IT'S ALL JUST STORY | RODNEY BARNES

This year when the NBA unveiled their 75th Anniversary Team of retired and active players, it included 17 members who played for the Lakers which includes the Showtime era of the 70/80s with players Kareem Abdul-Jabbar and Magic Johnson. To understand the importance of this era and what it did to how we enjoy the game, and how it moved the game forward in terms of commerce and making players brand, Winning Time: The Rise of the Lakers Dynasty illustrates the dynamics at play.

We talked with Rodney Barnes, who has written for STARZ Heels, STARZ American Gods, Everybody Hates Chris and more. He shares how he got into the industry, the positions he has held, his approach to his work, being the Executive Producer and writer for Winning Time, Zombie Love Studios and his passion for comic books and graphic novels.

ATHLEISURE MAG: You’ve worked in various positions in the entertainment industry as a Production Assistant, showrunner, Executive Producer and an award-winning screenwriter. With all of these roles, what was the moment that you realized that you wanted to work in this industry?

RODNEY BARNES: I was going to Howard University and I was in the School of C (Howard University Cathy Hughs School of Communication) and I was working at Georgetown Law Center as a campus cop at night and I found out that the movie The Pelican Brief was coming to my job to film some scenes. So I was really excited because it’s one thing to go to school for this and it’s another thing to actually be able to see it up close. So I signed up for all of the overtime details and I got them all. I started watching the movie being put together and it was so exciting! So I met a guy and he was the PA, he was a Key Set PA. So I asked him how I could get a job doing what he did. He said that that weekend, they had some big scenes that were taking place at the Washington Monument and that if I wanted to come and do it for a day, they'd be happy to have me.

So I did it and it was the most exciting, fun and best $100 that I ever made in my entire life! It was something about it that felt right. I felt more purpose in doing that and being close to this thing that I wanted to be close to then I did doing anything else that paid a lot better. I quit my job at Georgetown and started working as a PA full time.

AM: What a story, we always tell people that we embrace the multi-hyphenate. As someone who has worked in a number of roles and continues to do so from writing and producing, when did you know that you wanted to take on these areas and what the specific area was that you wanted to start in first? Or was there just a confluence that took place to make all of this come together?

RB: I knew I wanted to be a writer, but I knew what I didn’t know. I knew that I didn’t understand how any of this worked and I had a very fundamental understanding of what writing was and telling stories. Quite frankly, emotionally and psychologically, I wasn’t mature enough or evolved enough to be able to take on the big job. So, working as a PA, I look at it as being an apprentice. I had an opportunity to meet people, to sort of find my tribe, to figure out the psychology of how it would work and to just get my legs under me which was a bit like bootcamp. It was always writing, but I had to build up to the idea of being able to take my shot at it because it just felt too big.

AM: What do you think was the biggest thing that you learned from being a PA that has helped you with your career or was it just being able to see all the parts that were moving and to be able to understand how they connect?

RB: There was that. I think that the thing for me was that I always had this idea that everybody in Hollywood must be a genius and I haven’t met a genius yet. But, what I have met are some folks that have worked really really hard at their craft. It sort of demystified the entire process for me in being able to see it up close and to be able to observe. I wouldn’t say that I was a vital part although I know that some people would disagree. It was sort of the type of thing where getting to know people as friends and mentors even though that’s a problematic word as no one put their arm around me and said, “son this is what you do.” But they allowed me to be in their circle and to be able to see how the sausage is made. I got an opportunity to be able to just see things up close and to decide whether or not I could do it, if I wanted to do it and the closer I got to the thing that I wanted, the better that things got for me, but I wouldn’t have been able to do any of it if I hadn’t been a PA.

AM: From a screenwriting aspect, you have written a number of things. I loved your work in American Gods which I loved that show and obviously Winning Time and then you look at shows like Everybody Hates Chris. How do you get inspiration to write and then where do you start from when you’re trying to put words to paper to create these worlds for us?

RB: I never looked at it from a place of inspiration because if I need the emotional investment to do it, then I’m not going to be inspired some of those days and I’m still going to have to do it. For me, the difference was, approaching every day like I’m at work which was no different then when I was at Walmart or Target or any of those places that I worked at along the way. I had to get up, I had to work, I didn’t feel like it and then somewhere midday or so, it got a little bit better and then a little bit better. I sort of approach writing in the same way. I have a lot of resistance on the days that I don’t feel like doing it, but it needs to be done because I have a deadline. 78% of the time, I’m able to be disciplined and I’m able to get it done and the other times, I might go to the movies, sit and watch a game or do something else when I’m supposed to be writing. But I think it’s more of a discipline of doing the thing than an emotional component to it. There are days where I feel it and if I'm writing something like a horror driven thing like in my graphic novels, I'm enjoying it a great deal so it’s easier to do, but whether I feel it or I don’t feel it or am some place in between, I still do it.

AM: Just to circle back to American Gods, one of my minors in college was Classical Civilization so it covered mythologies of the world in addition to Greece and Rome and included African and Asian nations. So when I watched it, I loved seeing all of these stories that came to life. What was it like writing for that?

RB: It was great! The best thing that came out of it was my relationship with Orlando Jones (Sleepy Hollow, American Gods, The Good Lord Bird) who played Anansi/Mr. Nancy on our show. I had a similar thing as you, I didn’t do it in college but I studied a lot of different types of mythology and some of these characters like Anansi and Bilquis and others, you don’t really get to hear a lot about them. Because of comic books, you get Thor and Zeus, Odin and Hercules and those guys but oftentimes, Gods of color don’t get a lot of love. Even when they do, it’s in secondary roles. Working for American Gods and I’m a huge Neil Gaiman fan. So to be able to play in that sort of world and get some genre credits under my name was great as I have a comic book company and I also tell a lot of genre driven stories so being able to legitimize that beyond wanting to do it was always something that I wanted to do.

AM: It was such a phenomenal series. I remember seeing the episodes and being able to see some of these characters that I had read about being brought to life so fully, it kept me glued and it was truly incredible.

So as a screenwriter, what is that process like in terms of getting attached to a project and how does one pitch themselves to get into this work?

RB: Well my agents do a lot of my pitching. They typically open doors, but I’d say that about 75% of the work that I get, outside of the things that I create, really comes from via word of mouth. Right now it’s a good time because of Winning Time and people seemingly are enjoying it and you get a lot of offers to do things because they like it which I am grateful for and it is a blessing. More often than not, it’s about putting yourself in the right position you know? People know that I write graphic books and comic books so whenever a project like that comes around and it seems like they can use a writer like me, oftentimes, they’ll call or not so much now because I have been doing it for awhile but maybe 7 or 8 years ago, if it was something that I had heard about that was coming down the pike, I would tell my agents to keep an eye out on it and then see if maybe they could get me up there to be considered.

AM: Is it a different flow for you when you’re writing for the BET Awards or the Oscars – is there a different approach because it’s a live audience or a different format then just a show or even the comic books?

RB: Not really, I look at all of it like it’s story whether it’s writing a joke, Chris Rock or one of his specials or whoever I’m working for for the Oscars or an awards show. Even a joke is a story. It has a beginning, a middle and an end. Whether I’m telling a funny story or a horrifying story or a dramatic story, at the end of the day, it’s all a story. So, I approach it all the same way. The biggest thing for me is really understanding who’s going to be interpreting the words. Like, I work a lot with Chris Rock, and I know him really, really well so if I’m going to pitch something to him, I incorporate that knowledge into the pitch. Like, I can sort of filter myself and know that he wouldn’t like this or he would really like that part. In writing the shows, I have built a great relationship with a lot of our cast and so, I try to write to their strengths as well as to the story that I am trying to tell. When I am saying that I’m writing to their strengths, I'm talking dialogue. There is a cadence to how people talk and if you can make it easier for them to interpret the words, I think that they become more comfortable with it so it's really more so about having familiarity with it for the task at hand.

AM: Also in your body of work, you have been a co-producer and a producer in shows like Heels, Winning Time and Wu-Tang: An American Saga. We’ve had a number of WWE wrestlers as our cover and shared their stories so seeing Heels was another show that we enjoyed. When did you realize that you wanted to add these roles into your body of work and how does that change your perspective especially when you're also writing the show as well?

RB: Well it’s funny, those titles of producing can mean a lot of different things. Earlier in my career, say on My Wife and Kids, when I was a producer, it wasn’t really a lot more to do than sitting in a room and writing. It’s sort of like the government, government jobs they have G-1, G-2 as you work up and it’s sort of like that in television in writing as well. If you do it long enough, you start out as a staff writer and then you move up to a story editor and then an executive story editor and then you go up through the WGA (Writers Guild of America) classifications that go with moving up. But then, in certain gigs like in Everybody Hates Chris, I was in the writer’s room and wrote a number of episodes, but I also produced the voiceover that you would hear in every show. So I would write the lines and go with Chris Rock and go record the lines together and then I would place them in the show in editing. So, to me that was actually the beginning of actually producing and so on different shows, that idea of what a producer means is something different.

On Winning Time, I actually work with the actors whether it’s working on set with their lines, working with the director to see whether or not a shot is sort of lining up with how we saw it when we were writing the show – it can mean a lot of different things. There are some shows where I have been an EP and it didn't mean anything more than just writing a show and putting it together or on some shows I'm actually tangibly doing something different. On American Gods, I wrote and also worked on the set with the actors and the director as well and putting it all together. On Heels, not so much. Marvel's Runaways – not so much. But it’s different with each one, so it’s a classification that comes with being a TV writer and as the responsibilities go, it has more to do with what that show requires.

AM: When I first heard about Winning Time last fall, I knew I was going to love it, I remember as a kid in 1986 loving this team even though I grew up in Indiana and it continues even though I live in NY now. So seeing this story, hearing about this story and getting this inside scoop of what was going on has made it really enjoyable to watch. How did you get attached to this project and what made you want to be involved?

RB: Max Borenstein (Kong: Skull Island, Worth, Godzilla vs Kong) who is our showrunner and the other Executive Producer as well, he and I have been writing together for about 10 years and when Jim Hecht (Fairly OddParents, Ice Age 2: The Meltdown, The Ice Age Adventures of Buck Wild) first optioned the book, he got the book to Adam McKay (Talladega Nights: The Ballad of Ricky Bobby, Vice, Don’t Look Up), and he got it to HBO and they said they would do a pilot I believe, I don’t know if the project was picked up then. They hired Max, Max called me and I said yes that I would want to be a part of it. That’s how it started.

AM: It’s an incredible cast and I love McKay films and the people that are in it. In terms of writing this where you had Jeff Pearlman’s book Showtime: Magic, Kareem, Riley and the Los Angeles Lakers Dynasty of the 1980s, how much source material did you have as I know players of that time as well as the franchise didn’t reach out to you on this. How did you coalesce these things all together to create this story and to provide that insider feel?

RB: Well we were really fortunate that book. So we studied a lot of books and Rick Fox, former Laker was our technical advisor, we talked to a lot of folks who were around the team at that time who worked for the organization, YouTube – we did a lot of research everywhere – articles anything that we could find. We sort of incorporated into the narrative and some stuff we had to tie in together for dramatization purposes.

AM: Obviously with the people that were involved, John C Reilly (Gangs of New York, The Aviator, Anchorman II: The Legend Continues), Jason Clarke (Brotherhood, Chappaquiddick, Silk Road), Rob Morgan (Stranger Things, The United States vs. Billie Holiday, Don’t Look Up), Jason Segel (How I Met Your Mother, Dispatches from Elsewhere, Hotel Artemis) and Adrien Brody (The Grand Budapest Hotel, Peaky Blinders, Succession) etc, there are actors in there where there is a lot of secret sauce. You have actors who were athletic but didn’t play basketball and having to do so for this role, having Quincy Isaiah play such a key and iconic person who was new to this platform, how did all of this come together to get that energy, to make an audience believe that these people who be playing this game even though they didn’t necessarily have this background?

RB: Francine Maisler (Uncut Gems, Being the Ricardos, Dune) is our casting director and she did a great job finding folks. Sometimes you get lucky like in the case of Quincy who is from Michigan and was an athlete – a football player. He had to lose 80lbs or so to come down to being able to have a Magic Johnson-like look. Solomon Hughes who plays, Kareem Adbul-Jabbar is an educator, is 7-feet tall, plays jazz and he played basketball on a professional level before. You just get lucky sometimes. I think that that’s across the board in finding people that not only have the talent but also the emotional stuff.

If you think about our players, they have to learn how to play the game because some had never played the game before, they had to be convincing to learn how to play a particular way that their character played, they had to go through physical training everyday and then they had to learn their lines and then they had to act. So there would be times when they would have to come from training, be on set, leave their work, leave set and go and play basketball everyday for however long – for a year or so. Then there is the training that went into it before hand and always having a good attitude about it as they were going. We got really really fortunate to find the folks that we found.

AM: When did you realize that you were going to be Maurice?

RB: I’ll tell you when I was working, Max was working on a movie called Worth in NY that’s on Netflix now. I was working on the first season of Wu-Tang: An American Saga. I was in Staten Island, he was in Manhattan. We would meet on the weekends and we would go over it with Jim Hecht and Rebecca Bertuch (Worth) and we would work on putting the show together. Every now and then, this name would pop up, Maurice, Maurice, Maurice – like who the hell is Maurice? Oh, you’re going to see and it was like an inside joke. They knew that I didn’t know. When we were officially on board and we started in the writer’s room in LA, we had all the pictures up of the actors on the wall and then there was a picture of me. I was like, “why is my picture on the wall?” They said, you’re going to play Maurice and I was like, “oh, ok – haha Maurice.” So Max actually wrote Maurice’s lines and the only scene that I had at one time was the scene with Pat Reily where I don’t let him in The Forum. I thought, “ok, I can do that, I’ve been a security guard my whole damn life!” I know how to say you can’t come in. You don’t even need to even write out the lines just let me stand there and I know how to not let you in some place. Then, all of a sudden, I started seeing Maurice pop up in other scripts! He's like a leprechaun where he sort of shows up in different places and I'm like, "why am I popping up?” and then I had a walk and talk which is very difficult as an actor because you have to walk, you have to think and you have to move which was in episode 5 where I had that scene. I was nervous about that scene. Actually, I messed up the scene that is on. I messed up a line but Gabby Hoffman (High Maintenance, Girls, Transparent) who plays Claire Rothman is so great, you would never know because she kept going and I kept going and so that was it and they cut and we went on with the day – but I messed up.

It's cool, the network likes it, everyone likes him and I think that Maurice is going to come back and probably say more words.

AM: We always like when he pops up!

RB: Well, thank you! As long as I stay big and relatively menacing and intimidating, Maurice will probably be around.

AM: What has been your biggest takeaway of being part of this particular project, seeing it come together and the reception of people loving this?

RB: Anytime you work hard at a thing for a long time that is intended to entertain people, you always want that to land the way it is intended so that people are entertained. I think that we’ve got a great reception and that people really seem to like it and it’s sort of gratifying because I and a lot of people give a lot when you do these sort of things and it’s not easily assembled. For me certainly being able to talk about African American culture as it pertains to sports in a way that is sort of elevated is always an honor. It’s a good thing.

AM: Well, you guys have been greenlit for a second season. What does that look like, what do you want to tackle – will it continue with these same players or will it be another part of Laker history or even another time in NBA history for a Winning Time situation?

RB: As of the moment, the plan is to continue on in the same narrative and to just keep telling the story as we have been. Even now, when we first started the process before, we were going in the third or fourth iteration of what you see on screen now – we were going to go a lot faster. Then, the decision was made during COVID to slow down the process of storytelling and we had to go back to the drawing board a couple of times to slow it down. I say all of that to say that you never know. We could speed up a couple of seasons, we can keep going the way that it is, but I think that the plan for now is to continue going in the direction that it is.

AM: One of the things that I enjoy especially with a lot of the HBO shows is that there is a companion podcast and literally, I can’t wait until Mon to listen to the show which drops right after the episode airs on Sun. I listen to JB Smoove and then I listen to your podcast. It’s great to get your insights, what’s going on – the Rob Morgan episode was really great to hear. Every episode is great as there are so many tidbits that can be enjoyed. How did you get attached to hosting this podcast and how much input do you have over who ends up being on the episode with you?

RB: Very similar to how I became Maurice. Somebody thought that it would be a good idea to have me do it and my first reaction was, I have never done a podcast before and they were like, “oh you can do it.” I think that I tried to back out a couple of times and they were like no just give it a shot. I think that I got better as time went on which is sort of the course of life, the more you do it, the better you get at the thing that you do. But, it also helps that I know everybody. Everybody that I have had on so far whether it was Snoop Dogg, Rob Morgan or Quincy, or Max or whoever, I know them. It’s like having a conversation with someone who is a friend and not so much like talking to someone who is a stranger.

They always ask me who I would like to have on and I try to spread it around between the cast members, but also the people behind the scenes. I had Todd Banhazl (Janelle Monae: Dirty Computer, They Call Me Magic, Hustlers), I had Max, I had Jim Hecht, Rebecca, I had Sarah Scott (Pam & Tommy, The Offer, The Flight Attendant) our intimacy coordinator. I had Idan Ravin whose the basketball coordinator. I had our director Salli Richardson (The Chi, Altered Carbon, The Wheel of Time) and Tanya Hamilton (Big Sky, The Deuce, Snowfall). I try to mix it up where you have one of the cast members and then someone who is a technical part of the team so that for people who are interested in being part of the business as one time I was, you can actually hear some of what they do and realize that there are a number of jobs besides the big 4 or 5 at producer, director, writer. There are a lot of other things to be done and some things may spark to someone and hopefully that podcast can help a little bit.

AM: We love seeing the birth of the NBA as we know it today as this entertainment platform with next level dancers, club lounges and had this came together with Dr. Buss. This has become the standard for what it means to go to a NBA game. Being able to hear more about Jack McKinney and his time with the Lakers. I knew he was a coach for the Pacers, but I didn’t know about his backstory. What is it that you want audiences to walk away with after watching this season or subsequent seasons?

RB: Always with our show, we have what you know and the thing that you can Google and find out. Who won the game, who lost the game and those types of things. But there’s also those things that you didn’t know. Like in the case of Jack McKinney, a lot of people had forgotten not just him, but the accident that he was in – the basketball accident and how that changed the course of the Lakers coaching dynamic. So, being able to tell some of those stories and show the Shakespearean dynamic of the coaching system with Paul West head and Pat Riley, most people know Pat Riley being the Lakers coach and they sort of identify with just him, but there were other guys too.

I think that the other side of that coin is Spencer Haywood who was a big part of NBA free agency and a lot of how we look at basketball today in the fact that we can look at James Harden and see him go from team to team to team or LeBron just being able to go to the Heat and all of that – a lot of that has to do with Spencer Haywood and going to court to battle for free agency rights for players. When I was growing up watching the NBA, I’m from Maryland so we had the Bullets, now the Wizards. Usually if a player got drafted, he played with one team for his entire career. It was big news when a player would move from one team to another.

Now, when you look at the change and the evolution both in the style of play when you look at the Showtime offense of Jack McKinney that evolved and to Spencer Haywood’s contribution, that you see in these 2 gentleman, it has a lot to do with the way that the game is played and it’s rarely recognized over the course of history. Anytime we can incorporate things that folks don’t know, it’s always a treat!

AM: Usually, when an episode concludes, we’re usually Googling about 4 things! It becomes a great way to understand how far the game has come in really such a short period of time and how things are so different and the shoulders that people stood on to get to where we are now.

RB: Exactly.

AM: Where did your love for comic books come from. You have Killadelphia that you’re writing, Marvel, Star Wars universes and Lucas Film Studios – where did this come from?

RB: The only inciting influence that I can find in my mind and my heart was that my mother was a school teacher. Before computers and all of that stuff, she would go to the public library to do her lesson plans and she would bring me. There was always this area where you would have kids like in a pen, your Cat in the Hat, Curious George books etc. I had no interest in any of those books because under those books was a box and in that box was comic books. I knew exactly where it was and I don’t think that they ever changed them in all the years that I went. I would just sit in the corner and read them for hours. It sort of became a thing where it was infectious you know? The moral throughline and some of the stories were more evolved than what my 5 or 6 year old mind could handle but I was intrigued by that idea. Then later, people would give them to me and my grandfather would call them funny books back then. They would give me a stack of them and it was a way to keep me quiet. Later on, when I would have odd jobs, I would buy them. This was during a period of time where you could get comic books anywhere – the convenience store, liquor store, virtually any place that had a spinner rack full of comics. Now, you have to go to a comic shop on Wed to get them. But back then, they were readily available and they were only 20 cents or a quarter. Now they’re $4 if not more.

It was just a love that just evolved along with my life. In the beginning, it was mostly about the art and the story. Then in my teen and later years, there were guys like Alan Moore (Watchmen, V for Vendetta, Swamp Thing) and Grant Morrison (Doom Patrol, New X-Men, Fantastic Four 1234) and Frank Miller (Daredevil, The Dark Knight Returns, Sin City), they sort of made it like literature and evolved into something that was more serious and that kept me involved and then later television and film like most people. So there has always been this relationship.

When I was younger, I tried to write comics professionally, but couldn’t find a way in. Like a lot of things that I’m sure people feel with television and film, it’s a tough nut to crack. But even more so back then, there weren’t a whole lot of African American characters and there wasn’t a big indie space when I was coming up. It was just Marvel and DC and every once in a while there’d be a new company that would pop in. They didn’t have the same distribution chain as DC so you were relegated to those 10 characters maybe if there were 10. I think that a lot of times, companies back then felt like unless you were writing for a character of color, what’s the point of hiring this person? So for me, I wanted to take a shot at writing a comic so when I was on the show Runaways which was a Marvel show, they liked my work and I sort of leveraged the appreciation of my work to say, “hey if you guys have any relationship with Marvel Publishing, I’d love to write a comic book.” They gave me Falcon. I quickly realized that I had no idea what the hell I was doing or how to write a comic book. I just took my shot. It was received ok-ish. Then again like the podcast, I kept doing it again and again and again and I got better and better and better at it and then I had the idea for Killadelphia and started a whole new thing. Now I write 10 books a month and I have my own company and it’s taken on a life all of it’s own.

AM: Which is amazing and I know in looking at your IG, you were talking about The Mandalorian which I’m a fan of. You have a project coming out in June – can you tell us more?

RB: Yes, it’s June the 22nd, The Mandalorian adaptation of the TV show and it’s the first adaptation that Marvel and Lucas Film have done with a project. It’s basically straight adaptation of that story. They don’t let you deviate too far from the story because it’s Star Wars cannon and you can’t really interfere or add new things because it’s connected to the television show. So I basically do my version of the television show would be.

AM: It’s still very cool though!

RB: Yes, it’s an honor to play in that space.

I just finished IG-88 Star Wars: War of the Bounty Hunters and I did Lando Double or Nothing earlier. I love to play in the space. I have a Luke Cage short that’s coming up and maybe a Luke Cage miniseries coming up for Marvel. So anytime you get to play in that space, it’s always fun because it’s such a big fan base that you get to connect with that many people is always an honor.

AM: You created Zombie Love Studio which deals with creating original graphic novels and things of that nature, what are some things coming out of there that you want to highlight?

RB: The first book is Blacula, a reboot of the Blacula character from Blaxploitation era in Oct/Nov which should be dropping then. I also have another book, Florence and Normandie and alien attack story that takes place on the corner of Florence and Normandie famous because of the Rodney King riots that started from there. I’m writing that with Xzibit. I have Tales from the Crip with Snoop Dogg which is the Crip Keeper. I have a book called Crownsville which is set in one of the first black mental asylums in America that’s a ghost story.

There's a bunch of other things that we’re developing that are moving along. There aren’t enough hours in the day, but I’m really excited about it all and it’s coming together slowly but surely.

AM: The depth of what you’ve done is truly phenomenal. What are things on your bucket list that you have yet to do or areas that you want to put into that body of work that you haven’t but that you’re still interested in tackling.

RB: Well certainly, developing the Zombie Love books and Killadelphia and things like that into my Substack page where I do 4 of the books. 3 that are connected to the Killadelphia world which is the book that I do at Image. There are 3 books that I do at Image, Killadelphia, Nita Hawes’ Nightmare Blog and Monarch an alien attack miniseries that I am doing. My Substack page has 3 other series, Johnny Gatlin who is a gun slinger in hell and hell is like the Wild West. 20 Degrees Past Rigor which is a zombie story set in Flint, Michigan where zombies are connected to the polluted waters of Flint. The Butcher of Black Bottom which is a serial killer story set in 1920’s Black Bottom section of Detroit. Then there’s Elysium Gardens which is in the back of Killadelphia which has an ongoing story on a Substack page. So, there are those books as well. There’s a lot of stuff and next, I hope to adopt a lot of those things into other forms of media whether it’s animated, live action or television or those kinds of things.

AM: Because you have so many projects that are just in constant rotation, how do you deal with the overlap? Do you have to be at a certain point before you take other things on – do you slice it up like a pizza and mix it the best that you can?

RB: Ha! That’s basically it. I try to tackle each thing as the day comes at me. I usually get up at 4 in the morning and then I start writing and I get the comic book stuff done in the morning. Then I tackle my day jobs like Winning Time or anything else that I have in front of me and I take it as the day comes. Whoever is yelling the most that is owed the thing to them – so yeah! Whoever’s voice is the loudest at the moment!

AM: I think that the time that we’re living in right now, although there is still a need for a lot more representation, to think of myself now versus the younger me who wouldn’t have thought to know that there would be an Ava Du Vernay (A Wrinkle in Time, Queen Sugar, Girls Trip), yourself, Shonda Rhimes (Bridgerton, Inventing Anna, Grey’s Anatomy) all these people that are moving storytelling forward. How important is it for you to reflect that in your work and to have POC be able to see themselves as well as for others to understand why they need to be an ally and to make these spaces more open?

RB: Well I think it’s important because the world doesn’t connect in the same way anymore like physically. We don’t talk to each other the way that we used to and it wasn’t perfect back then either. It’s more important than ever to be able to tell stories that have a ring of truth or some semblance of honesty. That way you get to see people as they are good, bad and indifferent more so than as a caricature or something that feels contrived in some way. I think that a lot of the biases that we hold with each other comes from those depictions. I know since 1619, a concerted effort was made speaking directly to African American culture to make us less than human. There’s one idea of being less than human, but you have to reinforce that on a regular basis. So you either make them caricatures or villains – one extreme or the other. If that idea has the ability to sort of ferment for 400 years or more then you’re at a place where it almost becomes truth because you’re so used to seeing that be the case.

So when you have this culture that is fighting for a slice of the pie or some semblance for respect and dignity, living in a culture and you’re sort of burdened by living with that depiction. It's really a hard thing to overcome because then even the culture itself starts to believe it – is this who I am and some people do. That can be problematic in its own way because you start to devalue yourself and people who look like you.

So I think that the more folks that can get in for various gender, sexual orientation, race or whatever it may be – to be able to speak to your truth in an honest way cannot only help you and the group that you’re in but also people outside of that group so that they have a better understanding of who you are and the struggle that you navigate just to be a human being and to have a human experience.

AM: Who are 3 people that you feel were profound, instrumental or helpful to be in your career?

RB: Damon Wayans (My Wife and Kids, Lethal Weapon, Major Payne) is always first! He was the first person that gave me an opportunity to work on a television show. Were it not for him, I wouldn’t be here. Don Reo (Everybody Hates Chris, Two and a Half Men, The Ranch) who was the showrunner and creator with Damon on My Wife and Kids. He helped take whatever raw ability I had and allowed me into a space in a way that pushed me to a space where I was able to see for myself what I had to do. I’m eternally grateful to him as well. I have to say that there is a tie for number 3 Allen Hughes (Dead Presidents, Menace II Society, The Book of Eli) of the Hughes Brothers, a director. He helped me to bridge art and commerce. He gave me an opportunity to write in a different type of way and helped me find my way of doing art. He was very supportive in that. Then, Max Borenstein who is our showrunner on Winning Time who sort of did the same thing but in a different way. There’s a push sometimes that you need to get out of where you have been to where you want to be and Max was very helpful in being able to push me. Beyond him pushing me, was me pushing me as well. There are a lot of other people and if you had given me 10 or 20, I could have continued on with other people who have helped me even if it was just survival – that’s important as well. So when it comes to writing and being a professional writer, those people come to mind.

IG @therodneybarnes

PHOTOGRAPHY CREDITS | PG 78 Warrick Page/HBO MAX | PG 81 - 85 STARZ/American Gods | PG 87 + 88 STARZ/Heels | PG 91 -102 HBO MAX/Winning Time |

Read the APR ISSUE #77 of Athleisure Mag and see IT’S ALL JUST STORY | Rodney Barnes in mag.

BRINGING THE SMOKE WITH B-REAL

For our cover story this month we caught up with B-Real, from the ground-breaking hip hop group, Cypress Hill. Legendary for his pioneering music and being an ambassador and activist for the use and legalization for cannabis, we delve into the iconic sound of Cypress Hill; his new solo album ‘Tell You Somethin,’ produced with Scott Storch; the magic behind his cult hit ‘Dr. Greenthumb;’ the history of Insane OG and creating and expanding his industry-leading Dr. Greenthumb's Cannabis Dispensaries; creating Phuncky Feel Tips; his G Pen and Stündenglass Gravity Hookah collabs; cannabis and culinary; working out on the road and more!

ATHLEISURE MAG: Looking back on all the times we listened to Cypress Hill, and it’s amazing to think, we’ve had all these different emotions – happy, sad, parties, chilling, raging it’s just crazy – how is it to produce music to hit all those different vibes?

B-REAL: I mean, it’s pretty natural cuz we were pretty much just going by what we were feeling and we were experiencing. So there were times we were joyful, happy, clowning around like young men and stuff like that. Other times we were frustrated, angry - so I think we captured all those type of emotions and being that we’re stoners we also caught that laid back stoner vibe, so I think it was really organic as we were being who we were and we just happened to capture the vibe of regular kids growing up in Los Angeles, and sort of being the bullhorn for these different vibes and situations and scenarios that we were living through that others were living the same thing and could relate to. So I think that’s why its had an impact the way that it did and everybody had some sort of feeling for we were doing and I think that was the connection that we touched on those connections that anyone has been through.

AM: So you’re going on tour with all of these festivals, how is it performing live in these post Covid times?

B: It’s interesting, different because of the protocols and stuff like that. You’ve got to be safe and responsible and also accountable. And at the same time, it’s great, you’re back in front of a crowd and you’re getting a connection, getting a reaction from the music and the energy and all of that stuff and people have so much of that energy built up from the last 2½ years and they try to find any way to letting it go and blowing off some of that steam, so I think that this was helpful toward people trying to get that. At the same being an honest person that gives a shit about people, it’s also kind of scary because we’re going to some of these places where we don’t know what the venue policy is and how protected are the people, that is the one thing that concerns me. But in terms of getting out there and playing in front of people, and seeing that happiness, that crazy unbridled energy – it’s definitely a great feeling.

AM: So you have this new solo album ‘Tell You Somethin,’ produced by Scott Storch, with great featured artists, like Ty Dolla $ign, Rick Ross, Krayzie Bone, Berner and more, what went into the album and what made the sound and vibes about it?

B: Well you know originally I wasn’t planning to do a solo album. I had so much on my plate with my projects with Berner, because him and I are constantly putting out albums together; Cypress Hill obviously ‘cause we’re working on our next album - our last album in fact; and I also had Prophets of Rage going; as well as the group that I have with Xzibit and the other cat named Demrick named the Serial Killers. So I just had so much on my plate, I didn’t think that trying to fit in another project was going to be conducive to my schedule and what not. But we were doing one of my Smokebox interviews, it’s an interview in a CadIllac, in one of my low rider cars, and us smoking out and boxing out the car, just having the car, just having a conversation, not necessarily an interview. But Scott Storch was down at my studio for this - and as many artists do - we were like ‘oh we should do something.’ And we’ve known each other a long time, and our lineage dates back to Philly, way back when he was an intern at Ruffhouse Music which was the label which we were first signed to. So we go way back, and we talked about it. When artists do that sometimes you know they have full intention of working together, and other times they’re full of shit! And Scott was not full of shit, he hit me up and said ‘hey man why don’t you come down and lets vibe out,’ and all of the sessions that we had were vibe outs. He would never have one beat ready, like a folder, that’s how it is these days, producers will give you folders with beats and then you pick’em. With Scott and I, I went to his house, everyday we would have a session and we vibed out, smoked out, and thought OK if we were here what would the vibe be like and he would sort of tinker with stuff, and then we would get ideas from that and then we would just build each song based on the vibe and the idea and what not. So it was really organic the way it came out man - every song was written and produced from scratch. And I haven’t had a chance to work on an album exactly like that in a long time. You know the last Cypress Hill album ‘Elephants On Acid’ was sort of like that. We’ve always worked like that, like never really worked like take these beats and go from that, a couple times we might have done that, but primarily our vibe is let’s go to the studio and create from scratch and see what the vibe is and so it was refreshing to get back to that sort of thing in a world of folder transfers and file transfers, and shit like that. You know it just felt good to be in the studio and being produced by the producer. It's a very different sound for me in terms what people are used to hearing me on as it relates to hard core hip hop with Cypress Hill and Serial Killers and stuff like that. The stuff I do with Berner is close to what I’ve done with Scott, but this is a venture out of my own. So, we felt really good about it. It took a while to put this album out because I have so much shit going on, but I was very, very excited to put it out and glad when it finally came out, I thought it never would and shit it took so long.

AM: Yeah sometimes it feels like life goes so fast, and sometimes it’s like paint drying right?

B: Yeah, because when we were working on this album I had all this other stuff scheduled out, and it pretty much had to wait before I knocked all of that schedule down, before I could actually put it out there. I don’t like to shortchange or shortcut anything I’m working on so I didn’t want to bring something in the middle and cut that project in half. I’ve done that and it's sad when you’ve got a good project going on and you cut it cuz you’ve got to rush something else out because you have a fucking timeline. So I just threw that out the window, and I’m going to finsh all of my obligations, and then put this out so I can give the particular attention I can give it for this particular piece. So I did that and right now I’ve had these Cypress Hill shows, so I haven’t had time to do my own shows, but I know that will come over time, and as the album is building some momentum and the songs are building momentum, when it’s the right time, I’ll go out and do some shows and what not.

AM: So you had some great collabs with it and around 4/20 this year. You gave out a download to Mother Mary, and then did some NFTs around it. How is it to be in the intersection between music, cannabis and technology?

B: Well it’s cool. You know the position that we’re in, in terms of all 3 of those platforms. We're just trying to stay ahead and keep pace with what we want to do, in terms of our growth in the cannabis industry, and maintain our position in the music industry, and forge forward in technology cuz that’s where it’s all going. Technology has a lot to do with both worlds right now. And you know we've got a pretty fucking cool and efficient team so we’ve been managing to stay ahead.

AM: Back in ‘91 you dropped ‘Stoned Is The Way of the Walk,’ on your debut album Cypress Hill – had never heard something like that before – and then Black Sunday with ‘Hits From The Bong, ‘Legalize it,’ ‘I Want to Get High..’ what was the process in putting out those benefits to cannabis in the liner notes and starting to champion use and legalization of cannabis from all the way back then?

B: Well you know on our first album we were putting out our vibe: this is who we are, this is what we believe in, and we believed strongly in cannabis legalization and all that stuff so the first album was sort of the set up with ‘Stoned Is The Way of the Walk’ and ‘Light Another.’ And as we start gaining momentum groups like NORML started getting wind of who we are and offered us spokeswork and being ambassadors to the movement, and that led to meeting up with High Times and doing the High Times cover and creating a long lasting friendship with my man Steve Bloom, and getting information, and eventually we would meet Jack Herer, who opened our eyes to everything, and because of the things we learned from him, and him being our mentor in the cannabis world, we took information from his book ‘Emperor Wears No Clothes,’ and applied some of that information in our liner notes on that album. So he was a big influence on us and his knowledge was basically what carried us trough and took us to the next steps of being advocates and activists. So we were much more educated about what we were talking about and what we were trying to accomplish in terms of turning people on to it. So we owe a whole lot to Jack Herer, yeah, so it was basically his knowledge that inspired us to put that sort of information on the Black Sunday album.

AM: So on the 4th album you dropped ‘Dr. Greenthumb’ and it became a huge underground concert anthem with your community. What was it like to go in that morning to write the lyrics so quickly, and from an entrepreneurship lesson what it means to stay true to your vision when partners or labels might try to steer that off course?

B: Well that song was destiny when I look at it now. You know at the time I thought well this is a great beat and some things just.. so I had written a sketch for a radio show that we were doing previously to making that album. Bobo and myself were working at 92.3 The Beat, and we wrote this sketch, and it was basically an infomercial type sketch which obviously makes the album, we eventually make that the intro for the song. But when I got to the studio and I heard that beat. Boom the theme Dr. Greenthumb just hit me and I started writing right away, I think it was like 10 in the morning I got to the studio. and Muggs knew I that was going to the love that beat, so he left the reels up and gave the engineer instruction to play me that song immediately when I walked in. So I started working on it before anyone got there, I was probably done writing it in 45min and done dropping it in 1 hour 30 min, or something like 1 hour 15min. And I remember specifically Sony hearing that and thinking it was great, but they wanted me to change the lyrics and make it not about weed and make it more like ‘Insane in the Brain.’ And I said, no we already got an Insane In The Brain, this song is what it is and we’re not going to change it. And they were like ‘alright, well I don’t think we’re going to get much radio on it, it’s a great song, but radio still isn’t playing weed songs.’ And I said well, you know I guess that is just a chance we’ll have to take. And the record company didn’t know the song was going to be a cult anthem or one of those underground anthems, they had no clue and thought it would be just a waste of a song. And it became one of our biggest singles in Europe, and then it trickled down here to the States. It never really caught on the radio, but when we played this song live, it would give the same energy off as an Insane In The Brain. Like people would just go nuts for it. It became one of our main anthems. And fast forward to now, California is now a medical state, now I that thought would be a cool brand name for me to come into the cannabis market. Which was my intention all along. And I thought to myself if Cypress isn’t going to come into it right now, then I’ll come into it as Dr. Greenthumb, and because of the music and the familiarlity of our fans as cannabis users, it was sort of a no brainer. It sort of took us a while to get momentum, because we’ve always been in cultivation, and the cannabis stuff, and but now we had brand to put what we were producing behind and that’s where it all started from - that song, bringing it into the cannabis industry, and making it my brand.

AM: You’re dropping Dr. Greenthumb dispensaries all over California, tell us about the team behind it, the mouth watering flavors, and especially the journey behind the potent and tasty Insane OG?

B: I think our team’s been together since ‘94-95. My partner Kenji Fujishima and I, we sort of started off together in the cannabis lane, learning how to grow and stuff like that. Me being on the road all the time, I couldn’t put as much time into the grow out as he did. So he became our master cultivator. Now for a couple years we sort of separated, and I started doing Jet Fuel with another partner, but that eventually went away as we had creative differences of where I thought the brand needed to go and things like that. They went and did their own thing. And Kenji and I fortunately had been partners in BREAL TV forever, since we started the platform, with livestreaming and doing some of the first podcasts before they were called podcasts. Kenji and I have had a long history. So when we both were free from obligations we had had with other people, we decided let’s partner back up, make the Greenthumb brand bigger, and call our strain brand Insane as a tribute to Cypress Hill and what not. So we’ve been together cultivating probably 25 years or so and we were maybe one of the first 6-7 guys in Southern California that had the OG Kush cut, which was to become one of the biggest strains in Southern California, and maybe even the world for a time, because it was so sought out and highly touted as the best cannabis in the world, up until maybe 10 years ago where all the exotic flavor blasts started happening, OG was the premier flower, and we were one of the ones that had it, and Kenji being one of the best at it, he produced some of the best Kush in Southern California for a long time, so our reputations as cultivators and ambassadors were constantly on the rise. So we’ve just been putting it together, piecing our team together little by little, getting the right guys that can represent, our company, our brand, our strains. So far we’ve accomplished Phase 1, and we’re rolling up to Phase 2.

AM: It’s a Big Phase 1! Congrats on everything. How many dispensaries do you have now in Californina?

B: Right now we have 7, we just opened in San Diego and we’re looking at a few other spots now. But the main objective is that after we get the spots that we feel are most important here in California, the next step is getting into the other cannabis friendly states, like Michigan, Massachusetts, New York, New Jersey, Pennsylvania, Colorado, Nevada, Oklahoma - everywhere that we can possibly plant a flag, we feel we’re going to do great. So locking down California is Phase 1, Phase 2 is now going into the different states that we can plant that flag and give that California experience.

AM: New York is stubbornly turning around. East Coast definitely needs some West Coast Love. Eventually we’ll be there..

B: Yeah I mean frankly it surprises me, you know, being New York has been in the forefront of so many things, in terms of entertainment, fashion, culinary - mostly everything - and for it to be one of the last on the cannabis train, that’s just crazy, especially when you think about it that High Times was based out of NY, and they do a lot of cannabis events, Central Park even, I remember doing those small clubs at Wetlands and stuff like that, so it’s a trip that NY is so far behind, when you’d think they’re so progressive they’d be in front of it. Even in California, to have Colorado legalize before us, that was crazy. But it all eventually comes around, because I think you know, the powers that be that run the state see the revenue stream that cannabis creates, and they’re waiting to see how the other states do, and how they work it and if it’s successful, and how they can implement it without upsetting their conservative voters or religious voters.

AM: Tell us about the Phuncky Feel Tips, how long did it take from coming up with it to putting it out there.

B: Phuncky Feel Tips, I created maybe 3-4 years before they actually came out. I was doing a deal with Roor.de for a licensing deal to create two lines of glass with Cypress Hill, one being an expensive collection line and the other one being a more affordable line. And as we’re doing that, I happened to be in Amsterdam and we were on tour, and were rolling in front our hotel, or maybe Greenhouse, I can’t exactly remember that part.. but we were rolling up, and I love smoking joints with the tip, but those paper tips were killing me, for me I looked at them in frustration, and I said why the fuck hasn’t anyone ever made any glass tips for joints or blunts. And I thought OK when I get home I’m going to call my glassblower friends that I know and make prototypes and try to put these out. Being that I was already doing a deal with Roor, I presented to them as we’re already doing this bong deal. And at first - they were reluctant as never doing something like that or if people would buy them. I said I didn’t care if people would buy them, I want to do them, and I know that people will buy them, and I knew from my experience once we made my first prototype, because I made a prototype from a different glassblower, and then I presented it. So I had at least a few weeks of R&D with it, and I was like I need to make more prototypes, because I’m not smoking another joint without one of these, and I knew if that happened to me then it was going to happen to others. So I had the prototypes made and I sent them to him in Germany. They made their prototypes, which were better than the ones I had made, and we agreed those were going to be the ones that went to market. And we put them out and it was slow going at first. It was a new product, and people were like what the fuck were these. How do you use them, how do you roll with them, how do you stick your joint in them? And people didn’t get you put them in the joint, not in that you put the joint in the tips. But once they caught! And I mean they went – you know! And now there is a collector community that collects all our custom color coordinated tips like baseball cards - I never thought that would be happening. I thought we’d sell some tips and people would have a different smoking experience, but they went beyond that. And that was great. And now to see people that have knocked off the product, and see them everywhere now, even though it’s kind of shitty, that people knocked our idea off and put it in their products. It goes to show you we’re ahead of the game. And we still make these tips and we’re ahead of everyone at that. It shows you my theory that once people smoke with a smoking tip they weren’t going to go back. Now these days people are spoiled.. your average smoker that isn’t necessary educated about the tips, they’ll smoke those paper tips because that’s all they know - but once they get a hold of a Phuncky Feel Tip it’s over! I remember when it first started catching, there were certain glassblowers like ‘oh man, you didn’t create that, it’s been in the market forever.’ And I was like ‘OK find one, show me one, I issue a challenge to any of you motherfuckers, that is not wood, that’s not plastic that predates my tip..' And not one of them could do it, and they were just mad because someone that didn’t blow glass created something they could’ve easily done. And then after the fact that I’ve brought it out, you’d have all these guys went and made some tips because of me, because some were glassblowers and they could do that, but I've never gone after them, whatever they do, people are going to put it on my back anyway and will say that’s B-Real's idea, that’s the Phuncky Feel tip, and I never took too much offense to it, I just say I’ve had a great idea, here it is!

AM: Speaking of glass we saw the Dr. Greenthumb’s x Stündenglass Gravity Hookah on your IG because we check it out. It looks so elegant and smooth. Tell us about that partnership and what it’s like to use that.

B: Oh man, Seth Rogan was the first guy that they filmed with it and he blew it up and I think that they realized they had something there. And I think their idea was to get it in the hands of real celebrities that smoke weed and have influence. And I think they were working with G Pen, and I was working with G Pen on some of our Dr. Greenthumb's X G Pen collaborative products, like the Dash and the Connect and the Roam and while we were talking about that they were like what about doing a collaboration with Stünden. And I was ‘like yeah sure, send me over a sample of the product and let us fuck with it, and see.’ And if I like ‘I’m definitely down, but if I don’t like it I’m not gonna do it because I’m not going to put my name on shit that I would not use.’ So they send it over, and we immediately start fucking with it, but we’re not fucking it with flower, because you know I stopped hitting glass bongs a long time ago, just because I feel like at some point the hit gets stale, and I don’t want a stale hit ever, so I stick to smoking the joints. So what we did was we took one the connects that we have and we adapted it on to the Stünden because they had an adapter for that. We were using the Stünden for concentrate as opposed to flower, it was so awesome, that actually became part of our Dr. Greenthumb podcast where there’s a portion of the show, it was so awesome, and actually became part of our Dr. Greenthumb podcast where there’s a portion of the show where the last half hour where we take questions and comments and shoutouts from the fans, and a lot times they’ll be like we want 3 flips from B-Real, meaning they want me to hit that Stündenglass and take 3 hits of the glass and that became a thing, and when we started highlighting that type of shit on our podcast people started running to our dispensaries to buy those Stündenglass, we could not keep them in fucking stock. People use it with flower, I’ve seen Wiz Khalifa use it with the flower, but for us we use it for the concentrate, and it fucking works amazing. If anybody was going to do it, I would recommend to do it with the concentrate, do it with the connect, and it’s lovely. Bobo, he hit the first record with them, he hit 10 flips. One of our other guys did 15 flips and one of our other co-hosts did 20 flips and stuff like that. It’s devastating, but it’s a cool experience, people love that shit and they love seeing people testing their metal trying to do like 10-20 flips. I’m good at 3.

AM: Yeah 3 looks like a good start, definitely!

B: 3 is a good start..

AM: We cover a lot in food, from clean eating and meal prep, to fine dining and splurges. We loved the show Bong Appétit on Viceland that you hosted in ‘19, it was groundbreaking. What’s your take of cooking with cannabis, and edibles in general.

B: I think it's awesome. Because it gives people that may be a little intimidated by smoking it, a chance to have the experience through culinary. A lot of the people that aren’t educated in the cannabis world, that maybe are curious, it was the perfect show for them as they can find ways to infuse. You can infuse any meal, you can infuse any dessert, any app, and that show was sort of like a guideline to doing that. Since then there have been like 3 other shows that have knocked that show off that are doing relatively the same thing. But I think shows like that is important, whether it’s us doing it, whether its Kelis doing it, or whoever else - it’s educating people, and showing people a different way. Because not everybody wants to smoke, it's kind of loud when you're smoking joints or blunts or bongs, Its loud, bongs. Its loud, and some people are more lowkey than that and so you have a significant amount of people would rather do edibles and this is one way they can create their own edibles if they have any culinary skills, or at least to know they can find it somewhere, that there are meal prep places that can infuse food whether its CBD full spectrum or just THC. So I think shows like that are important, the lifetime that they last on the air that’s subjective. I think we got caught up with Vice while they were in a transitional period. I think that they needed more room for their news platform and what not. So Bong Appetit didn’t get brought back, but it was great while it lasted. I had fun with Vanessa and Miguel, they’re great people. Vanessa sometimes comes and co-hosts on Dr. Greenthumb podcasts and all that stuff, so we still stay in contact. And we’re constantly talking about maybe creating another show somewhere down the line, but more I think dinner party conversational style rather than competitive cooking and stuff like that. That was fun to see people doing that. but I think there is a bit of conversation to be had and a little bit more education to be spilled out there if you would do a dinner party style, but we’re working on it..

AM: In the age of Covid and smoking, and vaping, it’s more important than ever to elevate your workout and wellness game, what kinds of things are you doing to workout - are you hitting the gym, doing stuff at home, or doing more adventure fitness outside?

B: That’s a part of my culture, it’s a part of me. I’ve made that to be part of my daily ritual. Like I pray everyday, I work out. Like I smoke everyday, I workout. Because realistically doing what we do in terms of performances, it's always a high energy show and we’re always trying to give 110%. And so you got to stay in shape for that. And just trying to stay in shape for ourselves, for our families, trying to be as healthy as possible - maintaining a proper diet and workout schedule and stuff like that to keep healthy and fit, and to put the right fuel in our system - and the fact of smoking cannabis the way we do, is also therapeutic and healing benefit from that. So you know, I think that’s one of the reasons we’re still able to do it on the level we do, performing at a festival, a small club or an arena, of whatever - we're always ready for it. Because we always maintain to keep busy, to keep active. Now in our fucking 50s, we’re watching what we put in our bodies, sure we still have a good time and splurge now and then. But we’ve always been guys in terms of Cypress Hill that were into sports and competing, like we’d play a lot basketball and football back in the day. Sen Dog and Muggs played a lot of baseball; Muggs and I trained in martial arts and boxing, so we’re constantly finding ways to keep busy, training and keep ourself active – besides from performing on the stage because that’s a workout itself – but we workout to do that just like an athlete works out to play their perspective sport. So we feel like that is really important. And what I’m glad to see is a lot of golden era rappers, start to get in the gym, take care of themselves, investing the time and energy and putting it back in their bodies. I see Method Man’s fucking workout grind, crazy. Jim Jones always had a crazy workout grind. Action Bronson, I gotta tip my hat to my bro, because he’s working his ass off these days. It’s great to see guys like that taking care of themselves like that man. And us, at Cypress Hill, we’ve always maintained to do that, it’s part of our culture, it’s who we are. When we are on the road, we’ll all meet up at the gym and get our pre-show workout or day-off workout, and then back on the grind. We don’t stop, it’s important to us. We wanna be fit, we don’t want to be those dudes that are huffing and puffing and can’t complete the show, you know!

AM: It’s been real fun to catch up today! Is there any news or teasers on the upcoming Cypress Hill album?

B: Yeah, we’ll be popping that off in March of next year. We have one of the singles from that album coming out pretty soon. We released ‘Champion Sound’ early for the MLB video game, but there’s another one coming called ‘Open Your Mind,’ and we look forward to people hearing that, and I believe we are going to make the video to that pretty soon cause its going to be the lead single and what not. There's much more music ahead of me, I have so much more coming out in the next year and a half it’s crazy, but you know it’s all paced.

AM: Well that’s great – Congrats again on everything! The entrepreneurship lessons for people that you give - of just being yourself, doing something different, working in a big market, doing what you love - those are huge lessons for everybody!

B: Yeah I mean the one thing that anyone should take away from this is you get what you put into it. If you go halfway, all you’re going to do is go halfway. If you put it all in, and go all in, and dedicate yourself to it, you can get wherever you want to go! Obviously, you’ve got to have talent, and a little bit of luck, and a whole lot of faith, that you will do it - but you have to put the work behind it, and when it’s the time, you meet the right people, the doors open up, you go through that door, and it’s all about what you do from there. You know you can take yourself as far as you want to go. So I would just say to anyone, believe in yourself, believe in what you’re trying to do, and go at it 110%!”

IG @breal

PHOTOGRAPHY CREDITS | Front Cover, PG 18, 21, 30/Insane OG BTS | PG 16, 22, 33 + Back Cover Eitan Miskevich | PG 24 G Pen | PG 27 Pedro Garcia | PG 28 Kenji Fujishima | PG 30 Insane Cookies/Justin Mcivor |

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Read the SEP ISSUE #69 of Athleisure Mag and see Bringing the Smoke with B-Real in mag.

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