SnapShot Press Release | Building The Nest [Milwaukee Film Festival 2025]
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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.
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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
GOLD FANG$ [EP] | King Kalumet
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Photo by freakish nerd
Cultivating a sound is no easy feat. You have to be willing to push into your authenticity [who cares what's “poppin” it has to be all you B], dabble in this, jump into that, and go places musically that you may have never ventured before. King Kalumet is no stranger to the Midwest creative scene. From graphic design to lifestyle brand, model tings’ and more, he has shown us that his creative muscles flex in many directions. So when I heard he was working on an EP, I had to make sure the files were sent my way.
GOLD FANG$ [EP]is an eclectic mix of posturing [we love a good ego trip], prophetic ambition, and personal penning. It takes us through a genre mash-up of hype hip hop, hollow point pop [I’m coining the term], story telling, and suave sensations. Who is this for? I’m pretty sure the King himself. Where every track has a “mood”, its collective narrative seems to define how Kalumet sees the world.
Photo by freakish nerd
The track that holds the EPs moniker GOLD FANG$ directs attention to the talent that has come out of the 414, but forgets to rep the city; leaving us out of the historical loop of heavy hitters [a controversial topic indeed]. However, he seems to be fine with picking up the slack and putting the city on his back. “I can talk my sh*t, but I can back it up”, he dotes repeatedly. Am I concerned for him? ABSOLUTELY! Because I hear challengers coming and slaying the creative opps causes fatigue lol.
My favs on this project are the intermissions, It’s Complicated & Voice Mail From Joy 11-25PM, because who doesn’t love to hear women rant spasmodically about a guy? [I mean we have ALL been there!] and INFINITY.
INFINITY has this bounce and you have to ride that beat. King Kalumet rides it, gives the girls a little love, and doesn’t do too much. He could have layered the bars but instead its punch lines are playful. It's footwork and house parties. It’s sooo midwest but so universal…and I think that's the key.
photo by carnegieimagery
For this lyrical music collection, I think you have to know a little something about the modern world. A little media [movies, music, art], a little romance [heartbreak, lust, love], some Urbanism [I mean it in the post-industrial hood way], and the pursuit of educated individuality [that's where the money resides]. So you have to listen, think about it, listen again, and find the tracks that resonate with you. Pieces to the story, ya know? Making connections while sipping some Henny [see I was listening lol]. And don’t forget that “gold fangs” come with teeth and you have to be willing to bite down.
Keep going, King Kalumet. . . Just please, keep going.
Lexi S. Brunson | Editor-in-Chief /CW
SnapShot Press Release | Topdog/Underdog [& a special invite to Legacy Night at the Milwaukee Chamber theater]
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Modern-day digitization of “parlor games” will have you responding in the comments of a random social media post that asks, “name a dynamic duo”, with answers like…
Batman & Robin
Bonnie & Clyde
Peanut butter & Jelly
Bert & Ernie
Mac….AND….CHEESE
The foolery warrants a good knee-slapping chuckle [because why are we like this? Lol] but somewhere in the ether there lives another dynamic combination that is destined to teach us all something about our own humanistic bonds; Lincoln & Booth.
Now, for those of you who are history buffs, don’t start jumping down my throat. I'm not talking about Abraham [Lincoln] and John Wilkes [Booth]. I’m talking about the brothers [& I mean brothers who are BROTHERS in the biological & melanated sense] from playwright Suzan-Lori Parks’ Topdog/Underdog.
Let’s make it clear:
I am always baffled, yet mesmerized, by the execution of an obvious hustle.
I’m talking about a three-card monte on a flooding table and being a Black Man in America.
[If you can’t find the correlation, then it's already too late.]
On Wednesday, April 2nd, 2025, I was invited to experience a sneak peek scene reading from the play from the Milwaukee Chamber Theater, who will be ending their 50th-anniversary season with the Topdog/Underdog productions directed by Gavin Dillon Lawrence. This Here2Play event was hosted at Running Rebels [whose mission is to guide Milwaukee youth into adulthood through mentoring, positive programming, and community connection] and included a panel of esteemed Black Men from Milwaukee, making an impact in their community.
image by /CW
We witnessed actors Dimonte Henning [Booth] and Anthony Fleming III [Lincoln] capture the complexities of brothers in an unyielding predicament that is the Black experience, preparing for the April 25th to May 11th, 2025, show dates with vigor, humility, and humor. There scripted banter seemed natural and reflective of the insight panelist Vedale Hill [Milwaukee Fine Artist, Arts Educator, and Community Advocate], Nate Deans, Jr [Director of Black and Latino Male Achievement, Milwaukee Public Schools], Damon Shoates [Community Organizer, Running Rebels], and Lafayette L Crump, JD (Moderator) [City of Milwaukee Commissioner of City Development] transparently discussed.
They untangled questions that directly acknowledged their existence [as a collective and as individuals] that have historically been snubbed in the public arena.
What does it mean to be a Black Man?
“Actualizing the dreams of my ancestors”. - Nate
“I get to have audacity”. - Vedale
“To be responsible for the history of my people - immediate & past history”. - Damon
They lovingly gave us their intimate thoughts, recalibrating the toxic tropes of masculinity into reflections of who they are as men…
Evolving
Committed to uplifting
Partners of accountability
They each noted how they navigate the world they exist in with a sense of obligation that reaches far beyond their gain as stewards of a community that still needs help changing the narrative of the plight that has been unjustly cast upon it.
image by /cw
“These young men are innovators and understand the literacy of social media. . .How do we as people who run systems, integrate young people and vulnerable groups into [that work]?”Nate stated as he discussed culturally competent pedagogy.
“Your perspective is important. All historical documents and archives are some kind of art form: written, sculptural, or visual. Art is the treasure box of what happened. If you don’t say what happened, your story, your position, and your perspective can be untold. . . I try to get young people to approach art in that type of honest and philosophical way”, Vedale preached.
But it is in this conversation that we are directed back to the art of Topdog/Underdog and what awaits us on the stage as art holds a mirror to our existence.
It's a space that I want us to hold together…Let me clear my throat *hmmmm hmmm*... It’s a space I invite all of my BLACK community to hold together for Legacy Night.
Milwaukee Chamber Theatre & CopyWrite Magazine [as a community partner] invites Black and African American community members to join us for Legacy Night on April 30 at 7:00 pm, a special performance of TOPDOG/UNDERDOG by Suzan-Lori Parks dedicated to and celebrating the Black community. Join us beginning at 5:00pm for a special pre-show reception! Tickets are $30 (plus tax and ticket fees) with special code LEGACY.
To be in community with each other gives us more opportunity to build bonds with each other that exemplify brotherhood, triumph over adversity, and unadulterated joy.
Let’s show our city what it feels like to win together.
See you at the theater!
Lexi S. Brunson | Editor-in-Chief /CW
ART-IS-1ST | APRIL. 12TH 2025 | w/ Comedy by Brandon Jones + Bodeany + Comedian Tez
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Art-is-1st is a recurring event that showcases a vibrant mix of talent, including singers, rappers, comedians, poets, and other creatives who resonate with the mission and vision of /CW. Each event is designed to celebrate and elevate the diverse artistic expressions that align with our brand's dynamic and inclusive spirit.
Through an applicant-based selection process [via Google Forms] artists will submit to be a guest for an intimate [in-studio] performance [with complementary social media recording]. Here we will use the /CW platform to put the “Artist First”, and capitalize on highlighting a growing creative economy with session/episode sponsors, industry guests, and more.
APRIL 12TH, 2025
COMEDY BY:
Brandon Jones
Bodeany
Comedian Tez
Tea Parties Don’t Stop At A Certain Age; Here’s How Not Your Mama’s Tea Keeps Sisterhood On The Right Page
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Have you ever noticed just how closely our kids’ toys and games mimic real-life experiences and elements that are a part of their elders’ lives? Each year, millions of dollars are poured into the sales of fake kitchenette sets, baby dolls, and medical supplies that allow children to pretend to be the most prestigious doctor in their homes. They not only fill excitement inside the kiddos from head to toe but it opens a glimpse of what adulthood will look like. It’s no secret that us grown folk have access to a whole ‘nother world as well as a right of passage to do as we please and make all decisions on our own; whereas children coming behind us have restriction after restriction. Ironically, one of the few things children get to enjoy that takes up the majority of adult’s leisure time is partying. Think about it /CW fam kids have a party for any and everything. I know you remember those Valentine’s day parties at the end of the day. Although there are hundreds of different types of parties such as birthdays, engagements, housewarmings, and even pizza parties, we used to collect a mountain hill of box tops for each party, which mirrored the same purpose. No matter how star-studded or lowkey the party is, the goal of letting loose, enjoying one another, and living in the moment remains the same. Surprisingly, there’s one kind of party that kids have on lock over their parents. (Drum roll please……….) Tea Parties!
The representation and lifestyle element of tea has always held high importance and demand in select counties including prestigious kingdoms and well respected cultures. However; the country labeled as innovative, spontaneous, and welcoming (The United States) did not gift tea the well deserved representation and education as others. Within the past five years, that narrative has done a complete 180-degree turn and it has now caused an international frenzy. Primetime showrunners and writers, including one of the industry's fairy godmothers, Shonda Rimes, have become heavyweight champs in creating stories and yellow brick roads to the doors where tea parties and the drink's social impact are the main setting and primary gears that heighten the story. The roles have reversed, and now children are educating their teachers, parents, and grandparents on how the theme is supposed to be carried out in an authentic yet organic light.
Although it would be easy and smooth to give all the credit to those behind the scenes of your favorite shows like award-winning Bridgerton, the real impact comes from everyday people hosting themed events and centering tea into their daily routine like founder of Not Your Mama’s Tea, Rhonda Hill.
An intergenerational tea social club that strengthens both personal and professional relationships amongst the black community is what can describe Not Your Mama’s Tea. I view this phenomenon as the medium between “The Pit” and Khadijah James magazine Flavor in ‘90s hit sitcoms Living single & A Different World. A seed was planted inside founder Rhonda Hill back in 2018 when the unicorn launched in Milwaukee, WI.
“The inspiration is about honoring the rich history and influence of tea in communities worldwide while incorporating it with hip-hop culture. Tea has always been a connector, much like music. It’s about providing a space where people can engage with tea culture and Black culture. Often afternoon tea time comes with thoughts of English tea time, with hats and gloves like Queen Elizabeth. As an avid tea drinker, I wanted to make sure I reflected my own Black culture when hosting an afternoon tea, thus tea for the culture.”- Rhonda Hill
She made an interesting observation that struck me. Now I want you to be honest with yourself; when you think of tea what spaces and faces pop up in your head? For most people, they think of the UK, royalty and early 1600s interactions. On the other hand what comes to mind when you think of hip-hop culture? The scoreboard becomes filled with vocabulary such as energetic, loud, wild, colorful wardrobe and minority faces. Hill and her team found this to be unfair and mind-blowing how African-Americans; especially women, are not illustrated and represented in spaces that have tea at the forefront. This harsh reality lit a fire in her to create her business and start carving out an identity for black culture in the polished light of the beloved beverage. A simple idea to make tea and hip hop culture the hot new combo on the block quickly grabbed the eyes and ears of our city’s bold yet underground community of black women who are hardly recognized.
The cultural innovation held its latest event on February 16th, 2025 at Milwaukee's Hip Hop Museum at 2222 N 19th St Milwaukee, WI. Soulful music served with a platter of intentional yet entertaining conversations regarding career development, self-identity, wearing a million hats as a black woman and true love for hip hop was carefully curated by Not Your Mama’s Tea during the afternoon. A light was shed on the newfound trend surrounding Valentine’s Day which is Galentines. Many mistake this day for only recognizing and praising romantic love but Galentines has rebirthed the structure of the national holiday. Thousands of friend groups are celebrating each other by having cozy girls’ night ins, a night on the town or intimate spaces to highlight their friendships. Hill and her team incorporate this type of atmosphere and sense of belonging all year round; not just for Galentines. Sisterhood shouldn't be celebrated during only one month out of the year when we are all sisters 365 days a year.
“The culture of our events is all about inclusivity, relaxation, and celebration of ‘girlfriend’ culture. We create a space where women can unwind, enjoy quality tea, and vibe to great music, especially hip-hop. It’s about blending different aspects of life—culture, music, and community—into a warm welcome. We have been hosting parties at the Milwaukee Hip Hop Museum, making for a great blend of hip hop and tea.” - RH
Tea parties shouldn't end once of our little girls becomes a teenager or reach womanhood. They mirror a safe space for women to let their guard down and tune in their inner Angela Bassett in What’s Love Got To Do With It, where she played Tina Turner finding peace as she chanted “Nam-myoho-renge-kyo” and drunk tea. Since 2014, it's become one of the highest in demand beverages of the African-American household; acting as a bridge between social and health perspectives. Hill has made it a point to throw a variety of events using this framework such as birthday parties, community events and action plan workshops. You ever notice how when women are in union with one another there's always time for a good drink and plate of food made with love. No matter if it was Joan, Lynn, Maya and Toni in Girlfriends or Kim, Niecey, and Moesha in Moesha; drinks and food always served as comfort and connection.
“Tea is a universal symbol of comfort and conversation. We chose tea because it is one of my favorites, making it a great way to blend my enjoyment of tea with my desire to connect and serves women. It’s not just about sipping great tea—it’s about creating a moment of connection. Tea encourages slow, intentional interactions, and that’s the kind of energy we want to cultivate in our events.”- RH
Do you feel that nobody can relate, understand or connect with you both socially and emotionally? Maybe you want space as a black woman to just be yourself without all the expectations and just looking for a good time to let your hair down and not be required to be superwoman all day. Become a member of the social club by booking your next event with them or purchasing a ticket for the company's next event on their website: https://www.notyourmamastea.com/.
Join the circle by following their Instagram @Tea4TheCulture as well to get access to the next sip of tea curated specifically for you. Comment down below what type of event you want to see next from them. In the meantime ladies I challenge you to drink your favorite blend of tea while bopping a hip hop song you can't live without.
Desriana Gilbert | Entertainment & Social Journalist for /CW
Milwaukee Founding Father of Hip Hop BLAX Unveils Limited Edition Vinyl Album “BLAXPLOITATION”
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Lyric assassins, cultural shapeshifters, and uncensored canvases have always existed in our barbershops, recreational centers, corner stores, churches, and neighborhoods. The masked hindrance that keeps thousands of conscious, bold, and talented people arm’s length from grasping stardom is exploitation. Record label executives, industry moguls, and well-known managers hide that they’re wolves in sheep’s clothing with their suave vocabulary, empty promises, and glamorized walls of success. This is how the exploitation of artistry, power, and the humanization of legal connections have become embedded into the moving tracks of the music industry. Countless artists become easily blinded by the mortal feeling of being a god, electrifying stages, dead presidents in their bank accounts, and the lens of cameras. Only a portion of superstars master the essence of obtaining the same reflection in the mirror they had before their signature was signed on the dotted line. The realm of their morals, values, vision, and connection to self is their number one priority and remains intact throughout their entire career. Ladies and gentlemen did you know we have one of the rare and mighty in our backyard? Adebisi Agoro also known as BLAX doesn’t just fit this description but he reps it wholeheartedly.
From being signed to New York record label Social MisFits/New Records to being crowned the title of Best Rap/Hip Hop Artist of 2018 by Wisconsin Area Music Industry Awards Council; living large and being known as the man when it came to the eccentric and homegrown sound was not taboo to BLAX. He had a front-row seat to every angle of the industry; from millions of faces in the crowd going toe to toe with him after each word of his songs, to tasting black luxury as a lifestyle, and the angelic connection his mind and voice had when creating music. Ironically, BLAX viewed himself as an oxymoron in the business; it wasn’t about the dollar bills, power from the snap of a finger or temptations of that world. His morals and view of success were far from what media and other hip hop artists would describe it. As a freshman in high school losing rap battles did nothing but spark the hunger and love the superstar had for his music. It was never something he would walk away from.
“Success is being happy with yourself; this is why you should be SELF-MADE.”-BLAX
Life/death, peace /disturbance, motivation/tough love, this is what you experience when listening to the multidimensional hip hop artist. There was never any need to fake or manipulate his artistry because BLAX has always put the raw and untamed experiences of his real life in his craft. For example, losing those who owned his heart, his grandmother and son between the years of 2013-2018 took a brutal toll on the emcee but footprints of his feelings could easily be found in his album Angeline where he began processing grief and was on a mission to seek truth. Each album is a present testament of the man BLAX is and how far his journey will go. His catalog is not just for the conscious and woke, but for any and everybody who values truth, growth, and those real conversations that make you question yourself.
“All artists have the responsibility to make you think. It’s not always about bubblegum ish all the time.”
With the legend coming off of the highly anticipated summer 2024 tour: The Dreamweaverz Tour w/ RMLLW2LLZ; he felt it was time to gift some new music to the streets.
On January 28th, 2025, the midwest cultural shapeshifter, BLAX’s dream came true as he released his album BLAXPLOITATION as his first ever vinyl album. For nearly twenty years the artist has always wanted to create such a timeless, tangible and personal piece of art to his supporters and especially for himself. Just as any musician, both the beautiful and heart wrenching side of the entertainment industry has took hold of his eyes. BLAX wanted to make it clear with his latest album that nobody can hold him back, take advantage of him, outsmart him or carry him as a man. He’s his own person, sketchpad, producer, songwriter, and moral compass. These ten tracks give a deeper scope of BLAX- the grown man whose accepted all things life comes with but also his raw emotions to that. The society we live in today consumes such a colossal digital footprint where music, visuals, and even artists are hot today and forgot about tomorrow. In a world of streams, single-radio, and less touring opportunities, it’s become difficult for a large body of work to be believed in and pushed by not only record labels but independent artists as well. BLAX set out to provide tangible connection and conversation between his fanbase and himself with this masterpiece.
“BLAXPLOITATION” will uncontrollably rebirth the most authentic and emotionally intelligent version of you. From the tracks, Interpretation of Dreams, Ballerina and Intelligent Beings you won’t skip a second. It’s a musical sonnet of the ups and downs life and being an artist has to offer. Sugarcoating and empty promises were not the ingredients used when BLAX was cooking up this album. He is a true creative who knows to never turn off the genius inside him! It is because of his versatile lyricism, out of the ordinary visuals and consistent artistry that he is considered one of the founding fathers of the Mikwaukee and Racine Rap/Hip Hop landscape. He’s created another space where the album will be analyzed and broken down on his new podcast, The Blaxploitation Podcast. Go tune in here: Don’t miss your chance to own one of the one hundred copies BLAX has released for the album; making BLAXPLOITATION limited edition.
Owning the vinyl is not enough and you want to experience an intimate and immersive night with BLAX himself to breath and feel every emotion of the album? Join the emcee at The Wiggle Room March 7th, 2025 at 2988 S. Kinnickinnic Ave Bayview, WI for BLAX’s album listening party dedicated to BLAXPLOITATION. You can not only follow the raw and lively man of the hour @the_god_degree on all social media platforms
Comment down below what question you think this album will make you feel? Do you think BLAX is paving the way for vinyl albums to make a huge comeback in the music industry?
Desriana Gilbert | Entertainment & Social Journalist for /CW
Snapshot Press Release | Black Nativity [More Than The Birth of A Savior; Also A Cultural Love Letter]
/The word of the day /CW Fam: Favorites. Everybody has favorites in different aspects and categories of life. From food, tunes, hangout spots after work, and TV characters; the list goes on. The holiday season is not off-limits when it comes to this inevitability. Everybody has their holiday staples that they look forward to. For many people, this can be watching holiday films such as Home Alone, The Grinch, and This Christmas while for others it's eating all the baked goods grandma prepares during the festivities. The city has declared a holiday favorite of its own. Black Nativity, a theatrical performance put on display every year to add some holiday cheer to the theatre industry.
What does a black utopia look like to you? Is it the spitting image of Black Wall Street filled with hundreds of black businesses? Maybe it’s the painting hung up in your mama’s living room with black people singing and dancing with smiles spread across their faces as bright as the sun. I believe the answer to this question is the musical buffet of the 2024 Black Nativity performance. The show consisted not only of the bones and accuracy of the original Nativity story but also a colorful dialogue between a higher power (God) and the black and brown people who make up millions of communities throughout the nation.
December 5th-8th, 2024 was this year’s display of Black Nativity, originally written by the leader of the Harlem Renaissance, Langston Hughes. The phenomenal performance took place in Wilson Theatre at Vogel Hall in the Marcus Performing Arts Center located in Milwaukee, WI. There are centuries worth of history where the birth of Jesus Christ, also known as the Nativity story has been illustrated and depicted the same way every time. The ethnicity of the characters, wardrobe, and setlist remained the same; no room for versatility or imagination. Hughes became weary of the African-American community just talking about how this made them feel excluded and forgotten about. He then took the initiative in changing how and what the Nativity story
looked like. It’s no secret that back in the day Hughes was the face of “Don’t just talk about it; be about it”. His mentality has inspired and driven many adaptations created by black artists to keep this same mindset and hunger; specifically directors of this year’s Black Nativity, Ashley S. Jordan and Wanyah L.Franzier.
The birth of a perfect human being taking on the most cruel consequence for all who commit actions against spiritual law based on unconditional love and authentic faith is the nativity story universally known and cherished. Over the last nine years, Black Nativity showcased in the city has proven that there is more than one narrative and purpose that can be heard and emotionally tangible to an audience that looks, talks, and walks like the cast members of the annual production. Round of applause to Jordan and Franzier because this year’s show was a cultural feast of R&B, Gospel, and African roots that created a love story between a higher power and the African-American community. It’s so easy to lose sight of the heart and soul of a message when the element of providing an entertaining show with lighting, fits that people would love to see at a fashion show, and soulful choreography is involved. Still, year after year the show is executed on the right queue!
A sea of sapphire blue and lavender purple lights swarm throughout the stage as the opening scene begins. The audience could hear what seemed to sound like crystals falling to the floor and drums being played as loud as Nick Cannon and Leonard Roberts’ one on one competition in the 2002 film, Drumline. I’m telling you at least twenty people jumped out of their seats within 5 seconds of the beat dropping {Y’all got me. My best friend and I were included!}The essence of a soft, affectionate, and struggling young black couple fills our eyes; until a soft-spoken man with a glistening gold shadow (representing the Angel Gabriel) approaches them.
“You don’t believe you’re worthy? Why can’t good things happen to you?” These are the questions I wanted to ask Young Mary after hearing the disbelief and fear in her voice once the shimmered chocolate angel narrated the events that would go on during the production. Although it was a breakdown of the original Nativity story from the couple’s journey to Bethlehem and the Magi coming to share who Jesus is with Mary; each scene captivated us all by creating a different significance.
Can’t
Won’t
Don’t
Haven’t
Echoes of the four words above slipped out of not only Mary and Joseph’s mouths but many of the other artists’ mouths in the first half of the production as well. It didn’t take long for the audience to realize what message Jordan and Franzier were conveying. Confidence is second nature to people who share the same shade Young Mary possesses. Unfortunately, after decades of other groups of people telling African Americans that their voices and stories should be silenced, forgotten, and deemed non-important; they begin to fall into the weak narrative. The African-American race did indeed exist over 2,000 years ago when Jesus Christ was born and they had a perspective to Nativity as well. This fact is often unrecognized because filmmakers and playwrights who have brought this story to life represent their work with mirrors of themselves and their physical appearance. Black people should be seen, heard, and loved because they are capable, human, and filled with faith! Twenty-four artists; some veterans while others are emerging right here from Milwaukee, came together and took on the challenge of using song, dance, poetry, and acting to share this story from none other than an all-black perspective.
Mission accomplished!
“Creatively Black Nativity will take audiences on a heartwarming journey of familial love, faith, and the creation of new family traditions and norms. Audiences will be inspired by relatable, but current family stories, a home reminiscent of Christmas, and entranced by a dreamlike vision of Bethlehem.” Artistic director, Wanyah Franzier, stated while describing the setting of this year’s
production of Black Nativity. During past years the setting of Black Nativity has been modern-day inner cities and neighborhoods that are associated with struggle and neglect such as one of the city’s most known neighborhoods: Sherman Park. I believe the setting this year was not as specific as previous productions because Jordan and Franzier’s purpose was to make it as easy as possible for each person in the audience to see themselves in one or more of the artists on stage. Creating a specific setting such as a city or neighborhood would have put constraints and other limitations onto the audience and the message would not have been as transparent. The stage was meant to transform into any area of living where black people are existing, thriving, struggling, and finding their way to become faithful and proud of the spirit they each embody! Can you think of a place that symbolizes home during tribulations and celebrations? Or a place of peace and unity amongst one another?
Church. This is the #1 Family Feud answer. If only Steve Harvey could pop out and give you a brand new car.
Both the physical and emotional community of the Black Church was the focal point throughout the entirety of the play. Many people associate the Black Church with gospel music, interactive sermons, and freedom of expression during service. Not only is it the birthplace of where many faithful lives are born but it’s also a place that provides a sense of comfort and gratitude through
the unity of African-American people before Jesus could walk. Yellow and brown hues with African prints reflected onto the Vogel Hall’s stage representing the church. The performers uplifted and motivated Young Mary how perfect and courageous her son would be one day. On the other hand, these are where everyday people began sharing their grievances of how difficult it is to struggle daily feeling as if they have absolutely nobody to turn to but a higher power
{God}. This list went on and on from losing loved ones too frequently, financial struggles, and inferiority, to being on the verge of losing faith altogether. Jordan immediately thought of the Black Church when brainstorming the lens and setting of the 2024 Black Nativity showcase because she felt it was the most relatable setting to any and everyone in the black community. Everybody has been to church at least once or knows someone who practically goes to church so often it’s their second home. This became the element during the play where Mary and Joseph were often comforted and where smooth R&B musical performances were shared to symbolize safety and belonging.
Lack of representation has always been in the shadows of whispers when it comes to all aspects of the entertainment industry from music to film and television. It wasn’t until the weekend of December 5-8th that I witnessed the true importance of the significance representation holds. Shades of black and brown faces scattered around in the audience with tears, laughs, and a standing ovation had received the message this year’s creative team of Black Nativity wanted to cultivate throughout the city of Milwaukee. I realized that when I am entertained by people, sounds and movements that are involved in my everyday life; it hits home and lasts longer in my memory. Black Nativity taught me that the African-American perspective should be used and discussed more often than it has been the past few centuries.
Need a way to entertain the kiddos next Christmas? Want your family or you to become involved in next year’s production? CW Fam you better check out Black Nativity next year during the first week of December 2025. Click here and check out their website
I can assure you that you’ll recognize your favorite aunt, nephew, neighbor or even yourself while watching. It’s no feeling like having someone who shares your same roots and environment to pour out all of the emotions and thoughts they have about historical and current events happening right now in MKE.
Desriana Gilbert | Entertainment & Social Journalist for /CW
So Why Aren’t All Aspects of Black Culture Adored? | By Desriana Gilbert
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The Gallery of Black Essentials, All Photos Accredited to RobRanMKE featured in copywrite magazine issue 21
/CW fam picture this: It’s as quiet as a church mouse on a Sunday morning. You’re blasting Erykah Badu’s Mama’s Gun album in one airpod while your other ear is filled with the humming and churning from the washers and dryers in the laundromat. Then walks in an older woman who exudes energy and could pass as a body double for Cecily Tyson. She’s wearing a cherry red fur coat as long as your kid’s Christmas list. Golden hair pins decorate her sleek ponytail as she walks with sparkly black thigh-high boots. She’s asked by a bold young man, “Why are you so dolled up? Aren’t you about to do laundry?”. She calmly replied, “Honey don’t be mad at my swag” A question immediately popped into my head; Why does the black community seem unphased with our lifestyle, habits, and physical appearance; while everyone who has all eyes on us is continuously in awe and such admiration?
The answer: black culture is not an accessory to us; it’s essentially embedded into our everyday lives both internally and externally without us even realizing it. In the words of Andre’ 3000,
“It’s in us not on us”.
There’s no secret that the world so easily assumes, judges, and misinterprets who and what exactly black culture is. However; the fashion that has been birthed such as hoop earrings, bold and bright colors, and intricately braided hair seems to have a separate identity from the beautiful black and brown people who are walking billboards of it. The style and appearance are so widely appreciated that many attempts to emulate and replicate how refreshing and beautiful black culture is. A door opens with an opportunity for African Americans to be seen in positive silhouettes as the complexities, different perspectives, and hidden gems they have both as a people and individuals are showcased to the world. But why aren’t several other aspects that create the ecosystem of culture and African-American people celebrated, let alone acknowledged?
Well, CW fam our creative director, Vato (Carlos) Vergara took it into his own hands with the help of many other talented creatives to strengthen awareness that there’s more than one aspect of black people that is beautiful and multifaceted while bringing the shoot to life. The Gallery of Black Essentials can be described as a digital museum of black people's love, authenticity, connection, and vulnerability. The shoot’s photographer, RobranMKE, stated, “It was a homage to the power, pride, and stories woven into our style.” The dynamic of black fatherhood, sisterhood, friendships, beauty, and romantic love was executed in such an ethereal and crystal-clear lens of exactly who we are.
One of the main themes of the eccentric and modern photoshoot was intentionality. From the photographer, creative directors, stylists and artwork being chosen as moving pieces to lead The Gallery of Black Essentials, everyone had one common goal: intentionality! Co-stylist, Sydney Beason confidently states, “The title of the shoot brought me back home. Visualizing the childhood memories of colors, textures, and even the fragrant whispers of the past. The pieces I chose to be brought to life gave a sense of nostalgia to the black community. Each creation is a testament to our history and a vision of our future, celebrating the diversity and dynamism that define us.” Her response brought an answer to my opening question. As a people we are not unphased or unknowledgeable about the swag, beauty and uniqueness black culture gifts to society; rather it’s an everyday lifestyle black and brown people live in realtime and is not a decoration.
Although each image presented in the gallery is breathtaking and speaks for itself; aspects of the black community that keep the wheel running yet don’t get enough of the conversations nor the attention they deserve were given a spotlight. Intentional fatherhood, wrongful incarceration, freedom being restricted, and the long process of black beauty were each captured in such a vulnerable and confident way. Now let’s keep it a hundred, these are not glamorous and accomplished discussions that should be the face of black culture, but it’s reality and the things that instill perseverance, creativity, hard work, and unity into our community. Everyone who participated in bringing the team’s vision to life felt proud, overwhelmed with emotion, and excited to showcase that there are different types of black culture. We are all not the same and deserve an equal amount of attention. So what are the things that keep a sense of comfort, identity, and protection in a community that is so misunderstood, judged, and restricted? It’s simple: our essentials. Some of the creatives apart of the shoot such as the models shared a list of their essentials. Hence the following:
-White Air Force 1s (Dookies)
-Beauty Supply Store Trips
-Music
-Hustler’s Mindset
-Resilience
-Sunday Soul Food Dinner
-Humility
Check out the vibrant and fun images that tell the story of who we truly are and where our future is going on Instagram: https://www.instagram.com/copywritemag/. Comment down below what your internal or external essentials are. Also, don’t forget to rent our space for your next photoshoot. See what we can offer you at https://copywritemag.com/creative-media-services
Desriana Gilbert | Entertainment & Social Journalist for /CW
Clyde's | SnapShot Press Release
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“Do I look hungry?”
The question was rhetorical but I took the bait, blurting out from the darkness of the theater. .
“Yes! You do!”
Hunger exists where there is a void, or need for something more. It is the lack of satiation that we feel [& fill], that urges us to find a means of sustenance. Without it, we are empty, weak, and coercively vulnerable.
Excuse my pepper-jack cheese of linguistics, but Clyde is a hungry B*tch.
Sunday’s [November, 9th, 2024] Milwaukee Chamber Theater’s performance of Clyde’s, showcased the unhinged reality of the people who serve our society. This form of service comes with being a scapegoat for the power structures we call capitalism that demands the use of bread, lettuce, or cheese [those are all words for money, depending on who you are asking] as the means to survive.
From behind the kitchen door of a truck stop sandwich shop, this staff of “rehabilitated” individuals, shows us through the erudition of Lynn Nottage, a Pulitzer Prize-winning playwriter, how hard it can be to do better when surrounded by misery, after being locked away from the world.
Clyde’s is a purgatory-like place, equipped with stainless steel food prep islands, a smokey flap-top grill, and a loud commercial-grade refrigerator [It was real! I could hear the motor kick on and off like we were really in the kitchen. Nice Touch!]. But here there will be no Michelin stars. Instead, it is where Montrellous (Bryant Bentley) carefully crafts aspirations of hopes, one slice of bread at a time. It is where Letitia (N’Jameh Camara) grapples with her value between every piece of cheese and where Jason (Nate Press), repents through sprigs of parsley. It is where Rafael (Justin Huen) grieves over the grease. It is where dreams go to be broken, and souls go when they are desperate to survive.
This kitchen is a symbolic prison and Clyde [Lachrisa Grandberry] is the overseer, warden, and the Devil herself wrapped in spandex and pleather! Her abuse [mental, emotional, and the bruised back of Rafael proves it to be physical] is a reflection of her self-loathing. As an ex-con, she believes that hiring what she frames as a societal outcast gives her the prerogative to treat her employees like they are less than human [which sadly they are used to]. But it is the way Grandberry postures her raunchy, classless, erotica torture that makes her character so cringe-worthy. To make the crowd love you is beautiful, but to make them despise you is a wicked deed that pulls from the worst parts of humanity, forcing us to wipe crumbs of blissful delusion off our faces. Lachrisa girl, YOU DID THAT!
I found myself rooting for the world's underdog as they spilled their hearts out sharing the stories of how they became incarcerated. Montrellous story offsets the scales of justice, as Bentley’s delivery demands you listen with your chest, and question how much you are willing to sacrifice for the greater good of others. Letitia, tormented my maternal instinct [first when she chopped that lettuce into oblivion], N’Jameh playing up her ability to evoke empathy with her climatic cadence [Stop trying to make me cry now. You already had me with ILLIAD, LOL]. Rafael’s desperate need to prove his love to others is a fatal flaw, and Huen seems to be a master of humility and sensitivity. But Jason. . should we forgive him? The Black woman in me tingled with the, “now you know how it feels” mantra, that is only triggered when “justice” falls on the door of the socially privileged. But Press, made me believe that the internal torture he felt was real.
Kudos to Director, Dimonte Henning, who did not skirt away from the “nasty” [metephorically and literally]. From the scandalous gestures of Clyde [I mean Rated R and Rated Hillarious] to the transitions of BTS kitchen life between scenes, it was a glimpse into the world we don’t often get to see.
It also made me crave a sandwich, something serious!
Clyde’s is for those who dare to eat havarti on a butter brioche, with heirloom tomatoes, a slather of cajun-style hot sauce, and a cucumber chutney [See I can make an epic sandwich recipe too. LOL], and dare to call it a “sammich”. In other words, it is the hole in the wall of art we should steep ourselves in because you never know what might send you to Hell, purgatory, and back again.
Let’s stop judging, and well. . .Do better.
Lexi S. Brunson | Editor-in-Chief /CW
