Issue Seven: The Art of Perspective

T H E A R T O F INTERVIEWS W/ VEDALE

P ER S P E C T I V E

• ISSUE SEVEN • WINTER 2016

H I L L • C A M B • V I N C E N T V A N G R E A T • J A N I C E V O G T • E M I LY R I S T O W

CONTENTS

03

peace from our editor

05

issue seven: the art of perspective

07

c a m b ’s t h r e a t

11

analyzing greatness

17

designer development: emris

27

freeing the creative

33

artistic combat: the social disruption of vedale hill

44

/cw fashion hitlists

49

copywrite goes to afropunk atl

A B O U T O U R F E AT U R E D C O V E R A R T I S T ––

V E DA L E H I L L M I LWAU K E E N AT I V E H U S B A N D, FAT H E R & C R E AT I V E C O - OW N E R O F JA Z A L E ’ S A R T S T U D I O F O L LOW H I M @ V E DA L E H I L L S _ A R T S T U D I O _ M K E R E A D M O R E A B O U T H I M O N PAG E 3 3

R E S P E C T TO O U R C O N T R I B U TO R S E D I TO R - I N - C H I E F / L E X I S . B R U N S O N C R E AT I V E D I R E C TO R / C A R S Y N TAY LO R FA S H I O N E D I TO R & S T Y L I S T / VATO V E R G A R A S H O OT E R / M A H D I G R A N S B E R R Y

S P E C I A L T H A N K S TO / K E LV I N “ DAY N AG E ” C R O S S

E M I LY R I S TOW

JOJII NANETTE

F R E E S PAC E

L AU R E N “ H O N E Y ” G R A N I E L A

2035 STUDIOS

BRIA DORSEY

HOUSE OF RENJI

T I F FA N Y B E A N

ROSHA BRISTER OF THE STYLE HUB

V E DA L E H I L L

A L L M O D E L S F E AT U R E D I N I S S U E S E V E N

JA Z A L E ’ S A R T S T U D I O

K E YS I N C .

V I N C E N T VA N G R E AT

A F R O P U N K AT L

JA N I C E VO G T

T H E C I T Y O F M I LWAU K E E

Q U E E L-A M I N

CopyWrite Magazine Media & Design, LLC currently runs as a non-profit organization. All images are not licensed or owned by CopyWrite. For any questions regarding photos, future advertisements, future employment or any information about any featured artists, producers or creators, please contact us at copywrite.mke@gmail.com.

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PHOTOS FROM MKE MEDIA & NEWS OUTLETS

PEACE FROM OUR EDITOR. I S S U E

S E V E N

“ BREAKING NEWS: CHAOS ENSUES IN THE MOST SEGREGATED METROPOLITAN CITY IN THE COUNTRY!” How flip’n ironic!

I want to make you feel uncomfortable. So uncomfortable that you can’t take it anymore. So upset that you have to speak up, reach out, and put forth an effort to make things better.

MILWAUKEE HAD A RIOT! This past August, the whole city was forced to acknowledge, for a slight moment, that we have a problem.

Shocked? You shouldn’t be. For as long as I can remember there has been a rift between my city. A rift created by social inequalities, backed by social stigmas, ignorance, and institutional degradation.

Crazy part is, half the city seemed oblivious to the economic, and more disturbingly, racial segregation that is Milwaukee.

For one week straight, I avoided “that part” of town. I had no “need” to venture there, and subconsciously I didn’t want to. I didn’t want to see the burned down buildings, overly concentrated police presence, or even kindle the idea of social disturbance in my head.

I didn’t want to see the national news reporters broadcasting my city at a low. (HOW DARE YOU? ALL THIS POSITIVE CREATIVE ENERGY OF COMMUNAL UPLIFTING WE HAVE BEEN TRYING TO CULTIVATE AND THIS IS WHAT YOU TAKE NATIONALLY? Again... How flip’n ironic!)

I realized soon after, if I could avoid that area, then so could my “wealthy and privileged” counterparts: the ones it didn’t effect, the ones who wouldn’t feel the aftermath. The ones who perpetuate an ignorant bliss.

Well times up! It’s time to face reality. This affects ALL OF US. Every city that has systematic inequalities against people of color and people of poverty, will face these riot wars. Milwaukee is not the first of its kind.

This is New York in the 80’s, LA in the 90’s, Chicago in the last three years…(I could go on.)

We all too often give our voice to the powers that be. We let political institutions dictate our culture, we act erratic in these streets, and we forget to self govern, as if every individual does not make the whole.

WE have all watched, through our own perspectives, building a bias that is numb to the proper position of humanity. WE have forgotten to be #SociallyResponsible.

I cringed at the idea of WHITE PEOPLE watching the news and seeing Black faces, acting aggressively in their pain and anger (because there is a stigma). I cry for my BLACK PEOPLE, the ones who feel forced to retaliate and feed into that stigma (because there is a disconnect).

Racism exist! Institutional enslavement is a thing! Poverty is a problem! Power is abused, and anybody who says otherwise is an A**! (You can quote me on that.)

As I walked through the National Civil Rights Museum in Memphis a few weeks back; the history that filled those exhibits, solidified my stance on social inequalities, and expanded my perspective on communal defiance, even in its controversy.

Issue Seven will definitely pull at this controversy. This is the moment CopyWrite publicly takes a stance.

We are not Political. We are Social.

Live that Perspective. /Dirty

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What eyes can see, what minds may know, and what hearts may feel, are not always one in the same. Our recognition of reality is based on our experiences, our teachings, our history, and our instincts.

Though no two views are exact duplicates, we challenge each other’s bearing by our own trigger; locked and loaded.

Those who can see beyond self interest (and self orbit), have learned the importance of empathy, and humanity. Those who can manipulate perception, and alter the tone of reality for the greater good, are artist in their own right.

Here we define a contrast to “societal” norm, in the hopes that you take the time to view things from every angle to cure all ignorance.

It’s time.

WELCOME TO T H E A R T O F PE R S P E C T I V E 6

SHOOTER: MAHDI GRANSBERRY

CAMB’S THREAT

“I’m big, Black, with dreads.”

The target is set. “Rapper” CAMB has been breaking the mold just by being himself. As stereotypes serve, big and Black means a threat, trouble, the ones to watch out for. But CAMB’s no threat.

Well, maybe on a beat or a harmonic collab, but definitely not in these streets and he sure doesn’t wish to be. Not every rapper is a thug, even if they “look” the part. CopyWrite sat down to see what CAMB is really shooting for and how good his aim may be.

CAMB: “CAMB is an acronym. It stands for ‘counting all my blessings’.”

Who knew? We had been confused for the longest, considering CAMB’s real name is Tre’Von. (T-R-E, apostrophe, Capitol V-O-N… He is particular about the V).

CAMB: “It just keeps me grounded no matter how far I go with music.”

CAMB’s background in music is more extensive than one would “expect”, and at the same time, mind-bendingly unorthodox.

CW: “How did you start doing music?”

CAMB: “I have been playing the drums since I was four, in the church. So that’s really how it started. I didn’t listen to Rap until I was in middle school. I was singing my whole life. Music was there. My dad played bass, he even played with Prince a couple of times…”

(R.I.P. to the legend that is Prince. We definitely are still feeling that blow to the culture.)

His major influences have developed CAMB into an artist that “feels” the music that he delivers. Soulful, with thoughtful composition, melodic, relatable...but still, CAMB is a RAPPER! What a scary term “Rapper” has become in today’s society.

Though it takes a phenom to develop natural talent into “industrial” success (no matter what the medium), the word rapper is looked at with skeptical eyes and ears. Even those who prove that their word play, storytelling, and concepting can be as vast, as bold, and as nourishing as Shakespeare, and his other wordy homeboys. Have we not realized that a Rapper, a Poet, and the powder sugar coated “LYRICIST,” are one in the same?

No? Not yet… really???

CW: “So what’s the first rap album you ever listened to or what was the first one you bought?”

CAMB: “The first song I ever heard was Soul Survivor by Jeezy & Akon. The first album I heard was either College Dropout (Kanye West) or No Ceilings (Lil Wayne). I know I was really heavy into both of those, but I can’t remember for sure. And the first rap album I bought was Big Sean’s album Finally Famous.”

Covering the spectrum of “New Age Rap Gold,” CAMB’s late exposure to the game was primarily due to his parents disapproval.

CW: “When you finally heard rap music, what did it evoke from you? Obviously, it made a major impact because it’s what you’re doing now.”

CAMB: “I loved it. I kept trying to rap but my parents didn’t want me to. I had found some CD’s in the house, like Tupac CD’s.

My mom took all of them and threw them away. Yeah, they were not big on me rapping at all.”

CW: “So they just had CDs laying around, but didn’t want you to hear them?”

CAMB: “They were my Pops’ CDs...My biological Pops. That’s a whole ‘nother story, but he liked rap and he was a rapper too.

So in middle school I found a way to listen when I could. Like I said, I wasn’t really allowed to. I was kind of sheltered that way.”

(Un)Fortunately CAMB would hear rap music and the one thing his parents tried to repel him from, would become a major driving force to his existence.

His rap life really started about four years back, while attending the University of Wisconsin-Stevens Point. CAMB had become acquainted with music creative (and a CopyWrite favorite), Emmitt James. While hanging out, CAMB rapped for him. Emmitt being an ambitious music artist himself, he suggested that CAMB had true talent, and that he should pursue music if he was truly interested in that field.

CAMB: “He recorded me for the first time in a ‘kind of real’ studio, on a real mic, and everything. So after that, I started to take it serious.”

CW: “So could you say that Emmitt discovered you? Kind of?”

CAMB: “Yeah, I guess you could say he did. He is definitely the first person to push me to do it.”

A little push can be beneficial to the soul searching of an individual stuck in the “proper” of society say-so’s. CAMB had attended Stevens Point to play football, taking on a Psychology major, then switching to Arts Management and Communication, but after football ended, he no longer felt a purpose. He returned to Milwaukee with a new focus and would start on his quest to fill that void.

8

Soon after returning to the city, where he would begin to work and transfer to a technical college to do Audio Production, CAMB discovered he would be having a daughter. The news would motivate him to jump feet first into the music scene in order to create a better lifestyle for his new family.

With everything on the line and all odd’s against him, he created his highly praised (with great reason) EP, Aint-I-Social?

(You can hear it on Spotify, Soundcloud, iTunes...all that good stuff). This project carves at the realities of his new existence, his triumphs, his worries, and of course his new bundle of joy.

CAMB: “I went into debt for Aint-I-Social? I just stopped paying stuff and I was like ‘I’m just going to pay for the studio.”

CAMB: “Now that’s huge. You probably hear me in every song saying something about God or something about praying.

My dad is a bishop and my mom is a minister, so I’m around it 24/7. With my music, I’m more conscious with what I’m saying because I have a lot of younger people that look up to me and are listening to me. If you listen, you will notice I don’t really curse too much in my music...well I try not to. (He laughed with a little guilt.) It’s a huge influence and I feel like it will help people. My whole thing with [my] music & especially my last project, is to help other people.”

But catch this, not only has his religious upbringing permeated his rap linguistics, CAMB has been holding out, he still plays the drums for the church every Sunday!

OK so we don’t advise this route but CAMB seems satisfied with its outcome suggesting since he has dropped the project many more avenues have opened up for him, like shows, that have helped him pay off most of his acquired debt.

CW: “Whaaaaaaat!?! Have you ever thought about…”

CAMB: “...Doing it live?”

CW: “Ayee! So you’re getting paid shows now?”

CAMB: “Yeah! I got my band now so...”

CW: “We saw that! Congrats!”

(Lol... that’s because it’s a good idea.)

CAMB’s new band, 4K, consist of talented musicians he considers not only his friends, but his brothers: BaessLine - Bass Player, J. Drum - Drummer, and One Time - Guitar Player. Each member had accompanied him in a few live performances, noticing the success and the vibe that came with their sets, they decided to make it official.

CAMB: “Playing with the band separated me from a lot of people regardless, so once we actually became a band with a name, people were like ‘Aye you should get the whole band to come and do this.’ So it definitely opened up way more doors and opportunities.”

We have noticed this to be a trending factor. Many venues (at least in the 414), won’t even consider letting a “Rapper” perform, but as soon as it becomes a band it then develops “content”...Hahaha at that irony.

CW: “So what do you want to gain from this? Some people want to remain independent while others would not mind going mainstream; what’s your path?”

CAMB: “I just want to take care of my family. If I can do it independent, then I’ll do it independent. But if a label comes and they are offering me the right things, and I can still be myself, honest in my music, and make the type of stuff I want to make, with who I want to make it with; then that’s what I will be. As long as I can take care of my family and live off of the music, I will be satisfied.”

More artists these days are very conscious of the realities that come with being in the business. CAMB’s answer reflects that selling his soul is not an option but forgoing the music also won’t suffice. Only God knows where that line is drawn.

CW: “You mentioned earlier about the whole church thing.

How does that influence your music, or does it at all?”

CW: “Yeah!”

CAMB: “Everybody says that!”

“I’ll try it one of these days but I have a drum player now who is super cold.”

CW: “We know, but y’all could do a duo or something that would be super cold. (Just saying.)”

CAMB: “It would be fun. Anderson .Paak, kind of killed my dreams when I seen him do it. I was like ‘I wanted to be the first,’ but I’ll still do it. It is what it is.”

CW: “Since you mentioned Anderson .Paak are there any other artists you look at and think what they’re doing or what they’re putting out is cool?”

CAMB: “Yeah there are definitely people, like Anderson .Paak, Chance (The Rapper). I love what Chance is doing.

And then it’s people I’m around like Regal (Mike Regal), Von (Von Alexander) and Pizzle. That’s different because they are actually in front of me and I’m talking to these dudes, so that’s more inspiration.”

Mentioning the inspiration you find in your peers does not happen too often, but it is a concept we are glad CAMB brought up. It reflects on how we all need each other to grow. #SupportTheLocal… Yes, that’s CW again with the shameless plug.

CW: “What’s your favorite church song? Like one that you would just sing in the shower like ‘That’s my jam!’ or just be in church like ‘Ayeee’?”

CAMB: “I would say the song that kind of helped me the most is this song called ‘Pass Me Not.’ That’s probably my favorite one to sing.”

CW: “Can we get a verse?”

(Believe it or not, we got that verse, with godly #BARS! All exclusives over here B! *New Yorker Voice*) As CAMB’s comfort level with us seemed to be at a high we thought we would ask about what he doesn’t really reveal to everyone else.

CAMB: “Something I don’t think everybody knows is that I don’t like being in front of people. Which I don’t think people know that if they have seen me live, or like being in a room full of people; I get super anxious and sweaty and stuff. I’m like super weird. I’m like a weird awkward person, but music takes that away.”

to a younger generation, then I have to do that because that’s who we are bringing up in this world. We have to make good music about it, like I have a song with Gen (Genesis Renji) that we haven’t dropped yet about it.”

On the contrast, anything he wants you to know, you can find in his music. He lacks censorship to the point where CW might have been able to write this interview just by transcribing his project. But shhhhh, we are trying to stay in business.

CW: “So you’re talking to the younger people, trying to motivate them?”

CAMB: “Yeah, kind of, yeah. Just watch and see what type of world we are living in, like the things we can’t do and the things you should do to better yourself. It’s kind of hard being a Rapper. It’s kind of hard to tell somebody not to be a Rapper.

But it’s just like keeping kids focused on certain stuff. See like me, I had my guys and my brother that were out there in the streets and doing stuff. But me, I’m at home; I’m chilling.

So just to keep them focused because there is a lot out there and I had to do it too.”

CAMB: “I damn near put everything out there now. That’s my mom’s thing, she is always like ‘you just talk about everything’, but she’ll tell me that she knows I need to talk about it because if not, I will go into these depressed little mindsets, so she likes that I do it. So you will know everything about my life if you just listen to the music.”

“ I know I’m the prototype dude that they think is doing a bunch of reckless stuff but I’m just like this quiet kid who don’t even be out here.”

CW: “...Could you say you’re ‘antisocial’?”

We all burst out into laughter. S/O to the puns.

CAMB: “Basically.”

With a more positive aura to his being and with a moral compass guiding his approach, we had to ask CAMB about being a male of color in MKE, with the turmoil going viral and “our” perspective unpublished...until now.

CAMB: “It’s crazy. I would say it’s scary but it’s not scary no more because you get used to it...I just try to stay out the way to be honest. But like I said, I like kids and I know a lot of kids look up to me, so my thing is if I get a chance to talk

As he continues to live in a world where realities of society stereotypes pin him as the enemy, he won’t neglect his gentle soul.

What is a “Rapper?”

If we use CAMB as an example, it’s a walking contradiction.

Breaking all the norms. CAMB’s no threat to society, his threat is to the ‘game’. Aim…..Fire! /CW

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SHOOTER: RICK PORTER

CW: “We would agree that most of your music is happy, do you find that to be a contrast with your peers?”

VVG: “In Milwaukee, right now, yes. I feel like there is a lot of dark music. I said it in another interview I had. I’m not saying that there is anything wrong with that... that may be how they’re feeling at the moment, so make the music that you feel, but I choose to be happy, cool, and Fresh. (Most importantly Fresh!)”

*There is a method to our madness... so pay attention*

Great’s attitude may contrast many, but is actually very intune with the bigger picture concept that we have been forced to face with the highly publicised negative media Milwaukee has been receiving, over the last few months from all over the world. However, positive vibes are necessary for communal growth and first it starts with self. So if staying “Fresh” keeps VanGreat’s positive juices flowing; he has to be doing something right.

VanGreat’s “Fresh” persona and style is a combination of a Hipster, Nerd, and Sneakerhead toting a backpack full of steez.

GREATNESS

A N A LY Z I N G

Perspective and execution, are the binding factors that turn strategy into reality and make failure extraneous.

Vincent VanGreat’s positive perspective, musical talent, and killer steez has formed a foundation where nothing is intangible. Here we get a glimpse into the man behind the beats, the mission behind the music, and other randomness* we usually bypass.

CW: “Wait, you have never been in a CopyWrite issue? We have never interviewed you?”

VVG: “No! Not ever!”

The thought of Great never being in a CopyWrite issue sounds absurd considering he has been a long time supporter, respected peer, and one of the dopest producers living in the Mil. (SIDE NOTE: Great had been interviewed by us before, as we looked a bit deeper, his interview is in the CopyWrite vault...in an issue never released.)

Sorry Great!

CW: “So what’s been going on?”

Great often sends us updates of his functions, projects, and ideas. Keeping us in the loop helps us stay in tune with “the movement” that is working the local circuit, which he is undeniably attached to. (With years invested and many roads self paved.)

VVG: “You know, I been grinding & making music.”

CW: “Why haven’t you given up?”

VVG: “I’m never going to give up. I’m not a quitter. Success is the only option.”

CW: “Define success.”

VVG: “Success is accomplishing my goals, reaching new people, making better music, growth, that’s what success means to me.”

CW: “What was the unselfish part of that? ‘Reaching new people?’

Why is that important?”

VVG: “Because I feel like I have a good message behind what I do & the music that I make is just happy. It’s cool, it’s fun, so why wouldn’t I want the next person to hear it and feel the way I felt when I was making it.”

CW: “Is there certain things that your style is inspired by?”

VVG: “Basketball shoes, sneakers like Lebrons & Kobes. That’s what I wear & that’s what I like.”

CW: “Why is that such a big influence?”

VVG: “Well I played basketball all my life so that’s what I wore. Basketball is very popular in Urban Culture.”

Ooouuu, we like that answer. Most people tend to forget the connotative symbolism that directly relates to culture. Urban Culture in this case, has a prime connection to the game of basketball. One of the fields that is suggested to be a way “out.” Those dope sneaks baller’s wear and some are fortunate enough to help design, are a symbol of skill, status, success, and even hope.

CW: “How do you think style effects an artist performance or do those aspects even matter?”

VVG: “Absolutely, definitely. It goes hand in hand. Like when it comes to performance, I see myself more as a show man. I don’t really consider myself a lyricist so my music just bounces of me being a showman.

So it goes hand in hand with the sneakers I’m wearing, with the clothes I’m rocking.

That’s the stuff I rap about. So when I’m on stage making references to my kicks, I might look down at my kicks & they have to be fresh, ya know what I’m sayin?” (He laughed warmly and smiled.)

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CW: “So if your speaking it, it should be real?”

VVG: “It has to be real! I reference a lot of my style in my music, from my kicks, to the backpack I’m always talking about, to my fresh fade from Cool Tay.” (Aye name drop #Plug) CW: “So you embody your style and you embody your persona, so you’re proud of who you are…”

VVG: “Yes! Everyone should be.”

CW: “Was there ever a time you didn’t like who you are and you felt less secure about yourself?”

VVG: “Absolutely, as we all have, but I chose to not dwell on that in my music because when you listen to it I want you to be happy.

Maybe you had a horrible day, maybe you had a messed up weekend, or a rough time at work. I want you to pop some VanGreat on; be happy and get away from that. Of course there are dark times in everybody’s life, I personally just choose not to dwell on that.”

CW: “Do you think there will ever be a point in your music where it’s a time for that?”

VVG: “Yeah, but right now I’m in a good place.”

Where Great is on his positive mode, he is not blind to the reality of negative uproar around him. He has used his music to take a stand against injustice on his latest album UnGREATful, in a song called Radical where he speaks out against crooked law enforcement, crooked laws, and social injustice.

VVG: “So I speak on it but i’m not just going to keep talking about that. With that being in the media so much, where can you get away from that?...[when] you listen to my music, you get that positive outlet.”

Great agrees that the growth in the creative/ arts community on a local scale comes from a more optimistic approach. By breaking down barriers, creating platforms, and celebrating each other. The outsider perspective is being rebranded and the press that only documents the struggle from behind a bubble made of bulletproof glass is starting to be questioned.

CW: “Do you think how the press documents whats going on, does it work for us...does it work for you Great? Does it motivate you?”

VVG: “It does. It can…”

He proceeded to tell us a story about how another local blog covered some of his music & his projects, and a “older White male” (which is not his normal reached audience) saw the write up. The man stopped Great while at Company Brewing to tell him where he heard his music and that he really enjoyed it.

“So in a sense, yes it does. But at the same time I feel they can do a little bit more, they have a lot of reach, they could do more shows, or maybe (*Inserts Big Press Name Here... we will spare the name drop...this time*) Can try to cover more Urban Scenes.

(AND NOT JUST THE NEGATIVE ONES).”

VVG: “But let me say this. Your stuff has to be together. You’re not going to get press if your stuff is not together. You have to dot your I’s and cross your T’s.

Then maybe they might show up...”

Half a**ing it has not gotten Vincent VanGreat to where he is. That hard work, dedication, and self branding definitely is more appealing to corporate media and creating more outlets for a steezy creative take over.

CW: “So your latest project, UnGREATful what kind of elevation has that done for your music career?”

VVG: “Major elevation. That album got so much coverage & publication. It opened up so [that] many know my music now. My first video from the project “Killer Steez” was premiered by The Source...I was on the Eric Andre Show. This is all the stuff just from this album so it’s been nothing but growth, which makes me want to work even harder.”

CW: “You’re doing “Great” things.

So what’s next?”

VVG: “What next? More music, more visuals, more art.”

CW: “Do you want to leave Milwaukee? A lot of people think that’s the only way to become a success.”

VVG: “Being here made me who I am, grow up the way I did, and interact with the people I interact with; it made me meet you guys.

(Aww...tears! We feel so loved). It’s always important to remember where you came from.”

As the movement grows, younger artist and creatives in our community are starting to take those steps earlier and faster, with a little more impact because of the foundation “OG’s” like Vincent VanGreat and his SAFS Crew counterparts have set.

Four years ago, there was no MKE Urban music/arts scene as we know it to be now.

CW: “As that foundation has been laid what do you want people to know?

What should they strive to do as somebody who has been in the game?”

“ STAY HUNGRY! STAY BITING THEIR HEADS OFF EVERY TIME.” He said calmly just like an OG would.

“Every release, every time you do anything stay passionate about it. And don’t think just because you were buzzing last week, you’re going to buzz this week. Keep that momentum going...because once you lose that buzz... *looks around, sips beer*” CW: “Lol, okay Great! What do you want us to know? This is your moment to dictate your interview by saying whatever it is that you need to say.”

VVG: “I want it to be known that y’all fux with me just a little bit harder than everybody else.”

He smiled devilishly...who told him? Dang, no secrets can ever be kept around here.

VVG: “But it’s not just me. I just want people to know that I take pride in my music...

It’s just I dont make beats for everybody because my beats are like my kids. You can’t just let everybody babysit. So when you hear my sh** just know that there was a lot of work that went into that preparation.”

If you think you are Vincent VanGreat worthy, you can ask for one at unifirecords@gmail.com.

(May the steez be with you! Or tell him CopyWrite sent you.)

SHOOTER: WESTON RICH

14

SHOOTER: WESTON RICH

As we chatted on we covered the topics of family, his influence on his younger brothers who have formed their own rap duo. S/O First Class, and his love for women, which he says are “beautiful pieces of work, that can be difficult some times.” ---- Whatever that means. *Wink Wink* CW: “Who’s your favorite women?”

VVG: “My Mom...because she is phenomenal, outstanding, awesome. She is Mama Great!”

CW: “What is something your mother has taught you that is irreplaceable?”

VVG: “So much. Never give up, that’s number one.

Through all these obstacles & everything I went through the last couple years she has told me to never give up... that moment, my moment was going to come, and my work would speak for itself. When your mom believes in what you do and it’s not like going to college to be a lawyer, a doctor, or an architect or whatever...If they can believe in something that’s not promised that’s amazing to me.”

“ SHE KNOWS WHAT SHE INSTILLED IN ME. SO YOU KNOW...I WAS DESTINED TO BE A GREAT MAN.”

All puns intended, Great is definitely headed towards that proclaimed greatness. With his five year plan already set and in motion.

VVG: “Five years from now I’m producing records for industry artists & for main stream artists.”

CW: “Does that include local artist?”

VVG: “I definitely will make music for local artist, but I said main stream...you can be local & mainstream.

A lot of our local acts are getting national coverage.

All I’m saying is that I plan on having a few of my records on the top 40 in the next five years & hopefully that comes with a Milwaukee artist. That’s the main goal.”

If in five years, Vincent VanGreat can be apart of getting Milwaukee on a national stage that’s right on target for him to bring us all out of this “slump.”

VVG: “Milwaukee is low on the totem poll in the media market…(in order for there to be growth) there needs to be more media outlets & more marketing strategies, and we need to have more smaller business flourish.

We need to address that. I think that’s a big issue.”

The music is the art. Making the artwork into his plot is Greats strategic manipulation..the genius.

VVG: “I’m repping the Mil till the day I die.”

SO LONG LIVE VINCENT VANGREAT! /CW

DESIGNER DEVELOPMENT:

EmRis

Have you ever seen Urban fashion outside of its natural realm? Does it move you? Is it misleading? Does it spark curiosity that you can’t hold back? For us, it did.

CopyWrite was first introduced to EmRis designs at Milwaukee’s Fashion Week. As she caught CW’s attention with her urban aesthetic, model choice and material use. We were on a mission to discover who was the creative genius behind the clothes.

Dimmed lights, many conversations and the aroma of brewed coffee throughout the room: CopyWrite is at Colectivo - interviewing the talented fashion designer EmRis. Edgy yet clean, CW’s Fashion Editor, Vato Vergara compliments her as she approaches the table and as if this was the press conference for a fashion show. CW definitely loves EmRis and her work.

EmRis is an abbreviation for Emily Ristow. The name of the designer behind the fashion. Emily didn’t want to use her real name for her work. Trying to eliminate any preconceived notion of what the clothing would be like and not restricting herself.

MEETING FASHION: Some people are born with the skills, and others develop them over time. Emily did not see her fashion career developing until she lost her creative spark. She considers herself to be a very driven person, almost to a fault. When she was younger, soccer was the first thing she latched on to. She was the kid that kicked the soccer ball against the garage and that passion carried on throughout high school where she would commit to getting good grades and being a good student so that got to play the game that she loved. But when she went to college her soccer playing would come to a halt, which created a void in her path.

Attending UW-Madison, after high school, she majored in Psychology. At this time, she was unstimulated, and lacked the focus she needed to progress. After her first year she dropped out of school and realized that passion was important for her journey and without it; she was incomplete.

“I wanted to do something more creative, & I had started taking design classes while I was at UW-Madison, but nothing felt like it was clicking. I needed some space to kind of figure out what I wanted to do next...I have always been a creative person but I had never been in an environment where that was encouraged or brought out of me.”

The attraction to design came from being able to create with her hands. All the implications of being around something so close to you (physically), that you use everyday (clothing), was her stimulus. She was willing to try something new, and fashion would be it. Learning about developing designs and the history of major fashion houses influenced her, building the same kind of passion she had had for soccer, but in an artistic way. It intrigued her to think about it, the next step was to act. Emily Ristow would become a designer!

After her spark she took a leap of faith, going back to school, this time at Mount Mary, for a double major in Fashion and Psychology, which she completed in 2015. (So if you ever need a fashionable psychotherapist; she is your girl!)

This was one of those life changing decisions that had to be made. Even without precedence she knew she could achieve it….and well the unexpected turn was awesome.

THE FIRST PIECE:

DESIGNER STEPS:

EmRis learned to sew in the classroom. Being in a major with girls who had been doing this since they were five years old, could be a challenge. Emily kept her mouth closed so nobody knew her background which made it easy to quickly adapt and remain humble when it came to her work in fashion.

EmRis Designs pulls from who she is, her likes, her dislikes and even the athletic aura that dominated most of her life. A “Designer Soccer Player” has a different appeal all in its own. Her current collections is sporty but edgy. Detailed but not over the top. It screams different but is not unrealistic.

It holds the important forms of true fashion.

“I had never seriously sewn anything until I got into the Fashion program. It was really a fake it till you make it thing...I think that was an experience that really solidified it for me...I think in the end it made me stronger, & made me more confident.”

EmRis swindled her way to a study abroad trip to Paris, her first year at Mount Mary. This allowed exposure to the top designers and their skilled techniques.

“I got to study under these women who worked for major couture houses in Paris. One of the things they taught us was this smocking technique. So you’re by hand, creating pleats basically, & folds in fabric. When I got back, our first assignment was to design a skirt.

So I made this skirt that has these wavy smocking panels down the side of it. I think that’s technically the first thing I ever really designed & made.”

Usually the trip is saved for Junior students in the Fashion program, but with the experience she received in Paris, it allowed her to be unique in her strategy. Proving that she had the eye, and the will to concept, develop and execute outside the box. She was indeed a designer at heart.

“ Athletics & that kind of lifestyle & look really informs my design work. A lot of the stuff, I like to make uses a lot of materials that are kind of athletic or used in sportswear like mesh, and knits.”

When asked about her process, EmRis gave us a detailed rundown on how she creates: “I start out usually by free sketching whatever is in my head. It’s usually a lot of disconnected ideas or maybe a really specific detail that’s stuck in my head.

Then from there I try to organize it more, maybe looking for ideas from other brands that I like, or things that they are doing that I can incorporate in a different way. After that I start patterning… I make a lot of changes while I’m patterning. I like to give myself the freedom to be creative in that aspect because that’s where it is really hands on for me… I think that’s when I’m most creative, when I can see something coming together in three dimensional form, instead of just a sketch. From there I go into final fabric & create the piece. That’s when the headaches begin.”

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SHOOTER: MAHDI GRANSBERRY

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EmRis says there are many parts she really likes about the process of designing and other parts she can live without, but the most fulfilling is seeing her clothes completed and on the models.

“I think I’m a little too much of a perfectionist and that can make parts of the process unenjoyable...It’s really hard to let the little things go. There is so many times where I’m like ‘No one is going to notice this but me,’ but I have to go back & fix it. But definitely seeing something done, seeing it on a model, & seeing it on a runway is absolutely rewarding. I hope it never stops being rewarding, because then I’ll probably stop doing it.”

THE CHALLENGE: Fashion is filled with blood, sweat, and tears. Every designer (and creative) is faced with some kind of challenge as they find their essence, develop their skill, and define their passion. Emily is no exception. What she would do with her design degree would be the true challenge.

“I think one thing that was hard for me, was when i was going through school, people would ask me what i wanted to do with this (degree)...& just not knowing what I wanted to do with it & trying to explain that to other people was really hard for me.

It’s hard not to let yourself get down about it especially when you don’t have a clear goal in mind & also being discouraged from going out & doing my own stuff.”

Emily noted that the attitude from her college program was that you graduate and start applying for jobs at the biggest companies you could find to design for. Telling herself that she didn’t have to approach it that way or have that be her end goal was totally opposite of what they were trying to instill. She admits that she struggled with that idea for a long time but is now building the confidence that comes with finding your own way.

She currently works as an Associate Technical Designer at Harley Davidson (using her degree).

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E M I LY R I S T O W

WHO SHOULD WEAR EMRIS DESIGNS? “It’s always someone I don’t expect, that comes up to me & is like, ‘I loved that!’ I think it’s really for anybody who appreciates clothing that’s unique & appreciates what custom-made clothing is; something that is well made. But also someone who wants to stand out without being over the top & really having those details that are special. I think that resonates a lot with people.”

THE MILWAUKEE FASHION CONNECT: For five to six years, she has lived in Milwaukee, but comes from Sheboygan, WI. Her college program for Fashion did not expose her to the local Fashion scene, or even to the creative community that dwells here. Her formal introduction has been very recent. To date, EmRis has done three shows in the city (that I personally got to see), and is now developing those connects that are vital to her understanding of street fashion and culture.

“ I think there are people here who are hungry for a Fashion scene that is giving something that is a little bit to the next level. Something that is not just a hobby.”

Local style was hard for EmRis to speak on because the lack of exposure to our city, but from what she has experienced she see’s that there might be something different. We recommend Emily do some more research.

She might just be surprised on what she discovers.

EmRis pulls at an aesthetic that is very familiar to us. One that often isn’t showcased. That in itself is why she was asked to be apart of this issue of CopyWrite Magazine. That Urban influence has an appeal. It’s impact is not always trailed back to its place of origin, but its tide carries through. As it dominates at a street level it also is very intune with the progression of fashion that is wearable, while still holding personality, and expression.

Twist the perspective: We should wear clothes that speak to us, not let the clothes speak for us. That is true Fashion and a designer that can do that, is a true artist. /VATO

Love the collection? Want to see more?

Go to copywritemag.com/emris to see more from our photoshoot with EmRis.

Who ever thought being privilege could be crippling, spark inner conflict, and create waves to disrupt the societal barricades hampering community, collaboration, and creative expression?

Twenty-seven year old creative, Janice Vogt, let’s CopyWrite in on her privileged perspective, enlightenment on social inequalities, and fight for youthful expression with FREESPACE. CW: “What do you do?”

J: “Well, right now I am a Graphic Designer. I work full time at Visit Milwaukee...It’s really fun. I just started working there three months ago, so it’s really, really new. This is like my first real ‘office office’ job where I have to clock in and out, 8 to 5, take a lunch break kind of stuff. Then after I leave work I freelance graphic design and illustrate. So my work day never ends.”

Janice admits that she is often asked to use her talents and saying no, is not in her vocabulary. “I always say yes to things & then I have to pull through. Professional procrastinator, & stresser.” But she always get’s it done.

Janice is most comfortable with good old black and white line art but defining her style is hard to do. She feels that as an artist it is important to evolve where pushing and challenging yourself as an artist defies the confines of definition, and allows growth.

J: “Right now, at Visit Milwaukee, I’m doing these illustrations where I have completely reversed my process. Like I’m doing all the color first and then the outline. So it’s really messing with my head...it’s forcing me to build my illustrations differently.”

CW: “When did you start doing art?”

J: “Hmm, I’ve been drawing ever since I was little. My mom is an artist. She nursed me in a gallery and I kind of grew up in galleries...So I never really saw myself as an artist, especially growing up in a gallery, because you see all these people and their talking all professional and seriously about their art.

So I never thought what I was doing would be considered art.”

At a young age, her expression would be revealed through drawing comics. While in the era of Harry Potter, she would spend weekends watercolor painting to the story.

(At this moment, we got into a Harry Potter rant. Somethings you just don’t grow out of. The series is legendary and J.K. Rowling’s imagination, even with her life of struggle, is absolutely genius and we are standing on it!)

CW: “Have you ever struggled in life or even struggled as an artist?”

J: “I actually grew up with a wealth of privileges.

My (maternal) grandpa kind of built his own empire...

He started a steel company. My dad comes from nothing, in Germany...but he is now a nuclear chemist. My parents met in Cologne. I was born in New Jersey, but grew up in Indiana, then we moved to Austria, and then we moved back & I went to school in Chicago. Then I moved back to Austria. So I was afforded a lot of travel & exposure growing up. I’m slowly learning how to be outgoing, but I have always been more the reserved quiet type. So my parents allowing me to explore & do these things, and having all the privilege that I have had, allowed me to discover who I am as an artist. I don’t think, due to the way that I am, I would have had the same growth or the same drive.”

It is a very progressive way of thinking to connect privilege to one’s artistic development. If Janice mother was not an artist and if her parents could not afford her to live in different parts of the world and explore them, would she be where she is today? Janice herself can not be so certain.

Knowing the importance of challenging that creative growth and discovering self, Janice, and a few others like Vince Gaa, Kane the Rapper and Webster X, have created a platform to do just that. They call it: FREESPACE. J: “FREESPACE started because Vince was teaching summer school English…*Pause* We are dating. *Big Smile*...They were studying, I think it was a storytelling unit and he was using Webster X lyrics. So it kind of came full circle when he got the students to contact Webster X. They were like, ‘Hey would you mind getting together to do a meet & greet? We have been studying your music in school.

We are trying to shape a context for the art in our city and how Milwaukee’s culture shapes us’. Web of course agreed.”

Janice was asked to make a flyer for the event where Webster and Kane would be performing (The infamous ET Flyer). It wasn’t even called FREESPACE then. It was supposed to be a one time event, but after the first ones impact and success they decided to make it into a reoccurring thing.

J: “You know as a designer I’m just jumping on it. I’m like, ‘If we are going to do this we are going to do this right.’

I’m all like, ‘We have got to make t-shirts. We’ve got to make a logo. What kind of font do you want to use? What kind of message do you want to send?’...FREESPACE focuses a lot on music right now but I’d like to think that the community that happens there and the people who come together, inspire each other to go create.”

The experience and opportunities she personally has been evolved with can attest to what communal gatherings do for creatives. Conversation leads to collaboration, which serves as the catalyst for communal growth and empowerment.

“ The art brings us closer together...

We celebrate together through art.”

The ability to express, and a physical place to cultivate that expression goes hand in hand. Where these elements are limited, struggle usually exist. FREESPACE is the type of circuit most leaders of MKE’s “Creative Movement,” are trying to instill so that ALL of our youth have a fighting chance to cultivate self.

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Interesting enough, even with Janice’s creative influences, she decided to go to college for something other than art. From her studies at Loyola University Chicago, Janice has earned a degree in French language and Literature, which is nowhere near the trainings of a graphic designer.

It goes to show that your education does not always define your path, but your experiences may lead to your true future and in this case, Janice’s impact.

J: “I switched into education. I love working with kids. I just love working with people….I love people watching. I love to watch people talk and how they interact...people are interesting.”

After college Janice moved back to Austria. There she would go out alone and meet all different types of people; exploring and expanding her understanding of self and others.

CW: “With you spending a large chunk of your life in Austria, what do you see as the major cultural differences between there and the United States?

J: “Thats a hard question. They’re really different. But we do live in the age of globalization, so i’m hesitant to say how different. When I was younger, like 14, the differences were so much more obvious because the things you were exposed to were so much more limited. Like the internet, you don’t hear about certain websites. I was like the first one of my friends to have a Myspace because my cousin (who lived in the US) told me about it. Nobody in Austria knew what that was, and a lot of things Americans didn’t know about Austria.”

She suggest that Austria is more intellectual in every regard, and also more blunt in culture and art.

J: “Here I feel there is always such an effort to please everyone.

I feel like that reflects itself in a lot of mainstream art & culture too...One more thing I will say is that the Austrian artist might be more bit*hy and honest with each other and much more collaborative, and openly collaborative. There is a lot more dialogue surrounding art and like I said, it’s way more intellectual. I feel like here there is a lot of conversation but not enough about the process; more about the generalizations.

But these are just the impressions that I get. It’s almost harder to push the envelope here then it is over there.”

Even in regards to the prior statement, she stands firmly on the fact that American Artist are intellectual too. She just feels that American culture in itself is just so young, morphing and new, which makes it hard to define.

J: “I mean what is US American culture? More specifically what is White American culture? I’m sorry, but White American’s don’t really have culture, so it’s kind of hard to say. How do you talk about something that’s not really there, in my opinion.”

Her statement may seem bold, but after doing a little research, not even the internet could define “White American culture” in a way that would identify its existence and/or its impact. No food. No style. No nothing!

Confused yet? Well so are we. White culture dominance over society seems to be some sort of facade. The clever thing is that most people generalize American culture as “White culture.” When American culture is actually the mixture of all the peoples who dwell here.

(Please take a moment to digest that.)

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CW: “What does it mean to be socially responsible as an artist?

J: “...I think the most socially responsible thing to do is to spark dialogue, to insight celebration, and to challenge ideas & ideologies.”

Getting people to have those conversations even when uncomfortable is the key. Janice has noticed that she is becoming more militant in her opinions, which makes sense considering the times we are in. Her art lately has been much more charged and honest.

J: “Growing up really privileged and growing up White, moving back & forth, especially to Austria where it’s all White, learning & understanding your place, and learning & understanding how to use that, is a never ending process. I feel like I’m still everyday checking myself or learning something more about myself and new ways to be receptive, not accepting but receptive to things.”

Taking everything in like a sponge, allows her to learn about herself and the world. With this she can shape how she moves forward on a personal and artistic level.

CW: “You like people and even though you’re an introvert you have spoken on teaching...So what is your view on the youth and how they are developing, especially youth artist?”

J: “...I was blessed with an amazing education. From fourth grade through my sophomore year, I was in the Austrian educational system, which was extremely vigorous and old school. I had to learn Latin and all this stuff...It’s a whole nother world. What I’m seeing today and what makes me really sad is that our educational system isn’t strong enough to insight exploration and opening up the imagination. To me school, learning, and having a teacher shove things down your throat kind of forces you to see new perspectives, and forces you to learn new things. I just feel like outlets, like FREESPACE, are important because they feed culture and feed ideas & they open up those channels and portals of imagination, creativity & culture, that school can’t.”

Janice asserts that school can be counterproductive these days, with police in classrooms, and the structural regurgitation of information that is hard to relate to as a youth.

J: “The youth has so much potential and so much energy, it’s just untapped. I feel like because the educational system is lacking, they lack means to articulate their ambitions. I’m talking about education in really broad strokes. I’m not saying the educational

system all around is bad or faulty. I just feel like the country has strayed off of the path of arts, music and sports, the kind of stuff that lets things out. Instead it’s becoming more into taking things in. I feel like that’s a very crucial element in development.”

At this point, she expanded our conversation to questioning where can youth go, especially in MKE, to feed those creative and collaborative thoughts? As we collectively pondered, we noticed, not shockingly, that the resources are sadly limited. If we are willing to fight for the betterment of our society, we have to be willing to take a risk on our youth. Instituting places like FREESPACE are a big start to that.

J: “One of the reasons I moved back to America was because I felt like I had to. There were so many things going on here that helped me open my eyes. The way the family talks has always been a certain type of way, so being away from the family allowed me to piece things more together and be more objective. I got really mad and I have been really mad ever since. I came back because I love this country. At some point I want to contribute something too, whether that be art or teaching. I just felt like I couldn’t sit in Austria and let all these things pile up on me. It just didn’t seem healthy and it didn’t seem right.”

Unlike many others, Janice saw her reality discomforting after being exposed to the truth. She is unwilling to live in that same ignorant bliss that infects both sides of the social spectrum.

J: “All this shielding your kids & not exposing them to the reality, it’s a plague. It’s disgusting. It drives me nuts. If I’m calling it a disease, I’m definitely still sick. I don’t know if I’ll ever be cured.”

Her therapy comes through the art. The more she creates, the more she can let out the discomfort, and the more it becomes real.

CW: “When it’s all said and done, how do you want to grow from this or how do you want to make that impact?”

J: “...I’m always going to use my art to express what I believe is right, what I think is true & what I think is just. There is FREESPACE and so many other things. I’ve always been one who is just in it for the ride. Where ever it takes me and how ever it goes, it will go.”

There is nothing like seeing outside the box.

Barriers around Janice? Null & void. /CW

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SHOOTER: MAHDI GRANSBERRY

Have you ever heard of Jeff Sonhouse, Reginald Baylor, or Kerry James Marshall? Or maybe Pop Culture has you more intuned with names like Jean-Michel Basquiat, or the regal images of Kehinde Wiley. Artist in general are seldom noticed or praised by the masses until they keel over and their work is left as a marking of their existence. But artists of color are even less likely to receive societal recognition. CopyWrite sat down with a successful artist from our community to reflect on social norms, creative disruption, and the genius that comes when an artist is not afraid to confront their reality.

“My name is Vedale Hill. I like long walks on the beach, especially when there is Pokéman hunting involved.”

Such a jokester. Vedale’s sarcasm seems to be a positive way to cope with his hectic schedule balancing the long days in the community teaching, family life raising two children and long nights in the studio creating an impressive body of work.

CW: “Okay. But seriously what’s going on; how have you been?”

VH: “I’ve been great. Things have been amazing for me as of late.”

CW: “How? What’s been so great? We want details!”

VH: “I have been traveling a lot more, for the last two years, all across the country doing art shows, speaking on panels, doing live art...Just been exploring the art world outside of Milwaukee.

So there’s been a lot of that going on so it has upped my game quite a bit more nationally, beyond our small region and city.

So that’s been going great.”

CW: “That’s what’s up! So beyond your region & city... did you ever think you would be here doing this?”

VH: “No, not at all. I thought I’d be a stickup kid with a part time job and here I am teaching kids, telling them legit ways to fight through poverty and the difficulties in life through artistic means and entrepreneurial endeavours.”

Stickup kid and professional artist are on two different ends of the spectrum. But both “fields” have a very strong motivational factor: having a means to survive.

Vedale had always had interest in art but he never understood art as a profession.

VH: “I didn’t think there was an avenue for an inner city kid to be a professional artist, so growing up, art history, or anything to do with art, we were talking about African masks. We were talking about sh** far from what it is for me right now. So being an artist just did not seem tangible for me.”

Vedale expressed that even playing basketball or football seemed more tangible than being an artist where he is from.

Seeing people go to D1 colleges to hoop was a thing but seeing an artist with that same success was a foreign concept.

VH: “I didn’t know about Kehinde Wiley until my junior year in highschool. I was like ‘Whaaatttt? There are Black people out here doing this for real? On the grand scale getting millions?

Those stupid six digit numbers?’ So after that, I just immersed myself in the knowledge of African American art. Not no Folk Art, no self taught sh** but at the same level as Jeff Koons, Chuck Close references we get consistently in Art History.”

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He gives credit of his enlightenment to Rose Balistreri, his Art History teacher at Milwaukee High School of the Arts, who he now serves with on the Milwaukee Arts Board. He laughed at the thought of his teacher becoming his peer.

VH: “I forgot that teachers are regular people outside these walls. Now that I am a teacher, I be like ‘Oh they don’t think I’m a normal person. They must think I go into an art box at the end of the night or something. But when they see me out at the gas station or Pick ‘n Save or something, I make sure that I talk to them so they see me as a regular person and not a weird apparition of an Art teacher like, ‘There is an Art teacher floating around in this Pick ‘n Save’.”

He looked up with his eyes around the room like he was following a ghost and laughed.

The reality is that Vedale is very much human and tries his best to remain true to his “own” human nature.

VH: “I was playing Cans once on Buffum.

I had a beater on and everything. Two of my students walked pass and was like, ‘Is that Mr. Hill?’ I turned around and said ‘Nah, It’s Vedale.’”

VH: “It was three little White women, and all these little mixed kid’s, meaning we were Black. You know the one-drop rule.”

He said it in a super deep voice. “Yeah its me.”

His students asked him what he was doing on Buffum Street. He responded asking the same question and added that he didn’t know that children left the school, he thought they slept in the lockers.

#PAUSE! Time for a CopyWrite history lesson: The “One-drop Rule”, properly termed “hypodescent,” comes from the famous 1662 Virginia law on treatment of mixed-race individuals. Hypodescents is the practice of determining the classification of a child of mixed-race ancestry by assigning the child the race of his or her more socially subordinate parent.

CW: “Whaaat?” He had us dying laughing at the thought.

VH: “Haha I tried to reverse it.” He smiled laughing at himself.

Understanding the dynamics of role and responsibilities has become an important part of Vedale’s life. While attending college at Milwaukee Institute of Art and Design (MIAD), he claims his roles to have been: Father, Son, Teacher, Student, and “Super Hood”...not to be confused with Super Hero.

VH: “Everything happening on the news and all that, I knew what was going on from first hand experience, through family & friends dying and then having my counterparts at school who never heard of any of this.

They would talk about how they really don’t want to take up this major but ‘my father is paying for this, so I guess I have to.’ Ohhhh, so really that’s your problem? Oh okay yeah…”

(Here comes the sarcasm) “My guy just got shot in the neck. So yeah, there is that. I guess we are both going to be struggling on this next test.”

CW: “Damn, so the struggle was real.”

VH: “The struggle was really real. I been taking care of my family since I was 17. I been on my own really since I was 14. But as soon as I found out my wife was pregnant, it was over. It was like whatever they needed had to happen and however I needed to get it done, it got done.”

Vedale worked full time and went to school full time, graduating with a 3.0. Considering his plate was full raising a newborn and having the stress of losing nine people who were close to him, within his entire “stint” at MIAD, that’s not too bad at all. It’s actually extremely impressive.

Working with the hand that he was dealt is definitely not a new concept for the artist.

He claims to have grown up in a household of about 11 people, with an unstable definition of a physical home.

(That means if one of your parents are not white then you are whatever “race” that other parent is...by law.)

Theeeee Fu*k!

* All research credit to the Harvard Gazette (2010) and www.mixedracestudies.org.*

Sorry but not sorry, CopyWrite does not do MLA format citations...because our audience does not care nor do we.

Ok! Now back to Vedale.

VH: “So we were all Black kids raised by three White women in every slum in Milwaukee, because those were the only people that would rent to our parents. You know they had horrible credit, were on welfare or SSI, food stamps...so if it was a decent neighborhood they wasn’t even gon’ look twice at us. By the time I was 18, I was in 51 or 52 houses. I actually started to do a project about it but it got too long.”

If it does not provide an opportunity, exposure, leverage or learning for the youth and inner city then don’t even ask; Vedale has no interest in just talking about the issues.

He needs real life solutions for everyday problems, which is a cause way bigger than keeping his artistic prestige.

VH: “It was just like a giant migration for us from every ‘bad’ neighborhood (He added air quotes around bad) ‘to bad’ neighborhood, in the city.”

VH: “It’s not even close to fair to charge anybody in these situations for something that is a given in every other culture. Success is bred into them and they see it. Here, it’s like ‘Aye man, let’s just survive.’ At this point, let’s use exposure to get them beyond where they think they can go.”

CW: “What does ‘bad’ neighborhood mean then?”

VH: “Well highly concentrated with minorities.”

CW: “No but what does it mean to you (since he placed it in quotes)?”

VH: “What does it mean to me? Home! Where I feel comfortable, that’s what it was to me.

But yeah, it’s high crime, [there’s] always police sirens, gunshots, wheels skirting.

I guess all the clichés they put in movies…”

Vedale was adamant that struggle was synonymous with his reality and that the come up was just as relentless as the struggle.

VH: “So yeah, those were the roles I was playing in school, well not even playing. I had to take them on for necessity to feed my daughter, take care of my household, to learn so that I could apply it…I wasn’t in there (MIAD) for art for art’s sake. I wasn’t there just so I could obtain knowledge and hold on to it like it’s a precious ring. I needed the knowledge so that I could translate it and do something to help my people.”

Please take a second to acknowledge the quote above…

The application of art seems frivolous to some, but Vedale’s ability to put his practice into words proves that somethings are more strategic than they appear. Vedale was born with artistic abilities but his degree is what allows him to advance with less stigma and “I have a piece of paper that proves I’m gifted” clout.

CW: “Now that you have this bougie a** degree.” (Yes, we called it bougie.

Considering CW owners also have bougie a** degrees from MIAD. Go RiverRats! LOL) “You serve on all those boards, and you’re a Black male in a predominantly ‘White’ genre, how do you represent your people?”

VH: “One thing is, I only do what I want to do.

That’s big for me. I was always a bad kid so I always did what I wanted to do. So a lot of times the results were bad but still it’s a good quality when you’re successful. So I only do things that further information and opportunity for my people and my community.”

SHOOTER: FLOW JOHNSON

He explained to us how it all worked. His Aunt would get a house and his mother and siblings would move in, then they would get evicted so they would move to a house his mother found and then get evicted, then they would split up and the process would start all over again.

He is a great advocate for youth development and cultivating the idea that you can be more than a professional athlete or entertainer to be considered a success.

VH: “It’s way more of an anomaly to be an NBA player or an NFL player...let’s not kill dreams but you better have a [Plan] A,B,C all the way to Z & then start making up your own alphabet. Start making sh** up for you to be successful.”

From experience, Vedale knows that “this sh**” is not fair.” With a lot of frustration, he began to discuss the injustice of society and how the unleveled playing field causes strife in a community that is constantly trying to dig itself out of a hole it did not create, but was forced into. Even in contrast, he vocalized his frustration with his community being content with the stagnant “just enough” mentality that places them, yet again, in a deadlock that limits growth.

Where Vedale is from, simple things like being able to provide for his family and take care of his paternal responsibilities, mark him as a success. While in contrast, he thinks those things should be a norm, however his analysis brings an unfortunate truth:

“ We know the context.

My counterparts are in prison or dead...or they ain’t doing well and they probably don’t know their kids.

That’s the sad truth about it. It has become a success just to be a decent person. That’s our standard? I’m trying to change all that.”

36

Because of this, when teaching, Vedale stresses politeness and encouragement, instead of degrading terms used often and blasted over the media, in reference to the impoverished and non-Caucasian communities.

CW: “Do you feel a lot of pressure? You know with being a teacher and an advocate, that comes with a lot of responsibility.”

VH: “Yeah, I feel like there is pressure, but it’s external. The internal part doesn’t really bother me because I figure I’m doing what I have to do. But externally, I know the pressure is going to be unfair views. [Because] if some reason I just want to relax, be a father, be a family dude or just work my job and go home, I would be considered someone who is not giving back.”

With the sarcastic voice again, Vedale scrutinized the hilarity that is capitalism.

He asserts that it is very common to ask a “successful” person of color what they are doing for their community in contrast to the generational “success” that commonly falls on the latter.

VH: “Ask the people who come from long lines of success, where it’s a given, to give back.

Which it does happen, but it’s such a small scale, and there is no criticism if they don’t, because somehow, they don’t owe. They don’t owe sh** to no one, or no peoples…”

(That’s why the rich stay rich and the poor get poorer.) “...But I know my tax money pays for their fancy a** light bulbs down their streets. I know this!”

He laughed. “That’s what taxes are. They’re the redistribution of wealth based on what needs it. They don’t need them fancy light fixtures.”

CW: “Naw? They don’t need it?” (The sarcasm started to rub off on us.)

VH: “No they don’t. But we sure have out of date books, understaffed schools, undertrained teachers, undertrained security, undertrained everything. But at the end of the day, if I wasn’t doing what I’m doing then it would be looked at like a negative. If I don’t immerse myself in it and give back, I’m wrong.”

With this statement, we are again hit with the reality that as a community we reinforce the stigmas of “racial” failure if we don’t aid in a solution of growth. It’s quite a tough pill to swallow, when the powers that be don’t have the same mentality and without shame are not expected to.

“ I’m aware that what I’m doing is critical, but I’m also aware of the hypocrisy of how it’s praised or criticized.”

CW: “How does all of this reflect in your art?”

VH: “My art is a direct expression of the last 7 minutes of what I was talking about.” (It was more like 15 minutes LOL. He just had so much to say. So much that we had to just let this current quote drag on...every point was needed. No censorship around here.)

“From what I’m looking at now a piece with the broken down [basketball] court with no net.” (He pointed across the room to his most recent body of work.) “Gold rim with the drips on the net, the D’ussé bottle pouring out, a hand with a blunt in it. A gold 40 with the paint dripping from the barrel.” (Which is obviously our controversial cover art for this here issue seven #BANGBANG). “These are all things that are common to see in [my] culture. These are the things we get a lot of attention for, either negatively or positively. Like all the violence & drug abuse in the media, where all the positives we see about each other, is just like J.Cole said, ‘Either you dribble or you fiddle with mics’, so unless you’re an athlete or a musician, unless you are doing the dance for everybody else’s entertainment, you don’t see that success. Minority success is you’re either entertaining somebody or you’re not successful. There has to be something for other people to enjoy about your struggle, in order for them to appreciate your contribution to society, this world or whatever.

So everything I do questions all these things.”

Though long-winded, Vedale’s art and thought on society go hand in hand. He places value within imagery that evokes cultural connotations, subliminal messages and blatant disruption of “stereotypical” issues, using perspective and context as his arsenal.

CW: “If you had to pick a favorite piece, what would it be?”

VH: “Usually it’s my last one because I hope I’m getting better...I enjoy the 40 (caliber) with the drips.”

CW: “Why choose paint?”

VH: “That’s my medium & that’s what I do.

It’s not used highly in art to reflect our culture.”

CW: “So why the Gold?”

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CONTINUE READING VEDALE’S INTERVIEW ON THE NEXT PAGE >

VH: “Because, let’s just be blunt and say it’s associated with value, regardless if it’s real or not, regardless if it’s paint or a real scepter, the association with gold is value.

I keep bringing my culture up because it is not valued. Our contributions are often over looked, underpaid...I figure why not put gold on all this sh**; just off of some primitive feeling they might associate value with what I do just because I choose that color.”

CW: “Is that why you’re always rocking gold?

Because you want to establish your value?”

(Nine times out of ten you can spot Vedale with a gold accessory, whether it be a gold chain, gold shoes, or even a gold grill.)

VH: “Yes I do...because somehow gold has less value when we wear it. I’m supposed to value your scepter and crowns that don’t do nothing for me, but you’re going to belittle a grill, or earrings or a chain? Somehow when we wear it, it has less value...that’s just like if I paint something, it has less value than that of my White counterpart. If I wear gold, somehow it’s wrong. I don’t like that sh** and I really don’t care for it, so I make sure I do it all the time just so somebody can say something...I wish a ni**a would. Haha, that’s what I call my gold ‘Wish a Ni**a Would.”

As stated before, Vedale does what he wants.

That includes wearing his grill into board meetings and “hob nobbing” with the likes of Mayors and what not. He has no problem being extra. You might even say he likes the “controversy.”

CW: “Do you still live in the hood?”

VH: “Yeah, right off of Holton & North.”

CW: “Damn, just give us your whole address then.” Vedale started spitting out numbers like he wasn’t concerned.

VH: “If anybody is looking for me, I’m not hard to find. But yeah I’m still over there. I’m not going no where. I’m comfortable...I can help because of proximity as well. I feel like if I go further out, the faster I become detached from the understanding of what’s happening currently. I also do it because of my kids. I’m not trying to raise no bougie a** kids that don’t understand.”

Where most people want to get their kids out the hood, he finds the value of living and experiencing that reality.

VH: “These experiences have more value to me and more value than other people give them credit for. You see some of the best and worst things in these neighborhoods.

I see poor people give other poor people money. The statement that makes is beyond anything these politics cover, beyond any of these policies they write up. That’s the human essence of it all. That’s what I do it for.”

The value of a dollar transcends to opportunity to bettering not just Vedale, but the generations that follow. When his students ask him if he is rich he laughs at the thought and suggests that he isn’t. Even if he was, he still would be broke because he would use his money to create opportunities for others.

VH: “The more I make, the more I do; not the more I have. I get paid to teach kids but I also spend a lot of money to teach kids. My wife spends hours in here with me teaching, cooking for kids, telling them about our experiences because it has value to them.

I would be doing this regardless. It’s just a part of my character.” He paused for a moment and sat back a little before continuing his thought. “I don’t feel like I owe, but if you can help; you help. It’s just as simple as that.”

The last four years running Jazale’s Art Studio (which is named after his daughter) has been no easy task. They have dealt with racial issues, negative perceptions, and of course, financial issues. “Selfish endeavours look the best on paper,” considering Jazale’s mission and Vedale’s quest does not fit that mold, it takes quite a bit more effort to retrieve funds. Deep!

Off the record, Vedale thinks he is some type of genius…*insert Kanye Quote here* LOL. But in fact, our conversation reflects some very ambitious thoughts, and a sense of self that can only be reflected on as intelligence.

He takes pride in the contributions and impacts he has made, even mentioning some of his students are now going to art school or others becoming activist in their communities; using some of the art skills he taught them to make their rally posters.

VH: “To do so much with so little makes my optimism grow about what we can do. Some cultures are at the peak of their existence, and we haven’t even looked at the tip of the iceberg yet...we have been shipped off, enslaved physically and mentally, and somehow we still have managed to survive and have accomplishments like a biracial president. To see the growth is crazy.”

Vedale sees the progression. We can even suggest that his own accomplishments are a win for us all.

“ I expected to die at a young age. Now I’m 28, got a bachelor’s degree, two beautiful intelligent children, & I inspire children everyday as my job. Then with my other time, I create whatever I want...other people are just playing the game.

Fu** that! I want to win.”

So what’s next for the artist who uses his paint brushes to stand up for social growth and equality, while still remaining very true to himself?

VH: “I have a trillion more paintings in my head, a ton of projects, a ton to do personally...I have so much more to do I’m not worried about being satisfied. I want all this sh** and I want to win.”

Salute to the Creative. We believe in you. /CW

Want to see these pieces in person? Stop

by Jazale’s Art Studio, 2201 N Dr Martin Luther King Dr. Tell them CW sent you.

FASHION HITLISTS

SHOOTER: MAHDI GRANSBERRY

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FASHION HITLIST

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46 e-mail us at copywrite.mke@gmail.com for any fashion inquiries.

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48

CULTURE SHOCK

COPYWRITE GOES TO AFROPUNK ATL

@occasionalsuperstar

artwork by: lonnie holley

NO SEXISM. NO RACISM. NO ABLEISM. NO AGEISM. NO HOMOPHOBIA. NO FATPHOBIA. NO TRANSPHOBIA. NO HATEFULNESS.

These words were plastered all over the AFROPUNK grounds in ATL, this past October. CopyWrite’s Dirty and Syn, attended the festival this year for the first time, where they were submerged in a blissful awakening, that became a true Culture Shock.

If you’re a creative, a societal “oddity,” an “outcast,” or if you are someone who thinks, feels, and expresses them self just a bit differently, AFROPUNK is for you.

It’s a place where you can take pride in what you are without being judged by what you are not. A place where fear does not exist and uniqueness is praised. It totally opposes the society we live in and opens even the most enlightened minds to a sense of humanity that was thought to have been lost a long time ago.

The social climate in the world has been very “anti” as of late.

Where loving self and protecting self, is critiqued by a “What about us? We matter too.” mantra, that has left a foul taste in many mouths.

AFROPUNK, brings music, fashion, art, community, and in every sense of the word, CULTURE, together, totally eliminating those negative factors (It’s damn near everything CopyWrite stands for). This holistic approach provides comfort, and with that comfort; freedom. A real freedom, where nothing else matters.

LET US TELL YOU ABOUT IT: “It’s that moment when you realize that you can be BLACK and want green hair; you can be BLACK and like “alternative music”; you can be ANY COLOR YOU WANT and simply be comfortable in your skin and your identity.”

“I don’t think I have ever been in a place where I felt so unbothered, especially around so many beautiful people. It’s crazy because usually at festivals you expect somebody to try to push up on you or lust after you. But people would just walk past and give compliments and keep walking. They would call you beautiful, smile and tell you to enjoy your day. The energy was just so other worldly. It felt like home.”

“When you get to walk around as a carefree mixed girl in a festival all about love, unity and a conscious stream of how to empower OUR people; it can feel magical.”

The magic was in the people. The ‘Carnival of Consciousness,’ that is AFROPUNK, makes you stop and ponder how all these people can behave in such an accepting and communal fashion, where on an everyday basis we see total deception of that aura. We exist?

We!?! People who don’t meet the confines of society are not alone.

Wandering through the graffiti layered structures at 787 Windsor, resident artist Lonnie Holley houses his studio, with his controversial and very inspiring “sculptures,” the subject is shaped out and the conversation is sparked. How do we grow; how do we make this real?

“There was so much art. Thought provoking art. The type that you can identify with. Like the gravity of the graffiti, the symbolism of a caged Lady Liberty in Lonnie’s sculpture, and the aura of the people. Even the way people were dressed, or undressed, looked like art. It was self expression at it’s finest. It was controversy in its rawest form. It was the truth that has always been neglected where we are from.”

“The music is what makes you come. You’re excited to hear all your favorite ‘not so mainstream’ artist performing. The line up was so Urban Hipster. So Indie. So Soulful. So Eccentric. So EVERYTHING! You just couldn’t box it in. It was just too much layered dopeness.”

Out of this years line up, your CopyWrite Connects got to see: Tyler the Creator, SZA, Earl Sweatshirt, Goldlink, Big Freedia, Soulection, Lion Babe, Kelela, and Sir The Baptist. There were so many artists to choose from and while stage hoping was a must; it was definitely worth it.

“I saw Sir the Baptist walking out from backstage after his performance, just like in the crowd. So I said ‘Hey Sir’. He walked up to me and said ‘Hey! It’s nice seeing you again!’ and gave me a hug, like he knew me.

It was like a genuine feeling too. It’s crazy, because everyone was like that there.”

How can you be shocked by your own culture? Realizing that there are other people who value differences, self expression and have natural inclinations for equality, and seeing them before you, by the thousands, would shake up anyone. Knowing that you can be Black (or not), and rebel against the naysayers as a collective to express self, in a way that is not harmful or degrading (but encouraged), is unheard of. AFROPUNK, has been proof for the last 11 years that, Creative Urban Culture is a thing, and that the movement we have been trying to build is a reality.

“I think the moment of clarity came when I noticed my guard was down.

No matter where I go I keep this constant shield up. The shield is kind of like a chameleon, it helps me survive in different social sects. It helps me navigate through uncomfortable situations. I’m really uncomfortable on either end of the spectrum. If you know what the ‘spectrum’ is.

But at AFROPUNK there was no spectrum, no line to tread, no biased ignorance. Those three days of festival, my soul was bare and that made me feel so alive.”

“I think everyone needs to experience their own AFROPUNK. A place where you are and will forever be, not looked at for your race, your sex, your “handicaps”, your age, sexuality, weight and any other thing that takes away from the beauty that you are.”

Dirty/Syn/CW

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