NEW BOOKING PORTAL FOR BASIC HOURLY RENTALS AT /CW CREATIVE STUDIOS + SHOP
/
No more middle man. Lock in your rental quick & easy with our new rental booking portal!
THE PAID WRITEUP | EricWithTheGlockInHisSock - On The Radar Freestyle (Live Performance)
/
If you want to get my ears perked up, come in hot with an undertone of a nostalgic beat.
Not too heavy that you're biting, but just enough that it sounds like you know good music.
What’s the sample? Is that Big Pun, Still Not a Player?
Okay, EricWithTheGlockInHisSock, let's see what you got.
On The Radar Freestyle (Live Performance), is a high-quality fineness. With back-flipping bars that showcase new age sarcasm, straddling egotistical banter with low-grade misogyny [Ha!], it fits the bill as Lowend bop. However, this 25-year-old artist [singer-songwriter/rapper] is not riding the stereotypical sound wave. Instead, he is side-stepping the trending possibilities.
“B*tch unhand me!”
So, who has got EricWithTheGlockInHisSock stanched up? Probably not many.
If we go line by line, this is not a story to be followed but a posturing for those who may think it's sweet. Feed into the hype? Pshhhhh, let me offer you a spoon.
This one can be played with the windows down while you're riding on the block, with the sting of summer air [but know your lane]. This is also for the girls who want to shake it [but don’t listen to close mama’s or you might be offended], and if you're trappin’...[Okay, let me stop lol]. But here is what I’m still trying to analyze, who's really the target for this artist?
EricWithTheGlockInHisSoc, says in the song, “way I play my role, I can sho’ win a Grammy” & you know what, I’m thinking that's not a far-fetched goal. With a clear and catchy cadence, a solid beat selection, and clean production, he has already got much of the local comps beat. How does the sound transfer??? Is it still slappin? Or is it just catchy? Maybe this is just the insurgency of Hip-Hop. We will be diving into his upcoming project “Too Gifted To Be Paralyzed By Procrastination” to hear more.
I’m putting my money on EricWithTheGlockInHisSoc that if he can continue to build momentum, and choke up on how to balance witty & wild, he may have a formula to become the leader of the new school. . .
But hey, what do I know?!
Lexi S. Brunson | Editor-in-Chief
TO LEARN MORE ABOUT THE PAID WRITE-UP, VISIT:
The Ethereal Collection | Youth Music Experience
/
The Ethereal Collective is where sound meets soul and youth voices take the stage! This isn’t just a show it’s a space made for you to express, create, and be heard! Whether you rap, sing, play an instrument, produce beats, or do spoken word, this is your moment to
shine solo or collab with others. Ages 11 to 20, this is your time to show up and show out, surrounded by people who appreciate your talent. Think talent show, open mic, and a mini music fest all combined into one
This event is also raising funds for THE CREATIVE COLLAB Bronzeville Artist-in-Residency Program and helps build your creative rep along the way. Even if you're not performing, come to support, vibe with the crowd, and check out /CW Creative Studios + Shop. Tickets start at just $5 for students, so don’t miss it. Music, community, and food, what more could you want?
Indie Filmmaking Adventures with Milwaukee Filmmaker Diya Gitanjali | By /CW Guest Writer Jolee Mallmann
/
Having worked on a few sets with Diya, I’ve always been very drawn to their unique filmmaking style. The color palettes they make use of, the poetry in their photography and film work; there are so many filmmakers in the Milwaukee scene, and Diya has found a way to pave their own clear path. To make work that speaks to the current culture while remaining timeless in voice isn’t a task every artist can take on, but it’s a returning feature to projects Diya has a part in. Anyone would be lucky to find themselves on set with this dynamic, one-of-a-kind filmmaker.
If you had to describe yourself as an artist and a filmmaker, what would you want people to understand about your work most?
As a filmmaker, I am usually drawn to Horror and Science Fiction, because I believe that these genres allow us to explore and confront themes of gender, sexuality and oppression in a creative but sometimes indirect way. I think that processing our trauma as individuals and as a society is vital -- and what better way than through abstraction and metaphor? My most recent film, Knife In Hand, explores new love and obsession and how that can throw your life and creative practice out of whack. I’ve found that that kind of obsessive feeling can be both freeing and detrimental as an artist.
I also shoot all of my films myself, and plan to pursue being a Director of Photography as my career long-term. Some of my favorite cinematographers are Benoit Debie, Greig Fraser, and Quyen Tran; all of whom use color, light, and intentional camera angles to create evocative and stunning imagery. I think something I strive for in the visuals I create is "emotional realism" -- like, how did a moment or a memory feel, as opposed to how it actually looked? Especially with the way modern digital cameras and lenses are becoming more crisp and almost artificial-looking, I try to keep my work feeling grounded and true to my experiences. I want my work to be successful in its intention and emotionally stimulating to the viewer.
Does being a poet affect how you approach your filmmaking?
I’ve been writing for fun since I was a kid, and the one thing people have consistently said they like about my prose and poetry is how “atmospheric” it is. I think I’m good at creating vivid images in my writing.
I think creating atmosphere as a cinematographer is super important, and way more involved than people might think! Like, what lenses are you using, how are you shaping the light? What’s the weather like, what season is it, what’s going on in the world? The first example that comes to mind when thinking about atmospheric filmmaking is the Twilight movies -- the color grade and choices of shots in the first movie especially. They really transport you to that chilly, wet town of Forks in Washington state.
The Handmaid’s Tale TV series on Hulu also does a good job at this -- they use a ton of fog machines in all of their locations to create this dusty, stuffy look. That look compliments how the main character is feeling. She’s claustrophobic in this new society, and in a way she’s been transported to the past.
What's your favorite part about being a storyteller and filmmaker?
My favorite part about being a storyteller and filmmaker is the simultaneous collaborative and individualistic nature of creating a film. Each person on set has their own set of tasks, whether that’s operating the camera or setting up lights or even setting up snacks at Craft Services. But we’re all working together. We’re bringing one thing to life by individually doing our own thing. Even though the days can be intense and even grueling, It’s such a gratifying process -- hurrying up and then waiting, the best day of summer camp one moment and then extremely mentally draining the next. But there’s no better feeling than creating work that you’re genuinely proud of!
Who are some filmmakers that have significantly influenced your work?
One of my favorite filmmakers right now is Julia Ducaurnau, who wrote and directed Raw and Titane. Both of these films make the viewer viscerally uncomfortable, the films kind of grab you and shake you. I also really enjoy Coralie Fargeat’s work, and in an interview about The Substance she said something really interesting about choosing to keep a shot of a fly struggling in Demi Moore’s character’s drink -- she said something along the lines of, yeah we could take the shot out but it adds something essential to the film’s identity and mood.
When I was sixteen my first boyfriend showed me Enter The Void by Gaspar Noé, who I know is a somewhat controversial filmmaker. Noe has remained my favorite director since then. I love how interested he is in portraying reality and all the ways humans can relate to each other and fall in and out of love. His films are always provocative and sometimes terribly self-indulgent, but he consistently nails something really raw and beautiful in his work that I aspire to.
How have you evolved as a filmmaker over time?
It’s funny, I was going to detail how specifically I’ve changed as a filmmaker over time, but I think it’s more accurate to say that I’ve just gotten better at crystallizing and refining my vision.
When I attended film school a few years ago, I was lucky to cross paths with and learn from Carl Bogner, a beloved queer elder and film educator. He was one of my favorite teachers ever. Carl passed away recently, and I came across an email he had sent me when I was eighteen or nineteen years old, in response to work I had submitted in one of his classes. When I look back on that time, I remember feeling like I didn’t know who I was as a filmmaker. I remember my work feeling pretty far from what I wanted it to be. Here is the email:
“Again, great work with palette here. Both of your pieces communicated so much with your sense of color. As well: you have a deft sense of scale: of image size, of how an image occupies the frame, of incident. You know how to work the everyday so well.” - Carl
I was so happy to stumble across this -- what he had pointed out about my work, pieces which I now consider pretty rudimentary, nailed what I strive for as an artist and filmmaker. It’s a validating and encouraging thing to look back on.
Do you have any advice for young femme and nonbinary people trying to establish themselves in filmmaking?
My advice would be to meet people, learn stuff, and get on set. And also to trust your gut.
I graduated from the film program at UW-Milwaukee in 2022, and I thoroughly enjoyed my time there. I think the biggest things I gained from film school were the connections and experience, which were essential in getting my footing in the industry. Besides the career aspect, I met so many creative and driven people who became some of my closest friends. I also think the educators I interacted with in film school did a great job not only teaching technical skills but helping me to refine my own creative practice.
I would also tell people, especially non-men going into the film industry, to make sure they advocate for themselves. Obviously be kind and considerate for the most part, but make sure you are carving out space for yourself! Get answers to your questions. Don’t let yourself become a doormat!
I also think there’s an element of being a filmmaker that some folks don’t understand going into it, and that’s reciprocity. Like, ask your friends and classmates you admire to help you with your projects. Folks are usually happy to help you make your vision a reality. Just sure you buy them a donut and thank them for their time at the very least.
But also, make sure YOU are showing up for them in a real way. Work hard, contribute to a positive set environment and make good stuff. It’s important to not only be technically proficient but also to treat people well and show up! That’s my best advice.
You can find more of Diya’s work: @diyagitanjali on Instagram and VIMEO
Into independent film? Want to learn more?
SnapShot Press Release | Building The Nest [Milwaukee Film Festival 2025]
/
Spring has sprung [rain, fog, blooming flowers, scorching sun, *insert any other Wisconsin weather description here*] us right into Film Fest season [Milwaukee Film Festival, that is]. With the birds asking us to rise early [chirp chirp, tweet tweet], and the cinema asking us to stay up late, we must oblige with a caffeinated drink in one hand, a bag of yeast-covered popcorn in the other, and a press pass around our necks. This year, CopyWrite decided to see films that would feed into our guilty pleasures, challenge our humanity, and have us screaming “414” all the way home.
With coverage from Lexi S. Brunson [Owner/ Active Editor-in-Chief], guest commentary from Vedale Hill, and a first-time MKE Film Fest experience from the newest memer of the /CW Fam, Desriana Gilbert [Entertainment & Social Journalist for /CW].
SECRET MALL APARTMENT [Director: Jeremy Workman]
Let me tell you… I almost broke my ankles from running to my copy of Theories and Manifestoes of Contemporary Architecture [which holds a permanent spot in my studio] after watching Secret Mall Apartment, [Twizzlers shoved into my mouth, and swigs of root beer between every bite].
Context: Before I was whatever pseudo journalist, creative writer, cultural critic, and exhausted business owner I am now, I was a young college art school student studying interior design, fascinated with spaces & places [iykyk] and inthralled with the criticism of urbanism as it appeared in post-industrial society. [Yup, been deep].
The film was reminiscent of the nuances that lay between what always appears as communal advancement, but is undoubtedly the practice of gentrification [damn you gentrifiers and your need to fondel all things sacred]. I held my book, hugged it, and thanked it for giving me the lexicon of understanding that would have me rooting for the artistic lotterers that decided to inhabit a void [crawl space] in a mall in Providence, Rhode Island [circa. 2003].
As these “empathetic artists” discussed their experience, with Michael Townsend at the lead, we uncovered the genius of thought, practice, and execution. How the hell do you go unnoticed, coming, going, and building a decoy cinderblock wall for four years? As a Black woman in America, I cackled and the “caucacity” [don’t cancel me because the artist acknowledged their white privilege], but I envied the type of exploration that I will never know as my own. The freedom and inquiry that eventually felt safe and earned was a humorous slap at capitalism, policy, and the act of noticing, most of society could use a lesson in.
However, what really did it for me was the archival footage [the documentation of the art, as art] showing us exactly what was going on as they lived it. The foresight to capture the day-to-day was ahead of its time. If this had been the peak of social media, the sirens would have sounded at the geolocation posting, descriptive caption, and hashtag [#MallApartmentEntryOffTheParkingLot].
But instead, Townsend [maybe subconsciously lol], who had long before declared, “It’s going to be a really awful day when our door opens”, got caught after bring his “friend” [don’t make me speculate what type of “friend” you would blow your cover for] to the mall apartment during the day after knowing the block was hot! And before that, during a shadowbox crafting session at Pottery Barn. It’s giving Usher Raymond confessions, my guy!
But as an artsy, stick it to the man, type of rebel I am, Secret Mall Apartment, brought me so much joy, knee slapping laughs, I mean I almost fell out of my seat onto the theater floor when they decided to carry that china cabinet up those ladder steps. . . A full-sized 200+ pound china cabinet with the glass inlay. Come on now! Y'all some BOLD, Gooney Goon Goons, and I’m here for it!
The concept of them holding space like “barnacles on a whale”, notes a symbiotic relationship that seems parasitic but is commensal, or of service. Who is harmed by these artists taking up a void versus who is harmed when a developer displaces culture?
Because let’s put it this way, if art resolves in crime, its an honor to be guilty.
Lexi for /CW
lexi & her obligatory steo & repeat pic for mke film fest 2025
A MOTHER APART [Director: Laurie Townshend]
Do you need to experience a mother’s love in order to gift it to the bloodline coming after you?
Staceyann Chinn unapologetically and actively searches for this answer throughout groundbreaking and unsharpened film, A Mother Apart, in front of our eyes. Multifaceted is an understatement when it comes to describing the Urban heroine. Juggling countless identities that seem to cause unnecessary stares, whispers, and questions [the tropes: lesbian, “underground” creative, LGBTQIA+ activist] , and Jamaican-American, creates an eventful and unknowing journey. However, only two chapters in Staceyann’s book bring fear and uncertainty; their strengths and weaknesses as a mother, but most importantly, a daughter.
Director Laurie Townshend sets the stage early for audience members to see the genuine and strong intentions Staceyann has wanting to parent her young and vibrant seed, Zuri, in a way that was never shown or gifted to her as a young child. One would expect for the voided receipt illustrating the relationship with her mother to be accessorized with resentment, hatred, lacking a longing for connection, loveless, and unfamiliar. Yet, Staceyann made it her mission for years to reenact the final scene from The Color Purple, where Celie reunites with her children from Africa with her mother, and made it her lifelong wish to create an unbreakable bond with a mother who abandoned her at birth. The talented poet was issued several chosen families throughout her performances at poetry slams and showcases, but home is a feeling she still longs for as we watch her on the screen.
Chinn’s quest is to find the woman who shared the most heart-wrenching and vulnerable experience of birth, but who also abandoned her, was becoming more of a challenge and a dream that would never be reached. Townsend added the element of long-lost letters addressed to Hazel [the mother who had the nerve to leave her child], which Staceyann found to alleviate and strengthen the process of reuniting with her mother. This journey began to make marks in Brooklyn, Cologne, Montreal, and Jamaica. Scene by scene, the missing puzzle pieces to who Hazel is, why she made the choices she made, and what her story is started to reveal itself after each letter Staceyann found. While in the audience, it was painful to view, yet there was a pride in seeing the battle she fought within herself to avoid repeating the same choices her mother made. Laurie Townshend captured a cinematic montage of motherhood, the true meaning of home, breaking generational curses, and the power of how a child can change the trajectory of one’s life.
It was a tear-jerker but also an eye-opener to never take for granted the relationship you have with your mother. It’s nothing like Mama’s love. Most importantly, the film suggested never become who and what hurt you; always choose peace, happiness, and personal growth.
It was her choice to overcome pain that helped Staceyann find herself in the end, and become the mother to Zuri she always dreamed of being.
Desriana for /CW
BLACK LENS SHORTS
As I walked into the theatre, I felt a different aura and band of energies than I had before. It was almost as if everyone at the Oriental Theatre that night had a secret group chat before arriving, and we all became on one accord: FEEL, SEE, AND IDENTIFY.
I instantly fell into a motion picture trance as the screen became filled with Black stories and faces I’d never witnessed. From animated black and white depictions of civil rights activist Martin Luther King Jr., to toxic black love, 1930s jazz singer escaping selling her soul to the music industry, a son imagining his deceased father, and a young director being misunderstood by his traditional African mother, each short film held its own weight. The highs and lows of what people from the African diaspora experience and pass down to one another was the foundation laid and the framework that ties each short film to one another.
Hoops, Hopes, and Dreams [Director: Glenn Kaino]
The shorts began by providing an important lesson to the audience, myself included: our heroes are more than statues and history books; they are human beings too! Hoops, Hopes and Dreams, directed by Glenn Kaino, awakened everyone within the first two minutes of the film, as it painted Martin Luther King Jr, and Barack Obama in a new light; just simply human beings. True stories of MLK and Obama playing basketball with everyone in their neighborhoods and then implementing their mission to make the world a better place for our people and culture are depicted in a raw and familial way. It made these two heroic leaders feel real and relatable. This shed a spotlight on to many other civil rights activists, Black businessmen, and leaders who have stood at the forefront of changing the Black experience and perspective in places that don’t always appreciate or understand the brilliance and magic we hold. They are more than pictures on a slideshow at a Black History Month program or the name of a street; these were walking and breathing human beings who enjoyed the same pleasures as everyone else, such as sports, brotherhood, and pure fun [& still managed to move the needle forward].
SONGBIRD [Director: Jonathan Horton]
A bird's-eye view was used throughout the entirety of Black Lens Shorts. They all honed in on the love creatives have for their work, but also the disappointment when their environment and people don’t understand or want to resonate with their art. In the words of the intelligent and talented lyricist Erykah Badu, once said, “I’m an artist and I’m sensitive about my S#@T!” The phrase should’ve been put on repeat while each film was being presented. It represents how, as Black people, we don’t usually experience fairy tale endings or the impossible miraculously happening for us. The Black community has always had to take matters into their own hands when it comes to going after what we want in this lifetime. Jonathan Horton’s Songbird accurately showed a gorgeous Black woman who could tear down any house with her voice, singing jazz medleys in the 1930s, wholeheartedly in love with music. Sounds like a golden ticket for a Black woman during that period with her community loving and supporting her, right? That would be too easy. The short film shows how the FBI and other white men in power tried to silence, threaten, and minimize her place in the world. Instead of allowing fear to overwhelm her mind, body, and soul, she continued to become a household name, but in the end, the FBI succeeded by strangling her, stealing her ability to sing with strangulation. Silencing Black voices is a common narrative in our history. We must continue to ask ourselves, “Why?”.
ABOUT TIME [Director: Donald Conley]
Donald Conley, director of About Time, said it best in his Q&A after Black Lens Shorts concluded:
“Films are not only physical manifestations of the director’s thoughts, but it is also snapshots of your everyday lives. This is why I incorporate several aspects of my life through the films I write and direct.”
Conley reimagined his own breakup with an ex-lover to light the fire for About Time, presenting an authentic yet soulful connection between two people who love each other but love replaying their toxic cycle even more. The elements of “running into one another”, making love, and drugs simmered down the thick tension which fooled the audience, making us all think in the end the two would choose each other and attempt to have a “healthy” romantic love. I felt like the mama bear friend desperately trying to tell my homegirl, “Girl don’t just walk but run away from that man; he’s wasting your time!” Have you ever felt like when you're around a certain person, it’s only you two in the entire world? Or that nobody will ever comprehend or understand you the way that person knows you? Conley did not shy away from those uncomfortable, unreserved, yet necessary conversations that needed to be had between two people who imply their hearts belong to one another. We all know love can be messy, but it is also a choice. Looking past the imperfections of your partner, actively waking up every day, and choosing to stick by their side, trying to brainstorm ways to spice up the relationship are not cakewalks. On the other hand, sometimes you can love somebody more than life itself and show them by simply walking away from the relationship.
There’s beauty in discovering things about yourself. Every day we learn things about ourselves that weren’t clear days or even weeks before. The 2025 Milwaukee Film Festival was created with not only eye-catching films but also intentional meanings whose punches landed in the screening rooms and now, in the city of Milwaukee. It’s so easy to get caught up in what’s happening around us and who's roaming the world right along with us; but self-discovery and reflection are a gift that’s always going to keep on giving as it feeds our souls as well as our physical lives. This is a reflection of being in our Black bodies.
Desriana for /CW
ONE MINUTE REMAINING [Director: Colin Sytsma]
I have never seen the act of rehabilitation as a proponent of the justice system performing well. It has always been presented to me in “legal terms” as a control mechanism for nuisance in society, a social method of keeping outcasts isolated, and essentially a way to break humanity. I don’t want to get on my soap box [because I’m heavy & it will break], but it seems as though the compassion standard for others goes out the window as soon as they get locked in a box, chained, or shackled.
It's MASTER manipulation at its finest [clock it].
One Minute Remaining, with its exploration of incarceration through the lens of, “women and families across the United States managing their loved ones incarceration while searching to articulate their frustrations,” is a reminder that doing time burdens more than the human who did the “crime”.
The Partner.
The Children.
The Parents.
The Siblings.
*Fill in the blank*
While they may not be bound by bars and fences, they face the sentence through payment penalty on the incarcerated's behalf, time navigating a system that does not prioritize the human needs of the incarcerated, and the mental/emotional exhaustion that comes with supporting your family member or loved one in that predicament.
It is a conversation that I have had repeatedly with my partner, who, as a Black man, is 5.5 times more likely to be incarcerated than his white counterparts [innocent or not], that if he ever does something that would cause him to be taken away from his family, our children, or I, my stamina for “holding him down” would be limited. It is a warning, not because I think he is a menace to society, but because I have seen the volatility of the Black body, the mistreatment of the incarcerated, and the pain we all will inevitably face in that predicament. Why would I not plant a seed of avoidance as protection?
You could feel the anxiety come through the screen as family members told the story of their incarcerated loved ones. Julie Magers ' son's emotional navigation was unnerving, with his uncertainty of what would happen to his father while locked up with Multiple Sclerosis. Is he not a victim of the situation? That child's resilience is not a badge of honor but a sign of distress. His mother, chain-smoking her nerves as she fights for the rights of not just her husband, but also navigates a career of advocacy for others in similar positions, was also unsettling [coping vices are not our friends].
The digitized voice of “one minute remaining”, sounding as the end of each documented call fastly approaches, prompts us with the fact that time is limited, fleeting, and unstoppable. How we use it can help or harm, give or take, champion or corrupt. The documentary style shows us unprecedented wins, but can not uncover the core of the issue, and maybe that's a good thing. Maybe the uncomfortable feeling is meant to keep us grounded in the reality that this is not resolved, but ongoing.
----
Also, shout out to producer Justin Gordon, whose work on The Stigma of The Durag has had us thrilled to see his contributions to projects with social & cultural narratives, like this one.
Lexi for /CW
BRADY STREET: A PORTRAIT OF A NEIGHBORHOOD [Director: Sean Kafer]
As a Milwaukee “Eastsider”, Brady Street is a part of my origin story, my familial odyssey, and my foundation of independence. From my grandma taking me to Peter Sciortino Bakery for a cookie as she recounts her adventures of crossing over the Holton Street/Van Buren bridge [then a slated timber frame death trap] to get home from school after picking up supplies for her mother at Glorioso’s, or my walk of distress after a cathartic heartbreak with a garbage bag filled with my things swinging over my shoulder as I tiptoed past Rochambo and the High Hat craving a coffee and a stiff drink on my way to Walgreens to get a Tylenol for the hangover and a life line. It is a place of familiarity, history, with a mystique that is welcomed by us creative types, vagabonds, and spirited hippies.
Soooo if I’m critical, it's because I really love this little slice of convergence.
I’m just going to say it. . . Where are all the Black people? Did you forget to include us in localized history? Or just didn’t have enough screen time, so we were edited out? In the joy it brought me to see the acknowledgement of Indigenous people as the originators of the area [hey cousins!], I could not shake the idea that Brady Street culture, where dominated by Polish and then Italian settlers [a fascinating history], is void of Blackness outside of crime, and attendance of the Brady Street festival? Nahhhhhhhhhhhh! We have to put that part back in.
lexi about to watch the brady street film with trying to stay warm [blanket any one]
The entrepreneurial history of Brady Street is beautiful. Starting these small bar, shops, and restaurants, growing them into communal staples, reimagining them for future generations, and repurposing building shells that house souls of courage, community, and “classy” capitalism, is absolutely the narrative I was looking for when deciding to see the film. However, the economic sustainability of the area is threaded with Black contributers that were never noted.
In the hysteria of white flight, those who had established roots on Brady Street fled as an insurgence of melanated faces appeared in Milwaukee during the Great Migration. These property owners [some of whose family had been squatters in previous years, but I won't hold you on that], while domesticating suburbia, had tenants renting their flats, lofts, and storefronts. And guess what those payments did? It allowed for the property tax and mortgages to be paid, keeping the area afloat, and tanneries to be manned [until that was no longer a viable practice in the city proper]. And guess what else, many of those tenants were BLACK.
“My father was there”, Vedale commented after the film concluded. “Pulaski Park, Peter Sciortino, that neighborhood bar right on the corner, where he would linger sometimes. . . We know Brady, but this is not our Brady, but we still honor it. The sidewalk art by Pamela Scesniak is iconic, and as an artist, I value that labor. Its deterioration and green application look like the patina of ancient ruins, meant to document a rich history and culture that is still alive today. We know this story. We don't have to watch a documentary to get that truth. Now, let's go to Zaffiro's. I have a sudden craving for pizza.”
That’s when it hit me, the missing piece of the Brady Street narrative did not remove the history from existence. It just showcases a limiting perspective that can’t be found in a history book, news clippings, or archives. It’s anecdotal and personal, passed through breaking bread or toasting spirits, remembered in practice with purpose. Walking the ground, feeling the cement under your feet, leaning against a facade as you people watch the neighborhood and recollect.
A flash of a photo of my daughter walking down Brady Street with her class on their daily adventure confirmed it all.
The legacy of Brady Street continues.
Lexi for /CW
THE MILWAUKEE SHOW I
#SupportTheLocal #414 #MKE #WeLoveMilwaukee
If it’s made by local links, you know we can't resist. This year's Milwaukee Show shorts sent us mixed emotions. Some we loved, others we were just not in season for, and others we just really appreciated for their craft and technique. In a community where the creative economy is not valued as it should be, we will always support those who make because their is a force inside of them that must come out and be shared with the world.
Here is my hit list:
DAG Camera Repair [Director: Atesh Atici]
There are few master Leica camera repair technicians left in the world, and Don Goldberg is one of them. That’s it. That’s the plot.
To be the last of anything is a weird accomplishment, but to be so sick of answering the phone because it is ringing off the hook, and you are literally one out of 5 people in the world that can actually do the job is wild! And Millennials are out here millennialing, stressing the poor man for their quirky nostalgia of film photography [geeeeeeeezzzzzzzzzz artsy are we? Lol]
Atesh's take on this story is comically nuanced. His subject [Don] is a star, hidden in the back room of Leica parts, little screw drivers, and inbox of unanswered emails. But it was the breakout scene with the miniatures that threw me every way but straight, and that's the art of it. You don’t know what genius lives in everyday people. And even geniuses get sick of doing what they are good at too..
Legacy In Motion [Director: Brandon Stearns, Brema Brema]
They SNAPPPPEEEEEDDDDDDDDDD!
I really love it when creative talent converges. Film, choreography, fashion, lifestyle... the combo is always going to be a win for me. But the real bliss is knowing the magic is being made by people you know. Here I am screaming & jigging in the theater when I saw Brandon [shotbysterns] name come across the screen, with Brema Brema at the helm of Unfinished Legacy, and my recollection of his stint in agency media production behind the lens. I have had the pleasure of collaborating with Sterns as a freelancer on some /CW projects and interviewed Brema for a Sneex sofa session, so I know how serious each of them takes their craft and how committed they are to their work in documenting the creative community [#WeSeeYou].
But its the skill, the lighting, the ability to capture a vibe with no words, every pop lock, leg bend, and toe twitch glided through the frame. A music video-esk lifestyle art display captured in time? Yea, lets go with that. Its so beautifully Urban. Make it a downloadable wall paper so I can let it loop on the screen in the studio, K? Byeeeeee.
Zastava Brothers [Director: Pep Stojanovic]
Once upon a time, Pep let the /CW fashion department host a Streetwear runway show in his space. Cars lined the runway, old school with unique profiles and retro color ways. Come to find out, these are the Yugos.
To see the story behind Pep’s love of these distinct cars, matched with eagerness to share this love and joy with his daughter, resulting in an automobilic [Did I just make a word?] brotherhood, was not on my MKE Film Fest playing card. However, just like that, I’m pouting at the found family, and the camaraderie over car culture that could easily be a story of pain, hate, and a tow home.
But here we have joy, an “extra wire”, and a “keep the camera rolling” moment that brought us this pièce de résistance in a cinematic hug, I hope stands the test of time. It’s hard to make friends that you actually bond with at a big age, and here we see that what was coined “the worst car ever made”, could do just that.
It feels that this year's filmic experience culminates in an instinctual urge to prepare spaces to share with the people, culture, and community one resonates with. This form of nesting [see what we did there] is crucial for survival, but it's a cascading thread of intimacy really binds each film, each narrative, each plot, to be about something bigger than itself.
We are all a part of something bigger – hopefully, we can continue to build this nest together.
Love & All Things Urban,
/CW Fam
Creative’s Making Impact By Lifting Other Creatives w/ The Creative Collab | Bronzeville Artist-in-Residency Mentor Program
/
Creative’s Making Impact By Lifting Other Creatives w/ The Creative Collab | Bronzeville Artist-in-Residency Mentor Program
[A mentoring-focused Artist-in-Residency program that connects youth with a professional creative]
Creativity is best cultivated through collaboration. However, opportunities for creative collaboration can be sparse depending on age, locality, and personal network. Statistically, we know that “28% of surveyed Milwaukee-based creatives are strongly considering relocating to another city due to a lack of creative opportunities, jobs, and support here” [Imagine MKE, 2023]. Retention of talent [cultivated locally] will always be a problem unless we address it intentionally, constantly, & economically supported.
Under the leadership of Jazale’s Art Studio, Vedales Art Studio [Vedale Hill], and /CW Creative Studios + Shop [Owned by CopyWrite, Magazine, Media & Design, Lexi S. Brunson] we have cultivated the collaborative means to propel many creative career paths while navigating Milwaukee’s economic & opportunity disparities in the creative sector. From fine arts to media, fashion to performance, and all the intersectional practices of creative entrepreneurship in between, we have found a methodology that can help creatives excel in their personal and professional goals.
Today, we launch THE CREATIVE COLLAB | BRONZEVILLE ARTIST-IN-RESIDENCY MENTOR PROGRAM is a mentoring-focused Artist-in-Residency program that connects youth with a professional creative. Each youth participant will have access to mentors across the creative spectrum in their area of interest. Participants will be immersed in a diverse creative environment, where they will witness everyday practices of creative professionalism, methods of creative production, problem-solving, the proper methods of documentation, and how best to utilize their specific skill sets. This program will provide mentors & mentees stipends to emphasize the value of creative practice while navigating the economic necessities of a quality & sustainable practice.
MAGE BY COPYWRITE MAGAZINE VIA /CW SUMMER HIGH SCOOL INTERNSHIP EXPERIENCE | VISITING MILWAUKEE ART MUSEUM -DERICK ADAMS, OUR TIME TOGETHER EXIBIT
“We have to understand that creative success directly correlates with access to resources & a creative network. A big piece of that narrative is funding. An artist should no longer be asked to starve. I know I don’t starve well! If we can help young creatives understand their value to society, while giving them the professional tools to navigate this industry, then as a community we all will reap the reward”, said Vedale Hill.
“Collectively, we have sat in rooms that have had the social capital and funding force that could fortify the creative industry in Milwaukee. However, time & time again, some people refuse to educate themselves on how creative talent enhances a communities cultural identity, promotes economic growth, and improves overall quality of life. If we take creatives out of the equation, there is no success in any industry. We want the next generation to have better opportunities than we have. So here we are attempting to do the right thing for all the right reasons. We hope that our community can support that in an active way”. - noted Lexi S. Brunson.
IMAGE BY COPYWRITE MAGAZINE VIA /CW SUMMER HIGH SCOOL INTERNSHIP EXPERIENCE | BEQUEST YOUTH LED FASHION EXPERIENCE AT /CW CREATIVE STUDIOS
As of today, May 16th, 2025, THE CREATIVE COLLAB | BRONZEVILLE ARTIST-IN-RESIDENCY MENTOR PROGRAM applications are now live. Qualified applicants include Creatives 13-25, who are Milwaukee County residents, are enrolled in middle school, high school, or a post-secondary educational institution, with proof of exemplary creative skill sets. Financial needs are highly considered. Spring/Summer 2025 Cohort pre-screened participants will be notified of their acceptance via email by May 20th, 2025. Other applicants will be notified if they are accepted to a cohort on a rolling basis.
Special thanks to The Brewers Community Foundation for helping us pilot the program with their sponsorship contribution. We are still looking for additional funding sponsors for 2025 cohorts to further THE CREATIVE COLLAB's capacity, mentoring opportunities, and communal impact. [All sponsorships are tax deductible through Jazale's Art Studio's 501C Status]. If you are interested, please contact us at jazalesartstudio.org@gmail.com | copywrite.mke@gmail.com, Attn: The Creative Collab
Want to be a part of our communal impact? Please consider donating at:
For Press inquiries, interviews, and other media-related requests, please contact Lexi S. Brunson, Editor-in-Chief of CopyWrite Magazine, at: Copywrite.mke@gmail.com
/CW
IN THE CUT | EPISODE 4 "Happy Mother's Day Yall!"
/CHECK OUT OR LATEST EPISODE OF “IN THE CUT”
[Happy Mother's Day Yall! Catch these highlights from our Mommy's That Werk Panel. Featuring: Lexi S. Brunson, Symphony Swan, Jamie Robarge, and Haley King. ]
