September 2026

AN URE... WE LIVE IT

ERIKA BRYANT ON DOING IT SCARED

NICHOLAS ZOË ANNA RHENZY PETE HOULT KRAVITZ SAWAI FELIZ DAVIDSON REILLY

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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.

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Some stories command attention because of a single moment. Others earn it through the depth, range, and persistence of a life’s work. erika bryant (intentionally lowercased) belongs firmly in the latter.

For more than two decades, she has moved across music, television, producing, writing, and entrepreneurship with a rare combination of curiosity, discipline, and creative instinct. Her career is not defined by one title, but by a willingness to evolve, take risks, and trust the value of her own voice.

As one of the dopest people I know, I am honored to bring her back for a second cover to celebrate her storied career and continued contribution to Black culture.

This cover recognizes more than a milestone. It honors a body of work, a point of view, and a woman whose journey has earned its place in the spotlight.

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

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06 EDITORIAL 17 POETRY 24 BUYERS GUIDE 32 AIR JORDAN 41 36 SWAT EXILES 50 THE TABLE WAS NEVER EMPTY 58 ASHIA MONTGOMERY 66 GENIA 74 DAVION FARRIS 84 ERIKA BRYANT

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WE DON'T JUST WRITE ABOUT URBAN CULTURE... WE LIVE IT

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Written by Paul Laurence Dunbari

This is the debt I pay Just for one riotous day, Years of regret and grief, Sorrow without relief. Pay it I will to the end— Until the grave, my friend, Gives me a true release— Gives me the clasp of peace. Slight was the thing I bought, Small was the debt I thought, Poor was the loan at best— God! but the interest!

Written by Langston Hughes

Because my mouth Is wide with laughter And my throat Is deep with song, You do not think I suffer after I have held my pain So long. Because my mouth Is wide with laughter, You do not hear My inner cry, Because my feet Are gay with dancing, You do not know I die.

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Written by Claude McKay

I must not gaze at them although Your eyes are dawning day; I must not watch you as you go Your sun-illumined way; I hear but I must never heed The fascinating note, Which, fluting like a river reed, Comes from your trembling throat; I must not see upon your face Love’s softly glowing spark; For there’s the barrier of race, You’re fair and I am dark.

Written by Be'n Original

Sometimes I wonder I wonder about your name The softness of your skin The taste of your lips The wet warmth of your depths I want to find and lose myself in you I just want to hold you Until the sun finds us Still wrapped in the essence Of what our love could be Hoping for the day That you might find yourself Wondering about me

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Jordan Brand is set to release the Air Jordan 41, the latest model in its signature basketball shoe line, with a limited launch in China on Aug. 28 before a global release. The new shoe is designed around speed, responsiveness, and stability while moving away from some of the traditional materials used in past Air Jordan models. Jordan Brand said the 41 was developed with feedback from Michael Jordan, professional and college players, and athletes in Nike’s Elite Youth Basketball League. “The Air Jordan 41 is a statement about where Jordan Brand is headed,” Jordan Brand President Sarah Mensah said. She said the shoe carries on the company’s history while being designed for athletes who are shaping the future of basketball. One of the biggest changes is the shoe’s nano print mesh upper. The lightweight woven material is meant to improve breathability and support while helping players stay secure during cuts and changes of direction. “With the 41, we wanted to create an upper that could move with the athlete and feel lighter without sacrificing the containment and confidence they need to play at their best,” said Leo Chang, senior creative director of basketball and sport for Jordan Brand. “What I love about 41 is that it lets me play my game without thinking about what’s on my feet,” Jordan Brand athlete Paolo Banchero said.

www.urbanmag-online.com

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• AUGUST 28

PARTMENT

Daniel “Hondo” Harrelson is tasked with leading his squad of young, untested officers on dangerous, high-stakes missions weekly cases that range from drug busts to hostage rescues to gang warfare – but beneath the action lies a darker setup: the team has been hand-picked to fail.

As tensions flare and betrayals surface, Hondo must fight to hold the group together, even as his own leadership and sense of self are tested.

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• DEPARTM

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Fightland 2026 Starz Entertainm

GHTLAND

The real fight is outside the ring

STARZ ment, LLC. All rights reserved. Artwork © Storz Entertainment, LLC. Storz and related channels and service marks are the property of Starz Entertainment, LLC.

There is a question floating around social media that men seem to love asking women: “What do you bring to the table?” It is usually asked with a certain tone. Not from genuine curiosity, but from a place of judgment. As if a woman must present a list of qualifications before she can be considered worthy of love, commitment, protection, or respect. As if her value is something she must prove while the person questioning her offers nothing but a seat and an opinion. But let’s be clear. Women have always brought something to the table. In fact, women have been building the table, setting the table, feeding everyone at the table, and cleaning up after people who arrived with nothing but an appetite. Women bring life into this world. We raise children, maintain homes, build careers, earn degrees, create businesses, support dreams, manage crises, and carry responsibilities that often go unseen. We remember the appointments, the birthdays, the conversations, the details, and the things everyone else somehow forgets. We are expected to be soft enough to nurture, strong enough to survive, wise enough to advise, and independent enough not to need too much. Then, after doing all of that, someone still has the nerve to ask what we bring. A woman brings vision. She can see

the possibility in something before it becomes successful. She can take an idea, a house, a family, or a relationship and help it grow into more. She brings emotional intelligence, creativity, intuition, patience, loyalty, and resilience. She brings the ability to create warmth in places that once felt empty.

from a woman demanding an inventory of everything she brings. He is paying attention. He sees her character, her discipline, her heart, her intelligence, and the way she carries herself. He understands that a healthy relationship is not an audition. It is two whole people deciding what they can build together.

But too often, what a woman brings is only recognized after she stops bringing it.

So perhaps the question is not, “What does a woman bring to the table?” Perhaps the better questions are:

Her support is overlooked until there is no one left encouraging you. Her peace is undervalued until your life becomes loud without her. Her loyalty

What kind of table have you built? Is it stable? Is it safe?

is taken for granted until you realize genuine people are not easy to replace. Her presence feels ordinary until her absence changes the entire atmosphere. That is the part nobody wants to discuss. Women are constantly asked to prove their value while men are rarely asked whether they have created a space where a woman’s value can even be appreciated. Everybody wants a peaceful woman, but not everybody knows how to protect her peace. Everybody wants a Is there room for her voice? Will her contributions be valued, or will she be expected to keep proving herself while yours go unquestioned? Because women have never had a problem bringing something to the table. The real issue is that too many people want access to everything a woman carries without having the capacity to respect it, protect it, or pour anything meaningful back into her. A woman brings plenty.

loyal woman, but not everybody knows how to honor loyalty. Everybody wants a soft woman, but some people keep

The question is whether you bring enough to sit beside her.

handing her reasons to become guarded. Author Bio A woman cannot keep pouring into a place that keeps draining her and still be expected to show up full. And no, a woman’s value is not determined by how well she can serve a man. She is not valuable only because she cooks, cleans, has children, earns money, or looks good beside him. Those may be things she contributes, but they are not the full measure of who she is. She is valuable because she is whole before anyone chooses her. The right man is not sitting across

Míchelle Annaléise Coles is an author, certified relationship coach, and the founder of Annaleise Affirms LLC, a wellness brand rooted in self-love, healing, and emotional empowerment. She is the voice behind Unapologetically You: The Path to Unshakable Self- Love, a transformative guide for women ready to reclaim their worth and rewrite their narrative. Through her writing and coaching, Míchelle inspires others to break toxic cycles, build meaningful connections, and unapologetically choose themselves. Learn more at annaleiseaffirms.com

The real fight is outside the ring

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Ashia Montgomery discusses er experience finding love with Maxwell on 90 Day Fiancé, addressing their age difference, faith, doubting from family and viewer, cultural contrasts, and the complex visa process.

Society often pressures women as they age to rush love, marriage, and family. What gave you the confidence to seek love on your own terms instead of yielding to that pressure? I feel like you just have to trust God and trust God’s timing. He orchestrates everything. He knows the beginning, the end — He knows it all. As long as you’re in His will, you’re patient and you’re prepared, I feel like God is going to do His part. He’s going to bring that man.

Faith is clearly an important part of who you are. How has that influenced the way you approached your relationship with Maxwell? The biggest thing is that we’re both Pentecostal. We have the same religion, so we have the same foundation. When it comes to those things, I feel like we can definitely relate. I think it’s very important to be equally yoked with a person and to have a good understanding when it comes to the Word and applying the Word. That’s the biggest thing.

How do you distinguish between having faith in a relationship and simply hoping things work out? I’m big on red flags. If you show me a red flag, baby, I cut you off real quick. I think you also have to have wisdom. How is this person treating me? How does this person make me feel? Is this somebody I can be with long-term? Sometimes, as women, we settle. We get anxious and impatient and think, “This is kind of OK. I can work with this person.” But I think the biggest thing is making sure you can fulfill God’s will with that person.

What was it about Maxwell that made you realize the relationship was worth taking such a big leap of faith? Initially, it was finding out that we had the same religion. Then after my first visit, I watched how he interacted with people — because, baby, I was watching. My

eyes were open. I wanted to make sure this guy lined up with what he had been telling me. I watched how he treated people, how he treated the waitstaff, how he interacted with his friends and his family. We had such a short amount of time to spend together, so I was really paying attention. Between our similarities, our religion and seeing that his actions lined up with what he was saying, that meant a lot to me.

Both your family and Maxwell’s family have questioned some of your decisions and the pace of the relationship. What was it like dealing with uncertainty from the people closest to you when you were hoping for their support? It’s annoying, because I’ve already made my decision. At that point, what you’re looking for is support. I feel like I’m intelligent. I feel like I have a lot of wisdom, and then I have God. I have a strong gift of discernment, so I know when something is right for me and when something is wrong for me. It’s aggravating when people who have known me all my life know that nine times out of 10, I make great decisions. Why would you think I would drop the ball on something so important? I know people talk about age, menopause and all of those things, but I wouldn’t rush into a decision because of my age or because of a fear that I might not be able to have children.

What do you think your families were seeing that made them question the relationship? The biggest thing is that when you’re dating someone and you don’t see them all the time, you don’t really have certainty. What are they doing? Do they have another girlfriend over there? What are they doing when you’re not together?

And how can you really know someone if you’re not spending a lot of time together? I’m big on that. I do feel like you need to see a person in all seasons. You need to see how they are when they’re angry, when they’re sad — you need to see all of that. At the same time, I had to rely on the fact that I felt like God told me this was my person. I had to have faith that I heard God correctly.

You and Maxwell have a 10-year age difference. Has that become a major part of the conversation surrounding your relationship? And what do you wish people understood about the two of you that they might not see from the outside? A lot of people thought I was bossy, first of all. They thought I was pretty bossy. I don’t feel like I’m bossy, per se. I just know what I want, and I know how I want things. If I think the way I’m doing something is going to benefit you, I’m going to try to get you to go in that direction. That’s just my personality. As far as the age difference, if Maxwell is OK with the age and Ashia is OK with the age, why should it be a problem for somebody else? We chose each other. Let us be happy with our choice.

There have been several obstacles standing between you and the future you envisioned with Maxwell, from the visa process to outside criticism. Which challenge has been the hardest emotionally? That visa. Hands down, that visa. I already knew what God said. I knew what His promise was, so I had already imagined this man in the U.S. We had this beautiful home, these careers — I had already envisioned so many things. It never crossed my mind, even for a split second, that the visa would be denied. That rocked my world. I was not prepared for that one.

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Out of everything, that has been the hardest thing to deal with.

Has the difficulty with the visa changed how you and Maxwell approach your future? I think it has taught me to always have a solid Plan A, but also consider the what-ifs. And be prayed up. Originally, we were praying really, really hard about the situation. But as time went on, because the process took so long, we got comfortable. Instead of continuing to fast and pray that everything would work out, we became so confident that we were going to get an approval. So my thing now is: Always have a backup plan, and be prayed up.

What have you learned about yourself throughout this journey — whether about your faith, relationships or interacting with people from another cultural background? I feel like all my life I’ve been around a lot of different cultures, especially when I was in pharmacy school. I’ve always felt like I know how to conduct myself around anybody. I know how to make people feel comfortable and welcome, no matter their background or culture. I can embrace it. The hardest thing for me was when I said one wrong thing — I didn’t say “good morning” — and viewers tore me up for that. People were saying I didn’t know how to embrace other cultures or that I didn’t respect other cultures. That was so far from the truth. It’s something I’m still dealing with to this day. I still get comments about that one.

As you’re learning Maxwell’s culture, what has required the two of you to really work on how you communicate? The biggest thing when you’re trying to communicate and learn is patience. Don’t think it’s going to be instant. You have to be a good listener. I talk more than I listen, unfortunately. But you have to listen, you have to be teachable and you have to try to be compassionate. Sometimes you get so used to the way you do things that you think, “Whatever, that’s not important.” You brush something off and say, “I know, I know, I know.” But you really need to listen to what the other person is saying. When you’re listening, you’re teachable and you’re open to new experiences, things go a little more smoothly.

You’ve described your journey as proof that it’s never too late to find love. What would you say to someone watching your story who has started to believe love has passed them by? Love can never pass you by. I feel like the biggest thing is being prepared. Pray to God and let God know the desires of your heart. Delight yourself in the Lord, make sure what you want lines up with His will, and then be prepared. I wasn’t prepared. I needed to cook a little bit more and learn a few more recipes. I needed to be a little tidier. There were a lot of things I needed to work on to be prepared for this man, and I wasn’t. Now I’m getting a crash course. A lot of women are so fixated on, “Where’s the man? Where’s the man? Where’s the man?” instead of asking, “What do I need to work on? How can I strengthen my relationship with God?” I feel like God will answer those prayers.

NA'ILAH BURSTON

9-SAFE

GENIA

Singer Genia discusses finding her voice, embracing vulnerability, and the personal journey behind her debut album, Intense Lover, a intimate project exploring love, passion, faith, and emotional growth.

I know you did a full 180. I want to get into the music, but first, what was the catalyst? Before this project, there were about 17 or 18 tracks. I was recording a lot - I'm always creating every day. Around the time I was finishing that project last year, I went into the studio and recorded "Miss Your Touch." I had no intention of putting the record out. It wasn't planned. It was just a record I made because I really felt the storyline and the vulnerability of that moment. One random day, I decided to post a snippet on TikTok. I wasn't expecting anything. At first, it didn't really do anything, but for whatever reason, I kept posting it. Then it really skyrocketed on social media. Every time I posted the record, it would get at least around 5,000 views. People were really craving the song and wanted it to drop. Seeing people gravitate toward a record I made with no pressure - something that was true to what I was going through - compared with music I may have been trying to force at the time was eyeopening. I realized that who I am right now, what I'm going through, the fact that I'm sensitive and vulnerable and care about love - even if that's not the "cool" thing - is what people were connecting with.People found themselves in those records. They could relate to "Miss Your Touch." It made me want to dive deeper into that vulnerable part of who I am. That's not to say the other records from the previous project won't come out. There's a time for everything. I just didn't want too much going on with this project. Seven records felt perfect for giving people a rundown of where I am in my life.

Speaking of where you are in your life, it seems like you're going through a transformation while creating this project. That has to be a roller coaster. What did you learn about yourself during that time?

“YOU LOSE THINGS, YOU MAKE MISTAKES, YOU HAVE WINS AND YOU HAVE LOSSES.”

I learned that being myself is the way. We're in the age of social media and in a generation that's really hell-bent on being cool and coming off as cool. I'm the opposite. I wasn't the cool person in school. So I had this realization: If that wasn't me to begin with, why do I feel the need to portray that? Being cool is being yourself at the end of the day. It's not, "I'm cool because I'm wearing this" or "I'm cool because I'm speaking on this." I think being cool is being raw and vulnerable. I realized that me being myself is enough to move the needle. I don't need to overdo it.

Speaking of being raw, you posted about losing your apartment while, at the same time, making a hit. Everything falling apart while simultaneously coming together feels like a common theme for a lot of people right now. What does that mean for you? I wasn't sure if I was going to post it, to be honest, but I wanted people to see where I am in my life. A lot of artists nowadays don't want to show that, or maybe they're too embarrassed. But I'm a human being at the end of the day. I'm doing well for myself in the sense that I took the leap to chase my dreams. I took the leap to move to L.A. I don't see losing my apartment as a failure at all. I see it as part of being human. I'm putting everything I have into my music, and I believe the bad usually happens before the good. I want to be raw, open and honest because if there's someone from my city - or anywhere - who wants to chase their dreams, it's important that they see this. It's not pretty. It looks pretty on social media because people try to paint it that way, but it isn't. You're grinding as an artist, and things happen. You lose things, you make mistakes, you have wins and you have losses. If I'm encouraging people to chase their dreams, they have to know what comes with it. This comes with it.

"Miss Your Touch" is the song we talked about earlier this year, when you said it was going to be the hit. I was driving the other day and "For You" came on Apple Music. I love it. How did you expect "For You" to be received? I try not to think too far ahead. I feel like all of those songs are hits in their own right, so I don't focus too much on which record is going to go or which one is going to be the hit. I think they're all going to have their moment. But "For You" was a vocal moment for me to really show off. On each song on the project, I show something different in my

SOME ROOTS RUN DEEPER THAN PAIN

“I FEEL GREAT. I'M AN UP- AND-COMING ARTIST, AND IT'S BEEN NICE TO SEE THIS DISCOVERY HAPPENING.”

vocals and in my tone. "For You," for me, is a very debut-type song. It's like, this is where I'm taking it, and this is just a taste of where it can go.

You were also able to work on a record connected to Chris Brown. What was that like? I didn't directly work with Chris Brown in the studio. I heard the record, and the A&R who played it gave me the opportunity to go in and lay an idea. I did get to briefly meet Summer Walker. She was really dope. But in general, it was crazy to see someone of that caliber take the song and sing something I had written. It was really dope.

Let's talk about "Intense Lover." Is there a story you're trying to tell throughout the project? Yeah. I love to the max. My love is always on 10; it's never really in the middle. That's one of the reasons I try to stay to myself and not overexert myself, because once I love someone - whether it's a relationship or family - I go to war for them. It can be dangerous when you're that type of person because there's no cap on it. There's almost nothing I wouldn't do for a person I love. On this project, I'm obviously talking about relationships, but that's always been who I am in relationships. I've always loved to the max. Whether I've gotten that love back, we'll save that for the next project. But I've always loved at a 10 - never below, never in the middle. It felt right to call the project "Intense Lover."

How do you feel about how the project is being received? I feel great. I'm an up-and-coming artist, and it's been nice to see this discovery happening. It's the first time I feel like there's been a real discovery around my music. I think people knew of me before, but right now things are really moving online. It's been amazing. I feel like people are loving the project and receiving it well. There's a song on there for everybody. I sprinkle in some pop and alternative R&B. Then you have "Can't Wait" and "Miss Your Touch" on the '90s R&B nostalgic side. I think it's great. I rock with it.

I'm excited about what you have coming up. What do you see for yourself as you close out 2026? I see more performances. I definitely want to be outside more. I want to meet more of the listeners and fans. That's really big for me right now. My goal is to be onstage as much as I can. I'm also working on more music to put out next year, but I'm not in a rush. This project just came out. I want to give it time to simmer and move around. My focus is getting one of these records to chart on the Billboard Hot 100. I believe one of them can chart, so I'm working toward that.

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Davion Farris talks about his newly launched 13-track album Alchemy, the motivation behind the work, his development as a musician, and the recent experiences that influenced this fresh phase in his career.

Where do you see your growth, both professionally and personally? Personally, I’m a bit more disciplined. I’ve cut back tremendously on smoking, which is a big thing for me personally and professionally because it affects my voice and my ability to perform consistently the way I’d like to. I’m glad about that. And, of course, I have my daughter, my baby girl, so I want to make sure I’m in good shape and able to do whatever is needed for my baby at any moment. That’s another part of the discipline. I’m taking better care of myself. I’m in better shape, and that goes a long way when you’re hitting the road and making sure we look and present ourselves the way we want to onstage. Musically, I feel like I’ve stretched out. I’ve used a lot more live musicians— whether it be guitar, horns, live bass, whatever. We pulled it all out this time around on the album, so I’m excited about that growth.

Definitely, and congratulations. That’s beautiful. You suffered tremendous losses and then welcomed new life. Can you talk about how those moments impacted or influenced your creativity? Absolutely. It was a couple of things, actually: losing my mom, rest in peace, and then losing my older brother. It was tough. It challenged all of us as a family unit, and it challenged us individually. There are spaces where we have to come together and do our best to feel what we need to feel without letting the pain and grief overtake us. We’ve definitely grown closer as a family, and I feel like we’ve grown stronger as individuals as well. Then the addition of new life brings new, much-needed energy. SiR had my second niece, Danielle, and then I had my baby, Soleil. Having that new energy, where death and grief are trying to get a stronghold, helps keep them at bay. It gives us a new level of inspiration.

“THIS ALBUM REPRESENTS MY GROWTH AS A PERSON, SO IT’S DEFINITELY VERY PERSONAL.”

There aren’t many feelings like looking down into your baby girl’s eyes and having her look back at you like you’re her favorite thing in the world. That can inspire you, and it definitely has inspired me.

I love that. I want to get into the album. I know we got heavy early. How personal is this album to you, and what does it represent? This album represents my growth as a person, so it’s definitely very personal. I’m in a place now where I’m happy. I’m with someone who is beautiful, respectful, kind, wise, smart—all of the things—and now I’m prepared for that. The lessons I learned through this album—the lessons of loss and understanding that I have to be the best person I can be whether or not there are eyes on me—are part of that growth. The growth I’ve experienced through this story is what prepared me to be the man who can take care of the things he has now.

I saw you post a snippet of SiR. I want to say it was SiR—it looked like he was doing some behind-the-scenes work with you. Were you able to utilize him or D Smoke for their creative expertise on the project? Absolutely. SiR wrote on a few songs on the project—three, actually. We’ve got “Down Bad,” which is one of my favorites and a fan favorite, featuring Rayvon, who came in and did his thing. He bodied that verse. SiR also co-wrote “Reality”—he wrote most of it, to be honest—and he wrote “It’s Done,” which might low-key be my favorite song on the album.

What was the most memorable moment of creating this album? Was it a breakthrough in the studio, a collaboration, or even a challenge you had to overcome? Even though it wasn’t directly a studio moment, I had been working on this project for a few years. I wouldn’t say it was just one moment, but having to sing at my mom’s funeral was different. It took strength, even though I wouldn’t say I felt particularly strong in the moment. I pulled through and sang one of the songs we would always do together. She would sit down at the piano and play a few tunes, and I would sing along. That was our favorite thing to do, so I had to do it one last time. That was probably the most memorable part of making the project because that moment

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“I WANT THEM TO LEARN THE LESSON OF PUTTING YOUR BEST FOOT FORWARD AND BEING YOUR BEST SELF.”

carried me through when the project was due, deadlines were coming, mixes had to be finished, and everything had to be right. It can get tiring. But understanding that I’m part of her legacy—and that I have a duty, so to speak, to put this music out, share it, and help continue her legacy—gave me inspiration to draw from.

That’s beautiful. What do you want listeners to take from the album? I want them to learn the lesson of putting your best foot forward and being your best self. I want men, in particular, to understand that you don’t have to lose everything in order to see what you have. A lot of us go through that. We make mistakes and feel like we’ll always have someone or something, but taking things for granted is a quick way to lose them. We don’t want to take things for granted. We want to take care of the people and things we love, hold dear, and consider precious. That’s the overall lesson the album is talking about.

You gave us a short preview back in 2022 that really showed off your raw vocals. Do you have any shows or tours coming up where fans can experience that for themselves?

We’re working on a couple of things. We’ve got a show at the Peppermint Club that we’re setting up with Live Nation, and we also have some things we’re looking to get on the calendar with Blue Note. We’ve got a few spot dates coming up, so I’m excited. Once we hit those, I think that’ll open more doors. And, of course, once [unclear] is on tour at the top of next year or next spring, I’ll be out there with them. So that’s coming.

We’ll definitely be looking out for it. With this album out, what does the next chapter of your career look like, and what are you excited for fans to experience next? I’m excited to continue this story. I’m working on the deluxe right now, with some extra songs and pieces that will help tell the story a little better, so I’m excited about that. I’m also working on some acting. I’ve been coaching Smoke as he’s worked on a few films and other projects this year, so I’m getting back into my acting bag. I studied for four years under Tasha Smith and then taught for a year, so that’s definitely one of the fields I’m excited to step into and branch out into.

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Approaching 50, erika bryant (intentionally lowercased) isn’t simply marking a milestone—she’s claiming the fullness of a life built by betting on herself, taking up space, and refusing to let fear have the final word. For more than two decades, bryant has moved through music, television, producing, writing, and entrepreneurship with an unwavering belief in the power of people and story. Along the way, she has turned curiosity into creativity, obstacles into opportunity, and fear into fuel. Her philosophy is simple and hard-earned: “Fear is my muse.”

As erika bryant prepares to celebrate her 50th birthday, her forthcoming *Doing It Scared in Love & Relationships* carries special meaning. She calls it “literally a 50th birthday gift to myself”—a personal exploration of vulnerability, intimacy, ambition, and the courage to believe women can have both a fully realized life and fully realized love. This chapter feels less like reinvention than arrival: a woman standing firmly in her voice, purpose, softness, and power.

WORDS BY BE'N ORIGINAL

Photographer: Castro

“DON'T GIVE UP ON YOURSELF BECAUSE YOU ACTUALLY HAVE A TALENT, AND IT'S GOING TO TAKE YOU SOMEWHERE.”

When you think about the time you were making roughly a hundred dollars a day as a production assistant and wondering whether this career would work out, what would you tell her today? I tell her to follow the passion, not the money. I feel like when you follow your passion, that usually means your purpose is wrapped up in there too. When you follow that, the money eventually comes. It may not come in a dump truck all at once, but what you gain over time is adaptability. You get better at your craft, and you grow as a person. I think we are the sum of all the things that we experience and go through. I would tell her to stick with it. It gets better on the other side. Don't give up on yourself because you actually have a talent, and it's going to take you somewhere. Your gifts will make room for you.

How has your experience in the music industry influenced the way you discover talent, develop stories, and build creative teams today? The music industry was 20-something years ago, so that was a long time ago. I think it's all about people. No matter what business you're in—music, television, marketing, magazines, publishing, or whatever it might be—it's all about people. I'm a naturally curious person, and music was my first love. That curiosity led me into the industry. When I moved into television and writing, the same curiosity stayed with me. When I'm developing teams and shows, I want to know what makes people tick, what entertains them, and what makes them laugh. I always say I was raised by television. It was like my nanny. I was a latchkey kid back in the day, so a lot of my time was spent in front of the television. We had programming that painted the tapestry of the world we lived in at the time, and it helped shape my mind around storytelling. I think it became a part of my DNA. As I build teams, I try to represent people from different walks of life. I think God put us all here with a specific something in mind. I always want to tell stories that depict true life. Life is stranger than fiction, and God is the best author of them all.

You built a career across major networks and platforms while creating opportunities for yourself along the way. What has entrepreneurship taught you that working within traditional Hollywood structures never could? You have to bet on yourself. There's something to be said for working within the confines of the majors because you learn the craft. There are important

Cover/Last Image by: Quby Makeup by : Nichole Ray Hair by: Greg Gilmore

Other Images by: Castro Makeup by: Nichole Ray Styled by: Baldwin Virgin Hair by : Teresa Gray.

lessons when it comes to managing up, managing down, and dealing with a corporate structure. I worked at Sony for almost two years in development during the pandemic after Holly Jacobs brought me in from the field as a showrunner. It was an important experience because it showed me how much I already knew. As a producer, I had spent years working directly with talent, writing scripts, beat sheets, network materials, and show bibles. At Sony, I realized I understood the craft more deeply than I had given myself credit for. I've been an entrepreneur since 2012. When you become a freelancer in the television business, you are an entrepreneur. As an entrepreneur, you have to fight for yourself. You have to bet on yourself. I respect the structure, but I find my own lane. I think that's what's been key for me.

For Black women entering TV and film now, the industry has changed but barriers remain. What advice do you wish you'd had before your first production? Take up space. I wish someone had told me to take up space. Some things haven't changed, which is why entrepreneurs like me are trying to create opportunities for other women of color. There's usually maybe one or two of us in the space, in the room. Coming up, I was afraid to take up space. As I grew in my craft, I began to use my voice more. I remember being a PA on a Pussycat Dolls show and noticing something onstage that seemed off. I mentioned it to showrunner Brooke Karzen, and she told me, 'You're going to be an amazing executive producer one day.' Had I stayed quiet, I might never have received that encouragement or allowed her to see something in me that I couldn't yet see in myself. Years later, when I became a showrunner, I reminded her of that moment. It never left me. At the time, I didn't even know what an executive producer really did; I just knew they were at the top of the call sheet.

You've spoken about being one of the only Black women in certain production rooms. What does meaningful representation behind the camera look like to you beyond simply increasing headcount? It is about increasing the headcount, for sure. We have to open doors for each other. But I think it's also about representation in the content. If there are only two of us in the room, then what are we putting on paper? What are we discussing? What are we putting on the screen? It's about allowing those stories to resonate, including stories that speak to wider and minority audiences. We have to bust down doors and create more chairs at the table. Yes, build our own tables and build our own rooms, but also make sure what we're putting on the screen is true and authentic to the lived experiences of underrepresented people.

As a producer and showrunner, you're responsible for both the story

“WE HAVE TO BUST DOWN DOORS AND CREATE MORE CHAIRS AT THE TABLE.”

and the people creating it. What have you learned about leading teams? I've learned to handle everybody with grace. We're all going through something in our own walks of life. Yes, we have a larger mandate at hand: to do the job and deliver for our bosses. We're serving many masters and pleasing many chiefs, if you will. I think it's about giving grace and leading with compassion, while also being teachable. Just because I'm a leader doesn't mean I know everything. It means we're a team. Just like a fist, you need your thumb and your pinky to make a true fist. You pack less of a punch if you don't. I learn from my staff all the time, from a PA to a supervising producer to a co-EP. When everyone approaches the work with that openness, it creates a better experience. I also like to have fun at work. We get to create television and content; it should be enjoyable. The job requires you to pivot, think quickly, and find solutions.

In the original Doing It Scared, you described fear as something that can signal growth rather than something to avoid. After everything you've accomplished since writing that book, how has your relationship with fear changed? Fear is my muse. My relationship with fear has changed in the sense that I lean in heavier now. I see fear as this mountain that looks insurmountable. But if you approach the mountain and lean into that fear—not avoid it, not ignore it, but walk toward it—on the other side of that fear is the unlived version of ourselves. With this book, I leaned heavily into things I feared. They say, 'Be careful what you pray for.' I knew the title before I knew the content, and then life happened. Over about 18 to 24 months, I experienced some of the hardest lows and some of the highest moments, including getting married. I feel like God never gives us more than we can handle. If you're willing to do the work and lean into the fear, you really do come out on the other side a better-lived version of yourself. By conquering that mountain of fear, when you get to the summit, the blessings are there.

With the forthcoming Doing It Scared in Love & Relationships, you've taken that philosophy into the realm of love and intimacy. What do you hope readers take from this book? I knew it was supposed to be about love and relationships because I'm building this Doing It Scared umbrella, sort of like Chicken Soup for the Soul. I had the title way before I had the content. Fear is fear is fear, whether it's in a career, in relationships and love, or in learning how to ride a bike or swim. The first book was more of an invitation: 'Hey, come on, guys, let's go conquer some fear together. You can do it.' This book is an initiation. It's, 'Okay, now let's roll up our sleeves and start digging,' because relationships are where the fears truly exist. Relationships are what we're born

“JUST BECAUSE I'M A LEADER DOESN'T MEAN I KNOW EVERYTHING. IT MEANS WE'RE A TEAM.”

IN & OUT

into. We have a mother, a father, siblings, risk being hurt when you open yourself to friendships, and, for some, marriage love. But if you're unwilling to risk being and other relationships throughout hurt, you're also unwilling to be loved.

life. Relationships truly help shape us, Vulnerability means giving someone the probably more so than the other parts of power to hurt you, and leaning into that our lives. This is a book for everyone, and fear is part of the equation. I want everyone to read it, but it's really a gift to women.

What advice do you offer someone trying to navigate love and intimate relationships while also pursuing personal goals? Our personal goals have major importance. I am someone who found love late in life. I'm 50 later this month. This book is literally a 50th birthday gift to myself. It is me doing it scared. Even sharing that I'm going to be 50 is a thing. As women, we're not always encouraged to share our age. I built a full career, but I was still going home alone and wanted love. I have friends who are successful, have money in the bank, and have built full lives, but still want a partner to share those lives with. What I'm offering in this book is the idea that there is a way to have both. It may not be easy or perfect, but it starts with giving ourselves permission. I gave myself permission to put love on the shelf for years, so why not give myself permission to let love in? That means taking off some of the masks, capes, and armor we use to protect ourselves. Love gets through the cracks

How do you define the difference between healthy fear, which protects us, and the fear that holds us back from deep connection? I think all fear is healthy because it's information. It's not something to judge or pack away. It's something to lean into. It's an invitation: 'Here's another area of yourself or your life that is calling you forth because there's another version of you beyond that.' Fear is my muse. It's not my enemy. It's not my nemesis. It is just as important as love because on the other side of it is where the best of us lives. I'm figuring it out as I go. I don't have all the answers. I'm sharing my testimony and hoping it becomes a gift to somebody else. It's not about selling books. It's about sharing my story because I believe my story is bigger than me. I see it as my ministry to others. I don't have children, but my creative work—my books, television shows, and the people I speak to, coach, or counsel—is part of what I leave behind. Those are my children in a way. That's my legacy, and I trust that God is working through me.

in that armor. I learned that the hard way. I had to give myself permission to be soft. Yes, you

Want to stay up-to-date with erika bryant? Follow her on social media via @erikabryant_

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