TOGETHER WE CAN HELP ARI WITH COLLEGE TUITION & CHILDCARE

We asked Ari to write her own story. . . But as a community, we can turn the page together. It takes a village.

From the /CW Fam


My name is Arianna Theresa Shelander. I am 21 years old.  A single mother of twin boys, Huey & Riley, who are one year old. They were born on June 17th, 2024. I delivered at 35 weeks, one month premature. I was confined to the hospital for a week after having them. Huey, my firstborn, came home when I did. Riley, the younger twin, stayed in the NICU for a week due to having difficulties swallowing. The experience was depressing. The separation anxiety and guilt I had only been able to take one of my children home, was devastating.  I was a first-time mother of twin premature babies, which requires a different amount of care compared to a full-term birth. 

At first, I was unaware of the need. I had no guidance on true motherhood . Postpartum had gotten to me, and again I was unaware. My kids weren’t dressed properly for the weather at their first appointment [who knew that babies needed layers even in June?]. They dropped in weight after leaving the hospital. My mother wasn’t around to let me know. I was 20 with 2 babies.  It was scary. I constantly questioned myself: Am I doing this right? 

I eventually found out that I had been experiencing postpartum psychosis. It’s similar to PPD (postpartum depression). I was not in my right mind after having my kids. Also, due to the drop in hormones I fell into a psychotic episode. Once Riley came home from the hospital, I was hospitalized for 3 days to stabilize my mental condition.  After having two seizures post birth, due to high blood pressure, extreme blood loss, and hospital negligence. [This is a narrative many Black women face during maternity, and some instances even result in death]. But I don’t want to be just another sad story. I want to face the battle head-on, earning a better life for myself, so I can provide my children with the stability & foundation I never had.

I’ve been trying my best, but I still struggle with some depression, guilt, unhealed trauma, and attachment issues. Due to domestic violence, I am a single mother [Again, a narrative that seems repetitive in my community]. Overcome by his alcoholism, the father of my children got blackout drunk one night, and tried to kill me [the twins were 3 weeks old]. He trashed my apartment, broke my phone, a window, and almost choked me to death. This was not his first time putting his hands on me. He was controlling me, my decisions, and finances. I made so many sacrifices for a man who wasn’t willing to change. That’s still hard for me to stomach.

I have found a few places that had resources, and a small village has started to grow. WE have just barely made it. A full-time student, a mother of 2, with a tumultuous childhood. My mother, Lisa, a bi-racial woman in a white family, passed away in a car accident when I was 16. She had 8 kids. I'm the 7th of that 8. Four boys, four girls. . . .Brandon, Jackie, William, Derek, Brianna, Azaria, Arianna, and Keaton. I, being one of the youngest, have always felt the most abandoned. She struggled with addiction and became a crack addict.

My siblings all have similar messed-up stories. We all have different dads [take that how you want]. Six of my siblings were adopted into the family, and two were adopted out of the family. I was adopted by my aunt Penny. For years, I hated my mother; I blamed her for everything. Until I got older and understood things differently. She died before I knew her for real. Now again, my aunts and uncle are all white…My uncle was raping my momma for years. I can’t imagine what my mother went through growing up. My aunt Penny, who “raised” me, is my mother's older sister.  The “scandalous” details of her birth, a white woman [my biological grandmother] cheated on her husband [with a black man, my biological grandfather], then released allegations saying she was raped. 

But it doesn't end there, my father is incarcerated due to the sexual assault of me and his niece. I was in foster care and group homes till the age of 18. I am now Arianna Jane Petrie [a name that still feels like an eraser of my true identity]. My aunt changed it because she felt my name was “ghetto”, when she adopted me at 4 years old. The last name Petrie has no kin to me. I’ve been unable to change my name back to my original [the cost that has always been too steep for my financial situation]. 

I was abused mentally, physically, and emotionally by my aunt & family. I was being racially attacked, beaten, and starved. Which did cause mental distress. I started self-harming at the age of 11. When I was 11, I was sexually assaulted for the second time. By my cousin’s boyfriend.  I self-harmed until I was about 16. Around that time was my first suicide attempt. I was taken from my aunt's house at the age of 13, because she beat me with a mental cane, and even though there were multiple police reports/ cps visits, I finally got removed from her care after she fractured my wrist and broke my finger. 

From the age 13-18 I was moved pretty much every month. I was placed in a group home after, group home. No “parents”, just staff 1st shift, 2nd shift, 3rd shift. . . then the owners. We were the kids everyone gave up on, for whatever your circumstances. Every adult in my life who was supposed to protect me did the exact opposite.  The things I saw and experienced as a child, as a teen, as a human needing guidance, still affect me to this day. I had to teach myself what I know now, learning the hard way, making mistakes, attempting not to be what the world expects me to be. I had to choose, and it’s still a choice every day to not become a statistic. A statistic of the Black community and of my family. I chose better, I’m choosing better.  

Despite all of this, I graduated from high school. I completed my freshman year at MIAD (Milwaukee Institute of Art and Design). My 2022-2023 year, I took a leave, because in the school environment I experienced microaggression, very obvious discrimination, and other situations that felt racially charged. To this day, I struggle with identity issues, mental health, and some traces of postpartum. I still have PTSD, anxiety, ADHD, and a fear of abandonment. But I have to succeed for my kids. 

Since MIAD is a private school, the state of Wisconsin won’t approve my childcare. They are also trying to cut my financial aid, due to my grades dropping from unforeseen circumstances. My car broke down before I started school again in January. When my kids were only 6 months old. So the only transportation I had was the bus. Frigid temperatures, raining and snowing, my babies had RSV twice. The school wasn’t too accommodating to the situation. But the choice to be a good mother over coming to classes was a slap in the face. But it's my reality. I can’t leave my kids with my mother or father. No family to step in. No true support system to offer care.  For months, not even their dad was around. It was all on me.  

So here I am asking for help. Putting it out into the world to see if anybody is willing to assist. To add to my efforts, to do great things. I will graduate from college, so that I can have a career that will allow me to support myself. I will secure a dependable car so that I can transport my children safely. I will work hard to maximize my skills in art & use my professional development that I am learning as a mentee in THE CREATIVE COLLAB | Bronzeville Artist-in-Residency Mentor Program. I will continue to develop my poetry as I use it to tell my story & walk in my truth. I will be the best mother for Huey & Riley. I will be the guidance for them that I never had. I will protect them, provide for them, and love them. 

All I need is for you to hear my story & be willing to invest in me, as a member of your community, a fellow human being, and a person who plans on paying it forward, tenfold. 

Taking A Look At Kaycee Kelsey’s Self Made Media Empire | By /CW Guest Writer Jolee Mallmann

I first met Kaycee by a lucky coincidence. Her series Rise To Fall was shooting a club scene and I had the opportunity to join production helping with a bit of set design. By the end of the shoot I was having a blast playing a bartender and finding myself enraptured with the environment Kaycee had created with her cast and crew. Kaycee is a writer, director, actor and the type of person you wouldn’t be able to stop from moving forward if you tried. There is a truly joyful energy present whenever you’re around Kaycee but she has this ability to lock in at any moment when she needs to make something happen. After binge watching season one of Rise To Fall I had this feeling I’m sure many people who have worked with Kaycee must get, that this is a woman in the industry who is moments away from being discovered. Kaycee knows she has exactly what it takes but somehow she stays humble and giving, bringing her talents to multiple Milwaukee productions while building her own media empire at the same time. Through her work she’s built an amazing audience and fanbase who flock towards her light; we’ll be watching for more from Kaycee and for the day she gets all of the flowers she deserves. 

Where are you from and where are you making films now? 
I'm a Milwaukee native, born and raised, and I create films throughout the city and surrounding areas.

If you had to describe yourself as an artist and a filmmaker, what would you want people to understand about your work most?

As an artist and filmmaker, my work is rooted in authenticity, intention, and impact. I don’t create just to entertain—I create to communicate something deeper, whether through a short documentary or a dramatic narrative. I'm not afraid to be hands-on and encourage others to be involved as well. I thrive on helping others bring their visions to life, and I’m passionate about creating open, collaborative sets where people from the community can come together, contribute, and pursue their own dreams. Community is at the heart of everything I do, and that’s the most important takeaway I want people to have from my work. I believe storytelling should feel personal, cinematic, and emotionally resonant. I believe storytelling should feel personal, cinematic, and emotionally resonant—the kind of work that stays with you, not just because it looks good, but because it means something—something bigger. Something that speaks to shared experiences, inspires reflection, and connects people beyond the screen.

What projects are you currently working on? Can you tell us a little bit about the series you’ve created, Rise To Fall?

I’m currently working on the second season of my series Rise to Fall, a music drama that follows the story of a woman named Zion who steals her ex-boyfriend’s music in a bid for fame. Season 1 explored the beginning of her journey, capturing her ambition and the choices she made to rise in the industry. In Season 2, we delve into the consequences of those choices—witnessing how Zion navigates the complexities of fame, guilt, and the karma that inevitably follows her actions.

What's your favorite part about being a storyteller and filmmaker?

My favorite part of being a filmmaker is seeing something you wrote on paper—a script—come to life. There’s something incredibly rewarding about being surrounded by so many creative individuals, all working together to bring your vision to its fullest potential. When a production wraps, there’s this moment of disbelief, like, “Wow, I can’t believe we actually did it.” But then that feeling quickly turns into excitement—realizing you can do it all over again, continue to grow, and keep getting better.

I truly believe that everyone has a purpose in life, and mine is to inspire through visual storytelling. Being able to use this gift not only to express my own ideas but to move, connect, and uplift others—that’s what I love most. For me, filmmaking isn’t just about the end result; it’s about the people I meet, the stories we tell together, and the impact those stories can have. It’s truly so much fun and fulfilling.

Who are some filmmakers that have significantly influenced your work?

That’s always a tough question for me because my taste really depends on the genre and what phase I’m in creatively. Right now, my work leans heavily into drama, but I’ve always had a deep love for sci-fi and action. So naturally, I gravitate toward directors like James Cameron and Steven Spielberg—storytellers who have redefined cinematic spectacle while still grounding it in emotional arcs. But I also admire directors like Antoine Fuqua, Issa Rae, and Gina Prince-Bythewood. They each bring something powerful and unique to the screen—whether it's gritty realism, or cultural nuance. I guess I’m most drawn to directors who know how to marry strong storytelling with a clear, compelling vision, no matter the genre.

How have you evolved as a filmmaker over time?

I’ve evolved tremendously over the last few years. I’m still growing, still finding my way and my niche in this industry. Right now, I’m just doing the best I can with the resources I have and the place I’m at in my career — always hoping that as I move forward, the sets get bigger, the budgets grow, and the audience continues to grow with me.

As a creative, my perspective has shifted a lot. I see the story differently now. I’m better at breaking it down, understanding its layers, and communicating my vision clearly. Even just comparing Season 1 to Season 2 of Rise to Fall — there’s a drastic leap in story, music, and cinematography. The quality overall has grown. That kind of growth gives me confidence that I’m on the right path and learning how to translate what’s in my head into something tangible on screen.

Where do you like to find yourself on set the most, what is your favorite role as a filmmaker to play?

On set, I most often find myself as an assistant camera or assistant director. Of the two, assistant director is where I feel most comfortable when I’m working on someone else’s set. I’m also an actor and really enjoy being in front of the camera when the role feels right. When it’s my own production, I usually take on the roles of writer and director. Those three roles — assistant director, actor, and writer/director — are where I naturally gravitate the most. I’m on the shorter side, so boom operating isn’t really my thing, and I’m not particularly handy with certain gear, so gaffing or grip work probably wouldn’t suit me. But if you keep me by the camera or in the director’s chair, that’s where I thrive. I have a good sense of timing, structure, and leadership — which really helps me bring everything together on set.

Any closing advice for young women in filmmaking that are hoping to follow their dreams?

My advice to young women in filmmaking is simple: keep going. This industry is still heavily male-dominated, which can make it challenging to find opportunities and be taken seriously. But that’s all the more reason why women’s voices and perspectives are so important — we need to keep pushing boundaries and opening doors for each other. I love seeing women as 1st ACs or Key Grips — roles where representation is still rare. So, break the barriers. Don’t be afraid to own the room. If you can’t find a seat at the table, then become the table. Don’t give up, and most importantly, just keep creating.

You can find more of Diya’s work:

Instagram: @kmkfilms @kaykizzle_ 

Youtube: @kmkmfilms

Facebook: @kmkfilms

Website: www.kmkfilms.com


Into independent film? Want to learn more?

THE PAID WRITEUP | EricWithTheGlockInHisSock - On The Radar Freestyle (Live Performance)

If you want to get my ears perked up, come in hot with an undertone of a nostalgic beat. 

Not too heavy that you're biting, but just enough that it sounds like you know good music. 

What’s the sample? Is that Big Pun, Still Not a Player?

Okay, EricWithTheGlockInHisSock, let's see what you got.

On The Radar Freestyle (Live Performance), is a high-quality fineness. With back-flipping bars that showcase new age sarcasm, straddling egotistical banter with low-grade misogyny [Ha!], it fits the bill as Lowend bop. However, this 25-year-old artist [singer-songwriter/rapper] is not riding the stereotypical sound wave. Instead, he is side-stepping the trending possibilities.

“B*tch unhand me!”

So, who has got EricWithTheGlockInHisSock stanched up? Probably not many. 

If we go line by line, this is not a story to be followed but a posturing for those who may think it's sweet. Feed into the hype? Pshhhhh, let me offer you a spoon.

This one can be played with the windows down while you're riding on the block, with the sting of summer air [but know your lane]. This is also for the girls who want to shake it [but don’t listen to close mama’s or you might be offended], and if you're trappin’...[Okay, let me stop lol]. But here is what I’m still trying to analyze, who's really the target for this artist?

EricWithTheGlockInHisSoc, says in the song, “way I play my role, I can sho’ win a Grammy” & you know what, I’m thinking that's not a far-fetched goal. With a clear and catchy cadence, a solid beat selection, and clean production, he has already got much of the local comps beat. How does the sound transfer??? Is it still slappin? Or is it just catchy? Maybe this is just the insurgency of Hip-Hop. We will be diving into his upcoming project “Too Gifted To Be Paralyzed By Procrastination” to hear more.

I’m putting my money on EricWithTheGlockInHisSoc that if he can continue to build momentum, and choke up on how to balance witty & wild, he may have a formula to become the leader of the new school. . .

But hey, what do I know?!

Lexi S. Brunson | Editor-in-Chief


TO LEARN MORE ABOUT THE PAID WRITE-UP, VISIT:

https://copywritemag.com/creative-media-services

Indie Filmmaking Adventures with Milwaukee Filmmaker Diya Gitanjali | By /CW Guest Writer Jolee Mallmann

Having worked on a few sets with Diya, I’ve always been very drawn to their unique filmmaking style. The color palettes they make use of, the poetry in their photography and film work; there are so many filmmakers in the Milwaukee scene, and Diya has found a way to pave their own clear path. To make work that speaks to the current culture while remaining timeless in voice isn’t a task every artist can take on, but it’s a returning feature to projects Diya has a part in. Anyone would be lucky to find themselves on set with this dynamic, one-of-a-kind filmmaker. 

If you had to describe yourself as an artist and a filmmaker, what would you want people to understand about your work most?

As a filmmaker, I am usually drawn to Horror and Science Fiction, because I believe that these genres allow us to explore and confront themes of gender, sexuality and oppression in a creative but sometimes indirect way. I think that processing our trauma as individuals and as a society is vital -- and what better way than through abstraction and metaphor? My most recent film, Knife In Hand,  explores new love and obsession and how that can throw your life and creative practice out of whack. I’ve found that that kind of obsessive feeling can be both freeing and detrimental as an artist. 

I also shoot all of my films myself, and plan to pursue being a Director of Photography as my career long-term. Some of my favorite cinematographers are Benoit Debie, Greig Fraser, and Quyen Tran; all of whom use color, light, and intentional camera angles to create evocative and stunning imagery. I think something I strive for in the visuals I create is "emotional realism" -- like, how did a moment or a memory feel, as opposed to how it actually looked? Especially with the way modern digital cameras and lenses are becoming more crisp and almost artificial-looking, I try to keep my work feeling grounded and true to my experiences. I want my work to be successful in its intention and emotionally stimulating to the viewer. 

Does being a poet affect how you approach your filmmaking?

I’ve been writing for fun since I was a kid, and the one thing people have consistently said they like about my prose and poetry is how “atmospheric” it is. I think I’m good at creating vivid images in my writing.

I think creating atmosphere as a cinematographer is super important, and way more involved than people might think! Like, what lenses are you using, how are you shaping the light? What’s the weather like, what season is it, what’s going on in the world? The first example that comes to mind when thinking about atmospheric filmmaking is the Twilight movies -- the color grade and choices of shots in the first movie especially. They really transport you to that chilly, wet town of Forks in Washington state.

The Handmaid’s Tale TV series on Hulu also does a good job at this -- they use a ton of fog machines in all of their locations to create this dusty, stuffy look. That look compliments how the main character is feeling. She’s claustrophobic in this new society, and in a way she’s been transported to the past. 

What's your favorite part about being a storyteller and filmmaker?

My favorite part about being a storyteller and filmmaker is the simultaneous collaborative and individualistic nature of creating a film. Each person on set has their own set of tasks, whether that’s operating the camera or setting up lights or even setting up snacks at Craft Services. But we’re all working together. We’re bringing one thing to life by individually doing our own thing. Even though the days can be intense and even grueling, It’s such a gratifying process -- hurrying up and then waiting, the best day of summer camp one moment and then extremely mentally draining the next. But there’s no better feeling than creating work that you’re genuinely proud of!

Who are some filmmakers that have significantly influenced your work?

One of my favorite filmmakers right now is Julia Ducaurnau, who wrote and directed Raw and Titane. Both of these films make the viewer viscerally uncomfortable, the films kind of grab you and shake you. I also really enjoy Coralie Fargeat’s work, and in an interview about The Substance she said something really interesting about choosing to keep a shot of a fly struggling in Demi Moore’s character’s drink -- she said something along the lines of, yeah we could take the shot out but it adds something essential to the film’s identity and mood. 

When I was sixteen my first boyfriend showed me Enter The Void by Gaspar Noé, who I know is a somewhat controversial filmmaker. Noe has remained my favorite director since then. I love how interested he is in portraying reality and all the ways humans can relate to each other and fall in and out of love. His films are always provocative and sometimes terribly self-indulgent, but he consistently nails something really raw and beautiful in his work that I aspire to. 

How have you evolved as a filmmaker over time?

It’s funny, I was going to detail how specifically I’ve changed as a filmmaker over time, but I think it’s more accurate to say that I’ve just gotten better at crystallizing and refining my vision. 

When I attended film school a few years ago, I was lucky to cross paths with and learn from Carl Bogner, a beloved queer elder and film educator. He was one of my favorite teachers ever. Carl passed away recently, and I came across an email he had sent me when I was eighteen or nineteen years old, in response to work I had submitted in one of his classes. When I look back on that time, I remember feeling like I didn’t know who I was as a filmmaker. I remember my work feeling pretty far from what I wanted it to be. Here is the email:

“Again, great work with palette here. Both of your pieces communicated so much with your sense of color. As well: you have a deft sense of scale: of image size, of how an image occupies the frame, of incident. You know how to work the everyday so well.” - Carl 

I was so happy to stumble across this -- what he had pointed out about my work, pieces which I now consider pretty rudimentary, nailed what I strive for as an artist and filmmaker. It’s a validating and encouraging thing to look back on. 

Do you have any advice for young femme and nonbinary people trying to establish themselves in filmmaking?

My advice would be to meet people, learn stuff, and get on set. And also to trust your gut. 

I graduated from the film program at UW-Milwaukee in 2022, and I thoroughly enjoyed my time there. I think the biggest things I gained from film school were the connections and experience, which were essential in getting my footing in the industry. Besides the career aspect, I met so many creative and driven people who became some of my closest friends. I also think the educators I interacted with in film school did a great job not only teaching technical skills but helping me to refine my own creative practice. 

I would also tell people, especially non-men going into the film industry, to make sure they advocate for themselves. Obviously be kind and considerate for the most part, but make sure you are carving out space for yourself! Get answers to your questions. Don’t let yourself become a doormat! 

I also think there’s an element of being a filmmaker that some folks don’t understand going into it, and that’s reciprocity. Like, ask your friends and classmates you admire to help you with your projects. Folks are usually happy to help you make your vision a reality. Just sure you buy them a donut and thank them for their time at the very least. 

But also, make sure YOU are showing up for them in a real way. Work hard, contribute to a positive set environment and make good stuff. It’s important to not only be technically proficient but also to treat people well and show up! That’s my best advice. 

You can find more of Diya’s work: @diyagitanjali on Instagram and VIMEO


Into independent film? Want to learn more?

The Ethereal Collection | Youth Music Experience

The Ethereal Collective is where sound meets soul and youth voices take the stage! This  isn’t just a show it’s a space made for you to express, create, and be heard! Whether you  rap, sing, play an instrument, produce beats, or do spoken word, this is your moment to  

shine solo or collab with others. Ages 11 to 20, this is your time to show up and show out,  surrounded by people who appreciate your talent. Think talent show, open mic, and a mini  music fest all combined into one  

This event is also raising funds for THE CREATIVE COLLAB Bronzeville Artist-in-Residency  Program and helps build your creative rep along the way. Even if you're not performing,  come to support, vibe with the crowd, and check out /CW Creative Studios + Shop. Tickets  start at just $5 for students, so don’t miss it. Music, community, and food, what more  could you want?