frazier, who was a teen at the time] and how the security, safety, and care for witnesses reverberate via their lived trauma every time a video is replayed.

Reynolds noted, “Nobody wants to hear trauma from a widow who is not a widow.” This calls into question who has agency over the act of mourning. Why does someone's legal marital status define their very apparent proximity to someone they cared for [this hits me on a personal level as someone who is not legally married but very much in a public & deeply rooted soul tie with my “husband”]. On top of this their is nothing natural about witnessing a violent death. Meta earned a projected $16 billion on impressions, "high-risk" or "violating” content around George Floyd's death. This sickening number notes that the tech industry [amongst others] is profiting off trauma. Owning the rights to something and sharing it far and wide is challenged by the fine print that many scroll past just to have access to an online community.

But here is the real tea: where Diamond Reynolds has been fighting to get her video removed from the web [that includes her daughter's likeness], Darnella Frazier was awarded a Pulitzer Prize for her recording as a citizen journalist that sparked protests around the world and vocalized how that Pulitzer means nothing in the grand scheme of things because well. . . a man is dead. 

Without getting into the thick of it [because you know this will never not be an important conversation], I think #WHILEBLACK shows that no matter how far we come, we still have to challenge how we take ownership of narratives that affect us, even if their existence mocks the value of Black life.

Lexi for /CW 

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In the end, this year’s Milwaukee Film Festival felt less like an escape from reality and more like a return to it, with more care and somehow easier to hold. Across every screening, there remained a shared impulse to stay open: to each other, to discomfort, to joy, and to the small realizations that only emerge when we allow ourselves to truly look. Hopefully, that’s enough to keep building for whatever possibilities are to come together.
Love & All Things Urban, 

/CW Fam

When Old Skool & Modern Day Rap Collide, Rapper Alan Ward Arrives

RAP ARTIST, ALAN WARD

Gold chains, luxury cars, endless vacations, and being the king of the world have become the chosen epitome of who the rappers are that we see plastered all over our screens, and what lifestyle they represent. For decades, whether they know it or not, a silent internal battle has been brewing within them with the tough decision of following the copy and paste aesthetics presented to them in board meetings or simply being who they’ve always been before making it big with lights behind their names. There’s no surprise that it has become second nature for hundreds of talented hip hop artists who swung the doors open into a mainstream career to place themselves inside formulas built by others. Fortunately for the culture, there is still a tiny pool of authentic and raw artists choosing to remain themselves. Milwaukee-born, Baltimore-based hip hop creative, Alan Ward being at the tippity top of that list!

RAP artist, alan ward

Known for reviving and putting back on all the bells and whistles onto the golden era of hip-hop, Ward has easily been championed by communities in both Milwaukee and Baltimore as the physical manifestation when old school hip hop collides with modern day and new age rap. Alan has made it his mission to strip down the false narrative of gold chains, luxury cars, and daily shopping sprees (yes, like the ones Nisi & Mickey took with Mr.Manley in B.A.P.S.) and transform it into a space where reality is the bread and butter, not rap cap. It didn’t take long for me to realize which road the icon chose to lay as the foundation for his career once I witnessed the megastar live and in the flesh. During the 3rd annual Passion Park Fest, a multi-day music festival birthed right here in MKE, located at Uptowner Dive Bar [1032 E Center St, Milwaukee, WI 53212], Alan hit the stage and left nothing unsaid! His lively interaction with the crowd amazed me as I noticed people from all different walks of life in Milwaukee were laser-focused on this tall man whose lyrics made him seem like he knew how to read the minds of everyone in the venue.

RAP ARTIST, ALAN WARD

Every jump he made on the stage intensified his powerful yet swaggy lyrics the crowd already knew by heart. One thing I know for sure is that his microphone was ON from second Ward stepped foot onto the Passion Park Fest stage; making it his auditory playground, I soon realized recess was in session for all of us. It felt refreshing to identify with music that was both feel-good yet carefully intentional with punchlines that told stories of you, me, and anybody else in the city of MKE.

“I vividly remember how music made people react. Witnessing my mom’s mood change because of turning on a song or laughter striking my uncle as soon as the chorus to his favorite songs came on, stirred something inside me. I fell in love with how music makes people feel. That’s what intrigued me to start my journey in creating art.”

— Rap Artist, Alan Ward

While the rest of us couldn’t decide which clubs to join in middle school, rhymes, stories, and hooks were roaming off the walls of Ward’s middle school walls. He thought about music from sun up to sundown and it became a form of storytelling for him. Being a fully independent artist has been the golden key of preserving his style of storytelling and the hip hop creative’s strategy to maneuver the entertainment industry authentically. Both musicians and those who are die-hard lovers and supporters of the essence of music are equipped with the knowledge that it is almost inevitable to be told what to do, how to dress, who to date, and who to be in the entertainment industry, especially in the realm of music. Staying true to yourself and in your original being is a gamble that many are never willing to take. From the talented rapper’s early album, “Dolo” to his latest genius release, “Great Time” Alan’s footprints have always stayed consistent in the direction of his legacy, platform, and message are planted; being his real self and not allowing himself to be puppeteered by anyone and anything.

Rap artist, alan ward

“Listeners need to see and hear about us artists experiencing losses and when our lives are lifing so that it resonates with them every time they press play on the record so that a consistent connection is made that they can each identify with”

— Rap Artist, Alan Ward

Everyday life as a rapper is not a snapshot of them living in mansions, drinking champagne, and being the kings and queens of the world 25/8 (even though a handful of them get lucky and this is their reality). Alan wants the world to know that rappers experience loss too just like the average joe; romantically, financially, mentally, the list goes on and on. Throughout his adolescent years, hearing relatable music reassured Ward that his aspirations with music were in arm’s reach and not a dream being sold to him. With seeing artists who looked like him and voiced things he identified with, this put a major battery in his back to keep persistency and rawness at the core of his music career. Even though most of his audience calls themselves the “rap-nerds” of our generation, anyone who loves music and pop-culture, the creative’s melodic message applies to any and everyone.

Each and every one of us in this lifetime have experienced wins and losses, and we will all continue to experience them both. Alan’s message is that your losses do not define you, it’s what you do after them that counts. Your wins may not look or feel the same as someone else’s, which is why comparisons should be non-existent. Your reality is what you make it; from the trajectory of your career, whose apart of your village, and what roads you are taking to lead you to complete peace and happiness. Being different should be your goal, imagine a world where everything and everyone is the same…(NEWS FLASH-BORING) As for any upcoming artists or established ones who feel they are being put in a box, being yourself should be your marketing strategy and encouraged by those who want to add their own flavor to your career, whether they’re a supporter screaming your music from the top of their lungs or a member on your team looking to take your career to the next level!

Now I know what you’re thinking, this is way easier said than done but Alan Ward is the true definition of walking his talk, well in this case, having no cap in his rap! Ward openly discussed many of his truths with me after demolishing the Passion Park Fest stage. He boldly admitted that although there are many accolades attached to his artistry and he’s one of the few hip hop legends that identify with both old and new skool equally, he still works a 9-5 while also being a full-time independent artist. I admired him having no shame nor pride by still keeping his 9-5 occupation. Much pressure is often applied to 99.99999% of creatives to quit their day job in order to take their craft seriously, but who says just because you work a 9-5 you aren’t as dedicated, talented, and intentional with your passions? Ward’s creative process plays into his duality and puts his emotions on display in an intricate style to unite with the beats he falls in love with to capture the essence of his true purpose-storytelling.

RAP ARTIST, ALAN WARD

Are you ready to hear the style of 1980s rap combined with the new way of hip hop? Maybe you want to blast some lyrics powered by everyday life, questions, and real wins while you’re bumping music in your car this summer throughout the Milwaukee streets. Alan Ward, also known as @itsjustdez on all social media platforms, is the next artist you should add to your rotation! Catch Ward’s upcoming performances in Baltimore! On May 17th, at 7pm he will be gracing the stage of OUM City and from June 19th-21st, watch him kill it at the Taste of The DMV Festival located at 1101 Russell Street, Baltimore, MD 21230 Camden Yards Sports Complex (Between M&T Bank Stadium & Camden Yards).

His tracks: Replay-worthy. His energy: Magnetic

Desriana Gilbert | Entertainment & Social Journalist for /CW

COPYWRITE IS INVITING ALL OF OUR BLACK COMMUNITY TO LEGACY NIGHT !!! | Milwaukee Chamber Theatre Presents A RASIN IN THE SUN

ATTN: BLACK PEOPLE [ALL OF THE CONNECTS OF THE AFRICAN DIASPORIC DESCENT]— THIS MESSAGE IS FOR YOU!

What do you know about intentional entertainment? Culture celebrated, with the nuance of taking up space & wishing someone would have the audacity to question, "Why?"

Family, it's LEGACY NIGHT!

On May 8th, 2026, Milwaukee Chamber Theatre opens its doors for something deeper than a typical evening at the theater. This year's Legacy Night will showcase A Raisin in the Sun [the first play produced on Broadway written by a Black woman]. This classic, written by Lorraine Hansberry, is a reflection of dreams deferred [iykyk] and dreams defended [stand on business]. It’s family, resilience, struggle, and hope... all the things we know in the dimensional existence we have had as a community. It is in all shapes of the word, a legacy of our people. And there’s something undeniably powerful about witnessing it in a room filled with people who don’t just watch the story but feel it, recognize it, carry it.

This year feels especially meaningful because it’s the largest theater space Legacy Night has called home so far—and the intention is clear: fill every seat. Not just for attendance, but for affirmation that we exist and we do it #ForTheCulture.

I’m personally honored to be part of the host committee through CopyWrite [for the 3rd year in a row], helping shape a night like this into existence authentically. This is the work that matters, making sure our stories aren’t just told, but held, supported, and surrounded by the people they belong to [because what would the world do without BLACK CULTURE? Pshhhh!]

So we need you to tap in, buy a ticket, tell a friend, buy them a ticket, and then circulate this info all up and down the grapevine! The night starts at 6:00 pm with food, drinks, music, conversation, connection, and culture to set the tone. This is grandmas house, the barbecue, and chats on the front porch. . . because whenever we are together, it should be a function!

Let us plug you in with a ticket discount [use promo code: LEGACY].

All I truly ask is that you SHOW UP & SHOW OUT!

Love & All Things Urban,

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

SnapShot Press Release | FRIDA . . . A SELF PORTRAIT

Milwaukee Repertory TheaterpresentsFrida...A Self Portraitin the Herro-Franke Studio TheaterApril 3–May 17, 2026featuring Vanessa Severo.Photo by Michael Brosilow

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“Do you see Frida in Me?”

The question has layers. It requires you to see beyond what your eyes can render, it begs you to handle truths that can only be spoken by those who are or have been [whatever it is], and it demands that you have a curiosity that is borderline invasive. To see “Frida” is to know that seeing requires vulnerability, and to lay it on canvas with oil paint is messy work.  

Friday’s [April 10th, 2026] Milwaukee Repertory Theater’s Frida . . . A Self Portrait, written and performed by Vanessa Servero & directed by Joanie Schultz, was a fervently emotional and enchanting interpretation of life as the great  Frida Kahlo. In what could be categorized as a ‘monólogo teatral femenino’, lies the exclamation of mastery in rapid characterization, imaginative set design, and a practice of humility that asks for a confidence that, for lack of a better word, can only be described here as admirable ego.

The life of Frida Kahlo in itself is something of an exquisite corpse. From the polio effect on her body & ability to walk in early life, to the bus accident that sent a pole through her and left her with a broken spine, pelvis, ribs, a pierced abdomen in her late teens, to her stent of being bedridden with over 30 surgeries, the chronic pain, and then wrap it all up with the tumultuous love she had with Diego [I’m not putting his last name because this is not about HIM]. One fragment of her reality is enough to give up on life, but she gifted the world her truth leaving us art that has meaning, that speaks through humanity, that is not void of self.

I believe Vanessa channeled Frida, not just by dressing up like her [I’m not going to lie, I wanted more unibrow] and walking us through her story, but by adding her own truth about her own hurdles in life. Servero did not dismiss her “little hand”; instead, she confronted the difference [as Frida did hers]. She noted how we learn hard truths from the women in our lives. Her mother washing each dish individually, drying them, and then shattering them on the floor as an act of agency and defiance toward her husband [a strength Frida would surely have recognized], and so many other moments of breaking the fourth wall.  

The secrets that this performance unearthed were secrets that require you to know something about something. The surface-level pretentious understanding of surrealism [or magical realism] won't suffice here. It requires you to connect sentiment to the performance, the performance to the stage, the stage to the art, and the art to Frida’s soul. I bowed my head to pray to my ancestors that art school had not forsaken me in this moment, for Servero had referenced so many of Kahol’s master pieces without ever showing one painting. Harnessed between the stage-sized bed post with headboard [Jacqueline Penrods work I presume] and a triptych of clothes lines airing out a life of dirty laundry, you find The Broken Column (1944) [as the series of belts stacked around her waist], Memory, the Heart (1937) [via the traditional Tehuantepec-style garb she barrows from her sister Cristina, who has an affair with Diego], Self Portrait with Cropped Hair (1940) [Frida in masculinity in the black suite], and threads between others depending on how you digest imagery. 

However, it was the earnestness between The Two Fridas (1939) that captured my attention. There were several moments on the stage where Vanessa’s embodiment of Kahlo was bold and proactive [like administering her own morphine syringe, the miscarriages with the baby dresses, or wrapping herself in Diego’s arms, just her and the suit jacket . . . genius!], but the two symbolic ensembles hanging on the clothes lines seemed bigger than life. Linked by the red ribbon [the arteries bleeding], wrapping and unwrapping, it was as if Vanessa was linked to Frida, Frida was linked to Vanessa, and healing was decidedly exposure for all to see. . . and thus still live through it. 

"At the end of the day, we can endure much more than we think we can" - Frida Kahlo

In my own bias, I adore Frida as an icon of human reflection, creativity, and womanhood that is not compartmentalized by traditional lenses. I see her life as beautiful and something to learn from [which is why my daughter's middle name holds Kahlo as its namesake] & why I agreed to see this performance. 

What is left to decide is who this work of art was made for. Was it meant to be an engaging enclave for Frida lovers? Was it a diary of performance art for Servero’s analysis of self-reflection in connection to her in-depth research of Kahlo [that thoroughness was not lost on me]? Was it the annicdonets of archival history that have the reverence of the “If these walls could talk” theory? I say yes, all, some, and none. 

It is here we should give ourselves the grace to explore the interdisciplinary practices we call life and heed lived, imagined, and possible outcomes of existence. And maybe in that, each audience member can find a way to create their own self-portrait. 

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

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It’s Really Not That Hard To Be Funny with Diego Avila | By /CW Guest Writer Jolee Mallmann

I have to admit, I love a good comedian. Working in film and media I find a through line across different genres, industries, and performers in the art of laughter. Some find it a little tricky to get a laugh in the highly political landscape we exist in today. Some people just aren’t that funny. After meeting Diego Avila for the first time, I have some major hope for Milwaukee’s comedy scene. 

Diego has a natural air of joy about him. You maybe expect a comedian to walk in cracking jokes but instead he carried a calm air of confidence and kindness with him when we met. I could absolutely feel how any audience would come to a comfortable laughter spending an evening with him on stage. I really enjoyed having a conversation with someone so clever and willing to genuinely listen in order to have fun with some back and forth. 

I think I spent half of the photoshoot convincing him to audition for something locally and the other half of the shoot telling myself to write a role for a queer midwest romcom. I think we’ll be seeing a lot more of Diego around Milwaukee and beyond. His talent for comedy extends into writing, media, and I really wouldn’t put anything past someone so funny with that kind of heart.

Where are you from and where are you living now? What has your experience with Milwaukee been so far as a creative in the community? 

I’ve been a Wisconite my entire life. I grew up in Janesville and moved to Milwaukee a little over 6 years ago. There have been some great moments and opportunities as a creative in both stand-up and in photography, both of which I started just a few years ago. Some people are extremely eager to connect and support other people which has allowed me to meet, photograph, and just converse in such natural and fun ways. I feel like the first couple of years I squirmed about in a lot of ways trying to get my footing and stretched myself thin but finally landed in a more comfortable creative and social space.

You use your voice very naturally. Do you feel like you have any responsibility as an artist to use your platform to help your community? 

Oh absolutely. I think a lot of people see social media as the platform but there’s also the physical spaces around art that are platforms in their own ways. When you find yourself in a green room or smoking a cigarette outside a venue after a show and someone asks “you’re from Milwaukee, right? So how do you like living there?” You have a choice to make. I choose to put on for my city.

What kind of comedian and performer are you, if you had to describe yourself to someone who’s never seen your stand up or come across one of your videos?

There have been many late night arguments about how I classify my comedy because apparently I’m wrong to call it observational. But what I can say is that I write more long-form stand-up, I like jokes that flow into each other and create a somewhat cohesive narrative around what’s going on in the world and why I feel the way I do. I try to keep it lighthearted, with some darker misdirects here and there, but always with the intent that I want what’s best for people and society.

My instagram videos are a whole other thing. Aside from stand-up clips (BORING) they might also be a wall of text that only pays off if you read until the end, me discussing something serious in a reel, or even just me crying over Cafe India. It’s stream of consciousness and I try to shoot in a few takes, edit a bit, and just move on. It keeps the creativity up without massive emotional drain if it doesn’t land or perform well. I want to keep engaging with ideas in my mind without having to feel like it has to be written into a joke. I consider it just as legitimate of a form of art, to tap into a current moment or even create a hyperspecific cultural artifact that is tinged with your voice. My internet presence is very much that guy you met at a party a few years ago and you thought, surely he isn’t always like this. There’s layers of authentic reaction, calls to action, happiness when it’s good, sadness when life happens, and then just always trying to catch my friends off guard. 

What are some of your favorite movies? Comedies or otherwise. And are there any actors that you find significant or inspiring to your own style of comedy?

I love a good sci-fi or fantasy action type. My top films on Letterboxd are The Lord of the Rings: The Two Towers, Princess Mononoke, Arrival, and The Holdovers. I surprisingly don’t watch too many comedies, but have been trying to watch more of them. I always felt a kinship with ridiculous characters like Jim Carrey in The Mask, Donny Thornberry, Taz, Doodlebod but that doesn’t really seep into my standup.

You’re also a self taught photographer. What do you think is a benefit or being an artist working with multiple disciplines?
It’s a great way to keep your creativity active even if you have any kind of motivation or writer’s blocks. I’ve had months where I struggle to write or come up with new jokes. In those months I lean into photographing more, and vice-versa. 

I think I asked you a hundred times during the photoshoot but now I have to wonder again! Would you ever consider acting in local film? You have such natural comedic timing, it only seems fit. 

I was a bit of a theater kid growing up, I was in show choir and I was actually the lead of my play. I also scored really well at forensics (solo-acting humorous category for those who know). That’s likely where that timing comes from, if someone had a good idea for me acting in something and it made sense, I’d do it. I’ll try anything.

What do you prefer about performing live vs the short form videos you make on social media?

There’s no redos in standup, what makes standup such an awesome artform is that it’s the liveness that makes it fun and exciting. A good comic is reading the room, making microadjustments, being extremely present in the moment. That’s why we practice so much, the material should be second-nature, that’s what opens up our capacity to add new inflections and test those out on the fly.

Do you remember your first time doing stand up? What was that like?

Absolutely I remember, I even remember who was hosting the open mic that night. It was in April 2022, I really didn’t get into writing stand up then though, I wavered for almost a year and a half doing one open mic a month before I fully committed. For the first year I genuinely would black out on stage and I still get extremely anxious before I go up. So that’s what’s like for me at least.

Do you have any advice for a younger version of yourself?

Taking your chances and trying your best will always be worth it. 

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

Currently, I’m trying to work toward a few versions of a club ready 20+ minute set. I have a strong 15 minutes that I like but I want to be able to swap stuff out to meet different circumstances.

Where can we find Diego’s work?

“I’m @trashpimp on quite literally everything.”

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Into independent film? Want to learn more?

Carrie Noni: The Face Of Midwest Media That Has All The Juice

Journalist & Media Host, Carrie Mahone

One of the most difficult things I have trouble doing is describing phenomenons in just a few words, but let me give it a try. Bold. Versatile. A Jill Of All Trades. (And That’s Only The Beginning)

For years, you’ve heard her cinematic voice as you were blasting your radio or seen her owning the crowd at an event, whether you knew it or not. The spotlight and mic can be intimidating to many, but since she was yay high, those were the very two things she gravitated towards. However, being the face of Midwest Media wasn’t the first dream she was chasing.

Journalist & Media Host, Carrie Mahone

It’s no surprise that since she’s a club member of the millennials, Carrie’s favorite shows to tune into were That’s So Raven, Taina, and 106 & Park. With these faces gracing her TV screen every night, becoming an actress was what she became passionate about at a young age. This is where her taste for creativity began to strengthen.

Surprisingly, along her journey of becoming a thespian, she learned that what she was really in love with was interviewing and talking with other creative artists and learning their stories. Let’s take a deep dive into not only her resume but also the specialties and uniqueness Noni Juice seasons Midwest media with!

JOURNALIST & MEDIA HOST CARRIE NONI

There are often misconceptions that are assigned to the journey creatives in media experience. One of those laughable misconceptions is that a red carpet was rolled out overnight and that the new face that came onto the prolific scene demanded and captured everyone’s eyes immediately.

Carrie’s first footstep in her expressive road in media was securing an internship with 103.7 Kiss FM during the nostalgic summer of 2018. (The summer of Drake’s In My Feelings, Dashikis, and Black Panther) This is the place where radio became her true love, and authentically interacting with listeners became her bread and butter. Being their social media summer intern, A.K.A being their walking billboard and carrying 103.7 Kiss FM’s social media with her relatable and refreshing content, was only a sneak peek of what she’d do next!

JOURNALIST & MEDIA HOST CARRIE NONI

“CopyWrite immediately made me feel seen and like I was doing something for the culture. Something bigger than just fulfilling my own dreams and goals.”

— Journalist & Media Host, Carrie Noni

Trending Visual Journalist- Milwaukee Journal Sentinel

V100.7 With Reggie Brown

101.7 The Truth

After leaving her unforgettable and wide mark on both stepping stones 103.7 Kiss FM & CopyWrite Magazine, there was no doubt that there was still much gas left in the tank for Milwaukee’s sweetheart to consistently transform the purpose and style of interviewing all of the city’s dopest souls in a variety of fresh ways.

Before becoming the youngest woman in the Midwest to have her own radio show, C.N. climbed the ladder and began by being a radio producer for over four years. She shared with me how it was never a question to always speak her mind and be extremely vocal with all of her ideas, no matter the times when she was the only woman in the room. Her mentor, Reggie Brown (Smooth As Butta), recognized the fire and talent within the talented media host and granted her opportunities to consistently evolve, learn, play, and observe every aspect of the media industry, especially Milwaukee radio. From being a heavy hitter with show structure, guest relations, and constantly thinking of innovative forms of radio content, she was not letting up anytime soon.

Remember, I said Noni Juice was the first woman in the Midwest to have her own radio show? For those who don’t know the name, Jammin’ With Juice is a raw, uncut, and unfiltered radio show, black-owned by none other than longtime friends, Ben Jammin and Carrie Noni herself. From being a producer for other beloved radio programming and then transitioning into a digital content journalist, she bet on herself and the comedic yet raw chemistry between her and her co-host to make magic happen!

Originally aired on 101.7 The Truth in 2024, and then relaunching onto America’s latest TV, YouTube, they have continued to spark conversations, viral moments, and that neighborhood feel by speaking on daily topics and pop culture. No matter when you tune in, you’re going to feel at home with a laugh, witty banter between the two, and their verbal creativity authentically representing black culture.

JOURNALIST & MEDIA HOST CARRIE NONI

You may recognize this face at Marquette University, Fiserv Forum, and the American Family Field (We Still Call It Miller Park Too!) because she is the In-Game Media Host for the Milwaukee Bucks, Brewers, and Marquette’s games! I know you’re thinking to yourself how does she do it? It’s really simple. Carrie Noni boldly exclaimed to me that she’s an extrovert at heart. Interviewing, working, and connecting with faces, no matter new or familiar, with ease has always been her superpower! As an in-game host, the jill of all trades’ primary focus is creating and capturing live entertainment in the midst of sports. It’s a skill to source out new ideas while also reeling in focus on not only the current game being watched by the crowd, but also noticing and emphasizing the players, conversations, and questions all taking place in one space. This is a skill that has made Carrie not only a fan favorite but a rising, upcoming legend as well.

It’s no secret that Noni Juice is always on the go and constantly creating, but I was curious when does she ever stop to smell the roses? Well, the media personality had no choice but to be on February 20th when her alma mater, University of Wisconsin-Milwaukee, awarded her with the Graduate of The Last Decade Award.

journalist & media host carrie noni receiving the graduate of the last decade award

JOURNALIST & MEDIA HOST, CARRIE NONI WITH OTHER RECIPIENTS

“When I started at UWM,I was undecided. When I finally graduated 5 and a half years later, I felt....lost. I had big national broadcast dreams, with no clear roadmap ahead. But I knew it was up to me to figure it out. I remembered reading Black Privilege by Charlamagne Tha God around the time, and something clicked. I stopped waiting for doors to open and started creating my own. That mindset has stuck with me.”

— Journalist & Media Host, Carrie Noni

Roughly eight years later after graduating from her stomping grounds, she was acknowledged and honored amongst peers, the alumni association, UWM staff, and other respected citizens in Milwaukee regarding the education and journalism systems. It was a surreal moment because she had vivid flashbacks of her time in college, from the nights where she didn’t know what direction to take, who to trust, and who to be. It clicked at that award ceremony: everything you do is preparing you, but it’s also achievements within itself. The industry has a way of making one always think of the next thing or how to strategically do their next move, but everything happens for a reason, and the plan is not always going to look and feel how you think. As long as you trust your instincts, hone and study your craft, and remain authentically you, just like Noni Juice you’ll start carving out a monumental path without realizing it in the moment. (I’d say she’s putting that Bachelor’s degree in Broadcast Journalism to excellent use).

Noni Juice has roughly ten years in the game, and after much research and pure observation, her hunger for broadcasting, creating, and cultivating her own lane has never wavered. For instance, after not even a year of debuting her own radio show, Jammin’ With Juice, she didn’t let any time pass when dropping the next big thing that flooded all of our Instagram timelines. DRUM ROLL PLEASE………. Brain Squeeze With Noni Juice!

BRAIN SQUEEZE WITH NONI JUICE

With a plethora of amazing podcasts offered to us, what makes them different is their origin story and value to the world. After asking the creator how Brain Squeeze With Noni Juice came about, we shared a laugh as she said it was as simple as too many thoughts and opinions running wildly in her mind without being able to share them. Think of it as the talent’s daily brain dump of what’s going on in the world locally, nationally, in pop culture, and trends going viral right before our eyes.

The bold creative explained how millions of people today are auditory fans when you really think about it. The true essence of podcasting is that the listener is searching for something and once they lock in with a podcast, that translates to you’re doing something right and giving them something. Whether it’s the visuals that bring comfort and a feeling of home, or the intriguing characters having the conversation, relatability is key. From her aura, ambition, and whirlwind of ideas that don’t stop, Carrie Noni is always finding new ways to make Brain Squeeze distinct to the crowd.

JOURNALIST & MEDIA HOST, NONI JUICE

“Have Audacity. Know not only yourth worth but also what you’re owed.”

— Journalist & Media Host, Carrie Noni

“Keep that fire inside you and stay determined even when you feel like giving up.”

— Journalist & Media Host, Carrie Noni

“Persevere throught the Nos. You’re going to hear more than you want to. Even when you have the best ideas, some people just can’t see your vision. Push through and keep grinding no matter what!”

— Journalist & Media Host, Carrie Noni

These are not only vital pieces of advice the seasoned media host wants to pass down to younger generations coming behind her or even those who are older and afraid of going after the life and dreams they want; these are valuable sentiments Juice lives by. Remember family, the best way to grow is to always be willing to learn, connect, network, and build with others around you that’s on any level. Sometimes it takes knowing the right person to be granted a once in a lifetime opportunity, while on the flipside simply having a conversation during a night out or community event can leave you learning something to apply for your next move career or personal wise.

Looking ahead, Noni Juice’s main goal is to go national, baby! Covering all different types of events all over the nation will continuously be the motivation for her to go national! No need to worry, she will still be killing it all around the 414 at the Fiserv Forum, Marquette University, and the American Family Field, bringing smiles and eye-catching content to you.

Keep It Juicy by following the face of Midwest Media: https://www.instagram.com/carrienoni_/ , https://www.youtube.com/@CarrieNoni , and stream her podcast Brain Squeeze on Spotify and Apple so you don’t miss anything when it comes to the rising media phenomenon!

Desriana Gilbert | Entertainment & Social Journalist for /CW

2026 MILWAUKEE FILM FEST, HERE WE COME! COPYWRITE IS BACK FOR ANOTHER YEAR

We love a good media assignment, and this spring we are back to cover our favorite fest. . . Milwaukee Film Fest that is!

From April 16-30, 2026, be on the lookout for our Instagram check-ins [@copywritemag], theater sightings, comfy movie fits, & who knows what more. And as always, we will be hitting you with our full festival recap once the lights die down [because that’s what real cultural critics do].

Excited or nah? You should be! But to get you amped up even more, check out our official /CW-approved film list:

/CW APPROVED FILM SELECTIONS:

• THE BIG CHEESE

• Friday, 4/24 | 7:00 PM | Oriental Theatre [LEXI]

• Sunday, 4/26 | 10:00 AM | Downer Theatre 

• Wednesday, 4/29 | 3:45 PM | Downer Theatre 

• AANIKOOBIJIGAN [ANCESTOR/GREAT-GRANDPARENT/GREAT-GRANDCHILD]

• Saturday, 4/25 | 12:45 PM | Oriental Theatre

• Tuesday, 4/28 | 4:00 PM | Oriental Theatre

• BEYOND

• Saturday, 4/18 | 6:30 PM | Oriental Theatre [LEXI] 

• Thursday, 4/23 | 5:45 PM | Downer Theatre

• BLACK ZOMBIE

• Saturday, 4/18 | 8:45 PM | Downer Theatre

• Wednesday, 4/22 | 6:30 PM | Downer Theatre

• Friday, 4/24 | 9:45 PM | Downer Theatre [LEXI]

• COOKIE QUEENS

• Sunday, 4/19 | 3:00 PM | Downer Theatre [LEXI]

• Saturday, 4/25 | 12:45 PM | Downer Theatre

• HAPPY BIRTHDAY

• Friday, 4/17 | 2:30 PM | Downer Theatre

• Wednesday, 4/29 | 2:00 PM | Downer Theatre

• IF I GO WILL THEY MISS ME

• Sunday, 4/26 | 10:30 AM | Oriental Theatre 

• Thursday, 4/30 | 6:30 PM | Oriental Theatre

• MAD BILLS TO PAY (OR DESTINY, DILE QUE NO SOY MALO)

• Friday, 4/24 | 4:30 PM | Oriental Theatre

• Monday, 4/27 | 6:00 PM | Downer Theatre 

• MAKIN’ CAKE

• Friday, 4/24 | 1:00 PM | Downer Theatre 

• Sunday, 4/26 | 1:00 PM | Oriental Theatre

• MISAN HARRIMAN: SHOOT THE PEOPLE

• Friday, 4/17 | 12:00 PM | Downer Theatre 

• Tuesday, 4/21 | 8:00 PM | Oriental Theatre 

• Monday, 4/27 | 3:00 PM | Oriental Theatre 

• PAINT ME A ROAD OUT OF HERE

• Wednesday, 4/22 | 4:45 PM | Oriental Theatre

• Sunday, 4/26 | 4:15 PM | Oriental Theatre

• PALESTINE 36

• Monday, 4/20 | 6:30 PM | Oriental Theatre

• Wednesday, 4/22 | 4:15 PM | Oriental Theatre

• POWWOW PEOPLE

• Saturday, 4/25 | 4:15 PM | Downer Theatre [LEXI] 

• Tuesday, 4/28 | 1:00 PM | Oriental Theatre 

• Thursday, 4/30 | 4:00 PM | Oriental Theatre 

• PUBLIC ACCESS

• Friday, 4/17 | 8:15 PM | Downer Theatre [LEXI]

• Saturday, 4/18 | 12:45 PM | Oriental Theatre 

• Thursday, 4/23 | 9:45 PM | Downer Theatre 

• THE LAST CRITIC

• Saturday, 4/18 | 1:30 PM | Downer Theatre 

• Sunday, 4/19 | 11:00 AM | Oriental Theatre 

• Thursday, 4/23 | 1:30 PM | Oriental Theatre

• #WHILEBLACK

• Sunday, 4/26 | 4:00 PM | Downer Theatre [LEXI]

• Tuesday, 4/28 | 4:00 PM | Downer Theatre

• BLACK LENS DOC SHORTS: IT TAKES A VILLAGE

• Saturday, Apr 18 | 3:30 PM | Downer Theatre [LEXI]

• Monday, Apr 27 | 5:30 PM | Oriental Theatre

• BLACK LENS FICTION SHORTS: FOR THE DREAMERS

• Tuesday, 4/21 | 6:30 PM | Downer Theatre 

• Wednesday, 4/29 | 4:30 PM | Downer Theatre

• THE MILWAUKEE SHOW I

• Tuesday, 4/21 | 6:30 PM | Oriental Theatre

• THE MILWAUKEE SHOW II

• Monday, Apr 27 | 7:30 PM | Oriental Theatre

• THE MILWAUKEE YOUTH SHOW

• Saturday, Apr 25 | 10:45 AM | Downer Theatre 

SEE YOU AT THE FEST!

/CW

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NEW EPISODE ALERT | THE INTERSECTION PODCAST MARCH 2026

IMANI IS BAAAAAAAACCCCCCKKKKK!!!

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We are sooo back!"

It's been a minute but yeen ain't missed much!

Tune in this week for my thoughts on the state of music beef, kidnapped grannies and what is really missing from this Tourettes conversation.

Catch the drip at tizwax.com!

SnapShot Press Release | IS THIS A ROOM

“Is this a room?”

If it is, it must be at least four walls of anxiety, institutional failure, personal strife, and historical significance. Assuming it is, then it must be built on a foundation of curiosity, questioning, and discovery. And if that is so, then it must be void of certainty, tainted by values, checked by morality, and investigated by the FBI [Ha!]

To enter a space where you know an individual is giving a statement about something that may be life-altering, while their worldly possessions are being rummaged through, to inquire about the definition of the spatial programmatic zoning they are standing in, is crazy work [but hey, the Feds are notoriously wild]. 

So let’s roll the tape.

Sunday’s [March 22nd, 2026] Milwaukee Chamber Theater’s performance of Is This A Room was a quick-paced, direct display of what it looks like to play back reality, and the nuances of humanity as they unravel. With no glitz or glamour, no stage, and no boundaries [except for a carpeted zone in the middle of the theater], the audience watches a nails-on-the-chalkboard interrogation of NSA contractor / US Air Force veteran Reality Leigh Winner by Special Agents Justin C. Garrick and R. Wallace Taylor about leaking NSA reports proving Russian interference in the 2016 election.

[Fascinating Stuff!]

Is it really espionage or is it good-ol’ modern whistle blowing with a dash of “Aww Hell No Government; this ain't that?” I would say the latter, but you can be the judge. Regardless of your ability to discern, it should be noted that Isabelle Muthiah [who plays Reality Leigh Winner], Rasell Holt [Special Agent R. Wallace Taylor], and Jonathan Wainwright [Special Agent Justin C. Garrick] had a firm command of THAT room. Every little cough, sniffle, murmur, shifty movement, and darting eye created a tension that was hard to watch but so enveloping that you couldn’t look away. The subtlety of Tina Satter’s original concept & direction of the interrogation transcript, in conjunction with Brent Hazelton’s [Director] MCT execution, requires you to be a silent participant in the intimacy of a lived truth. 

I wanted to scream, “Reality Girl! You have not seen the search warrant yet!  Don’t let them into your house, don’t let them touch anything, and you'd better zip your lips unless you are asking for a lawyer.” Right, wrong, or in the grey. Still, she had rights. But there was no point. It was what the kids call “cringe”. The boundaries of duty to self, country, and populace all blurred into pacing, panic, and comedic doom. [When Mark Corkin interrupted the interrogation, asking for a toothpick, I almost lost my cool. There is no way in real life that a random FBI agent did that . . . but as the transcript goes. YES THEY DID! Smh].  

However, the art of this stage act sits deeply where truths are unspoken. The moments where the transcript [& thus the scene] is redacted, the why, the who, [but most importantly] the what is redacted, and red lights flash, the walls flickering with static displaying the word REDACTED. . . That is where mouthing, gesture, movement, and stillness show us that emotion goes beyond words. The ability to take 80 pages of interrogation and turn it into theater, noting that it is real, knowing that this is what happened to somebody's life, seeing that this is our species in all its glory, ultimately knowing that more happened after [prison, election security disclosure, journalistic scrutiny, public discourse on government transparency, etc]. We will never know [unless our society forces governing systems to change] what was redacted. We will never know how those FBI agents really feel unless they decide to reveal that information to the public [and why would they?].

This type of art allows you to grapple with threads of our existence and puts it in front of you to be digested, in a more accessible way, giving you space to sit with it. We can not change the past, but we can make note of where we want to go. But first, we might want to ask Is This A Room we should be in.

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

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