DJ FreakishNerd will be providing Hip Hop, R&B, & Vibes in his debut solo DJ event. Expect a little bit of old, a little bit of new, and a little bit of music you’ve never heard before. Just the know the vibe will be major.
Friday November 26th, 10pm-1am, 21+
Company Brewing. $10.
735 East Center Street.
Milwaukee, WI
Talk about a rollout! Artist Sleepy Gary has been tactfully dropping one song every 21 days since July as the build up for his Triple Volume, 21 song album, “21 Love Songs,” and we have caught him at his fifth drop, “Never Feel Lonely.” Before his solo endeavours began, Sleepy Gary was the lead vocalist for “Yo No Say”, an indie-rock band based in Baltimore and he is currently also one-half of the pop-synth duo Airplane Man with Tim “One Love” Sommers. Airplane Man has had quite a bit of success, from getting a million plus streams to getting positive reviews in Billboard.
As I took it upon myself to listen to his previous drops for his upcoming album, listening to songs like “W.D.I.L.Y.” and “Bodega”, I found that there's such a nostalgic element to Sleepy Gary’s sound as it reminds me of when I began to realize how much I actually appreciated the MTV early mornings of All American Rejects, Owl City, Gorillaz and even later, the more underground genius of Jon Bellion and James Fauntleroy. “Never Feel Lonely” is a song with an easy going tone used for the verses describing how easy life is without his lost love and the help that should come with it, finishing every verse with “...see you when I hit the bottom...” He continuously layers on the amount of contentment that he has with his solitude and then overwhelms us with the chorus with a defining attempt to convince his audience (and even himself) of how much his hurt has not taken over with the repetition of “...I don't ever feel lonely when you're gone.” Tell me how YOU feel about “NFL” Milwaukee.
/Naomi-Re’a for CW
If ya’ll still don't believe that the cloth of Hip-Hop has found its place in the Milwaukee culture by now then y'all are trippiiiiin….This year was a great year for music and I’m not even talking about what's going on mainstream. I’m talkin about the locals, the underground, the underdogs; I’m talkin about Milwaukee. Once again another head-nodder for the books. Local artists Big P and his right hand man, producer and fellow rap artist Lik, as TRP (The Roses Prevail), dropped their debut album Driveway Dreamers and the city’s influence is definitely strong. Milwaukee is all up and through there from the song titles referencing landmarks and different moments in time that we as Milwaukeeans are oh so familiar with, to the lingo and the accent coming through clear with every skit. On what, TRP came to represent! The intro, “Milwaukee Mall,” contradicts the grunge and grit that is seen as the aesthetic of Milwaukee rap with the repetition of the words “...But I dream in color, muthafucka…” after describing the typical scenery of an everyday walk through the hood, symbolic of how we all must look beyond what we see. The following and first official track, “White Dookies,” beautifully samples the instrumental to Sade’s “Cherish The Day” and just as Sade’s music already does for many of us, Lik gives us all of the nostalgia, going in on the first verse; “...Stuntin like a east nigga, but I’m ‘norf’ side like the speed queen feast, niggas paid the fee, been grinding since little league...way back I was t-timid with the speech, now I’m speaking what I mean, every word be a seed...” a feeling straight from most of our memories. Big P ends the song with a chant that we all can relate to “....All White Dookies with no crease my nigga, back when we was eating Tastee Twists for dinner….fresh white dookies in the top of the winter… ” Fast forwarding to the 7th track, the interlude, “Summerfest,” is a track for the lovers. This track is led by the beautiful vocals of a woman who describes what her love is and what it can do. Although Big P and Lik’s vocals are left off of this track, their intention is still felt. With this song we are taken back to our teenage years of Summerfest dates with our sweet hearts while also possibly being metaphorically reminded of how much we grew to be in love with our city as we got to know it with every summer day and night that was spent away from home on an adventure with the crew; “I remember when I used to get fly for you, used to throw on them new ‘95’s for you, used to smoke a little tree, coast the sky for you...cause you make me feel like way back, when mama used to drop us right off where the gate at and when you walked in and everybody waved back, I said I'm here to see ‘Ye, where the stage at?”
Tell me how YOU feel about “Driveway Dreamers” Milwaukee.
/Naomi-Re’a for CW
"If you place the emphasis on getting the little things right, and address the everyday problems that come up, you can encourage a culture of attention to detail."
- Richard Branson, Founder of Virgin Records
If there’s anyone who is all about that it’s Wanyah Leon Frazier, CEO of WoLF Studios, a Milwaukee based Multi-Media Production Company that knows what it's SUPPOSED to look like- whatever “it” is. On November 6th, WoLF Studios presented “ReVibe” Vol. 2 - Soul at MARN Art Bar + Culture Hub, Vol.1 being held last year in the heat of the pandemic at No Studios. Ya’ll, this presentation was splendid! Located in Milwaukee’s downtown area, MARN is already a cozy space to be in with the bar in eyes view as soon as you walk in, the walls and back bar having a vast array of wine, and the wall art, jewelry, and other art pieces from different creators on display and couch seating waiting for us to indulge in it all, comfortably. But WoLF Studios’s presence took it up a notch with a sold out full house audience. With melodic affirmations by Queen Mother of WoLF Studios and hostess Kenza Dawn (“Don’t it feel good to be aliiiiive...”), audience appearances from singer B~Free, visual artist Ashley Dallas, who was presenting art that night, poetry vet Brit Nicole, and some of us from Team CopyWrite, we all shared the experience of being witnesses to the wonderful siren-like vocals of Felix Ramsey, the lovely Lotus Fankh, beautiful interpretive dance demonstrations by DeMar Walker, Tori Lauren, Sophia Leon, Taylor Maurchie-Banks, more wall art displays by Adjua Nsoroma, and spoken word by Deolinda Abstract and Tori Zo. From the lighting to the servitude to the all around production of this event, anyone would want to be apart.
CW: I have to comment on how wonderful this event turned out to be- the setting is perfect, the audience is perfect AND diverse...everything is how it's supposed to be. Would you give [the readers] a background on what ReVibe is, where it came from, how long you've been doing it, how long you planned on doing it- what's the meaning of ReVibe?
WF: So, um, ReVibe is my interpretation of some of what the art community is missing, and it happened during Covid. Basically, during Covid a lot of the white-based organizations all had things [ready for] all for their artists but there weren't many organizations of color that were providing avenues for people to perform during Covid…I wanted to see more color...plain and simple. That's all I wanted to do, so we had ReVibe last year- it was at No Studios, we had a great time, we had a plethora of artists and it was just a vibe, basically. And so I’m like okay I need to do this every time now because as I move into it, even before, there aren't many platforms for us. We don't see them, they're not there, so I am a strong believer- I dont beg for things, I make them. I'm an artist, right? So I was like let’s make more platforms. Let's add more places where performers, of any genres really, can feel comfortable to step in, perform, have new pieces, have that same level of creative freedom that other white-based organizations or any organizations in general are able to provide for their artists and their employees; I want us to have that same level of artistic freedom here.
CW: Absolutely. And of course you want to start pouring that into where you're from- the home city that you grew up in, but do you plan on taking that elsewhere or is that something that you haven't looked forward to yet?
WF: So my hope- my real goal is to take WoLF Studios national and have a pop up organization that shows up in different cities, set up a base and does similar things to what we're doing here in other places providing that platform- that space where artists of different genres, of different talent levels can get together and produce meaningful works, so I see this as almost like a multimedia-art studio that just sets up shop in another city; we host performances, we have galleries, we have things that showcase and provide that platform for already talented artists to really make it a career.
CW: You said ‘already talented artists...’ What about the people who may just be figuring out what they want? Is there a lane for them in ReVibe... how do you operate with that group?
WF: We have it set to different levels. Depending on what it is we have entry level performances, which are more so our community performances, performance experiences for artistic development, we have that level of our organization that focuses on building the artists and making sure that the artists has what they need to succeed, and then we have our more professional setting of performances with more established artists who know what they’re doing and see the platform and showcase it.
CW: There's been a small wave of attention to detail, quality control, creative direction going around, even with witnessing it tonight with the attention to the lighting, the way that the lights were set to a specific artist, sound direction, the way the audience is positioned- why do you think that is? Why is that energy present in the Milwaukee art scene at this moment? We're leveling up alot.
WF: So I'm a little bit crazy, Imma say that as a disclaimer but I think that for the most part, the beauty is in the details. It's in those extra things. I wanna make sure that the artist can come and have everything that they need to make their artwork shine to its fullest potential and so in any of the work that I do I think that it's really about making sure that the platform is perfect and all it needs is the artist to play with it, right? And I think that's more so we're realizing even as a people, that quality matters like, it's very important to make the statement and say the thing that we want it to say. When it comes from a place of quality, it has so much more impact. And so how do we create those platforms? How do we provide those spaces, how do we push the artist to make sure every piece that they do has the impact that they intended to have? [By] making sure that we are providing the space that allows them to perform naturally.
CW: I agree with that 100%. You really care and it shows. Thank You.
/Naomi-Re’a for CW
Back in September of this year, a silver platter of music was served directly to the hip hop heads; from to the monotone, run-on, smooth delivery of bars on bars from A.C. The Ruler and Nimbus Cool , to the nastiness of the beat production and selection by A.C.’s producer- Since ‘93, “The Great Journey” is gold. The intro song “Catacombs” properly sets the tone for the entire EP and although that name may seem like morbid humor, the music video provides a simple yet figuratively relative perspective. On the surface this appears to be just another studio session between the two MC’s and their producer but the lyrics in relation to this visual describe a sense of generational responsibility, the lovely burden of becoming a beacon of light for the people; With a grey filter cleverly covering the entire visual, seemingly showing us their proclamation of this being history in the making, A.C. and Nimbus show to be comfortable and content despite the molding of this legacy having taken place in a small room, much like many of the greats of the past (hence the title of this track). “...The Legacy’s ensured even when enduring the pressure- No sweat, wipe the drip, work smarter and harder, excuse the leg room, I need it, they've been begging for bones, I'll break a leg before I lose my heart or let down my home….” Nimbus Cool spits just before a voice clip of 2021 NBA Champ Giannis Antetokounmpo closes out the song, briefly speaking on his mission to provide hope to the people. “Handheld,” although undeniably consistent of super star bars, is a salute to the producer [immediate stank face]; “...I be in the cut every day like my skin broke, the outside be okay but I like gettin it in mo’ they hatin’ in my face but it never leave my chin broke...” Another bar from Nimbus but WAIT!...A.C. the Ruler also dominates in his verse with lines like “...cant see me like Harry’s cloak, wrapped with a midwest tone, niggas is hella shady like Norton Oaks…..slippin’ we hittin’ slopes, hittin’ corners on hunnid spokes…” Your replay button will feel attacked...mine was. We get some melodic vocals in the chorus of the track “P.O.V.”, a mellow song about the necessary optimism and trust in the process that is needed to push forward as an individual. This song reassures their audience that all of the tools needed are already present within. Perseverance is a responsibility. Tell me how YOU feel about “ The Great Journey” Milwaukee.
/Naomi-Re’a for CW
Some of my favorite rap songs are the ones that incorporate other genres in their music, so when I hear unique songs like that it catches my ear. That’s what this song did for me. Greedy is a certified street banger made by artist Shawn Millz of Milwaukee. It’s a rap song with gritty lyrics and a grudge influenced tone. Nirvana, while wasn’t the first, made that grunge type of rock go so hard; so when you mix it into rap, it just creates this multi genre type of sound which is becoming very popular these days.
There’s aggression in this song, cockniess, and determination. This song will grab everyone’s ears, not just the men, because we are all about that hustle (or we should be). Besides the dope lyrics, the beat on this joint is sick. This beat gives me street, Gotham City and classic Jeezy Can’t Ban the Snowman vibes. Lyrics set the tone for a song, but ultimately the beat is what grabs our attention. I don’t know who made this beat, but my car speaker’s thank you. You can listen to more of Shawn Millz’ music here on Apple Music.
Adrienne/ For CW
After a few years of loosies and EP’s, the dropping of his first full length project “2 Birds” last year, and being left with the bread crumb that was “Round and Round” back in August just for this moment here, local artist 2Hi continues the narrative of his rockstar lifestyle with the drop of his second Album, “White Lighter Bad Luck.” Lyrically accompanied by the acclaimed NilexNile, otherwise known as Nile, Lake, and executive productions by No B, this melodic psychedelia is the melancholic voice of all who have found contentment with numbness, however, having subconscious undertones of self awareness and emotional longing; this all blends in to one truth while under great influence.. The intro track “Ghost” leads us straight to 2Hi’s inner conflict; there is an assertiveness here that may pass for aggression, or vice versa, in lyrics like “..And I'm in the back of the room high off the shrooms sitting, just think to myself, I am an artist who starvin’, no I can't bargain, I gotta double my wealth..lil bitch im cool, I don't need help, all of this work under my belt- I gotta do it all myself, I gotta do it all myself..” and the words “I gotta work on myself, I gotta work on myself..'' are heard faintly a lines afterwards, signaling the slip into 2Hi’s subconscious, his real thoughts, “..I'm an animal, I can't live with myself, only hurts if you take it out and you put my heart on the shelf, I just need your help…”
WLBL led with this tone for another 5 tracks and then about halfway into the album, we are temporarily given an energetic boost with “Switch Lanes”- how very telling of the motivation that many try to find after crash landing back on Earth into their own reality. This is made for the ‘fast and the furious’ (don't do it, drive safely), when you feel like a flexer, bump this!!….Annnnnd right back into the feels. Old habits die hard and some norms can't seem to be shaken in “Tattoos.” 2Hi comes a bit cleaner about his vices, even more so about the norms of his life experiences that trigger those vices; “ I got tattoos on my soul, I woke up lost on the road, I know that I'm on my own, mountains to me look like stones- I take these drugs to fly home...I seen it all just unfold, I seen this shit happen before…” Very easily, the methods taken on for masking continuous pain are cause for being misunderstood by those on the outside looking in because of one’s own miseducation on how to cope properly, leaving room to be branded (“tattooed”) as everything that we do not intend to really be. Tell me how YOU feel about “ White Lighter Bad Luck,” Milwaukee.
/Naomi-Re’a for CW
Two words….SAAANG BOY!! Appropriately, the “Buttah and Brown” tour was brought to Milwaukee first to welcome our own Emmit James home and he brought with him some fellas with vocals on top of vocals, the crowd was very much in tune [Miss Mocha DID that]. DJ FreakishNerd shows out on the 1’s and 2’s with a great mix as the crowd forms and continues to grow up until show time; the floor tables, the booths, and the bar were all full and the stage was lit up with green, blue, red lights one after the other, giving the atmosphere an intimate yet active lounge feel. Emmit James, one half of the Headliners for the show, introduces Leroy Booker to the stage and right off the bat he hits us with a good ol’ nostalgic ‘YEEEEAAAaaaauuuuuUUUHHH!!’ and runs for his life into his introduction song, accompanied by, to quote Emmit, “the illustrious Curtis Crump Jr.” on the keys. He gave us a few love jams before the other half of Buttah & Brown was introduced, Claudio Parrone Jr. A.K.A. C.J. He slowed us down even more with a smooth rendition of “Until the End of Time” by Justin Timberlake, and of course the crowd showed their love for it as they participated in a ‘call and response’ moment with C.J.; “This ones for the lovers!”...Speaking of Lovers, they sure were in attendance on this night. C.J. stepped to the side for the last moment of his set and let the band play for the crowd. Without hesitation, multiple couples, young and old, got up and started slow dancing. It was a sight!
Klassik took the stage next and dominated, vocally and lyrically. His production was a one man show, with a stage presence that could fill a room, the crowd was nothing short of engaged. Finally, feeding off of the momentum of the night, Emmit James and Claudio Jr. took the stage as Buttah & Brown and with the inclusion of an insane drum solo and even a praise break, they gave their audience what they wanted, a high energy cap to the night.
/Naomi-Re’a for CW
HymnWho “Retroactive Phenomenon” ALBUM
Like the beautiful dynamic of the iconic blend of Hip-Hop and R&B on a track, the marriage of the poetic, conviction filled, or otherwise, nonchalant vocal tones of a rapper and the hard hitting orchestrated chaos of rock instrumentation is a delicacy. HymnWho has dropped a sonically pleasing gem with the presentation of “Retroactive Phenomenon.” The allure of this album from songs like “Revival,” “Niggas and Nikolai,” and “Saviour,” was in the production; very 80’s with the slowness and off-kilter pounding of the beat, having a faster paced rhythym happen in some moments, still with a high capacity of instrumentation, HymnWho’s vocals were hauntingly gliding over the music with a melodic, Darkwave tone and the modern, melancholic lyrical content that is found in today’s rap. In “Shoebox,” he gave us more of a trap flow but the production was still very consistent with the Darkwave sound. However, we do get some rap nostalgia as well. “Wishes” not only gives us more room to focus on the bars and their transparency, but the boom-bap is more so evident in this production. Tell me how YOU feel about “Retroactive Phenomenon,” Milwaukee.
/Naomi-Re’a for CW
One thing about me is that I love a good ol classic ratchet banger, and that’s what EAT is. Now
this nice little hidden gem came out in 2010, but I recently discovered it last week. The Milwaukee bop by Rissa Fam and Munch Lauren currently has over 1 million streams on the internet, and was released with a colorful hyped music video on Youtube. I’m a firm lover of music, and I will always appreciate party music; it just gets you hype and makes you celebrate yourself. When I hear that I try to activate my Megan knees in the comfort of my home (keyword try). The music video was shot so simple, but it was effective. I mean who wouldn’t wanna see twerking, good vibes, and good food in a music video? Sounds like a good time to me. It’s dope to see more styles of music coming out of artists from Milwaukee, we just need to get everyone connected together. Rissa Fam is definitely an artist who embraces the good vibes in Milwaukee, and puts into her music. She also did a song this year with Milwaukee artist Chicken P called Money. You can check out more of her music on her Youtube.
Adrienne/ For CW
CopyWrite Magazine, Media & Design LLC is a Milwaukee based organization & company that promotes the ever morphing nature of Urban culture.
