Actor MC spoken word poet arts educator and multidisciplinary performer Mikumari Caiyhe Keeps it Reel with Scottt and Renzo in a wide ranging talk that spans the globe from Rutgers New Brunswick to well, the GLOBE theater in London England.

Catch Mikumari tonight in Newark @wanpoetry (WRITE ABOUT NOW) at the DoubleTree by Hilton hosted by fellow Mayhem Poet, Mason Granger

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Sometimes says he's NOT a poet but it's the GOD of flow in good ol frozen H20, MC

M peror penguins

C to it their young are protected

M issaries like you

C king peace are respected

Friendship with you's an

M barassment of riches

a

C 3 p o e t without any glitches

an

M azing word wizard acting magician

a more

C soned artist than any spice rack in kitchen

my loveliest buddy from a POLONIUS TROY MEPHISTOFELES DAD in KENTUCKEY to BUGSY

Try to M press the best with these quick quips

by borrowing all of your best kept

C -crits

You're the best, YADA YADA YADA

Mikumar E equals and MC squared, scared of nothing like es NADA

• The genesis of Verbal Mayhem at Rutgers University was a collaborative effort by poets Scottt Raven, Toney Jackson, and Kyle Rapps, fostering a vibrant open mic scene.
• Mikumari emerged as a pivotal figure in the poetic community, later touring with the Mayhem Poets, showcasing his multifaceted talents as an emcee and educator.
• The podcast episode delves into the intricacies of identity and artistic expression, highlighting how personal experiences shape the work of artists like Mikumari.
• Through discussing the significance of authenticity in performance, Mikumari emphasizes the importance of being genuine in both acting and poetry.
• The conversation underscores the power of mentorship and collaboration in the creative process, with Mikumari reflecting on his journey alongside Scottt Raven.
• Mikumari's poetic piece, 'The Study of Trees,' serves as a metaphor for interconnectedness and growth, illustrating the depth of human experience through nature.

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The study of trees.

Everybody has a heart.

However, everybody is so smart that everyone got to be able to tell each other apart instead of everyone playing their part.

Each you got a philosophy or as the single most important voice of prophecy weaponizing their chosen form of ology.

You know, logic a la carte.

Like what's your astrology?

Matter of fact, damn your zodiac, you were born in October.

That mean your birthstone is which rock?

I think yeah, that's gemology or is it geology, ecology, whatever.

Her psychology versus his sociology their ideology versus science and theology and can somebody please explain Scientology?

It's just odds nobody sees the hypocrisy how we gleefully make a mockery of our own humanity insanity how everybody gotta keep tearing each other apart absent of accountability or apology.

If I was God I'd be in heaven with a broken heart.

Real Poets is an audio only podcast that can also be visually read like roses or when a director juxtaposes his or her most imposing reposes with characters, settings and themes composed of thrilling soundscapes, highest of stakes and dreams.

Hosted by a duo of Real Poets about Real Poets and the real poetry they've written and the films that have been written about them and their work.

Join us each week as we talk to another real poet with something to say and how a real poetry movie influenced them in some way.

Then we each write a new poem inspired by our most recent viewing of the film and share it with all of you.

Welcome back to Real Poets.

I'm Renzo del Castillo, here with my co host Scott Raven, and today we are adding another portrait to the gallery and this one's personal, much like our Portraits episode with Kyle Raps.

Today's guest isn't simply an artist whose work Scott knows.

Mikumarikai and Scott go back years as friends, as collaborators, as film artists, sharing some of the same creative circles during the formative years of their poetic journeys.

Mikumari is an actor, an emcee, a spoken word poet, arts educator, multidisciplinary performer, sunglass and frames entrepreneur whose path has taken him from Washington, D.C. to the stages around the world.

A graduate of the Duke Ellington School of the Arts, where he studied theater, Mikamari went on to study acting at Rutgers University's Mason Gross School of the Arts.

Internationally, he has performed as the lead actor in musical in the musical Revelations in London, playing the role of God and the MC, and was among the first MCs to perform a hip hop concert at Shakespeare's Globe, which is so effing awesome.

But portraits isn't about running through somebody's resume.

It's about going back.

It's about people, places, films, friends, influences and experiences that shaped the artist sitting in front of us.

And because Scott was actually there for part of Mikamari's story, today we have the opportunity to do something a little different.

To look at who Mich was, who he became, and maybe even uncover a few stories these two haven't told in a long, long time.

Mikumari has described his ambition as using art to liberate individuals from fear, emancipate and empower the light within, and illuminate forever.

So today, we want to find out where that light came from.

Mikumarikai.

Welcome to Real Poets Portraits.

Wow.

Thank you for that.

That's high.

Whenever I get, I guess, bashful or shy, whenever I get to perform, especially when, you know, I'm asked for a bio.

I don't know why I always feel weird.

Maybe it's imposter syndrome.

Who knows what it is?

But I'm always very bashful about my bio.

And.

Listening to you makes me like, like I have done a few things that I can be very proud of, but they never.

I've never heard it put that way.

And, and yeah, it, it makes me less bashful about my bio.

It makes me want to continue to add colors to the prism and hopefully be able to receive wonderful introductions like that more often.

So thank you very much.

It was my pleasure.

But trust me, a lot of that was research, but a lot of that was my dear friend Scott giving you your flowers.

Listen, Scott has.

Scott has been around since the beginning of Mikumare, right?

Because I didn't really become Mikumare until college.

That is correct.

I, I know some, some, some monikers beforehand for sure.

And just.

Just to comment on that intro, you should bring Renzo on the road and you're the God mc, but he should be on the God mic and just, you know, be off, off there and, and give you that little cast off.

That is some sag.

Listen, friends up, look, we.

I, I got a, I commissioned a, like an intro for the Mayhem poets to be done with a guy with a British accent.

And let me tell you, we, we can.

We.

We're done with him.

We need you now.

That's right.

You got.

Don't worry, Governor.

Oh, let me Know how much percent needed for that?

No, I love.

I have some notes.

So I'll send you this intro if you like it, brother, if, if that does it for you, I, I can send you my, my notes and hopefully that's good.

But we're here to talk about you.

We're here to talk about the influences in your life.

We're here to talk about how you influenced Scott in his journey too.

Because you are a big influence to him.

You and I met at the, at his, at, at the presentation of Stay at Poem dad.

That's where you and I met and hit it off.

We had the opportunity to perform with Scott.

So I'm like a kid in a candy store.

I'm here to find out more about my friend.

I'm here to find out more about you.

And I can't wait.

I mean, why don't we start with the name Mikamari, the Japanese God of flow and water.

Right.

How did that come about?

So before I got to college, my nickname was Bugsy.

Yes.

Wait, wait, I, I gotta, I gotta check it.

Yeah, yeah.

I mean you, you.

Yeah, yeah.

I mean first, first meeting of this, this, this tiny gangster I believe was at the new's apartments.

You rolled up.

Well, you, I don't think you were in a tangle hat.

Was there a brown hat or a black, A black, all black hat, I believe.

Yes, yes, yes.

And, and, and we had heard some rumblings, but this was like the first unofficial official verbal mayhem meeting that, that Bugsy came in to, to, to the event.

Now.

Okay, so, so this is before I know you.

Yeah, give me a little background as to Bugsy.

Who, who, who gave you that or, or how did you come about into that?

My grandfather is Italian.

I have temper.

My dad told my grandfather a few stories about me.

And so my grandfather thought it was like a joke to say, oh, you got you a little Bugsy Calhoun on your hands.

You got your little Bugsy.

And so, you know, my dad said it one day kind of, you know, casually and at the time, hip hop, you know, the battle culture at that time was moving around a certain way.

And so I was like, yeah, Bugsy, because you know, the, the, the glorification of the mobster back in those days, right?

And I mean to this very day, right, with your, your, your Tony Montana's and your, any character that Al Pacino played, right.

I was drawn to Bugsy especially because Bugsy was the ladies man, but he was also the violent one.

And that, that, that felt on par with my personality.

And so you know, and I.

And I was always surrounded by a great group of gentlemen who, you know, were always with whatever.

So I was Bugsy for a long time.

And when I got to college, what happened was, I want to say from like, 11th grade in high school, maybe all 11th, 12th in my freshman year, maybe 10th, I would do a lot of battles, you know, so you go to the coffee spot or you go to the hip hop spot, and you start battling people.

And the problem was, everywhere I went, I would meet another Bugsy, right?

And all of us spelled our name different.

It was like, B U, G, S Y versus B U G Z versus B U, G, G, Z.

It was crazy.

And I was frustrated, and I was like, I don't want to be.

I want to be something original, something that, you know, nobody else had.

So speaking with one of my brothers, we used to call each other H2O, because blood isn't thicker than water.

Or at least that's how we felt, because none of us are blood, but we sure hold each other down, you know, like water, right?

So we call each other H2O.

So one night, middle of the night, my brother called me from Philly and was like, listen, we H2O, you should be Michael Mari Mikumari is the God of flowing water, since you the.

You the mc, you the poet, and you know, that.

That should be you.

And so I was like, you know what, my brother, I take that.

I'll take that.

And so from that day forth, it was Mikumari, right?

That's beautiful.

It's as if your brother saw you before you saw yourself.

He saw this in you and gave you that as a gift.

Yeah, identity.

He's my life's longest friend.

I've known him.

Well, actually second longest.

I've known him since kindergarten.

And yeah, like I said, he.

He.

If.

If there is anybody who sees me, he.

He is one of them.

And so, yeah, I can say my.

My brother named me.

Yeah.

Yes.

Now.

Now, the Kai part of it, though, that was a later edition.

Later edition, Kai.

So I wrote the poem mc, right?

MC Grew Legs, you know, became like a premier piece.

And I was in school doing residencies and.

And doing courses, and Mick Omari was always there.

But I. I did a.

Like an exercise with students where we talked about how many of our students, their names were or are a byproduct of the transatlantic slave trade.

Right?

And so if.

If, you know, Johnson wasn't your.

Your.

Your.

Your family's name, right?

If.

If Brown wasn't your actual last name, let's say you, you gave yourself a name that was based on your purpose in life, what drives you, what you have fun doing, what if you got to rename yourself?

And so I'm doing these exercises with these kids and we're having a great time.

And then nobody holds you accountable like kids, right?

Nobody.

Because they're like Mick Omari, well, what's yours?

And your mc, but you just have Mickumari.

There's no C. Like what does the C stand for?

And so I, I, they put me on the hot seat and so I had to figure out what my name was.

And so Kai is an acronym for my life's purpose, which is to create art, inspire youth and help everyone.

And so you know that Kai is very special to me because I feel like whenever I am falling short, I have to remind myself of why I believe I'm here.

And that's to create art, to inspire youth and to help everyone.

I suck at a lot of them a lot of times because, you know, I don't create enough art.

I feel sometimes I can definitely help more people and I can, you know, both of those things will help me to inspire the youth more, but it just reminds me to keep pushing for the goal.

I, that's, that's on par with the KRS one right there.

The C A I Y H E knowledge reigns supreme over nearly everyone.

Right, but, but you, you, yeah, you're, you're an effective teacher as well as they call, as they call KRS1.

But, but I mean, thank you.

I was gonna, I was gonna make a joke about that.

You know, while you were Bugsy, I, I, I don't even know if I said hello to, to, to, to my little friend.

You, you were, you were a little friend, but you, you've since become such a big friend, such like an all encompassing that we've shared stages, we've shared wedding weddings, we've shared just, just so many, so many wonderful moments that I want to, you know, let, let, let people in on.

But I, I guess I, I want to know a little bit before, before kind of we met where, where this love of language and, and rhyming and, and as you put it, rap being rhythm and poetry, because, because I consider you someone who truly commands a stage and on, on multi levels where, where, you know, I remember seeing him at college, this event called Jazz and Java where there's you know, a lot of jazz band kind of going and part of it's freestyle, part of it's, you know, you're working with the music, you're working with, the rhythm, you're working with the audience, and you're kind of making it all kind of seems, see seamless work in the audience in it, plus the music, plus what you're actually saying.

What do you equate the pulse from?

Where does this come from?

Rough childhood, had to find a.

An outlet.

And so theater became my oxygen, if you will, and the poetry became my nourishment.

Right.

I was able to express and find vulnerability in, in the plays, the theatrical plays, you know, things that I wasn't allowed to experience.

Like I wasn't allowed to live out loud as a young black boy in Washington, D.C. right.

Like, I had to be tough, right?

But then if I took a screen script and the character in the play was experiencing some type of emotional turmoil, then I got to live that out, right?

So I could experience catharsis for the first time, right?

And it also gave me my first sense of emotional awareness and just finding an ability to articulate what you feel, right?

And then, you know, because the theater allowed me to gain understanding from other people's experiences, it charged my appreciation for language, which then allowed me to articulate my feelings when I was unable to do so in the moment, right.

Like, I'm very, very upset and I don't know what to say to you.

I would prefer to punch you in your face, but that's not healthy.

So if I can understand how to verbalize this, that is the productive, the useful, the helpful thing to do.

And I was able to, you know, use that as a, as a tool to stop me from, you know, doing all the things that would have landed me where I could have been.

So, Mick.

Can I call you Mick?

Were you, I'm wondering, like, was yours in an artistic household, who first recognized that there was a performer in you?

So moms was a, a singer, Father is a bassist.

He plays the bass, not the stand up bass, but the guitar bass.

And.

Grandmother had me in church.

And so, you know, singing in the church, you are forced to be a part of a universe of art, period.

Once you enter into the realm of religion, right?

Everything about religion is art, right?

You know, from the, the theater of the communion, right?

To the nativity, you know, so it becomes being surrounded by music, then the, the language that's in the music of a Baptist, you know, and then the Baptist preacher who is the, the greatest, The greatest public speaker that, you know, an inner city kid can experience on a regular basis, right?

Who is more captivating than a Baptist preacher right now, just like preachers in general.

Right.

So I think that that was also a big foundational part of the art, the artistic thing.

And then once I got my hands on a Red man tape.

Oh, wait, wait, this, the church stuff was cool, but this feels more authentic.

So once I got, once I got my hands on Muddy Waters and there is a dark side, I was like, oh yeah, all right.

This, this feels right.

And my name, my actual name is Reggie and his name was Reggie Noble.

Yeah.

So I was like, oh yeah, this is, this is, this is it.

I found my voice.

So see, I want to take this full circle because I want to come back to that.

But before we get there, I wanted to mention the Duke Ellington school of a school of the arts and then studying for theater and then studying acting at Mason Gross.

Yeah.

What did formal acting training change?

Did it change anything about the way you understood performance?

Because there's a performance aspect to religion when you're up there, when you're preaching, when you're getting the spirit, when you're performing music.

Right.

And now, now you're talking about the performance and terms of like, Redman doesn't just like say things.

He performs that you feel it.

Right.

You have this formal training.

Did it change anything about the way you understood performance?

Yes.

I think the most important thing that people have to learn about performance is authenticity.

The training that I received in Mason Gross, one of the first things you learn, the definition of acting.

Right.

And the definition of acting in the, the school that I'm from is, you know, to live truthful within imaginary circumstances.

Right.

And so the circumstances or the, the, the, the, the play is the only thing that's fictional.

But the feelings that you are experiencing within that play are all real.

And that's the goal.

Right.

So if you are in love, you're in love, which is why you see so many actors fall in love after the movie.

Right.

Angelina, Brad.

Right.

If you're angry, you're angry.

Now you have to learn how to fine tune those things.

And that was one of the things that the training gave me.

But the main thing that the training gave me was learning how to be authentically present no matter the situation.

Right.

That, that I think, I think that if anything is the gift that it gave me.

The fact that I can show up completely authentic when performing either my stuff or someone else's.

You know, I.

To bring it to film.

And Scott, I promise I won't monopolize all the questions.

I'm going to bring it full circle here, but I wanted to share an anecdote I was recently re.

Watching Something's Gotta Give, which is, you know, like it revitalized the romantic, the rom com genre, right?

Like Jack Nicholson, Diane Keaton.

And there's a story that happened behind the scenes that there's a moment where Diane Keaton is expressing her love for, for the Jack Nicholson character.

Okay?

Jack Nicholson, who won multiple Oscars, who's been acting forever.

He goes up to the director, Nancy Myers after the scene and says, I think she's in love with me.

Diane Keaton was so present in that moment and so good at what she did.

She made this professional believe her.

Somebody who knows he's in an artificial set, who's talking to a director.

He doubted it for a second.

And I think that's such a wonderful anecdote.

But it also goes into being completely present in the moment the way that you're talking about.

So to bring it full circle, you, you, you were born to an artistic household.

You have a legacy of religion.

You are formally trained in acting.

You're discovering hip hop and, and, and you're learning about being, you know, like the storyteller.

This, this, this conduit, this vehicle for, for this art to hit.

And now we're talking about hip hop and poetry fitting into your identity.

Like, when did, when did all of that start gelling together?

Were they separate worlds for you?

Or were you beginning to understand them as different expressions of the same thing?

The best way to describe it for me is, is handwriting.

When, you know, at the time, you know, when learning handwriting and you're learning how to write incursive, right?

Which I feel like is probably a lost art.

But when learning how to write in cursive, what I would do is I would see someone's version of a letter, the letter J, for instance.

I love the way my mother writes her the J in her name.

So I would kind of trace her J, right.

Learn how to write it.

And then eventually it would become my own.

Mine now looks different from hers, right?

So my handwriting is an amalgamation of all of these different tools and things that I've adapted and made my own.

And so in college, the foundation of religion and, and singing and art and all those things.

Then to get to college, the refinement, the authenticity, Shakespeare, Red Man.

Now I'm beginning to see and feel all those things come together and they made sense and they felt true to me, right.

I can be very Shakespearean and I can be very Red man, you know, very Muddy Waters, very dearest, the dark side, very, you know, Know I can.

And it all feels real to me.

Right?

Because as much as Method man feels real to me, so does, you know, to be or not to be, whether it's just nobler in the mind to suffer the slings and arrows of outrageous.

Like, it all feels real to me, and I understand it.

And so college was when it all.

It all came together, and I felt like I got all these.

I got the bow and arrow, I got my shield, I got my sword, got my.

You know, all right, cool.

These are all my weapons.

Now I can go out to the.

To the.

To the world and have fun.

Okay, so I'm glad you brought it to College because Mr. Scott Raven and you were inhabiting some of the same creative spaces, dealing with the same creatives and people during this formative period in your lives.

I want to ask both of you, what was that environment like?

What were you trying to become?

Did it feel like a movement at the time, or was it just like a group of artists just figuring it out?

Mick Omari and I had slightly separate, you know, majors.

He was in the, you know, the acting conservatory program, which some would think would limit some of his outside endeavors within the rest of college.

But we were, you know, blessed to have him grace our open mic Verbal mayhem.

So I'm curious, you know, how you.

You even came across it at first.

Like, what was.

What was your link to that?

And, you know, like, I can remember college soaking up every event that you could possibly go to.

You know, I would go to Vietnamese karaoke night, right.

I mean, I would go to.

To.

I mean, I tried going to an event for, you know, the Black Student Union, and it was a discussion that, you know, like, at first, you know, like.

Like I wasn't privy to have it.

But then, like, you know, we got into a good talk, and it was interesting that.

That I was able to.

To attend.

But, you know, I was able to audition at least for different theater companies outside of the Mason Gross.

Whereas I think you had slightly, you know, there were maybe some sort of restrictions, Right.

Of what you could maybe audition for, which is why possibly Verbal Mayhem was.

Was a great outlet.

Outlet for you.

Absolutely.

Scott has always been.

I. I love.

I'm glad I'm wearing glasses where you can't really see what's going on in my eyes.

Right.

Because I could.

Absolutely.

We tear up.

Scott Raven is such a.

A phenomenal human being and has always been the same phenomenal human being from the day that I've met him.

When I met Scott, there was an immediate Admiration and respect there because Scott felt like.

Scott felt and feels like a combination of many of my greatest.

White like goats, right?

So Shakespeare, Robert Frost and Jim Carrey.

So when I met Scott, it was like, bro, he's, he's brilliant.

He has this big heart and he lives out loud, right?

Only about Jim Henson and Mr. Rogers, man.

Like, Scott embodies them too.

This is very true.

But Mr. Rogers is so muted in my opinion, compared to Scott.

Scott is like if Mr. Rogers drank way too much coffee and they, and, and then they let him listen to some EDM.

Mr.

Fault, Mr. Folgers.

Yeah, yeah.

So.

So you know, Scott.

Scott was always know.

And is.

Has always been just an inspiration because of a.

His heart, but also his, his.

His art.

Right?

And yeah, I, I was intrigued from the moment I met Scott.

We started talking and just the largest brain and.

Yeah, yeah, man.

Yeah.

So.

So where did you see.

Yeah, where did you get wind of verbal mayhem and then what, what made you stay?

I saw one of the flyers and I know that I have this flyer.

I'm telling you, Scott, Scott, I'm gonna find this flat, this flyer.

I swear.

I have the color flyer of the fight club, right?

And I, and I'm almost sure it is signed by you and maybe Kyle maybe, right?

And I have this flyer, maybe Tony as well.

I have, I saw the flyer.

I was like, oh, cool.

It's a, it's a poetry thing and it's on campus.

So I don't want to go to the Livingston parties, right.

With all the frat guys.

This gives me.

Well, I don't want to only go to those.

You know, this gives me someplace to experience art and maybe be able to perform and have an outlet.

And then when I got there, the combination of Scott, Tony and Kyle, I was like, as you said, Renzo, I was a kid in the Candy Factory because I was like, yo, these guys are monoliths.

And I look at them as not just columns, but it's is like coliseums within columns, right?

Big brothers.

And you know, I just, I was excited to be under their tutelage and, and, and also be like a brother, you know.

And so yeah, I saw the, the flyer and I went once and I was like, yo, I'm gonna learn from these guys.

And then they allowed me to be a part of it and I got to bring my, my bit of magic to the, to the, to the, to the oatmeal, so.

Oh yeah.

So.

So.

So each, each open mic, you know, was kind of a two round format.

There would be somebody would do a poem first round, then we'd have a short break, then a second round.

But every.

And Kyle and I would.

Would host along with Tony Jackson, who we hope to have on this podcast one day as well.

Big in the.

A teacher out of Jersey right now.

Big.

Doing some big things out there.

And Mick Omari would.

Exclamation point every episode or every meeting with a freestyle cipher, and he was well equipped for this.

Where at first it was kind of just a basic rhythm exercise of going around a circle asking people what they'd like to.

But it was integral to also kind of bridging the worlds of hip hop and poetry where there would be people that otherwise wouldn't have gone to see people reading poetry at the start that stuck around for that freestyle at the end.

And.

And as a result, both sides were growing ad infinitum.

But.

But yeah, just to have that.

That I say exclamation point at the end.

But, but truly, you know, like that.

That reverberating heartbeat that.

That kept going, you know, even after the.

The open mic mic was closed at first, I think it was.

We had even like a Jem Bay drum.

And.

And then, you know, we, We.

You know, I don't know if you.

You got better at beatboxing throughout college as well.

And then it became kind of, you know, beatboxing, but also freestyle.

And you mentioned earlier, you know, how much being present and being, you know, in the moment, in the moment is.

So it's one thing to be able to do that just in speaking, but another thing to be doing it, you know, on beat and with rhythm.

It's funny.

Like, yeah, you know, like more present in that sometimes than in real life.

You know, a lot of us are too.

You know, I mean, I wanted to make that point a little bit too, but like, where that authenticity comes out in characters, but does it come out in our real life?

And, you know, I got to see that we got to become close friends that we were able to see that on stage and, and even off stage.

What's something about the artist Mikumari became that makes complete sense to you, Scott?

Because you knew the younger version of him.

He needs.

He describes it as his, you know, his oxygen and that he needs to.

To continue doing it in some form that, you know, it's.

It's a part of his life that, that.

That all facets of his life are coming together, you know, from his.

From.

From entrepreneurial to artistic to.

To both theatrical and rhythmic.

That.

That he was going to be making inroads in all of, in all of these areas.

And that, you know, like, there, there is the, There is the, you know, the Reggie that I know regardless.

Right.

But he always dips into, you know, like, a play that, that needs to feed him, you know, every now and again.

And we've done some theatrical plays ourselves and, and I guess, yeah, that, that dependable loyalty that, that he, He's.

He's there for me.

I'm there for him.

Both when I had a family and didn't have a family, he's been an extension of, of my family,.

The artist that Scott is.

And it makes sense.

Scott has always had this uncanny ability to create, to, to create magic around any subject, any topic.

Scott's bravery and the artist that he is now.

It makes sense to me because, Because Scott is never.

Scott is the living embodiment of someone who doesn't say no, but says, but what if we.

Right.

Like, it's never a no, it's always a what if.

Right?

That bravery is something I marvel.

I, I am in such awe.

I'm in.

I am in awe and aggravated at the same time because a lot of times I want Scott to say no and, or stop, but Scott will not.

Scott will find a way.

You know, his brain works in webs.

Right?

I can vouch for that.

Yes.

Yeah.

And it doesn't work in.

It's not linear either.

It's like Scott can move.

The way Scott's brain works is almost.

And I wish I were more into comics to have a better example, but in my limited understanding of comics, you know how the Nightcrawler moves around like Nightcrawler, just.

Yeah, that's how Scott's brain works.

So one of the reasons I think that Scott and I hit it off is I've described it as our inner monologue.

And the way that we speak is like a Gilmore girls episode.

There's 500 different references in two sentences.

And I speak that language.

Scott speaks that language.

And it's one of the reasons we hit it off.

But the Nightcrawler thing was.

Is apartment the question.

Maybe I should be right.

Crawler.

I like that.

See what I mean?

Exactly.

It's like a dog with a bone.

Yeah, but, but the question I had for you, Mikamari, was, do you have any stories about younger Scott that Scott would never.

No, I'm just kidding.

I would never, never put him out like that.

That's for the Patriot.

I, I, I mean, I wanted, I wanted to hear his perspective of when he got the Call to fill in for Kyle.

I, I, I mean, I, yeah, so, so we talked about in last episode.

We are in Canada.

We are in Toronto, Canada.

Kyle is, receives a, a call that, that his, his mom is, is, is very ill and he has to leave the tour that we are currently on.

And he, this is, this is when, like, the mark of, like, slowly the transition, when he's become kind of the full time Mayhem poet with us.

So we're, we're in Canada.

You know, we, We've.

We've performed a little bit in spurts.

Had we done New street poets at that point already?

I believe we, we, we had.

Correct.

Yeah, yeah, yeah, yeah.

We had already done, you know, a play together, but this is, you know, on tour, you know, a larger theater that we know he'll be able to rise to the occasion, but I would like to know if you have any recollections of.

All right, what was it like, you know, getting that call both from, from Kyle and, you know, all right, I'm getting a ticket to, to head to, to Canada to put on a show.

I'm part stupid, you know, and when I say that, I mean, there's a, There's a level of fearlessness, and then there's a level of, you know, is this.

Motherfucker.

Are they stupid?

Right?

It's just like, you don't know which one it is sometimes, you know?

And so there is a part of me that is very much like the guy in 300 who's like, you know, there.

There are arrows to block out the sun, then we'll fight in the shade, right?

I was so afraid.

I was so scared.

And what, What?

Scared?

Because what Scott, Kyle, and Mason built was they were a poetic 300 to me, right?

When they got on stage and they did their show, it was and is, in my opinion.

I don't think I've ever seen as remarkable of a poetry show as I saw with the Mayhem poets.

I was in awe of what they did over the course of an hour with these students and these random people.

And so when you guys asked me to step in, it was like, I don't know what I'm gonna do, because I do not.

I was like, you know, I know how to use a sword, but I don't.

I don't know if I'm ready for the wars that I've seen you.

You know, what I saw you all do at Victoria Theater.

I don't know if I'm ready for that.

You know, I just, I fight around town, you know, you Guys were really these incredible.

The show that you put together was mind blowing.

And so to get the call that I would even be considered, I was like, you know, I'm.

I'm not gonna let my family down because I understood the situation.

And if you called me, if.

If you, you know, Scott, you know this.

If you call me and I'm capable, I'm there without question, you know, with little question, it's just like, all right, I'm on my way.

And it was the same thing.

It was like I got the call from my boys, and I was like, all right, I'm on the way.

And I had to find my footing, you know, I don't think.

I think it took me like a year to find my footing and be comfortable within the ship, I would say.

I mean, for that one in particular, you rose to the occasion and then some.

I don't know if you remember, it was the Rose Theater, good old Brampton in Ontario.

And yeah, it.

For me, you know, it was different.

Like, just having performed, you know, with.

With Kyle and me and him kind of sharing a brain.

In a lot of respects, it was different, but it was so exciting of, like, finding new moments and that.

That you kind of kicking into me that, yeah, we can find these new moments and poems that I had done over and over, they were taking on new life for me as well.

And we were finding, yeah, these.

These.

These new.

These new laugh lines and new parts that.

And that.

Yeah.

And that.

That made it reinvigorated both of us at that point as well.

So.

Yeah, yeah.

And then.

And then, yeah, good time.

And then, you know, we.

We had.

We had some.

We hit Niagara Falls and went to a winery and some other stuff.

Is that one of the stories that Scott won't tell?

All right, so I've been thinking about this.

Wait, wait.

There was a fun.

There was one.

There was one.

There was a hot saw.

Oh, hot sauce shots.

Right.

But there was.

Oh, there.

There was just like.

There was some flirting with.

With the hotel.

The.

The.

The hotel.

What do you call them?

The hotel attendees at the Met.

At the Marriott.

At the Marriott that we stayed at in Brampton.

And.

And it was just.

Basically.

They pulled a prank on us.

It was nothing.

Like.

Basically, they.

They called us and said, is your refrigerator running?

And we.

No, let me go check.

You better go catch it.

So that was point.

No, you.

No, Scott, wait, wait, There's.

There's more.

So.

So they said it.

So what?

Mason and I believe Mikumari was complicit in this as well.

We removed the refrigerator from the actual hotel room.

We added eyes, nose, and a mouth, and we put it in the middle of the.

Of so it was actually running.

And.

And the.

And then they came up.

They had a good laugh.

And.

And we'll leave it at that.

I was gonna say he.

He told that story.

I didn't.

Yeah, that's right.

That's right.

That was.

I'm glad you took them literally, but I. I kind of want to talk about.

I mean, you were talking about religion, and I want to talk about maybe a symbolic, omnipresent presence, right?

You're an actor, you're a poet, you're an emcee.

So many other things.

But I've been thinking about this, because those forms ask very different things of someone.

Acting normally asks you to inhabit somebody else.

Poetry demands that you reveal yourself in some way, whether literally or symbolically, Right?

Authenticity and emceeing can ask you to magnify yourself.

So what happens to you, Mikamari, when you move between those spaces?

Common thread is always authenticity.

The formal training that I received allowed me.

Allowed me to turn myself into a blank canvas.

The best example I can give of that is when I first got to speech class.

I was.

So.

It was uncomfortable for me because I felt like I was losing a piece of myself when my speech teacher explained to me that I had an accent, right?

And I was like, yeah, but I don't want to lose my accent because I lose myself.

And my speech teacher said, you know, I understand your fear, but I want you to think of it this way.

I'm going to teach you how to have no accent and teach you the music of your very own accent.

That way you have a neutral starting point and you can use your accent, you know, be yourself when you're at home.

You know, you.

You're not losing anything, but you're gaining something, right?

And so the training allowed me to have to find a neutral ground and to build on that when it was something that wasn't innate to me, right?

So I'm not from London, but listening to the accent for.

For a long enough time, I can write.

And it taught me how to listen and engage with the music in a way of every accent, whether it's country, whether it the languages.

So now when I speak in a.

When I speak Spanish, I don't know that much.

But the little bit that I do know, because I can engage with the music of the language a certain way, people who hear me say the three sentences that I can say successfully will Say, you don't sound like someone who doesn't speak the language.

So the authenticity gives me the ability to exist in all of those spaces with ease because all of them demand different.

Branches, but the.

The root, the foundation is.

Is always the same.

Right.

Well, poetry, it can be difficult at times because, you know, people fall into the poet voice, of course.

Right.

And, like, sometimes that's a block to.

To the authentic voice.

What would you do so well is, you know, you can.

You can tap into that emotional truth of the whatever, how.

However you're delivering something and.

And, you know, that's, you know, I mean, the acting training, but it's also kind of like you so connected to the words with which you're saying.

And I've.

I've taken that a lot from you, watching you too, if, you know, even.

Even when, you know, when something is so layered in rhyme to make it to be conversational and to find, you know, you're finding the beats with it within it and whether, you know, you have to slow down.

I mean, I know Kyle was always about, like, all right, stay on meter.

Stay on, you know, like.

Like, you know, keep the flow.

Keep the flow.

But like, performing with you, oftentimes it takes on a different light because you're finding the emotional truth of it, and you got to find that balance because you're also riding the wave of the audience.

But.

But if it's a solo piece.

Yeah, being able to.

To really pause for.

For.

For those not.

Well, whatever.

Whatever feels natural.

But, yeah, it's a great answer you gave there, but I definitely, you know, took a lot from you on that tip as well.

Yeah, it's all important, right, because the music is important to be, you know, the using your voice as an instrument, right.

When you start getting into, you know, using plosives and what vowels to sound like to the.

To the ear, that it's all music, right?

And so all of it's important.

Sometimes you.

You just want to ride the beat because the beat, you know, makes the heartbeat palpitate a certain way.

And then other times, you.

You know, ballads are important the same way.

House music is important the same way.

You know, country versus hip hop, right?

They all play on different parts of the heart and the brain, right?

So, yeah, engaging with all of them is necessary.

So I. I have a bit of a fun question, and I want.

I want all of your answers to it, because I'm.

One thing that jumps out at me is you performing hip hop at Shakespeare's Globe, right.

At the Globe Theater.

And Shakespeare was a poet, a playwright, entertainer, social critic, master of character.

I mean, you.

You talked about your admiration of Shakespeare with Redman, right, like, as we started.

So first I, I do want to know, like, what did hip hop like, what did doing that, bringing hip hop to that space mean to you personally?

And the other thing I want to know, and Scotty, this is for you too.

Which MC do you think Shakespeare would rock with right now?

Who would he admire?

So why don't we bring in the sentiment first?

What did it mean to you?

And then let's think about that, because I think that'd be a fun question.

It.

It again, it was an opportunity to say thank you to Shakespeare for the groundwork that he laid in his house, right?

And for me to.

It was like when Bruce Lee met Mike Tyson, right?

We are both masters or mastering the craft.

And I got a chance to bring the craft that I was mastering to the house of a master, right?

It's like when Jordan met Allen Iverson.

Nobody had a crossover like AI, right?

And even though he was Jordan and he was Jordan, I was like, yo, we can exchange.

And so for me, it was a blessing just to be able to step foot into that place with, in my opinion, one of the most historical writers of all time, right?

And so for me, it was just a thank you and a humbling experience, if anything, right?

To be.

To have the opportunity to play as we do in the theater.

To play.

And so, yeah, now Shakespeare, right now, I think Shakespeare would.

Here's the answer.

I think Shakespeare would rock out with many of the emcees and rappers of today.

The reason I say that is because.

Because Shakespeare was someone who enjoyed creating characters, right?

And so while it would be easy to say Shakespeare would appreciate black thought because he's such a lyricist, I also feel like Shakespeare would appreciate juvenile as well.

You know, I feel like Shakespeare would appreciate Soldier Boy.

You know, he would appreciate Queen Latifah because all of these.

Hey, buddy, I'm.

I'm sorry.

I'll get to you in a second.

He would appreciate.

Oh, hello.

Who is that?

This is my special appearance by Zazu.

Yeah, my service guy.

He keeps me.

Keeps me balanced, right, buddy?

For our listeners who can't see, Zazu is a lovely licking or elder puppy.

There's.

There's a being licking Mikumari's face.

Miniature schnauzer.

My God.

Yeah.

I think Shakespeare would have an appreciation for a lot of different rappers and artists, even.

Even the ones that people wouldn't.

Wouldn't want to say or admit.

Right.

Like Cardi B.

No one would say shit, Shakespeare is rocking out with Cardi B.

But I, I would.

I would disagree.

I would 100 disagree.

I think, you know, she.

She has a place because Shakespeare enjoyed creating complex characters and, and just character, you know, like Faustus.

Right.

Faust.

Right.

These are all necessary players.

I think that there.

It's a good point because.

Because his.

His shows did appeal to.

To the masses as well as to.

As the kings and the queens and.

Yeah.

So all styles and, And.

And.

And locations, I think.

Yeah, would.

Would.

Would rock.

I. I also.

I've been thinking about MF Doom or.

Or as you know, not only for that, because Shakespeare.

Some.

Some.

Some would argue that there were multiple people that may have written the plays.

Just like he had the imposters with the.

With the masks and whatnot.

And.

Yeah, I mean, I would say, yeah.

I mean, Eminem, yeah, for sure.

I was.

I was listening to Matt Villain the other day, man.

What.

What an album.

You know, when I.

When I thought about this question, buddy, it was.

I thought about like.

I thought about a bunch just like you said, right?

Like, as.

As I'm hearing you talk.

Scott, you might vibe with this like the.

The willingness to bend language itself.

Right.

I think Nas would appear appeal to the storyteller in Shakespeare.

I think to your point, Black thought to the technician in Shakespeare Lupe Fiasco.

To.

As somebody who loved layered meanings and verbal puzzles.

But I.

And it's not because he's poetic, right?

But I just keep thinking of.

If I think of someone who uses many of the same tools that Shakespeare did, it's Kendrick, right?

Because characters, shifting voices, dramatic monologues.

There's irony, there's tragedy, comedy.

We talked about social criticism, recurring motifs.

Right.

And the wordplay is so dense, like album, like Good Kid, Mad City or to Pimp a Butterfly.

They often operate like plays.

Like the characters collide, perspectives change.

And the speaker is not always just Kendrick, right.

Like, there's different things.

So I think if I had to choose one, I think Kendrick would like.

I feel like Shakespeare would be like Pitt Kendrick concert.

You know what I mean?

Yeah, yeah, absolutely.

I agree.

I agree.

Yeah.

I'm trying to think of a play that you could populate the MCs though.

I. E. Kind of Hamilton Founding Fathers, but what Shakespeare play and then just putting these hip hop Personas into it as is.

Which.

Which I think they did.

We saw one of these.

But you could, you know, I mean, anything, you know, Taming of the Shrew or.

Dude, Rakim, like changing the architecture of language itself, man.

Like the internal rhyme, the syntax, the rhythm, like there's, there's.

I just, I feel like Shakespeare is hip hop.

Like, I definitely agree with that.

So when I saw that you performed there, it really jumped out at me, you know?

Yeah, we almost forgot about Daddy Kane and Rakim.

For sure, for sure, for sure.

Now.

Now, have you been, have you been back to, to London recently or.

It's been.

Been a while for you.

I know you've been doing some, some other travels, performing wise too, that I'd love to.

For you to, for you to shout out as well.

Longing to go back to London.

Longing.

I, I have.

I might go in a few weeks.

We'll see.

Because Jay Z, another rapper, is doing a concert out there and he's also doing Paris and so I want to go see one of his shows because, you know, he's getting up there in age and I don't know how many concerts I got left from my boy, so I want to go see him.

Well, I may be heading out there as well.

I, I have an audition for Scrabble, which shoots in London for the game show Scrabble.

Yeah.

So that's gonna shoot out.

I would really love for you guys to link up in London, go to Paris for the JC concert and end up at the Celine Dion concert.

That would be it.

I want to see the, the pictures from that.

I'm with it.

We'll send you a picture from the Eiffel Tower.

Hell yeah.

I totally.

If, if we do talk about movies on this podcast.

Yes, I was about to get there.

Yeah, me and, me and you.

We saw John Wick three together, didn't we?

We did.

It might have been like that might have been like the last one.

And that was in, in, in Paris, wasn't it?

Where they like, they, they have that awesome scene around with the steps.

That was John Wick four out on the steps of Sakrica.

Yes.

That was the fourth.

I thought we saw that even while.

On tour and around the Octo, like the whole car chase, like the choreography.

Yeah, yeah, yeah.

I, I think it was three that we saw.

I, I don't.

Maybe we saw four as well.

I don't.

You know.

Yeah, I thought, I thought we, it was three and four, I believe.

Yeah, we, you know, we, we just need entertainment.

We go fund it.

Well, well, this is an interesting thing.

Like I I always talk about where like our shows while touring with Man, Poets are daytime shows, you know.

So like, you know, we're, we're, we're free to, to do with our evenings mostly as we please and whether we go to, you know, like a mall or go out to a nice restaurant or whatever.

So yeah, occasionally we'd go, go go to, to movies or whatnot.

But it's just a reverse of a lot of, you know, stand ups and some other performers where, where they're, you know, where you're out till 2 in the morning.

Right.

But sometimes, yeah, 10am man, we finish at noon.

We've got two, we've reached, you know, 2,000 kids by, by noon.

Scott, if you had to choose a movie to describe your writing style, what would that movie be?

Jodorowsky is gonna come to mind.

I know it.

No, I, I know.

I mean, which we were just doing with you know like endless poetry and La Danza de Reali.

Dad, that's, I mean something surrealist.

Well, we could talk about the time I, I tried to play a Jodorowsky movie for you.

Do you remember that, that moment, man, Listen, I met, I mentioned that often.

This moment, this very day, bro.

Do you recall it at all?

I think it was either Holy Mountain or El Topo.

It was Holy Mountain.

It was Holy Mountain.

Yeah.

And, and the, the image of the.

Yeah.

Jesus figure just, just flopping around and.

So just the only writing he has, my writing stone.

The only reason he hasn't made me try to watch El Topo is because I've seen it, but he's still trying to get me to watch Holy Mountain.

Holy Mountain.

Oh yeah, please.

Holy Mountain wrecked me, okay.

Because I was, I'm.

I don't even know.

I don't think I've ever allowed Scott to make me watch another movie unless it was in the theater.

Because we watch Holy Mountain on your laptop.

No, not on the laptop.

Yes, we did.

I mean that's when I first like had access to it.

Like, it just blew my mind and I wanted to show anybody, you know,.

There's, there's nothing more 90s than that, brother.

Bro.

Hey man, I just heard Eddie Murphy on the doc talking to Joe Taraski.

So he's into it.

So I want to do.

Let's to your point, Scott, this is Real Poets.

We're going to talk about films.

So I came up with a couple of hopefully fun questions for you guys.

Number one, Mick, what movie have you seen?

An embarrassing number of times for me, Bloodsport.

I have Seen Bloodsport over a hundred times.

I am not embarrassed.

Troy, Troy, Troy.

Embarrassing.

Embarrassing.

Please, we need.

We need to do the.

To.

To.

To do the poem at the end of this from New Street.

I have it.

I have a queued up Abby.

I have the scene.

Yes.

If we could do a cold read.

Can we do a cold read?

Let's do it.

Let's do it.

I've seen Troy way too many times.

I'm trying to think what other movie.

Yeah, yeah, I'm gonna.

Troy is not my favorite movie, and I don't even know if Troy is in my top five.

I think I have to based on how many times I. I've seen it.

But, yeah, definitely Troy and Bloodsport is.

Is one of those ones, so don't be embarrassed.

Bloodsport deserves to be up there.

Hell yeah.

I'm gonna say liar, Liar.

Oh, wow.

Okay.

Okay.

What movie can you quote?

Basically, beginning to end.

Troy for sure.

Troy for sure.

Yeah, I'm gonna say Troy.

I. I've made it a point to.

Once I watch a movie and I fall in love with it, I won't watch it often with the exception of, like, the.

The.

The 90.

You know, the black classics.

Right.

So your.

Your Harlem Nights coming to America.

Harlem Nights.

These are movies I could definitely keep up with the script.

Troy.

Gladiator fan as well.

Love, love Gladiator.

Everything about it.

I just love all of those movies.

The Kingdom of Heaven.

Kingdom of Heaven, Director's cut is.

Yeah.

You know, I. I just.

All of those movies of just soldiers going to war.

The 300.

Just the first one, though.

The other ones, they started to get a little.

I was like, all right, guys, Usual Suspects is a favorite, but yeah, no, definitely Troy.

Top to bottom, all the.

The whole script.

What movie character did you want to be when you were younger?

Because I'm excited.

This.

This is fresh on my mind because it's about to be rereleased.

Thomas Crown.

Oh, hell yeah.

The.

The Steve McQueen one.

Pierce Brosnan.

Hell yeah.

I did not know of the Steve until I went to watch the Pierce, and I said, wait, this is the same second one I never knew.

And I was.

I was two weeks, as they say today, years old.

I was.

I just found out, realizing a week ago that that is.

This.

That's a sexy movie.

But what movie character are you probably more like than you care to admit.

Yeah, just.

Yeah, just leave me with that one.

I'm gonna.

Okay, we'll come.

That's it.

We'll come back to it.

What about what actor or what Performance.

Do you watch and think, man, I wish I got that role.

I could do something with that role.

Seven pounds.

Wow.

I actually really like that movie.

I own it.

Yeah, that's.

That's also in my top five.

That £7, 100%.

It's such a.

Such a great movie.

So, yeah.

What's a movie everybody seems to love that you just don't get?

For me, it's Step Brothers.

My sister disowns me for not loving that movie.

You know, and I know a lot of people love it, but I just don't get it.

Titanic was cool, but I just.

I was like, all right, I love Titanic.

I'm with you on that, too.

Just.

Just.

It was just that everybody was.

Was seeing.

Just.

Yeah, yeah.

Like, okay.

And then the opposite.

What movie would you defend?

What movie would you defend?

No matter how much everybody else hates.

It, I feel like there are a few movies that I defend that.

That people hate.

Listen, listen, listen.

Okay, okay, look, look.

It was just the first thing that came to mind, and so I'm going to go with it.

And I don't care who judges me.

Listen.

People talk about how bad JLO is as an actress, but the movie.

Enough.

Yeah, okay, Listen, listen.

Jewish.

Her new joint.

It was terrible.

No, it was a.

Well, terrible.

It was.

Her latest movie was every the way people describe JLO movies.

Her last movie fit all of those negative descriptions.

Every single one, it turned out.

Yeah, I didn't like it.

But enough.

If I had to base on enough.

I'm defending the movie.

All right, you know what?

I can't support you with enough, but I will support you in this.

I'm gonna acknowledge out of Sight, one of her first performances.

Oh, yeah.

That movie is maybe Don Cheadle's best performance, in my opinion, just because it's so full of everything, so hilarious.

Such.

Such a great movie.

But JLo was fantastic and out of Sight.

I'm gonna nominate.

I'm gonna nominate the Cell.

The Cell is great.

That was great.

Special shout out to Jack with Robin Williams.

All right, I got one.

What movie made you cry that you absolutely did not expect to make you up.

Up.

The first 15 minutes of up destroyed.

Me, let me tell you.

I was in the theater.

Of course, the theater was filled with kids, and it was that my.

Of my entire life, this movie moment.

I'll never be able to get forget.

When the house goes.

You know, when the house gets set on fire.

Right.

There was a little boy.

I want to say he was maybe six or seven.

And all of Us, every person in the theater was.

We were all clutching our pearls, right?

And this little boy, he just.

He said what everybody felt.

He was like, mommy, why?

Like, he could not feel fathom.

And when he said it, every single person in the theater, we all just cried together.

Because to contemplate that level of.

Is it Mommy, why?

I felt that I was done.

I was a grown man and I took my girlfriend to see up because, you know.

Sure.

And we.

Yeah.

Cried like a baby.

Pixar does that to you, man.

You won.

They're sadists over there in Pixar.

Okay, we are.

You're directing your own biopic.

Who plays Mikamari and who plays Scott?

You can play young McAmarra.

You can play McAmari.

Now, you choose, right.

You can do, like, the whole Michael Jackson thing where they stop right before it gets crazy.

So you choose the area.

Lorenz Tate.

And who plays Scott?

Raven.

I'm gonna.

I'm gonna nominate my own son to play.

Man, that's a good one.

I don't.

Who's the guy?

Man, this is a good question.

I gotta think about that, because, you know, the first person that I want.

To say is somebody in their 20s now.

I mean, Jim Carrey, because you called him out earlier.

Before.

Yeah, because.

Right, so Jim Carrey could play anybody.

So.

Yes, but I'm talking.

But me and my twenties play and then.

Yeah, somebody.

Jim Carrey.

Yeah.

It would be Jim Carrey and Lorenz State, though, if.

If I could.

You know, there are different ages, but I would put those two together.

That would be.

That would be.

All right.

Mikumari.

What three movies would I have to watch to understand you without you explaining anything?

I watched these three movies, and they're.

You £7, usual suspects.

Troy.

Okay.

And actually.

Actually, no.

Yep, those three.

Okay, we mentioned this before.

Like, I keep going back to it.

You're an actor, You're a poet, you're an emcee.

What movie has dialogue so good that you wish you wrote it?

Movies.

Ah, man, I. I wish.

I wish I could have.

Have been good enough to have written Harlem Nights.

Okay, this one.

This one should be fun.

If you had to perform one movie monologue tonight, zero preparation, which one could you pull off?

I could do the Maximus speech.

I.

You know what?

Okay.

My name is Maximus Decimus Meridius.

You sound like I already got my vote.

Commander of the armies of the north, general of the Felix Legions, loyal servant to the true emperor, Marcus Aurelius, father to a murdered son, husband to a murdered wife, and I Shall have my vengeance in this life or the next.

I can do that one anywhere, anytime.

That's my boy.

I thought Gladiator, but I was like, damn, Do I know any of those monologues like my family?

You know it.

I know you know it.

You were mouthing it when I was saying it.

Yeah.

I'm like, oh, man.

Is this.

Yeah, I.

That's a good one.

That.

Now.

Now I'm gonna be.

I'm gonna lose sleep because I'm gonna try to figure out which movie would I be able to do a monologue from.

That's a great one, man.

I'll give you.

I'll give you a break.

This one's easy.

Who's the greatest movie villain of all time?

Greatest movie villain of all time.

That's good.

You know, I'm sorry.

I'm gonna get back to that question.

I have to say, I'm very disappointed with what they did with He Man.

Very disappointed.

Oh, I loved it.

Keep.

You keep the he man.

I did.

I was very disappointed.

I was very disappointed.

I was.

I was almost upset.

Greatest movie villain of all time.

The first thing that comes to mind is the white police officer from the movie Hurricane.

Okay.

Oh, yeah, I remember him now.

Yeah.

Hated him in real.

Like, you know how there are characters who play a role so well that you forget the way that man did.

My boy was mad at him in real life.

Now, in.

In.

In.

In reality, he probably would be in my top five.

But he comes to mind right now as just one of the worst.

Yeah.

Yeah.

I'm gonna have to.

These are great.

These are great ones.

I like Alan Rickman, Die Hard, but John Lithgow and Cliffhanger.

I might go with.

Cliffhanger.

There's the ruthlessness using Cliffhanger and old Stallone, of course.

Gem.

I played the.

I played the NES one.

The NES video game.

We.

We watched anything.

Stallone, Van Damme, Schwarzenegger.

Like, we.

We had it.

Absolutely.

Damn.

ET Got.

You.

Got me really over here thinking, because I'm like, there have been some really great movie villains.

And I'm like, yo, who is that?

What made you think of he Man?

Like Skeletor?

Evil.

Because Skeletor was one of my favorite, favorite villains.

And then they made this new Skeletor.

I don't know what they did to him.

It pissed me off.

But Skeletor was always one of my favorite villains because he just was.

He was such a vibrant character, but so maniacal at the same time, you know, it was a joy, I believe, to me Villains are always the better characters every time.

The heroes, the protagonists are cool, but the villains, when you can really truly bring a villain to life and make them complex and, and get the, the audience or the viewers on your side, that to me is the, the tell.

Of, I mean, I think of Anthony Hopkins in Silence of the Lambs where he ended up becoming a protagonist.

Right.

Like, right.

I have one last question for you that I prepared.

You get cast in any movie ever made.

Any movie ever made.

What's your role?

What role are you choosing?

What are you playing?

You could right the wrongs and be he man if you want.

Be Skeletor.

Do them, do them justice.

Oh, man, I, I, it would have to be American Gangster.

I would want to be, I would want it to be a role where I got to experience all aspects of the human experience.

Right.

There are moments of true comedy, you know, like gut, gut, gut, a belting laugh.

But then also you get to experience some really heartfelt tragedy and all the things.

So it would have to be a movie that allowed for all of those things to take place.

You know about Ray, man.

How about Ray with you playing somebody blind.

I would like to see too your attachment to sunshine and glasses.

But also.

Yeah, yeah.

Jamie did something Multitudes of your art.

Right, right.

He, he did phenomenally too.

But, but just somebody for, for an artist such as yourselves that contains multitudes, you would be able to infuse it with the, the different aspects of you.

Yeah.

That could still make it unique.

Yeah, yeah.

If, if I like the Ali's story.

Ali.

Yeah.

Ali would be one for sure.

Since we're ending with that one.

Scott, what about you?

Any movie role you could play?

All time.

Bill and Ted's Excellent adventure.

No, it's could be fun whether it's some, you know, like one that would be fun to do rather than one that I would be appropriate for.

Yeah, it's whatever you want to do if it.

I know, I know.

Hey man, put me in Bloodsport.

I want to be on Akuma Tech.

Oh yeah.

Hell yeah.

Which would be hilarious.

Yeah.

Dumb and dumber, man.

If I be so fun.

That's it.

I would.

Liar, Liar.