IMANI IS BAAAAAAAACCCCCCKKKKK!!!
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!
“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
#COOLGUYMUSIK GRAPHIC ART
CW Fam, I have a question for you. You know that saying, “They grow up so fast!”? Today is the time when that phrase is hitting close to home in regards to one of the greatest emcees I know to ever touch the mic. Allow me to explain.
ARTIST, ADVENTURESOFQUE
Two years ago, I came across a bold and confident artist who knew who he was and how his story was going to be written. As our first conversation of inquisitive questions and genuine curiosity of each other’s creativity filled the walls of a local cafe, my understanding of him intensified. Our initial interview caught me off guard because his mentality, self-trajectory, and mannerisms were not what I expected. I never came into contact with an artist in that age range with such clarity and tunnel vision. Through his melodic cadence and authentic lyricism, assumptions began to spread like wildfire, and I thought I knew what his next moves would be and everything AdventuresOfQue stood for. To my surprise, he has switched things up and put not only me but his listeners on their toes by dropping his latest project, #COOLGUYMUSIK.
ARTIST, ADVENTURESOFQUE
Cool. Is it a personality trait you’re born with? A distinct vibe that makes an environment feel like the place to be? When learning the title of Que’s latest project, I became not only intrigued as a listener but also as a journalist about how far the ideology of cool travels back to. Silk presses with a lingering smell of coconut oil, lengthy fur coats, star-studded canes, and transparent sunglasses come to mind when I think of what the first era of coolness looked like (yes, a ‘70s playa from the himalaya). You can put five people in the room and ask everyone how they believe cool originated, and the illustrations married to it, but it’s a 100% guarantee that there would still be an overflowing influx of answers extremely distinct from one another. This is why I went directly back to the source who created the movement, #COOLGUYMUSIK to learn what was the origin of his most recent masterpiece.
ARTIST, ADVENTURESOFQUE
“A cool person is someone who moves with confidence but stays humble. Someone who knows who they are and doesn’t follow the crowd and stays solid throughout any situation. It’s not about being flashy, but rather being authentic, disciplined, and comfortable in their own skin.”
Though it may appear that the megastar lives the perfect life with no stress, challenges, or worries, Que’s life did not always mirror peace and having it all together. The talented individual shared how his past experiences inspired not only the musical world of #COOLGUYMUSIK but also becoming a better version of Quincy, not just as the artist. While for some, looking in the mirror is their worst nightmare, Que has embraced self-reflection and personal evolution this past year and used it as ammunition for the heavy-hitting musical gallery, #COOLGUYMUSIK. The versatile emcee proudly expressed how his ear for sound is drawn to other creatives who create a balance of emotion and energy. As this musical canvas became my replay button’s bestfriend during the last week, I soon realized how carefully both Que’s energy and emotion were left on each track meticulously. It’s no question he had something to say, but I wanted to dig under the surface and find out the reasoning for bolding claiming his new truth and unlocked version of himself.
COVER ART, #COOLGUYMUSIK
“My process was all about feeling the music and staying authentic. I recorded based on real emotions and real moments. I let the melodies and energy come naturally. I took time with the sound, making sure every track fit the overall vibe and message of the project!”
The sounds born out of #COOLGUYMUSIK are melodic, smooth, and confident. It blends emotional melodies with modern trap and a retro feel. It’s laid-back but powerful—music you can cruise to on a Friday night to set the tone for the perfect weekend and feel motivated to make an entire new lifestyle for yourself at the same time. If you notice the graphic design and rollout of Que’s new body of work, intent and cohesive detail played at the forefront of his artistry. The cover art was a bold symbol of the mentality and luxe lifestyle of #COOLGUYMUSIK. The colors and aesthetic give a retro but modern feel, showing confidence, individuality, and a calm presence. It reflects stepping into a new level and owning who you are as a person.
This right here, family is a certified classic for the new wave of emcees. Whether you're bopping to my personal faves Long Time 2 or Rose, all songs carry the same energy: confidence, elevation, and staying true to yourself. The theme revolves around growth, loyalty, self-worth, and leveling up mentally and emotionally. It’s about moving with a purpose, focused, with a clear vision of your goals. As the audio plays through your speakers and earphones, allow yourself to go somewhere else and seek the most authentic version of yourself.
ARTIST, ADVENTURESOFQUE
“I want my supporters and those just getting to know me to feel motivated and confident after listening. I want people to feel like they can level up and take things up a notch. However, staying true to yourself and moving intentionally is always a priority. ”
Witnessing the intentionality and strategy that Quincy now implements into his artistry has made me proud to know him along his journey and eager to see what the emcee has next in the vault. Elevation and growing is always key even when you know how to cook up a good recipe and create fire music. This project felt more like a personal testament to himself. With #COOLGUYMUSIK, the creative focused on cultivating a sound and a new world instead of just dropping songs. His growth is in storytelling and confidence. This project represents AdventresOfQue stepping into his full identity as an artist. Want to elevate your lifestyle and mindset with some beats and lyrics that will make you feel like your life is in the palm of your hands? Go listen and support #COOLGUYMUSIK now on Spotify and Apple Music. (https://open.spotify.com/album/3UPsNvSheYiEgY5egLvxus) Tag him @adveturesofque when catching a vibe to it and always stay on the lookout for upcoming performances. I can assure you you’re going to witness
Desriana Gilbert /CW Entertainment & Social Journalist
Before long, all the wheat was ground.
“Who will help me bake this into bread?” asked the little red hen.
“Not me!” said the dog.
“Not me!” said the cat.
“Not me!” said the duck.
“I will just have to bake it by myself,” said the little red hen.
Folktales [& folklores] are powerful ways to teach life lessons. I have always subscribed to the tale of The Little Red Hen [Even though my days as a spring chicken are long gone…see, look at me talking like I’m an old goose…but never been a bird brain…. Haha, okay let me stop]. I think it's the whole idea of asking for help, knowing the goal is to create something together, that always hits me [& the disappointment when the need for shared labor is disregarded]. The little red hen had to plant the seed, harvest the wheat, grind it, and make the bread by herself, but in the end, everyone still wanted a piece….& she had to cut that-ish off.
I guess I’m in that season.
I am writing today’s note sitting in /CW Creative Studios + Shop [as you know it] for the last time. Nothing left in the space but the well-curated carpet tiles, an unassuming acrylic floor pour, a misleading paint job, and some electrical upgrades [including a garbage disposal] that I can’t undo. This was clearly not the plan…
Somewhere between a $150,000 small business loan from a CDFI [that only would give me funds to renovate a building I don’t own], guaranteed by a $100,000 local reimbursable grant [that changed my award to $60,000 after I had spent all the money they had legally assigned to me], and the broken labor agreements [to complex to even break down], her I am.
I could go on a rant about how the systems have been working over time and how my impoverished upbringing as a multi-ethnic Black woman in America has been doing me dirty from the jump, but it's really the interpersonal relationships that I was counting on to be there when the times got hard.
I guess that's the lesson. I did the work [but I was always going to do it], I just really wanted to do it together. So as I sit alone, I have been thinking about all the convos we had in the stu, all the creatives who walked through the door, all the projects we imagined, but most importantly, the goals and dreams we spoke out loud [& hopefully into existence].
I know what it took to get this far. . . I get to proudly say I was there for every part of it, and I will be there until the last loaf of “bread” is “baked”.
I am just so thankful that the next time I plant a seed, it will be on my OWN land.
It's a tragedy to take the soul out of a place when you have to go [even though its way better than I found it], but the comedy is…
I STILL ATE & I LEFT NO CRUMBS.
/Lexi S. Brunson [the sole proprietor of the LLC]
THE BLACK PRESS:SOLDIERS WITHOUT SWORDS DOCUMENTARY BY STANLEY NELSON JR.
For the past fifty years, the profound essence and immense impact of African American history have not only been commemorated but also internationally celebrated. Since the time we were youngins, and our biggest fear was not running fast enough to the swing set on the playground, Black History Month has become anticipated and boldly implemented in our lives. From school theatrical performances, song, documentaries, and curriculum, pivotal and courageous periods of African-American history have been passed down from generation to generation, making it the most heartbreaking yet inspiring chapters in our history books. The initiative to share, teach, and record monumental events carried out by today’s heroes is the foundation of the perseverance and consistency of Black History. However, what happens when the origin of those who wrote, spoke, and illustrated these incredible accounts is not recognized, let alone recorded?
FOUNDER & OWNER OF CARVD N STONE, NYESHA STONE
Last Wednesday, February 11th, 2026, multifaceted news outlet, Carvd N Stone, partnered with groundbreaking arts organization, Milwaukee Film, at The Oriental Theatre [2230 N Farwell Ave, Milwaukee, WI 53202] for a communal event that set the tone for the significance and priority of Black History Month celebrated in the city. As doors swung open at 6:30 pm, Voices of The Black Press, began with a free screening of an extraordinary documentary, “The Black Press: Soldiers Without Swords” followed by a live post-screening talkback with Black journalists and media, some of the most respected and unique faces in Milwaukee media. The purpose both Carvd N Stone and Milwaukee Film had in common when deciding to make this night open and free to the public was to pay homage to the past, while also emphasizing the celebratory and protective state the present and future hold for today’s black press and all who are the driving force behind the movement. For many in attendance, this was their striking introduction to the award-winning documentary created by Stanley Nelson Jr. An abundance of seats were unaware just how extensive and deeply rooted the contribution and history of media was by the bare hands of thousands of African-Americans. This caused much intrigue, questions, and motivation in the audience.
“At a time when journalism is evolving, and local newsrooms are shrinking, we must acknowledge the foundation Black press has laid and continue to support the voices carrying that work forward”
COMMUNITY MEMBERS WHO ATTENDED THE VOICES OF BLACK PRESS EVENT, COURTESY OF CARVD N STONE
Director and creator of “The Black Press: Soldiers Without Swords”, Stanley Nelson Jr’s mission was to create conversation; little did he know the impact and disbelief that would be stirring soon after it was released. This is the first documentary to chronicle the history of the Black press, including its central role in the construction of modern African American identity. It recounts the largely forgotten stories of generations of Black journalists who risked life and livelihood so African Americans could represent themselves in their own words and images. The eye-opening documentary highlights the critical role Black-owned newspapers and journalists have played in documenting history, advocating for justice, and amplifying voices often ignored by mainstream media. The power of the film exceeded the expectations both Carvd N Stone and Milwaukee Film set for the night; cultural storytelling and meaningful dialogue filled the air as soon as the lights came on as the documentary concluded.
NYESHA STONE WITH THE PANELISTS OF THE VOICES OF THE BLACK PRESS EVENT
Six of Milwaukee’s most intellectual, outspoken, and well-respected faces in the city’s media graced the stage to begin a night of informative yet intentional conversation. The panelists apart of the live post-talkback of “The Black Press: Soldiers Without Swords” included:
Former TMJ4 Anchor, Shannon Sims, President of NABJ Milwaukee, Tannette Elie, Owner of Full Circle Enterprises, Kayla Lewis-Allen, Senior Digital Producer at RadioMilwaukee, Kim Shine, Co-host of Jammin’ With Juice, Carrie Mahone, and Host of Black Nouveau on Milwaukee PBS, and Media & PR Strategist at Northwest Mutual, Earl Arms
One of the most important conversations that was discussed was the overall differences and similarities in why Black journalists and media came into existence, and our stance now. Back in 1976, black newspapers and media outlets were developed because they felt invisible. The births of children, deaths of family patriarchs and matriarchs, graduations, booming businesses, and any other significant event that would spark conversation in the black community were never included in written publications such as town newspapers for them to read. Creating the black press was needed as the gateway to being seen as a human being whose life was just as important as anyone else’s. Many of the panelists shared how writing was something they fell in love with and wanted to do due to the internal mirror of creativity and the gift of words that were instilled in each of them. As the audience asked questions, it dawned on everyone that there is still a need for black journalists and media to not only exist but push our pens even harder so that the identification, history, and future of African-Americans progress and always move forward.
FOUNDER OF COPYWRITE MAGAZINE, LEXI BRUNSON AND PROGRAMMING MANAGER OF COPYWRITE MAGAZINE AND ARTIST, VEDALE HILL ATTENDING THE VOICES OF THE BLACK PRESS EVENT
It was made very clear at the end of the night that black journalists and faces in Milwaukee’s media industry have more power than we know, but also a greater mission that is rarely spoken about. Our pens hold both the weight of the present and future, but also of the past. From articles, interviews, and words displayed with a journalistic and artistic touch are not just stories but strengthen the distribution of Black History and everyone who has laid the framework for us today. Want to experience and learn more about Black History and its roots within journalism and Milwaukee media? Go watch Stanley Nelson Jr’s documentary, “The Black Press: Soldiers Without Swords” on Amazon Prime Video or PBS today! Comment down below what you think the correlation is between having an identity and writing about your experiences. Most importantly, go show love to both organizations that put this wonderful event together, @carvdnstone and @milwaukeefil,m on all social media platforms.
/CW Entertainment & Social Journalist, Desriana Gilbert
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
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.
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?
Into independent film? Want to learn more?
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
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
CopyWrite Magazine, Media & Design LLC is a Milwaukee based organization & company that promotes the ever morphing nature of Urban culture.
