October 2026

URBAN

BE’N ORIGINAL FOUNDER / PUBLISHER

DAKARI ELI EDITOR IN CHIEF / VP OF A&R

COVER PHOTOGRAPHY Quby

CONTRIBUTORS Priya Williams, Octavia Bostick, Mr. Joe Walker, Tiara Cooper, Lashuntrice Bradley, Shamika Sanders-Sykes, Sciler Williams, Bobby Jenkins, Lilah Marie, Aidan Werder, Mia Nicole, Elisia Bryant, Na'ilah Burston

This magazine is written by and for people who inspire and are inspired by urban culture in all of its forms . We don’t just write about the urban culture, we live it.

Urban Magazine is published monthly by BE’N ORIGINAL ENTERTAINMENT. Reproduction or use of any part of this publication without written consent is prohibited. We assume no responsibility for the advertisements made herein or the quality and availability of the products herein.

It's hard to imagine that the digital issues of Urban Magazine have been running for more than ten years.

It feels like yesterday when we ran our first issue. I take pride in having accomplished so much while working with so few.

Thank you to all the readers, writers, publicists, labels, and television studios who have supported me on this independent journey.

I know that this has been an opportunity of a lifetime, and I never lose sight of that.

Chasing your dreams can be almost impossibly difficult at times, but rarely is it not worth everything it costs you.

Take pride in enduring the discomfort and disappointment that comes with it because everyone is not built like you.

Believe in yourself and go for it! Short of God, the only thing that can stop you is you.

Professionally yours, BE’N ORIGINAL Publisher/Founder, Urban Magazine

BLACK AND MISSING

A captivating and emotionally charged true-crime podcast series created to shine a light on cases of missing people of color.

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06 EDITORIAL 17 POETRY 24 BUYERS GUIDE 32 ARI LENNOX 36 YOUR MOTHER 50 NA'ILAH BURSTON 56 DJ ERA 64 NI'COLA MITCHELL 72 BRI 80 JOSHUA SUITER 90 TOLOU

Written by Dakari Eli

Our skies went from ribbon to sand, Foundation cracking from patterns of flam, The skyscrapers are a fortress barring our love to expand, What a shame, Nothing has gone as planned. But then again, Maybe you weren’t supposed to be my man, Maybe your purpose just served me in ways I was unable to understand… Maybe my pain was just what I was needing, So I could push past the self doubt and stop the internal bleeding.

Written by Arna Bontemps

We are not come to wage a strife With swords upon this hill, It is not wise to waste the life Against a stubborn will. Yet would we die as some have done. Beating a way for the rising sun.

Written by Gwendolyn Bennett

When first you sang a song to me With laughter shining from your eyes, You trolled your music liltingly With cadences of glad surprise. In after years I heard you croon In measures delicately slow Of trees turned silver by the moon And nocturnes sprites and lovers know. And now I cannot hear you sing, But love still holds your melody For silence is a sounding thing To one who listens hungrily.

Written by Be'n Original

We live and die by the choices we make You don't get to rewrite history simply because you don't like the way things played out after the fact. So, I need you to wear the consequences like your favorite fit. You'll have to understand if I decline attending your piteous of parties 'cause had you won in the end, we would have nothing to discuss at all. I need you to take this "L" with same volume of fucks you gave when you thought the victory was yours.

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Photo Credit: Gizelle Hernandez

Ari Lennox has expanded her third studio album with “Vacancy: Late Checkout,” a deluxe edition featuring nine new tracks. The R&B singer adds songs including “Hookah Baby” and a reworked version of “Mobbin in DC” featuring Foggieraw. The project builds on the original album’s themes of love, vulnerability, and self-reflection. “Late Checkout” opens with “Hookah Baby,” produced by Tommy “TBHits” Brown and driven by synths, drums, and bass. Lennox follows with “Show Me” and “Slide,” produced by Jay Versace. Other additions include “Leave Me Alone,” which samples Shabba Ranks’ dancehall hit “Ting-A-Ling,” and “Speak Your Mind,” co-written with Grammy-winning songwriter Amy Allen. Lennox blends storytelling and melody on “Speak Your Mind,” while “Unicorn” features her voice with hypnotic drums and bass. The deluxe ends with “Hot Mess,” about embracing imperfection. “Vacancy” was released in January with 15 tracks, including “Twin Flame,” “24 Seconds,” and “Soft Girl Era.” “Soft Girl Era” also reunited Lennox with producers Jermaine Dupri and Bryan-Michael Cox, who previously worked with her on “Pressure.” With “Vacancy: Late Checkout,” Lennox extends the album’s story while keeping her vocals, songwriting, and emotional honesty at the center.

www.urbanmag-online.com

From writer-director Bassam Tariq, Your Mother Your Mother Your Mother stars Mahershala Ali as a religious hitman who struggles to balance work, faith and fatherhood.

When his wife dies, he embarks on a journey across Houston to protect his children, confronting the forces closing in around him and the beliefs threatening to unravel within.

URBAN | 39URBAN | 39

URBAN | 47URBAN | 47

Tto read it. Musiq Soulchild here was a time when being a Black man seemed to come with a rulebook written long before a boy was old enough captured one of its lessons plainly: a man was supposed to “never cry.” Be strong. Provide. Protect. Keep your feelings tucked beneath your pride. When a boy is taught that sexual attention proves his manhood, recognizing that same experience as abuse can become its own battle. Sometimes, the very identity meant to make him strong becomes part of the reason he stays silent. On Sept. 27, streamer Reginald

“Reggie” Travers, known as “Lil Rodney Son,” publicly alleged that his brother sexually abused him as a child. During an emotional livestream, Reggie said the experience left him questioning himself and his sexuality for years. “My brother took advantage of me,” Reggie said. He is not alone. Other Black men have described childhood sexual experiences they initially understood differently. YG revealed in his 2025 song “2004” that he was sexually assaulted by a 30-year-old woman when he was 14. He has said that, at the time, he viewed

the encounter with pride rather than recognizing it as abuse. Looking back as an adult allowed him to understand the experience differently. That reaction reflects a larger problem surrounding the sexual victimization of Black boys. A 2018 study by Tommy Curry and Ebony Utley examined sexual violations involving Black boys and older women, teenage girls, and male perpetrators. The researchers argued that Black boys are too often viewed as sexual aggressors rather than potential victims, making their victimization easier to overlook or minimize. The Rape, Abuse & Incest National Network notes that male survivors of sexual abuse may experience shame, self-doubt, low self-worth, emotional difficulties, confusion surrounding masculinity or sexuality, relationship problems, and pressure to “man up” and move on.Those pressures can make it difficult for a boy to understand what happened to him.

Aphysical response does not child may know that someone touched him. He may even remember experiencing a physical response. But a equal consent, and a child does not have the maturity or power of an adult to fully understand or agree to a sexual encounter. When boys are taught that sexual experience is evidence of masculinity, exploitation can be mistaken for achievement. Attention from an older woman may be treated as something to celebrate. A boy may receive praise instead of concern. What should be recognized as victimization can instead become a story he is expected to tell with pride. Ye, formerly known as Kanye West, has also spoken publicly about sexual activity involving a male cousin when both were minors. In a 2025 interview, Ye said the behavior began after they were exposed to sexual material and continued into his early teens. That situation differs from cases involving an adult abusing a child, but it raises another issue surrounding childhood sexualization: children exposed to sexual material or behavior before they are developmentally prepared may struggle to understand boundaries, consent, and what happened to them. Masculinity can complicate those questions even further. The same cultural messages that tell boys they should always want sex can also influence how some men later think about status, intimacy, and sexual expectations. That does not mean childhood sexual abuse causes a survivor to mistreat future partners. Survivors respond to trauma in many different ways. But broader ideas about masculinity can encourage some men to treat sexual attention as proof of status. In those environments, a woman can become something to display to other men. Dating can become transactional. Money may be treated as leverage for sexual access. Affection or attention may be viewed as something that must be repaid with intercourse. The problem in those situations is not simply sex. It is the belief that masculinity must constantly be proven through sexual access, dominance, or approval from other men. That same belief system can hurt boys long before they become adults. If a boy is taught that a man always wants sex, how does he explain an encounter he did not understand?

Ia badge of honor, how does he f he is taught that male vulnerability is weakness, how does he admit that someone violated him? If sexual experience is treated as recognize that something praised by others may have actually harmed him? Reggie’s disclosure adds language to something many Black men may have spent years trying to understand. For survivors beginning to see their childhood experiences differently, finding the language to understand what happened can become part of healing. Disclosure, when and if a survivor chooses it, can also challenge the silence surrounding the sexual abuse of boys. What happened was not a rite of passage. It was not proof of manhood. And it was not their fault.

Author Bio Na’ilah Burston is a participant in Urban Magazine’s writing program and a graduate of Delaware State University. Her work covers music, entertainment, culture, and social issues, with an emphasis on Black communities and representation. Beyond writing, she has also been involved in community-focused efforts supporting opportunities and resources for Black youth.

DJ Era has built a career connecting hip-hop from South Los Angeles with Atlanta’s music scene. He discusses his musical roots, working with Nipsey Hussle and Lil Jon, and the ever-evolving role of the DJ.

You became a key guide for West Coast artists entering Atlanta and the South. What must they know about Southern audiences to connect in clubs, radio, and streets? The majority of West Coast rap is a faster tempo, usually in the 100 BPM (beats per minute) ballpark. Southern rap is a lot slower, typically in the 70-80 BMP range. So there’s a huge difference in sound that both regions needed to be accustomed to in order to win in an unfamiliar market via clubs. As far as radio goes, there’s a lot less politics in the south compared to the West Coast. I feel Cali is the premiere market nationally so it’s a lot harder for an artist to access the resources needed — press/ media, airplay, connecting with producers, etc. In the south, the entire culture of hip-hop currently is in Atlanta. It’s the mecca! So it’s a lot easier. The culture within the south is organically more willing to help you. Several artists from the West Coast would come down to Atlanta to finish projects—Nipsey, YG, Kalan.FrFr, Mistah F.A.B.

The DJ's role has shifted from being gatekeepers of new music. What skills must a DJ have today beyond just mixing records? Technology has made it so convenient and more accessible to everyone. I feel like it’s become a blessing and a curse. These days you don’t need much talent or skills unfortunately. After COVID, it seems like everybody went on YouTube and now thinks they’re a DJ. They don’t know the history, the art of scratching, how to use vinyl, etc. Being able to thrive as a DJ in today’s world requires you stand out. Your creativity and the depth of your musical library is major. Anyone can blend a song, but how you blend it is everything. Being able to read the room, setting the tone, how you interact vocally with your audience. From the original art of DJing, these factors are still a thing. You have to set yourself apart from the

pack. Unfortunately that’s what I believe is lacking with some DJs today.

You grew up on Slauson Avenue surrounded by the sounds of Dr. Dre, Snoop Dogg, DJ Quik and Battlecat. How did that environment shape your understanding of hip-hop before you ever became a professional DJ? Aw man, the first lyrics I ever learned to a song were “So just chill ’til the next episode.” Hahaha. Dr. Dre/Snoop “Nuthin’ But A ‘G’ Thang.” It was my introduction to hip-hop. I would walk up and down Slauson every day to catch the bus for school blasting some West Coast rap with my Sony Walkman CD player. A beat from Battlecat was my entire sound track growing up in South Los Angeles. West Coast rap is what shaped me to fall in love with hip-hop, from DJ Quik, Westside Connection, The Dogg Pound, and many other West Coast pioneers. What did Atlanta teach you about music, culture and the business that you could not have learned in California? The second I got off the plane in Atlanta I was culturally touched in a way I had never experienced before. I had read and studied about the civil rights struggles in school, but to be right there in the center of where that all began just struck me. The birthplce of Martin Luther King Jr., attending an HBCU, Morehouse College at that, is something you really can’t get in Cali. The closest we had to that was in the movies. So Atlanta just instantly felt like home. The land, the trees, so much open space. Being able to experience all four seasons of weather. In LA, it’s summer all year round. Seeing the leaves change colors, then blossom again in the spring, was all new to me. Musically, Atlanta is the mecca of hip-hop. They had the music game in a chokehold. And still do. I’d say the most beautiful thing though was seeing so much black excellence in the city. Everyone thriving, self employed. Black people had their own businesses whether it was music, a hair salon, marketing company, clothing line; it was just black success everywhere you looked. And that’s what sealed the deal. People winning who looked just like me.

You have described your style as a “50/50 sound.”How did that sound develop, and when did you realize it could help connect audiences from both regions? When I moved to Atlanta it was a culture shock finding out not everyone listened to West Coast rap. DJing parties and getting requests, I had to learn the different cultures: DC —go go, Chicago — house, Florida — base, Baltimore club, New Orleans — bounce. Caribbean music. Then later came Afro Beats/ Amapiano. It became a multicultural soundtrack. Obviously, in Atlanta, the main genre was Atlanta trap music. So I took it upon myself to put people on. The West Coast wasn’t hip to the southern music. Southern music wasn’t hip to the West Coast. As for other regions previously mentioned as well. So now I can take my platform and put everybody on game, bringing awareness from all sides.

You worked with Nipsey Hussle early in his career. What do you remember most about Nipsey during that period, and what stood out about the way he approached his music and career? Of course we had Dre, Snoop, Ice Cube and other rappers, but Nip was our neighborhood superhero. He was from our backyard. I could relate to him in a different way when he rapped because everything he talked about was my upbringing. My bus stop for school, my first job ever at the local mall, where we got our BBQ, my Pro Club white T-shirts from the swap meet. I mean he nailed everything. Not to mention, his lyrics influenced us to become black entrepreneurs and uplift the community, enhancing our hustler mentality... So today, with his passing, I carry the Marathon torch proudly… as a Slauson alum and as a friend to Nip.

Artists such as YG, Ty Dolla $ign, E-40 and Problem have all benefited from your relationships and understanding of the Southern market. What happens behind the scenes when a DJ helps introduce an artist to a new region? There’s a lot involved. From trying to do a press run and lining up interviews, listening sessions, getting in the studio connecting with producers and songwriters, bookings for shows/club appearances, networking with the DJs, supporting their music via airplay/clubs/ events … knowing they have someone from home court that’s in the field on their behalf. As a DJ, I work to help make whatever relationships shake to further their career.

You are now touring with Lil Jon. What have you learned from working alongside him about controlling a crowd and creating energy in different cities and countries? Atlanta’s “crunk” energy is bigger than a specific sound or era —it’s an attitude and a way of engaging people. When you take that energy overseas, you realize music can communicate even when the audiences don’t speak the same language. The reaction is universal. Music is all genres. So I think the biggest thing I’ve learned from touring with Jon is don’t just play music —create moments! Make people feel like they’re part of something. I believe that’s what turns a good DJ set into an experience.

How do you see your role in preserving hip-hop history while also helping move the culture forward? I’ve been able to experience different sides of the culture. Hip-hop isn’t just music to me —it’s history, it’s community, it’s storytelling, and it’s a way of life. Preserving the culture means making sure we don’t forget the people, the records, the DJs, the producers, the neighborhoods and the moments that built this thing. As a DJ, I get to keep those records alive and introduce them to people who may not have been around when they first came out. But at the same time, I don’t want to just live in the past. I want to help create what’s next. That’s why radio, nightlife, touring and being around different generations of artists is so important to me. I’m constantly learning, adapting and finding new ways to connect the old school with what’s happening right now. For me, moving the culture forward means respecting the foundation while still being willing to take risks and create something new.

Be'n original

Ni'Cola Mitchell overcame the traumatic events portrayed in the Lifetime film ‘Giving Hope: The Ni’Cola Mitchell Story,’ and now works tirelessly, empowering youth nationwide with Girls Who Brunch..

What inspired the Girls Who Brunch tour, and when did you realize it had the potential to become so much more than a single event? I was in Charleston, South Carolina, 11 years ago for a book signing when I met girls who were impressionable but lacked access to things many people take for granted. Being from Jamaica, I understood how limited exposure can shape a young girl’s world. I told myself I would come back and do something for them. It was supposed to stay local, with events in Charleston, Las Vegas, and Atlanta. After the first event, nine other cities wanted us. I never expected that growth. I believe that was God.

The tour focuses on creating spaces where girls feel seen, heard, and supported. What are some of the issues young girls are bringing into those spaces today that adults may not fully understand? The biggest issues are online bullying, suicide, and predators who approach children online as friends or mentors. Last year, I helped 11 families with funeral planning after girls died by suicide, which inspired this year’s theme, ‘Safe Spaces, Brave Faces.’ We create a space where girls can talk openly and learn how to be brave. Our speakers share their vulnerabilities, not just their accomplishments, so the girls can see how they faced difficult situations, made different choices, and moved forward.

Girls Who Brunch has grown into a multi-city movement and has reached thousands of girls. What have you learned about the needs of young women from traveling to different communities? I’ve learned that girls need many of the same things everywhere, regardless of income, ethnicity, or location. They want to feel loved, seen, and heard. Parents are often busy, and social media takes up so much attention that children can

feel overlooked. A little attention can go a long way. I’ve watched girls who are considered shy get up, speak, dance, and share their stories. Whether we’re in St. Lucia, Nigeria, Detroit, or another city, that basic need for love and connection is the same.

You support girls facing issues like low self-esteem, bullying, foster care, teen motherhood, and trafficking risks. How do you create programs that are serious yet empowering? We make serious information engaging and practical. After working with girls affected by trafficking in Detroit, I introduced safety and self-defense classes, and they are now part of every city we visit. Survivors and trained leaders teach girls how to recognize danger, escape holds, and protect themselves. We also added CPR training after my own heart condition made me think more about emergency preparedness. The goal is to give girls memorable tools they can use to protect themselves, their families, and their communities while still making the experience empowering.

Mentorship is a major part of the Girls Who Brunch mission. What does effective mentorship look like to you, and what do young girls need most from adults who want to help them? Effective mentorship is not a one-time event. Girls need access to adults who are willing to show up when something is happening and help them work through real issues. Some girls come from trauma-based environments and have learned survival behaviors that may not serve them well. A mentor should help them understand those patterns and make different choices. My own mentor was with me from age 14 until he died two years ago. I believe mentorship should be treated like an extendedfamily relationship and a long-term commitment.

Your current ‘Safe Spaces, Brave Faces’ initiative encourages girls to embrace their identities and strengthen their voices. What does being brave look like for a young girl in 2026? Being brave means standing up for what’s right, even when there is pressure to stay quiet or conform. Girls may witness bullying, face pressure around sex, or see someone else being mistreated. Bravery is knowing how to stand up for yourself, protect yourself, and protect the person next to you. Not every girl has the same resources or confidence, so ‘Brave Faces’ teaches practical techniques that help girls become difference-makers, speak up, and support others who may not yet feel strong enough to do it themselves.

As Girls Who Brunch continues to expand into different cities, how do you make sure the organization remains connected to the specific needs of each local community? We have teams in every city, and they help identify what girls in that community need. Our local leaders include community advocates, police officers, nonprofit founders, and public figures who understand what is happening on the ground. Their work goes beyond planning events. If a girl reaches out because she lacks hygiene products, for example, committee members may deliver supplies directly to her school. It takes a village. Keeping people in each community involved year-round helps us respond to real needs instead of assuming every city needs the same thing.

“I WANT EVERY GIRL TO LEAVE BELIEVING SHE CAN DO AND BE ANYTHING. ACCESS CAN CHANGE THE WAY A YOUNG PERSON SEES WHAT IS POSSIBLE.”

Your own life story has become part of your advocacy work, including the Lifetime film ‘Giving Hope: The Ni’Cola Mitchell Story.’ How has sharing your personal experience helped you connect with girls who may be going through difficult situations of their own? Sharing my story helps girls understand that the person standing in front of them has also survived difficult experiences. They may first hear about Ford, Black Enterprise, Lifetime, or Netflix, but then I tell them I was raped multiple times by age 15 and became a teen mother. That changes how they listen. Some girls tell me they relate to what I went through. I believe my vulnerability and candor keep them connected and show them that difficult circumstances do not have to determine the direction of their lives.

Corporations, community organizations, schools, volunteers, and sponsors all play roles in supporting programs like Girls Who Brunch. What does meaningful support from a company or community partner look like beyond simply writing a check? Meaningful support includes access, education, volunteers, and money. Companies can invite girls into their workplaces, show them different career paths, and teach practical skills. We’ve worked with construction companies and with Chase Bank on financial literacy and bank accounts. Barclays Bank in Las Vegas sent nearly 50 employees to help with setup and breakdown. Financial support still matters because even donated goods have shipping and transportation costs. For us, service and funding are both essential, and companies can make a difference by contributing their people as well as their resources.

When a girl walks into a Girls Who Brunch event and later walks out, what is the one thing you hope has changed in the way she sees herself and her future? I want every girl to leave believing she can do and be anything. Access can change the way a young person sees what is possible. When girls meet a lawyer, doctor, celebrity, or another woman they admire, they can begin to think, ‘If she did it, I can do it.’ I serve 59,000 girls, and many call or text me about what they plan to accomplish. I tell them they can be better than me. The first person they need to believe in them is themselves. That belief can change everything.

Be'n original

9-SAFE

BRI

Bri from WeTV's breakout show "This Is Poly" talks about polyamory, life on reality TV, her relationship with Marley, the future of Royal's Poly Life show, and the new projects she plans to bring to audiences.

You’ve been in entertainment for about 15 years? Yes. I’ve been consistently creating content and working as an entrepreneur. I’ve done modeling, videography, and a lot of things along the way.

How did Royal's Poly Life come about? That came about about 15 years ago as well. I connected with my wife, and we had multiple women in our relationship at the time. We also had a husband at one point. We started showing our lifestyle and just being ourselves — being a fun and loving family — and it took off.

People who are familiar with Royal's Poly Life are probably going to wonder why Royal wasn’t featured on the show. Can you explain that? He wasn’t featured on the show because we’re separated and living in different states. Royal is still involved with the kids. We’re all still connected as a group, basically.

Is there another season of This is Poly coming? Yes. Yes, indeed.

Without giving too much away, what can people look forward to? You may be looking forward to seeing Royal, and also seeing me and Marvie getting closer.

I want you to explain polyamory to someone who doesn’t understand it. People have different views and interpretations of it, so how would you explain it as someone who lives that lifestyle? It’s basically a lifestyle, and for us, it comes naturally. It’s not for the weak at all. It’s for people who don’t want to be monogamous. It’s the total opposite of monogamy. You can’t be extremely jealous and expect it to work. You have to be able to handle the lifestyle.

“YOU HAVE TO KNOW HOW TO PROBLEM-SOLVE, WORK TOGETHER, AND FUNCTION AS A FAMILY AND A UNIT.”

How do you work through jealousy and insecurities in this type of relationship? You have to know how to communicate. You have to know how to be a village. You have to know how to problem-solve, work together, and function as a family and a unit. It’s about having a foundation. It’s also a lifestyle.

What led to the decision to bring your relationship to television? We were really just being ourselves. They had actually been watching us for a long time. Eventually, they picked us up, and they loved us. We ended up becoming the number one show in the U.S. during our run, and we were also the number one couple on the show. People liked our authenticity. They loved the family dynamic. They also loved the idea of us wanting 999,000 women. So, of course, we’re going to keep it going. We’re definitely coming back for season two.

Where did the idea of having such a large relationship come from? We love women. We really want to create a huge village and eventually have a compound. We want this to become more than just a lifestyle. We want to expand.

Is it almost like a tight-knit community here? Yes, a community. We definitely want to expand.

What has been the most challenging part of bringing your relationship to a reality show? Showing people that polyamory can be normal. For us, it’s no different from a monogamous relationship. We do many of the same things people do in monogamous relationships. That’s how we make everything work. There can also be financial benefits because there are more people contributing and more hands helping.

What do you think people misunderstand the most about polyamory and the way you choose to live? Some people think polyamory isn’t good for children to see. Some people think it’s pimpish or just a money grab. People also see it as taboo. They think about orgies or swingers. Some people also think polyamory has to involve only three people when it can actually involve multiple people.

What would you say are some of the best parts of it? The best part is the love. It’s like quadruple the love. It can also be

“YOU CAN LIVE THE WAY YOU WANT TO LIVE AND CREATE A RELATIONSHIP THAT WORKS FOR EVERYONE INVOLVED.”

peaceful. If one person isn’t available to talk, there may be someone else you can talk to. If one person can’t run errands with you, someone else may be available. You have options. You can live the way you want to live and create a relationship that works for everyone involved.

Between what people saw last season and what you’ve been posting on social media, where does your relationship with Marley stand today? We’re closer than ever. We’re honestly looking to get married. I proposed to her on the show, and I had a very beautiful proposal. We’re looking to expand our family, have more children, and create more happiness. We’re closer, we love each other more, and we have a great dynamic. It keeps getting better every year. We’re not growing apart. We’re actually getting closer and continuing to grow.

That’s beautiful. Do you see yourself focusing only on reality TV, or are you planning to bring some of your other talents to the forefront and start new ventures? I’m definitely looking forward to bringing all of my talents to the forefront — from modeling and acting to playing the piano, entrepreneurship, entertainment, filming, and television. There’s a lot more to me than just what you see on the surface here. We also have Down for the Crown coming out, where women will be competing for our love. That’s another television show that’s currently in development. Other than that, I have a lot more to offer. I can go from Teyana Taylor to Marilyn Monroe. I’m like a jack-of-alltrades, to be honest.

I can clearly see some of that happening here. Yes. I can create looks that catch people’s attention. I can walk into a room and immediately draw attention.

Will we see some of that during the next season? Yes, most definitely.

I love it. Do you have a release date for the second season? The release date for Down for the Crown is coming soon. As far as WeTV, we still have to sign another contract and then discuss the dates. Follow us at Royal Poly Life, too. That’s where you can keep up with the dates and everything that’s coming. I know for sure Down for the Crown is coming first. Then WeTV will come after that because they’re filming other seasons right now. Everything goes in rotation.

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Photo Credit: Damar Little

Joshua Suiter has reached a new chapter of his career with roles that reflect both his range and his roots. In this conversation, the actor opens up about his journey and the bigger goals he is still chasing.

You started acting in theater at 7 years the first show I had to audition for was old. What was it about performing that captured your attention so early, The Wiz. It came full circle, and that's the show where I got over my stage fright.

and when did you realize acting could become a career for you? It started with musical theater summer camp. I loved acting, singing, and dancing, and theater gave all that energy a place to go. I stepped away for a few years to focus on sports, but in high school I went to see The Wiz after being too afraid to audition because of the singing. Sitting in the audience, I remember thinking, 'I cannot be in the audience anymore.' The next year, I returned to acting. After one rehearsal, I was in the car with my dad and felt God tell me, 'This is your purpose.' From there, I chased it with everything I had.

Later, you transferred to Hillside High School. Did The Wiz come back into your story there? It did. After my sophomore year, I transferred to Hillside High School, and You went on to attend North Carolina A&T, where you earned your bachelor's in fine arts. How did your HBCU experience shape your personality and creativity? A&T surrounded me with people who challenged me, supported me, and helped me grow. I met Black people excelling in so many different areas, and that expanded the way I saw myself and what was possible. I was active in SGA, organizations, and fraternities, so I was constantly learning leadership, responsibility, business, and how to carry myself. My professors knew me by name, supported my work, and showed up for my shows. It was a real molding experience.

How did your time at A&T influence the kinds of stories and characters you wanted to portray?

“I ALREADY LOVED MY CULTURE, BUT A&T SHOWED ME HOW MANY DIFFERENT VERSIONS OF BLACKNESS EXIST.”

I already loved my culture, but A&T showed me how many different versions of Blackness exist. That gave me a responsibility to tell our stories honestly and fight for representation. I also want to show more than struggle. I want to see us loved, saving the day, and existing in every kind of profession and space. That's something I want to carry throughout my career.

You were also named Mr. North Carolina A&T, and in that role, you represented the university as a trophy presenter at the 94th Academy Awards. How did that experience shape your confidence and the way you see yourself as a performer? That week felt like confirmation. Being at the Oscars is something actors dream about, but once I was there, I felt like I belonged. I wasn't thinking, 'How did I get here?' I was thinking, 'Why not me?' Meeting actors who inspire me fueled that belief. Even holding an Oscar made an impression—they're heavy. I remember thinking the next step was to earn one with my own name on it.

Now you're stepping into A Different World, a series with an important place in Black television history. What was your reaction when you learned you would be joining the new series? I was excited because A Different World is one of my favorite shows. I watched it in my dorm at A&T, and I used to say that if a show like that existed today, I would be in it. When I heard about the new version, I kept wondering why I hadn't gotten an audition. Then my team called while I was leaving stunt class and told me to check my email. I had an audition due in a few hours for an 'HBCU Project.' I rushed home, sent it in, and let God work. Actors hear so many no's, so getting a yes for something that meant this much to me felt like a dream come true.

What initially drew you to this fascinating character, Andre? Sometimes I can feel when a character connects with me. There wasn't much about Andre in the audition material, but I immediately clung to him. I love that I'm able to help create him from scratch. He also lets me show a different side of myself. I often play the good guy or leading man, but I want people to see that I have range and an edge. I'd love to play a villain someday, too.

Without giving away too much, what can you tell us about Andre and how he fits into this new generation?

Photo Credit: A Different World/ Netflix

“THESE ARE PEOPLE I WATCHED WHILE SITTING IN MY DORM, SO BEING ABLE TO WORK AROUND THEM IS A BLESSING.”

They have us on lockdown, so I can't say much. What I can say is that there's a new generation of students for audiences to meet and fall in love with, including Andre. It reminds me of being around second- and third-generation Aggies, where the tradition continues but every generation brings something of its own.

At the same time, you're working on All Is Fair and returning for season two. What has it been like balancing those two worlds? That's part of being an actor. The characters have different needs, so I have to be able to switch between them without treating them the same. Creatively, that hasn't been difficult. The bigger challenge is making sure I rest because there's been a lot of travel. But this is what I prayed for. I want to stay busy, create more characters, and keep going.

How has working with the original A Different World cast influenced you? Any lessons for future roles? These are people I watched while sitting in my dorm, so being able to work around them is a blessing. What stands out is seeing professionals who have done this for decades step back into these characters and watching how they move on and off set. I've learned a lot about the craft, but also the business— setting boundaries and creating a structure that gives you room to be creative. I try to soak up those lessons and pass them on.

You want to explore action, romance, sci-fi, and villains. What attracts you to these genres, and what new sides of you should audiences see? Theater taught me not to get stuck in one kind of role. I love being a leading man, but I also want to challenge myself. Action connects to the athlete in me, and stunt choreography feels a lot like dance. Romance interests me because I want Black audiences to see us loved well on screen. And I'm a sci-fi and fantasy nerd, so I'd love to work in those worlds too. I'm even getting into Westerns. I want the freedom to keep exploring.

At 26, you've built experience in theater, HBCU leadership, film, and TV. Looking ahead, what dreams guide you? What advice would you give peers intimidated by acting's challenges? My faith is my anchor. It keeps me focused and reminds me why I'm here. My advice is to chase what you love. Life already requires you to work, pay bills, and handle responsibilities, so you owe it to yourself to at least try to pursue the thing that gives you purpose. I don't want to look back and realize I never tried. As for me, I'm grateful, but I'm still hungry. I want bigger roles, ownership, generational wealth, philanthropy, and opportunities to build beyond acting. Right now, I'm here to work and keep building the dream.

NA'IMAH BURSTON

Photo Credit: A Different World/ Netflix

TOLOU

Tolou is not interested in fitting neatly into one sound, one country, or one category. The Norwegian-Nigerian artist has built her identity around contrast: Scandinavian pop, Afrobeats rhythms, introspective songwriting, and a global point of view. She calls the result Afro-Scandi-Pop, but the label only begins to explain the range of influences shaping her music.

Her album Energy pushes that identity forward. Inspired in part by her first trip to Nigeria and meeting her Nigerian family, the project connects heritage, confidence, vulnerability, and selfdiscovery. It also captures an artist becoming more certain of her voice. That confidence extends beyond the studio. From Scandinavia to Lollapalooza Mumbai, Tolou is proving that emotion and rhythm can cross borders without explanation.

WORDS BY BE'N ORIGINAL

“I’M TAKING LISTENERS ON A JOURNEY OF FINDING MY WAY BACK TO MY OWN ENERGY AND SENSE OF SELF.”

You’ve described your sound as Afro-Scandi-Pop. How did growing up with both Norwegian and Nigerian influences shape the artist you are today? I think the Scandinavian pop side comes from growing up in cold weather and being a little more melancholic and introverted. Then, going to London to visit my Nigerian family brought in the Afrobeats influence, especially the drums. That side feels more uplifting. It’s like the heartbeat. Some people might describe it as Scandinavian Afrobeats, but I just make music from the heart, whatever that sounds like.

Your album Energy was released earlier this year. What does this project reveal about you that listeners may not have understood from your earlier music? The album is really about the energy of the music. I went to Nigeria for the first time and met my Nigerian family for the first time. I had grown up hearing Afrobeats, but being there and seeing how the music moved people inspired me in a different way. On Energy, you can really hear and feel that Nigerian frequency in the songs, even when some of the music leans more pop or Scandinavian. The themes are also very vulnerable. There’s so much noise in the world, and the album is about getting back to your core, your confidence, and your energy. I’m taking listeners on a journey of finding my way back to my own energy and sense of self. I think people are getting to know me a little better through this album.

When you enter the studio, are you thinking about genre, or are you more focused on the emotion you want the song to create? I’m usually more focused on the emotion and where I am that day. Sometimes a song just comes to me. I can hear a chord structure, and a whole song can be created in my head from one take. It feels like I’m tapping into the source. Then, of course, you can build the genre around the song by adding drums and other elements. But I try not to put my music too much in a box because I grew up with so many different influences, from jazz to classical music. Music can be so many things.

How much of your songwriting comes from personal experiences that you’re trying to work through? Probably 95%. Most of it. If a song helps me or makes me feel something when I sing it, maybe it will make someone else feel the same way. We all go through similar experiences, so I just write what is authentic to me.

Which song best represents where you are creatively right now, and why? I feel like I’m in a very sassy-girl space right now, so maybe ‘Desperation.’ It’s like, if you want to come into my life, come with intention. I’m not really in my lover-girl era right now. I’m open to it, but I’m very focused on what I’m here to do. I’ve also been working on new music, and I feel like I’m entering a new era. The new songs reflect even more of how I’m feeling right now.

You’ve built your career across different countries and cultures. What has been the biggest challenge in getting audiences and the music industry to understand who you are without placing you in one category? I think it’s challenging to build internationally in several places at the same time. Usually, you start in one place, build there, and then move to the next. I’ve been steadily building in different places. As an artist, I see the world as one. I don’t want to make music for only one place. That’s why it’s important for me to go to places like Lollapalooza India, experience the culture, meet people, and get inspired by the fashion. I also want to go to Nigeria and feel the Afrobeats in my roots, come to America and understand the urban culture, and experience Scandinavia and other parts of the world. It may be a more challenging route, but I’m building for longevity. I’m trying to understand the world so I can make music that connects with the world. It makes me happy when I see my streams scattered across Asia, Africa, Latin America, and other places. I’m not making music only for the West. I’m making it for the world.

You performed in India for the first time at Lollapalooza Mumbai this year. What did that experience teach you about how your music connects with audiences outside Europe and Africa? It was incredible to see how Afrobeats moved people from a completely different culture. I could see it in the audience and in the way they were moving to my songs. It inspired me because even if they don’t normally listen to that type of music, they still connected with the spirit of it, the chords, and the feeling. Music is universal.Standing onstage and seeing that light in people’s eyes really warmed my heart. It was beautiful.

Do you see yourself becoming a broader entertainment and lifestyle brand, or will music always remain at the center? Music will always remain at the center. I’m pretty sure of that. I love other things too. I have a strong passion for fashion, and I’ve acted in my home country. I did a drama series there. Those things are fun, but deep in my spirit, I feel that music is where my biggest purpose is. That will always be my main focus, and everything else is an extension of my artistry.

“AS AN ARTIST, I SEE THE WORLD AS ONE. I DON’T WANT TO MAKE MUSIC FOR ONLY ONE PLACE.”

Speaking of fashion, you recently partnered with H&M. What was it like working with such a major brand? It felt very aligned because H&M is a Scandinavian brand, and I grew up shopping there. I also like that it’s a global brand that reaches people of different ages and different economic backgrounds. It feels accessible, and that’s how I want my music to be too. I want it to reach all kinds of people and places. The collaboration started in India when I did an H&M performance at Lollapalooza. From there, we did more together. I also just came back from Fashion Week in New York.

What was Fashion Week like for you? It was great. It’s so cool to see how fashion and music can collaborate because they’re both forms of art. Dressing up and honoring the designers who dress us for red carpets and stage performances is such a big part of culture and my artistry. I love the place Fashion Week has in culture today.

What have you learned from watching artists like Rihanna, Beyoncé, Burna Boy, Frank Ocean, and Robyn build careers that reach beyond one market? I’ve learned that music is universal. One song can connect people from completely different places. They can all love the same song and sing the same song together. I think that’s a beautiful example of how we’re all the same and all created equally. Music is a beautiful reminder of that.

When people around the world discover you over the next few years, what do you want them to say separates you from other artists competing for their attention? I want them to say that I always stayed true to myself and my core values. That’s something I always want to keep. I also hope I bring light. Even in the more melancholic songs, I want to bring hope. I want people to listen to my music, watch my videos, and come away feeling uplifted and feeling like there’s hope.

You mentioned that you’re excited about the new music you’re working on. How does this next era differ from your first album? My first album was a solo project that introduced my Nigerian and Norwegian backgrounds. I didn’t want to do any features because I wanted to establish my own work first, and I wrote about 90% of the album. Now, I’m going deeper into my soul and becoming more collaborative. I’m reaching a little wider while also reconnecting with the jazzy side of my background. The first album was an introduction. Now I’m ready to go for it and reach the world more.

Can you share anything about the collaborators involved in the new music? I can hint at a few things. One song is with an American artist I’ve looked up to for years, and there’s another collaboration with a major Latin artist. I also have things in the works with a couple of Nigerian artists, as well as artists from the U.K. and France. I’m trying to do more collaborations so I can understand more sounds from around the world and grow into the kind of international artist I admire. I’m also reconnecting with some of my mentors. It’s going to be exciting. You haven’t seen anything yet.

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