“I’m from those who walked bare-foot…
I walk in Timb’s, flip-flops, and loafers;
I’m a hippie, hip-hop, rude-boy Rock n’ Roller
A real son of a gun, tha brother of a two fisted,
non-militant soldier -
My mother and sister; God bless their strong shoulders”
“Mic” Tha Poet was born Michael A. Gaut on July 30th, 1980, to parents Ricky L. and Linda S. Gaut. He began writing poetry at a very early age, as a way to express his blossoming emotions in dealing with family and the innocence of childhood. Like many young poets, the use of romantic language became the preferred method of coping with the insecurities, as well as the passions of youth. Eventually, poetry took a back seat to the realities of life, only showing it’s opportunistic face in the wake of tragedy or alternatively special occasions.
As Michael developed into an intellectually driven young adult, his poetic longings resurfaced in an attempt to explore the inadequacies of a perceived selfish human race. Inspired, as well, by the works of the classic Romantics, Michael became fascinated with William Blake’s interpretations of Innocence and Experience, and began to seek his own Enlightenment. Admittedly, well-known lines from fellow romantic John Keats, as well as other legends such as Dante, Shakespeare, Poe, Auden, Eliot and L. Hughes, filled Michael with grandiose hopes of contributing his own eternal spirit and message.
Raised in a “construction” house-hold with no focus on religion and a father who’s dangerous work included the restoration of church steeples (amongst other “high and hazardous” labor projects), Michael’s poetry sometimes focused on his families’ unique relationship to the church and his own curiousities regarding religion. Educated at a Vincentian university, Michael was impressed with charity, but often confused by the hypocrisy of the prayerful. As it goes, Michael would make enough of his own mistakes to learn not to always point the finger at others.
Though finding some success in most of his endeavors, Michael never found an outlet that allowed for his own often confusing and paradoxical behavior – besides poetry. Though raised in a rural country-setting, Mike and his high school friends were entrenched in the hip-hop music largely popularized in the early 90′s. “Whether or not the grass is greener, people have a tendency to want what is on the other side,” Mike would say. Though Mike and friends were not seeped in the real life cultures that spawned rap and hip-hop, they were intrigued by it, and Mike related instantly to the lyrical flow and rhyme schemes. Unlike his fellow page poets who only revered the classics, in rap Mike saw poetry that was simply coming from a different set of life experiences. While Mike would agree that poetic language can suffer when combined with the instant gratification of rhymes and beats, (and music, in general), Mike was convinced his message would not be compromised through exploration of art-blending.
From very early on, Mike’s family was moved by music, and Mike developed a love for the lyrically gifted. Though surrounded by little diversity, demographically speaking, music allowed for an understanding of the many ways to tell a story, and the many points of view that are out there. As a young boy Mike had learned to sing along to all genres of music, including Country & Western, Blues, Rock, R&B, and Pop, amongst others. Mike took an early liking to artists across the musical spectrum, including the rugged rebel yells of Waylon Jennings and Hank Williams Jr., as well as the smooth soulful sounds of Sam Cooke, Stevie Wonder, and Michael Jackson. The story-telling of an uncategorized beach comber named Jimmy Buffet appealed to his love of both fact and fantasy. Mike also developed a love for movie soundtracks and show tunes alike, realizing that music and words might one day tell the storty of his life.
A trip to Jamaica in 1999 settled deep inside and changed Mike’s life forever. Mike sang Buju Banton songs on the beach to moonlight drum-circles and smoke-rings. He came back with a vague understanding of a culture and landscape different from his typical surroundings. He became more skeptical. He praised the prophet Marley. He screamed “Legalize It” over gravelly Peter Tosh in his college dorm. He wore beads in his hair. He became accepting, and began writing of, his own identity crisis…
Today “Mic” has learned to fully accept his own diversities and complexities. He believes most humans have a tendency towards all they hate, including biased attitudes and stereotypical judgment. He says that even though we are fearful of being labeled, we are more fearful of not belonging. Corporate America has foolishly led it’s consumers to constantly choose a side, he says. “Coke or Pepsi, Nike or Reebok, Rebublican or Democrat, Black or White,” and so it goes. Above all else Mic is capable, and thus aware, of the rhetoric and spin that frequently dismantles the governance of language. Mic is fearful, though not intimidated, by those who seek the power of controlled information. Mic is terrified by a ”free” populations’ acceptance of limited liberty and over-legislation.
Mic is currently working as an aspiring author and performance poet, though his labor skills learned from his country upbringing sometimes provide for his bills to be paid. Many great poets of the past have questioned the intelligence of the working middle class, and sometimes Mic is no different. He does believe, however, that no one person, scholar or not, has a right to speak on a topic he or she knows little of. If one is to understand another’s plight, Mic says, “we must not only walk in their shoes, but speak in their tongues and work with their hands.”
“Please don’t squeeze into another man’s shoes
You can’t see through his eyes or from her point of view -
The fact that you try, though, is respectful of you…”
Aside from his family, whom we owes many blessings, Mic considers himself blessed to have had the support of many great educators, friends, musicians, and like-minded wordsmiths. Nearly everyday Mic meets someone who will undoubedly alter his point of view and perception of perceived reality. Mic has never wanted to be anything or anyone, if not well-rounded and open-minded. There is a vast field of writing out there today being called “poetry,” and the styles and genres are ever-expanding. While Mic has his preferences, he is turned off by the lack of mutual appreciation among many artists who differ in subject, style, or delivery. He appreciates anyone who treats him with mutual respect, and does not believe it is his place to condemn those who will not. “While we may offer our insight to tha masses, we can only change ourselves. If we refuse to change ourselves when necessary, we are refusing humanity the right to stable growth.”
Whether he is referring to himself as Mike, Mic, or Michael, or one of his many “schizophrenic poetic aliases,” he argues the greatest poem of all time reads like this:
“Actions Speak LOUDER Than Words”
While it is difficult to say exactly who originated this statement, does it really matter what we call ourselves?
I think that is the point Mic(hael) wants to make.
-Reluctant Prophet
*photo by KHALL Photography*
