the Not-So-Accidental Conviction of Eleven Milwaukee "Anarchists" - SnapShot Press Release

photos by Michael Brosilow

“LET’S JUST BLOW THE WHOLE THING UP!”

Ahht, Ahht, Ahht! Don’t you dare snark at the thought. 

We all have said it. If not out loud, it has definitely crossed your mind. And if it hasn’t, are you even human?

The true question is what is the “thing” that would actually make you do it?

The Not-So-Accidental Conviction of Eleven Milwaukee "Anarchists" defines that moment by taking a comedic aside into history, local history, in a Milwaukee that seems so distant from our present society but is in fact, the foundation of what we now bear witness to. The trial of “The Milwaukee Eleven” and the police station bombing of 1917 is dismantled through planned improv [if it's not a term I'm coining it now], a black box theatre with a trunk full of doodads, and a chair [Yup, just one chair]. 

Why? Because many of us have forgotten that empathy is civility. . . but just hold that thought. We will get there. 

Saturday's [May 4th, 2024] 4:00 pm production was quite interesting. It's not just because playwright Martín Zimmerman intended it to be [as he allowed his burning questions of the story to reveal themselves on the stage. Questions like, How do you make sense of people about whom we have such fragmented, contradictory information?] but also because the longing to wrap ideas [in the form of art] in a nice shiny bow, instead, creating a knot of complexities with tattered ends is uncomfortable. In the opening scene it seemed like we were all slated for 90 minutes of a four-person recall of historical facts [I mean cool I guess if you're into that]. But then the bomb exploded, the butter was squashed, and chaos ensued. 

That chaos took the form of two-syllable curse words, catty disagreements, and a baby blow horn. What part of the story should come next and what is the best way to depict it? Actors Elyse Edelman, King Hang, Dimonte Henning, and Kelsey Elyse Rodriguez were charged with playing several roles, embodying the people and the police, the righteous and the ridiculed, the holy and the sinful [& these characters are not juxtaposing beings but multiplicities of humanity]. 

That’s where it gets tough. 

It was strategically unhinged and while much of the audience laughed, there were many who winced at the potty language but did not bat an eye at the reminder of people's lives, livelihoods, and freedom being taken from them. Who made the bomb? There is no one name or evidence to support one intended target. Why did they make it? If it was indeed an act of anarchy then it must be an act against the systems that were “ruling” Milwaukee at the time which allowed for bad working conditions, bigotry, discrimination [ethnic is a loaded term around these parts], and poverty to persist.  If it's an act against religion then what god allows for a 4-year-old child to be taken into custody by the police? This little midwest town in the free world is starting to look tragic but it's not like 1917 was an isolated occurrence. Just last week students calling for a ceasefire in Gaza were met with police batons and monkey noises [but y'all ain't hearing me though]. 

And that for me was more disturbing. 

That type of discomfort reverberates through every life choice and decision made [or avoided]. It sets the tone for the future and the narratives we uphold from the past. Zimmerman was smart to let us grapple with analysis as the actors analyzed. The actors were bold in allowing us to see their range as they unpacked and then reboxed how to approach historical narrative in its grandiose and in its pretentious posturing of justice.

At the end of it, I couldn't care less who Clarence Darrow or Augusto Giuliani was. All I wanted to know is why we keep letting others write and archive our history. When will we realize that the archive does not have to be documented through the lens of our oppressors? When will we realize that the most vulnerable populations have always been bastardized by the systems that self-assign themselves as protectors?

It's ugly and society is a mirror of that ugliness. 

The Not-So-Accidental Conviction of Eleven Milwaukee "Anarchists" is rhetoric for self-assessment. If you are not terrified of the possibilities of what can happen when we disregard the needs of our fellow human [as terrified as I was to watch that slow-mo fight scene where unarmed cops were in a shoot-out with civilians] or if you don’t question your sanity when you become desensitized to violence [physical, mental, or emotional] then wtf are we actually doing here?

I don’t know if I liked what I saw but I do know that more people need to be confronted with narratives that make them cringe. If you know someone who needs to light a fire under their complacent a**, then send them to see this Milwaukee Chamber Theater production. 

Something has got to change.

Lexi S. Brunson 

Editor-in-Chief /CW

You are invited to LEGACY NIGHT @ The Milwaukee Chamber Theater | Hosted by CopyWrite Mag

BLACK PEOPLE IT IS TIME TO TAKE UP SPACE!

INFO FROM OUR COMMUNITY PARTNERS AT MCT

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We invite Black and African American community members to join us for Legacy Night on March 22 at 7:30 pm, a special performance of THE MOUNTAINTOP by Katori Hall hosted by CopyWrite Magazine [THATS US!] dedicated to and celebrating the Black community.

What is Legacy Night?

The intention behind this event is to purposefully create an environment in which a Black audience can experience and discuss this play about a Black leader, created and performed by Black artists, in a space that celebrates the Black Community and centers their perspectives.

Legacy Night is inspired by a similar event created in 2019 by actor and playwright Jeremy O. Harris, where for the first time ever, every seat in Broadway’s Golden Theatre was occupied by Black audience members. We're calling this special performance Legacy Night not only because legacy is one of the major themes within THE MOUNTAINTOP but also to honor and celebrate our Black and African American community and the legacy we hope to create together in Milwaukee. 

What if I'm not Black or African American?

We encourage our non-Black audience members to join us in honoring this initiative by choosing to experience the play at another performance.

We thank you in advance for supporting these artists and MCT as we facilitate an opportunity for a community to come together to enjoy this special event. 

Ticket Options

Legacy Night Tickets are $20 (plus sales tax and box office fees).

Purchase Online

You can purchase tickets online by clicking the button below and using the code LEGACY. You will need to enter the code in the "Promo Code" box at the top right corner of the Broadway Theatre Center ticketing page and click submit before you try to select the date. The Legacy Night performance will not show up until you have submitted code LEGACY.

HYFIN Anti-Gala: Recap Video

They have messed around & made our Editor-in-Chief, Lexi, the cover photo to the HYFIN Anti-Gala Recap Video! Did make the event? Catch this “Connecting The Culture” Vibes!

Experiencing a Seat At The Table | A celebration of the culture & achievement of rising talent in Milwaukee

A “Seat at the Table” is a concept I know all too well.

It has been a theme in young, BLACK [& Brown], “professional” rhetoric over the past decade that has created a dialogue about the scarcity of rooms that allow for a new type of leadership to take the reigns. It is the same concept that inspired Issue Eighteen of CopyWrite Magazine, where I professed my distaste for gatekeeping and other “legal” methods of disenfranchisement. So when it was brought to my attention that an event where there is a goal “to unite, honor, and engage young promising leaders with a night of elegance and inspiration”, I had no choice but to accept the invitation. Not only media, but a “Young Professional” stakeholder in the grand scheme of things.

On Saturday, July 29, 2023, at Saint Kate Arts Hotel, Brandon Ramey & Braylen Stevens hosted an inaugural Seat At The Table event showcasing a room of young rising leaders in the Milwaukee community, a culturally exquisite performance from Malik Johnson [a grammy nominated cellista], and an intimate discussion with C-Suite executives Andres Gonzales [MCW and Froedtert Healthcare], Sherilyn Whitmoyer [Quad], Maudwella Kirkendoll [Community Advocates], and Lashonda Hill [ABM Industries].

Host Brandon Ramey & Braylen Stevens

This perfectly programmed experience also included a cocktail hour/reception, a full course dinner, music and entertainment by DJ Dub Deezy. Again, I state the Seat At The Table event was perfectly programmed because it kept its demographic in mind. What shows a true reflection of young professional spirit? Strategic networking in an environment with a poppin aesthetic & vibe? Check. Dinner courses that are Instagram worthy? Check. Old head executives [with all due respect] that are willing to be transparent and spit helpful game? Check. A 360 booth, drinks, and a DJ spinning all the party hits? CHECK, CHECK, and CHECK!

But with Brandon & Braylen being rising leaders in their own right, their intentionality is a note to the capacity and care young professionals have when granted agency in any space. Both MKE Fellows, which is a co-sponsor of ALIVE Inc. [a partner of the event], they have both been successful in navigating the corporate climate and securing positions of influence in their fields. It is tempting to run down their credentials with both being young Black men with college degrees, working at high profiled institutions *Cough, Cough, QUAD and Cough, Cough Google* but it is more important to note that they both are passionate about community and the nuances of belonging, inclusivity, and equity.

It is with this same intentionality that they had the ability to create an experience that was carrier oriented without being stuffy. No one seemed to feel out of place. People looked amazing in their interpretation of formal wear [you know suited & booted], attendees greeted each other with warm smiles and even warmer compliments, the buzz of conversation spread throughout dinner that ranged in subject and even seasoned guest who came to show support offered perspectives of comfort with little judgment [and that is refreshing]. The attention to detail like the C shaped table layout, the custom menu table placements with each guest name on it [you know I had to take that jawn home], the branded step & repeat for pictures, the #satt2023 hashtag, the branded boxed cookie gift at the end. . .

Stop playing with these young folks! They got now, next, and later!

Even though I am innately critical of executive roles in large institutions [& yall already know why], I even found myself resonating with advice from the panel presented through their anecdotal accounts of finding their voice in a world full of “haters”.

Brandon, Maudwella, Sherilyn, Lashonda, Andres, Braylen

Here are a few gems they shared paraphrased through shorthand [which I despise so much lol].

Andres said:

• Seek a mentor and as a mentor open doors.

• Conflict Management, Problem Solving, and Communication are great skills to have in any field.

• Build your board of directors [for your professional development]. Have mentors, have coaches, & have sponsors.

[Side bar: I am looking for a sponsor right now. Please bet on me!]

Sherilyn said:

• Be engaged, have a good work ethic, and be flexible.

• There is pressure to have a direct linear career /life path. Quit it! You don't have to have it all figured out. When you need to Pivot!

• She also noted how some people treat motherhood as a barrier in the workforce. Be an advocate for women in that space because humanity matters.

Maudwella said:

• Soft skills are something that he see’s declining in younger job candidates. So really think about it, can you communicate in whatever setting you are in?

• Invest in yourself.

• Treat yourself well [because if you don’t nobody else will].

• Treat the community well.

• Don’t assume. Build relationships.

Lashonda said:

• Curiosity, Agility, and Self Reflection are good tools to have in your repertoire.

• Be louder. Say the thing you need to say when you have the platform to say it.

• In that same breath. Challenge what is put before you.

• Millennials and Gen Z have lived through so much. They have experience and perspectives that the generation before did not.

• [And my favorite] Take up Space!

Of course, these are just tidbits of the wisdom shared and stories told. What narrative you find here should make you curious of what the bigger picture might bring into focus.

If you know. . .you know | Braylen, Nyesha of Carvd N stone, Lexi of copywrite mag, vedale of vedale’s art studio

I believe that Brandon, Braylen, and anybody else in invested equitable seat placement at the ever morphing table should be supported in whatever comes next. As a community we must be mindful of the leaders we await, when in reality they walk amongst us, they need us, and they are us. This year's Seat At The Table event again reassured me that the talent I see in Milwaukee is not a figment of my imagination, that the will of the young is still burning strong, and that the future is absolutely in good hands.

So let's not wait for the torch to be passed. Let’s pull up, get more chairs, and break bread.

We are ready.

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

Proof of a /CW Approved good time!

Mikal Floyd-Pruitt [An article by Evelyn Patricia Terry]

Mikal Floyd-Pruitt, chosen as one of five recipients of the prestigious Mary Nohl Fellowship in January 2023, receives additional funding toward production and career development. Administered by the Lynden Sculpture Garden, The Greater Milwaukee Foundation’s Mary L. Nohl Fund and Joy Engine provided funding for the Nohl Fellowship Awards.

Mikal Floyd-Pruitt, chosen as one of five recipients of the prestigious Mary Noh Fellowship in January 2023, models a cape he designed. Photo credit: Charlotte Floyd-Pruitt

Winning in the top category of “established artist,” Floyd-Pruitt’s multi - faceted practice includes interactive events and installations, painting, sculpture, clothing design, assemblages, rapping, music, and filmmaking. Floyd-Pruitt co-directs HomeWorks: Bronzeville, a development initiative, based in Milwaukee, focusing on local creative entrepreneurial talent by way of property ownership. He also created I Am Milwaukee, a lifestyle brand promoting unity and creativity.

Partnering with many community sectors, Floyd-Pruitt contributes uniquely to the Milwaukee art scene. Alexander Mitchell Integrated Arts School teacher, Nora Justin, engaged him to work with her class of thirty Latinx 7th-grade students. After asking them to write essays on the meaning of freedom, she wanted her students to share their thoughts with the world. Interested in the power of word play, Floyd-Pruitt recorded the students reading sentences from their essays, reinforcing that their words are powerful and meaningful. The project expanded to include Floyd–Pruitt’s thoughts on freedom as a rap collaboration with the students’ words. He then invited further collaborations with musicians Klassik and Sista Strings to transform the recordings into a fully produced song. Together student and professional artists produced a vibrant video, El Color de la Libertad, co–directed by Floyd–Pruitt and filmed by Wes Tank. It premiered at the Milwaukee Film Festival.

Then there is Splash! Free and open to the public, this energetic community engagement project invites neighbors and other participants to work side-by-side with Floyd-Pruitt and invited artists to create public art. In 2022, driving south on Vel R. Phillips Avenue (former 4th Street), I happened to witness the award-winning artist and diverse participants enthusiastically hurling paint-filled balloons at a two-story boarded-up HomeWorks: Bronzeville property scheduled for demolition. Located on the corner, the unchoreographed performance irreverently covered two sides with erratically splattered colors, soon transforming it into a Floyd–Pruitt “Splash!” public art production. Although exterior house paint, injected into balloons, appears totally random and spontaneous, methodical research enhances the process.

Diverse participants enthusiastically hurl paint-filled balloons at a boarded-up property scheduled for demolition for Floyd–Pruitt “Splash!”  Photo Credit: Wes Tank

Incredibly creative, Mikal Floyd-Pruitt’s amiable humor and intelligence coupled with a pleasant demeanor reminds me of his family members that I have interacted with. My association with the Floyd-Pruitt family resulted from an art presentation I made to a MacDowell Montessori class. Mikal’s older brother, now professional artist Anwar Floyd–Pruitt, and my daughter, now documentary filmmaker Talleah Bridges McMahon, shared a kindergarten class. Following my art presentation, I learned that Anwar convinced his parents, Dr. Eugene Pruitt and Charlotte Floyd-Pruitt, to purchase one of my watermelon pastels—specifying that they choose a large size.

Fast forward, years later, both Floyd-Pruitt brothers graduated from Harvard University, following in the footsteps of their father. Mikal, in 2006, graduated cum laude, earning a B.A. in Visual Art and Environmental Studies with a filmmaking focus. Both eventually returned to Milwaukee. The Terry McCormick Contemporary Fine and Folk Art Gallery, my home gallery space, hosted an exhibition of their artwork with artist Kevin Boatright. Despite our generation gap, I was privileged to watch Mikal perform before the pandemic at Center Street Days and in Jazale’s Art Studio owned by brothers Vedale and Darren Hill. I even experienced my first Splash! painting on the Artery, now renamed the Beerline Trail.

Diverse participants enthusiastically hurl paint-filled balloons at a boarded-up property scheduled for demolition for Floyd–Pruitt “Splash!”  Photo Credit: Wes Tank

Mikal, most significantly during the pandemic’s height, chose mostly to stay inside. Ideas germinated in his mind. Just as before the pandemic, he now ceaselessly produces distinctly dissimilar bodies of artwork throughout the city while also exhibiting and performing nationally. This $35,000 Mary Nohl Award, plus a $5,000 career development award, continues his bold and captivating movement forward after a brief hiatus. Fueled to flourish, look for the opening of his exhibition along with the other 2023 Mary Nohl Awardees in June 2024 at Marquette University’s Haggerty Museum of Art.

Evelyn Patricia Terry | Guest Writer for /CW

Contact: terryevelyn@hotmail.com

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Check out this upcoming SPLASH! event by Mikal

B. JUSTICE + NO STUDIOS PRESENTS | IF YOU NŌ, YOU NŌ TV SHOW

*Info provided by B. Justice

Nō Studios and B. Justice are proud to present the If You Nō You Nō TV Show, a groundbreaking and immersive experience that is set to take place at Nō Studios.

Showcase Dates:

Friday, August 11th

Friday, August 25th

Friday, September 8th

Friday, September 22nd

Final Show: October 23rd

This event marks the taping of a captivating live open mic competition, where locally talented artists from diverse genres will vie for the opportunity of being featured on our highly anticipated compilation album: Nō Album.

We encourage participants to watch these performances!

Experienced judges with expertise in the music industry will carefully evaluate each performance and will ultimately determine the deserving winner(s) of the competition.

If chosen, Nō Studios will provide studio time and the legal fees to arrange the revenue sharing agreement for the upcoming album. With the dedication to fostering artistic diversity and inclusivity, this competition welcomes participants from all musical genres, ensuring a rich tapestry of talent and a harmonious celebration of music.

SnapShot Press Release | To Be Seen [Milwaukee Film Festival 2023]

We love the Milwaukee Film Festival, not just because it's the one time of year we can do our job while sitting around eating popcorn [yes, we will mention popcorn every year because we trying to get a popcorn stipend too lol]. But because every year it gets better. More films we love, more screenings of things we are interested in, and more programming that makes us feel seen. Being seen is something that is undervalued. But we know that representation changes how the world engages with differences. It is how we find understanding in the unknown and clarity in a vision that is not our own. CopyWrite explored the Milwaukee Film Fest 2023 through the joy of being SEEN, and here is what we found. 

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BAD PRESS [Directors: Rebecca Landsberry-Baker & Joe Peeler]

We take our profession seriously!

Where it is in CopyWrite’s nature to bend the rules, redefine tradition, and grapple with the culture of “Media” we do so with care [& strategy], that is thoroughly directed by research, transparency, grappling with the woes of disenfranchisement, and engrained with the responsibility of Free Press. So when these ideologies were at risk of being dismantled in  Directors Rebecca Landsberry-Baker and Joe Peeler, “Bad Press”, my soul jumped out of my chest and I felt that my own livelihood was on the line. 

If you look up the saying, “If you don’t stand for something, you will fall for anything”, a picture of Angel Ellis should be attached. Her controversial approach to defending Muscogee Nation against press censorship is GAWDS WORK, okay! To not only go against a political institution, but also the corruption that is unnerved by the historical rhetoric of Native American need for sovereignty, had everyone I saw in the film screening break into mass hysteria [or was it just me?]. 

With this feverish concept that the press is a unneeded, sh*t show of falsity in today’s society, running at an all time high, to note that my freedoms as a “media maker” are seldom called into question, had me in tears for Angel and her other “native” press counterparts. How dare anyone try to put their hyperbolic feet on the necks of truth [just because it's not always pretty]. How dare you use the tactics of your oppressors on your own people [my Choctaw, Blackfoot, and Cherrokee blood was boiling]. How can you not see that the historical lack of information to these people has left them all traumatized by genocide and the true ills of treason. 

Lexi acting like she wasn’t just crying after the screening of bad press

Every time Angel's anxiety shot her into a frenzy that sent her running to the door to spark a cigarette, [I don’t smoke] but I felt the need to light one up with her. The attempt to get protection of the Free Press as an amendment to their nation's constitution was unprecedented in “Indian” Country but with Angel, and the true staff of Mvskoke Media, the fight was on. I think “Bad Press” should be a reminder to all that what is privileged in your reality is not inherent in all futures, cultures, and lands. 

Just know at CopyWrite, if we have to fight for our rights, we absolutely will. They will never take our voice!

Lexi for /CW

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BLACK LENS SHORTS: BLACK REMEMBRANCE

Somebody clap for this year's Black Lens Programmers, because THEY - DID- THAT!

You don’t even know how good it feels to be SEEN. Not that fake “lets hit this quota” monotony most institutions try to pass off as diversity & inclusion [Y’all are shamefully fake] but the real attempt to dig into culture as a reflection of its genius as nuanced as a day in the life of some, not all, and more, not less. The Black Lens shorts at Milwaukee Film Fest 2023, did that for me.

proof we were there!

Eye for an I [Director: James Grisom]: To be seen Vulnerable. This short is a music note of the burden of Blackness & the beauty that straddles that space. If you love hard it may mean death comes with vengeance. If you forgive easily, that puts you at risk. It is a trauma we did not create but a lexicon that gathers a dark cloud above our legacy. The rules of engagement simply mean we never win.

By Water [Director: Iyabo Kwayana]: To Create a sense of seeing. This short had me like, “What in the Black art school?”. And that tickled me. It tickled me because in my life that was the space I felt the most unseen. Where representation is not only willed by those inhabiting the space, it is disregarded by the work that they make. The characters seen in “By Water” of curly fro like beards and fluffy naturals on well groomed women are not common. Nor do they ever allow for the Black image to be whirled into the figurative where nature is as natural as the city and black memory is championed by Black creation of new or different worlds. I like that space of little clarity and big exploration.

Port of a Prince [Director: JR Aristide]: To never Unsee. This short is the moment when you finally can stomach that you too are desensitized. Desensitized by violence, corruption, and the ills of capitalism. You can't unsee the first death, and somehow every death of innocence, youth, friendship, family. . .it all just becomes a thing you live with. This is the untold truth of the African Diaspora, we have suffered so now we still suffer, at the hands of many and even our own. Don’t you ever put a gun in the hands of a child, for that is the moment they will unsee what joy life can bring.

T [Director: Keisha Rae Witherspoon]: To be seen Vividly: It is the cadence of art. It is culture and freedom. It is neon lights and innsense. It is memorial tee’s and talking spirits. It is to live beyond the time you are alive. Now without context you probably have no idea what this movie is about, but everything in me said this was for homegoings and healing. This is for my people and after looking at the shorts description, everything in me was right.

We Were Meant To [Director: Tari Wariebi]: To be seen in Flight. Why are we great like that? The metaphorical thought of rite of passage for Black men as the first time he takes flight sent me! It was clever in its social commentary, “The No Fly Zone”, is everywhere you are Black man. To have your wings clipped is a way to keep you down, without, undervalued. And the production was clean! It was thoughtful and nuanced beyond need [the Vitruvian man with wings] but because it was I bought into it like it was a thread of reality that was beyond plausible. It had me grappling with the surveillance of Black bodies [is this body not my own?]. It had me checking for my own super pours [& as a Black woman I know I have many]. This was by far one of the best films I have seen in my life because I know what it feels like to fly without wings.

Lexi for /CW

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DEAR THIRTEEN [Director: Alexis Neophytides]

The world has changed a hell of alot since I was thirteen. That was circa *cough cough* LOL, social media was in its infancy, my mother was still trying to hide our working class poverty from me, and there was no wifi [first world problems]. So to see life through the eyes of today’s thirteen year old is an unsavory pill to swallow, yet it comes with a glimmer of hope that this generation is not lost, but very much misunderstood.

Being Thirteen is weird!

You're in this inbetween space where you're not a little kid anymore but you still don't have the full blown privileges of a teenager. It’s like being in limbo and that purgatory at minimum lasts a full calendar year [Yikes!]. But the issues of the world are noticeable at that age. The fears of the future strike you and thus it is a period of grounding oneselves, as depicted by the film, that gets lost in translation. Who narrates for this age? Only someone in the thick of it can. So the lack of adult commentary [besides editing] was vital to noting, thirteen year olds have something profound to say!

We brought our fifteen year old “intern” to see the film and she too had to reflect on who she is and why she is in this space in time. Too see that reckoning kindled by a global perspective of young reality, she murmured, “That was good to see”, which is more than enough in our book.

LEXI & /CW YOUTH INTERN JAZALE AFTER SCREENING OF DEAR THIRTEEN

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“Dear Thirteen” is something that everyone, but especially everyone who has a child should watch. Often, adults tend to feel like teenagers don’t have problems.There is this belief that since a child is free from the burden of finances and large responsibilities like mortgages and car notes, that they live a worry and stress free life. But on the contrary, “Dear Thirteen” narrates how society impacts the lives of children in the same ways they do for adults. Each of those 9 children, whether they were a gun-toting American boy or an Australian trans girl starting her first day of puberty blockers, will all experience things that will transcend race, gender, socio-economic class, or geographical location. I appreciate the lengths Alexis Neophytides went to to establish diversity. I believe it really helps the claim that although we all come from different places, there are life experiences we all share. Australia, America, India, Europe, no matter where you are, adolescent years come with similar trials and tribulations. This film wasn’t a tearjerker, it wasn’t a comedy or a horror, it was the reality of adolescence and a voice for the unheard 13 year olds around the world.

Lexi & Peazy for /CW

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LITTLE RICHARD: I AM EVERYTHING [Director: Lisa Cortés]

“Tooty Fruity” was the first song that I ever heard by Little Richard before I knew who he was. It was considered “grown folks music”, the stuff you can’t listen to because it has too many foul words or because they’re talking about some that isn't appropriate for your age. But that only increased my fascination which ignited the interest to find out who Little Richard was.

Lisa Cortes’ documentary puts to bed everything you THINK you know about the true King of Rock and Roll. Richard was labeled as “the one of a kind icon that shaped the world of music” and throughout the story that claim has been supported a thousand times over. But she also focuses on the imbalance Little Richard faced, which truly intrigued me because I think this a battle we’ve all faced: the battle between secular and sacred. On one hand, Little Richard is a worldly icon, doused in glitter and gold from his wardrobe to his makeup, he is the king of a people yearning for soulful music. On the other hand, in his heart he knows he should not conform to the desires of this world because he’s called to be a servant of God and create a new foundation not built on sex and fame but the love and obedience to God. I think it’s these details that fans don’t know that allow them to create the idea that celebrities aren’t human. Some of the most notable names recalled the best and worst times with Richard: Billy Porter, Tom Jones, Paul McCartney, John Waters, Pat Boone, amongst others.

Richard Wayne Penniman is not unlike many other queer or trans people who’ve been outed by the ones that they love and forced to create a new family through a talent like music or art. He is one of the blueprints to androgyny and queerness, one that has even now, in 2023 remained relevant because so many people can now be comfortable in their identity because of artists like Little Richard. Lisa Cortes accurately depicted each phase of Richard’s life. In the church where it all started, to the stage where he grew into an icon, back to the church where he renewed his faith and restored his relationship with God, and then the end of his story.

I appreciate Cortes’ understanding of representation in music, not only do I believe this greatly directed documentary re-established that Richard was the true originator of rock but it gave space for his intersectionality. Richard Wayne Penniman was a queer, black, Christian, rock and roll artist and creator. He walked so our generation could run, and “Little Richard: I Am Everything” depicts that in the most notorious way.

Peazy for /CW

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RISE AND REBUILD: A TALE OF THREE CITIES [Directors: Asako Gladsjo & Sam Pollard]

We chose, “Rise and Rebuild: A Tale of Three Cities” as our community partnership film because when the world see’s Black America it often sees what we don’t have and not what we have had that has generationally been taken from us. Where the film captures Wilmington's Brooklyn, Atlanta's Sweet Auburn, and Chicago's Bronzeville, those localities might as well be Tulsa’s Black Wall Street, Detroit's Black Bottom [Lafayette], and Milwaukee’s original Bronzeville. But with Tulsa being a trendy storyline Directors Asako Gladsjo and Sam Pollard thought it best to highlight these other narratives that hold just as much weight. The pivot to black communities that once prospered, were harmed, and now are looking to reinvigorate their communities as they rebuild are stories that should be cautionary [as gentrification is at an all time high] and inspiring as now more than ever before the Black dollar, the Black education, and the Black voice has leverage.

The quote, “It's not about politics. It’s about people”, that Mayor khalid kamau of South Fulton said during the film, was one of those notes I don't think enough people comprehend. At the end of the day the value of our quality of life is not determined by the parlor tricks of politics but the people who enforce politics as a tool in which one secures the value of that quality of life.

I saw my city in that film. I saw our hardships like a mirror. I know what is at risk if we don’t carve out the infrastructure and let “them” take the wheel. We don't want a repeat. We want ground breaking change. This film shows us exactly what that can look like.

Lexi for /CW

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THE ANGRY BLACK GIRL AND HER MONSTER [Director: Bomani J. Story]

Viewing “The Angry Black Girl and Her Monster”, a top-tier thriller/suspense film that in my opinion personified the pain of a Black child’s trauma surrounding death, was a pleasure. Although inspired by Mary Shelley’s “Frankenstein”, this film provokes deep thought about the trauma of experiencing death at a young age and how death is disproportionately in closer proximity to Black children more than it provokes goosebumps. Vicaria, the main character, is almost stalked with gun violence as it has plagued her family, killing her mother and her big brother. Meanwhile, on the opposite end her father is still alive but fighting the battle of addiction that will ultimately lead to an untimely demise. Life hasn't always been like this for Vicaria, we see this through Bomani J. Story’s allusion to better times during the intro of the film. Evidence that Vicaria has a loving relationship with her father and a pretty normal life outside of her mad science lab is pretty clear; the only thing that is truly wrong with this seemingly normal teenager is her perception of death.

Because of the randomness and aggressiveness of her mother and brother’s death, Vicaria is convinced that death is a disease, one that can be cured through science. Through the doors of her abandoned science lab, Vicaria takes the body of her slain brother and attempts to revive him to prove that death can be cured. She connects every source of power to his lifeless body, hits a switch, and after a citywide power outage, the monster awakens. But things start to get out of hand quickly, “Frankenstein” has no concept of life, he only knows death and to destroy.

As the plot thickens, Vicaria’s invention has taken his place as a true monster, [& here is the part where I am tempted to give the full story away]. In the end, she has no brother, no mother, father, family or even Kango and his henchmen, which in my opinion validated her hypothesis that death is in fact a disease. Once it claims someone close to you, the cycle continues until there is no one left to kill. I wouldn’t categorize this as horror, this film falls more on the suspense spectrum but the suspense kept us at the edge of our seats at every turn. Bomani took a classic horror story and turned it into an attempt to fix and cure what we have all deemed as incurable, and it worked. The ending scene shows a scientific genius grin into the camera as she brings her sister in law back to life using the same tactics she used before only this time…they WORK! I loved this film and I truly believe Bomani J. Story has earned his flowers.

Peazy for /CW

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BLACK LENS PRESENTS WRITING IN COLOR [Event]

Santana Coleman, Paulina Lule, Derek Jay Garlington DURING WRITING IN COLOR PANEL

I love to write, but I’m not sure if writing a movie is the best place for my skills. However, after attending, Writing In Color, I might just change my mind. Because the word from the judges is i [& my random collaborative team] are pretty good at it. Well, at least that little trophy sitting on my desk says so.

Being at Radio Milwaukee [my media home away from home] for an event that showcases film through the writer's lens was fascinating. Did you know that there are local & Black filmmakers accessible to you in Milwaukee? I Stan [as the kids say Lol]. The panel to bless us with insight about the film industry at a micro and macro level included Milwaukee’s very own Emmy Award winner, Santana Coleman, the amazing Paulina Lule, and Pitch It To Me, game designer Derek Jay Garlington. They told us their perspectives of the tumultuous realm we call Hollywood, the glory of having Milwaukee [a non permit film city], and the nuance of being Black in the world of film. When creatives get to speak no holds bar, I live. You can always learn something worth holding on to.

But it was the game for me! Pitch It To Me, is a fun way to get those gears turning in your head. The game is noted to be “your chance to pitch the next hit film or tv show! Pitch It To Me is an entertaining card game that builds collaboration and creativity through the journey of storytelling”. And it did just that. My team won the pitch competition by putting together a new era story of Isis and Osiris set in dystopia Milwaukee. We named it, Gods of The Eastside. We set Tyana Taylor as Isis and Damson Idris as Osiris and it was a rap!

“If you're scared just say that!”, was my snark at the competition [but I don’t talk sh*t unless I can back it up].

Like I said, the trophy is sitting on my desk.

Lexi for /CW

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To be seen in film is to be seen in mediated reality. We love it. Please keep it going!

Love & All Things Urban,

/CW Fam

SnapShot Press Release: A Web worth Tangling | Spider Creek 7

Community & Collaboration is undervalued. 

[Did that statement sting a bit? If it didn’t then you must be oblivious to the power of social capital.]

You hear the overtone of these words in many spaces but their merit in the creative realm changes everything. It can be the difference between success and sabotage. Which is why Spider Creek, “a music collective based out of Milwaukee Wisconsin full of an eclectic group of artists ranging from musicians and producers to visual artists”, is prolifically moving through today's scene. SAINTRÈ, .IanJames., Makatà, Lizzie Kay, Keyba, and LOVEPeso, are the full time members of the crew that are growing a relatively large communal family. 

in tymless studios “no face no case” | /Cw image

If you're a music lover in Milwaukee then of course the formula sounds familiar. [Don’t say their names, we don’t have time to go down that rabbit hole. But clearly that’s the point of me bringing it up]. With so many artists making waves as a unit but still posturing as vivacious forces in their own right, how can Spider Creek maintain their positive trajectory?  

“We are actually like a family”, said Saintrè, while catching the reggaeton vibes of a song being recorded by producer Keylime, for duo Gego y Nony featuring Cam Will at Tymeless Studios. 

Sneak peak of Cam Will & Keylime in the writing room [ Gego y Nony not in frame | /CW video footage

[Wait, but why are we here?]

Spider Creek 7, aptly named for its seventh installment of collective recording sessions meant to inspire “artists of all genres and skill sets . . to create great music with other talented people they may have never worked with before”, brought your /CW Fam right into the heart of creative genius on April 22nd, 2023. The two day recording session [which ran from 12:00PM to 12:00PM on both the 22nd & 23rd] was filled with a nostalgic energy that reminded us of our own origin story, just reincarnated into new era tastemakers, creatives, and dreamers.

“It started with the four of us and now it's like the whole city of Milwaukee”, Saintrè noted. 

Is that an exaggeration? Not really. Including the core members of Spider Creek, 32 artists [& counting] were invited to the “lock in sessions” including some heavy hitters that almost every MKE based artist would want to hop on a track with, and even some of the /CW Fam [like $hunmillion$ who was featured in CopyWrite Magazine Issue 10, The Surge]. But of course we have the receipts so you can be the judge of that.

Spider Creek 7 Invite List

Makata - @makata.888

Saintrè - @aka.saintre

Keyba - @itssolowkey

LOVEPeso - @7939peso

.Ian James. - @the.ianjames 

Lizzie Kay - @_lizziekay_

Ja dubb - @ja_dubb

Adrienne - @spell.Adrienne 

Ash - @ashouttafocus 

Darylanne - @darylanne.music

Felix Ramsey - @felixramsey

Zonk - @zonkrolan

Aya* - @ayainthesky

Quies Terry - @quiesterry

Cam will - @_camwill

NileXNile - @nilexnile

Lake - @lakehomie

$hunmillion$ - @shunmillions

Odiefromthego - @odiefromthego 

Grey genius - @grey_genius

Eli $tones - @elistizzy

Mocity - @mocitysw

Shadi - @th3_shadi

Gego y nony - @gegoynony

Fred the black kid - @fredtheblackkid

Holly Mae -  @iamhollymae

Paperstacks - @bigdog_stacks

Duwayne - @Duwayne.mp3

MeloChld - @calvinlharmon

2 hi - @im_2hi

Dj the Jenius - @djthejenius 

Keylime - @officialkeylime 

And they only want the list to get bigger.

“This is definitely a dream. We are going to always try to get this feeling”. Saintrè said, and was followed by Cam Will’s testament to not knowing what to expect when invited but being pleasantly surprised. “Everybody has egos but if you put everyone in one room they become connected”, Cam said while jotting down lyrics to another beat.

The social capital that comes with being a part of something bigger than yourself is indispensable in our underfunded, overlooked, and under reprepresented market. Building relationships, letting down walls, and creating opportunities is a narrative that weaved through every conversation that we overheard while at Tymeless Studios. “But it's also about execution”, someone chimed in. 

Shadi, Keyba, Makata sitting in a studio session | /CW Image

The execution is natural for this bunch. With space to vibe, the skill to perform, and the technology to “put it on wax”, the formula Spider Creek originally intended for their own creative stimulation is being put to communal use.

When we arrived the scene was already set. We walked into three active sessions. Three active sessions, with three different vibes. 

One was giving Reggaeton. . .

Cam Will was getting spanish pronunciation lessons from Gego y Nony in the writing room, “You can say, De eso…” and “Or you can make it just one word like Desso”.  

The next was giving Indy, alternative. . .

NileXNile was held up in the booth trying to get his verse just right, “One more time” he repeated ten times until the imperfections became the nuanced perfections the track needed. “This is my favorite kind of environment. All good energy.” Someone reassured, as they waited for their turn. 

The other session was giving classic Hip Hop, turned all the way up. . .

Deshun Jetson was cooking up fire [ask him about the Spacecraft track], while 2Hi commanded the booth [crazy bars],  LOVEPeso [such a lively persona] geeked up Keyba [whose cadence mixed with the requested autotune had this sonic playfulness we really enjoyed], while preparing to do a “deep voice” overlay of the hook, “So I should put the base in it like I’m in my bag?!?”, type vibes. 

Keyba in the booth | /CW Image

“This happens every time.” - .Ian James. , said when I questioned if the aura of each space was intentional. 

But the vibes [I need to coin a new word for vibes smh] are natural. Everyone finds their space, and the rotation ebbs and flows. They intrinsically are guided by what calls to them, and they zone in as if nobody's watching [& you know WE were watching, with inquisitive eyes, and the most eavesdropping of ears. LOL it comes with the journalistic territory].

Well, they have done this six times already and if Ian’s math is right, the last three times they had multi-studio locations where the subtlety of genre came into play. [We think it's a good formula for musical magic.]   

“This just keeps getting bigger. The [Spider Creek] collective keeps growing. And as it grows we get to [see] what the city can create”, Lizzy Kay said [& I’m paraphrasing because yall know I don’t believe in voice recording in the stu. We are not the feds!”

Lizzy kay in the booth | /CW Image

The things we witnessed are inspiring. The discussions being had were noteworthy for all stakeholders and gatekeepers that intersect with the music industry around these parts. The rhetoric of professional music makers was present and robust. 

Milwaukee is beyond talented and Spider Creek sees it beyond their own contributions.

So I guess what I am really trying to convey to any one who may read this is that YOU should really want to be a part of this legacy. You should show up & show out for your city. You should pour into the talent that is here. You should collaborate when able. You should contribute monetarily, with resources, with SOCIAL CAPITAL, or use whatever skill you may have to be a part of the positive shift so that ten years from now Spider Creek is not just “one of those things” that used to be. But instead are seasoned vets in the game championing collaboration and a fraction of the creative industry that has more legs to stand on then a . . . spider.

See y'all at Spider Creek 8 [Speaking it into fruition].

Love & All Things Urban,

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

P.S. - Send me all those tracks! I need it in my life.

Snap Shot Press Release | Too Cold to Tour [So Emmitt James is back in MKE]

I had to sit on this one.

Not only was the timing, TIME-ING. But the thought of Emmitt James returning to Milwaukee's humble economy [compared to LA] was just a trigger of nostalgia I was not ready to type out. [I miss those days, but not enough to go back. I was broke. Y’all was broke. But we were hungry. Hence, the "Hunger Pains" tour stop we "sponsored" with Emmitt headlining the marquee. YUP, I REMEMBER.]

It's the "home" base of talent that is underrated. A safe place for ideas not ready to be tainted. A reality of creative force undermined by a faulty infrastructure [that's only partially in existence]. A place of salvation [for this creative at least] to avoid the corporate hole. Milwaukee is home.

"Your job is to be Emmitt James", he quoted his lovely girlfriend Jamai and partner, on stage that night at the Var Gallery. A reminder that his talent and work ethic as a Hip Hop-Jazz/DIY Renaissance Man is absolutely not something to give up on. It was a "word". Not just because the support underlined her own commitment to their survival but because it was a sign of hope for all of us who take our creativity as seriously as any other type of labor. We are soul entrepreneurs eating off our passions. [Still very hungry].

The Too Cold to Tour, set was an intimate packed house that postured how Emmitt James presence in the Mil is a celebrated welcome back as if he never left. With the network strong, the family in the building, and his hand very much on the culture that cultivated him, he showed up and showed out.

With songs like, "WR-4R" (Will Rap 4 Rent), "Jagger James", and "Covenant", he entertained us. He shared his anecdotal rhetoric [yall gotta pay attention to those gems]. He made us laugh and say "emmm hmmm" with branded quips like, "Vagetarian" [I mean eating can save lives lol]. He reminded us what the hell a good live set should feel like and how important it is to shamelessly plug that you have merch for sale in the back [Cassettes, shirts, and 1 more velvet thong left *shrug*]. 

We always say it but if you weren't there you really missed a moment. But no sweat because Emmitt is a pro. He live recorded that MF! So you, You, YOU, and Yooooooou too can hear all the magic by ordering a Digital DL or CD for the low low plug price of $5.00. [You know I got mineeeeee]. 

Here is the link: https://www.emmittjames.com/store/emmitt-james-the-var-gallery-live

Now run it up for our /CW Fam, Emmitt James, who is officially back. The rent is due on the 1st and he is rapping to make sure it's paid on time.

#SupportTheLocal 

/Lexi S. Brunson, [Editor-in-Chief /CW]