“SINCE A BABY”: MR CRUSH TAKES THE LONG VIEW “Mr Unanimous” gives Mikey Turner a way to connect the adult performer with the child at the beginning of his story. “Since a baby I been unanimous.”

“SINCE A BABY”: MR CRUSH TAKES THE LONG VIEW

“Mr Unanimous” gives Mikey Turner a way to connect the adult performer with the child at the beginning of his story.

“Since a baby I been unanimous.”

The line reaches backward before the listener has time to settle into the present. In “Mr Unanimous,” George “Mikey” Turner III places confidence at the beginning of the story, making childhood part of the song’s introduction to the adult artist.

It is a bold claim in the language of performance. Its appeal comes from the question underneath it: who was Mikey before audiences knew Mr CRUSH?

That question connects the song to the larger story taking shape through CRUSH Magazine.

Confidence becomes the narrative

“Unanimous” is an expansive word. It suggests agreement without an exception.

As a song title, it gives Mikey room for the exaggeration and self-belief that make a performance entertaining. The opening phrase strengthens that effect by extending the claim all the way back to infancy.

The lyric functions as a declaration of confidence. The life behind it contains the more detailed story: different ages, communities, teams, relationships, and experiences that deserve attention individually.

That combination gives the concept somewhere to go. The song announces the personality; the surrounding storytelling can show the person.

Following the character through time

Mikey’s visual concept for “Mr Unanimous” follows a childhood-to-adulthood arc. A Savannah riverfront painting serves as an approved visual foundation, while an award-stage sequence forms part of the planned treatment.

These are creative choices, giving the song a narrative setting rather than simply placing the artist in front of a camera.

The childhood-to-adulthood structure also creates a challenge for the animation: viewers need to recognize a continuous character as the years and surroundings change. Mikey’s emphasis on facial likeness gives that transition an anchor.

The face belongs to the same person, even as the scale of the scene grows.

Savannah remains in the frame

Choosing a Savannah riverfront setting keeps the hometown visible within the ambition.

That matters across Mikey’s work. His writing names neighborhoods. His legacy coverage names youth coaches. His homecoming appearances connect the performer to Savannah State.

“Mr Unanimous” offers another way to hold those connections together through an artistic treatment of time: a younger Mikey, an adult Mr CRUSH, and a city that remains part of the picture.

A line listeners can carry

“Since a baby I been unanimous” is compact enough to remember and broad enough for a listener to borrow.

Someone can repeat it as a boast, a joke among friends, or an expression of their own confidence. That ability to travel beyond its original speaker is part of what gives a refrain potential.

For Mikey, the phrase also points inward.

Behind the oversized animated portrait and the certainty of the delivery is a story he wants to tell with patience—beginning with the people and places that knew him young.