A painting by Ming Dynasty artist Chen Hongshou showing a scholar-gentleman (literai) with a Guqin, a Chinese musical instrument.

Ezekiel, from Michelangelo's Sistine Chapel ceiling; in an old joke, "very high culture".

The Parthenon.

High culture is a term, now used in a number of different ways in academic discourse, whose most common meaning is the set of cultural products, mainly in the arts, held in the highest esteem by a culture. In more popular terms, it is the culture of an elite such as the aristocracy or intelligentsia, but also defined as a repository of a broad cultural knowledge, as a way of transcending the class system. It is contrasted with the low culture or popular culture of, variously, the less well-educated, barbarians, Philistines, or the masses.^[1]

Concept[link]

Although it has a longer history in Continental Europe, the term was introduced into English largely with the publication in 1869 of Culture and Anarchy by Matthew Arnold, although he most often uses just "culture". Arnold defined culture as "the disinterested endeavour after man's perfection" (Preface) and most famously wrote that having culture meant to "know the best that has been said and thought in the world"—a specifically literary definition, also embracing Philosophy, which is now rather less likely to be considered an essential component of High Culture, at least in the English-speaking cultures. Arnold saw high culture as a force for moral and political good, and in various forms this view remains widespread, though far from uncontested. The term is contrasted with popular culture or mass culture and also with folk culture, but by no means implies hostility to these.

T. S. Eliot's Notes Towards the Definition of Culture (1948) was an influential work which saw high culture and popular culture as necessary parts of a complete culture. The Uses of Literacy by Richard Hoggart (1957) was an influential work along somewhat the same lines, concerned with the cultural experience of those, like himself, who had come from a working-class background before university. In America, Harold Bloom has taken a more exclusive line in a number of works, as did F. R. Leavis earlier—both, like Arnold, being mainly concerned with literature, and unafraid to champion vociferously the literature of the Western canon.

In both the Western and some East Asian traditions, art that demonstrates the imagination of the artist has been accorded the highest status. In the West this tradition goes back to the Ancient Greeks, and was reinforced in the Renaissance and by Romanticism, although the latter also did away with the hierarchy of genres within the fine arts established in the Renaissance. In China there was a distinction between the amateur literati painting of the scholar-officials, which had a higher status than the work produced by professional artists, working in largely different styles, or the decorative arts such as Chinese porcelain which were produced by unknown craftsmen working in large factories. In both China and the West the distinction was especially clear in landscape painting, where for centuries imaginary views, produced from the imagination of the artist, were considered superior to works reproducing an actual view.

High art[link]

Much of high culture consists of the appreciation of what is sometimes called "High Art". This term is rather broader than Arnold's definition and besides literature includes music, visual arts (especially painting), and traditional forms of the performing arts (including some cinema). The decorative arts would not generally be considered^{[by whom?]} High Art.

The cultural products most often regarded as forming part of high culture are most likely to have been produced during periods of High civilization, for which a large, sophisticated and wealthy urban-based society provides a coherent and conscious aesthetic framework, and a large-scale milieu of training, and, for the visual arts, sourcing materials and financing work. Such an environment enables artists, as near as possible, to realize their creative potential with as few as possible practical and technical constraints. Although the Western concept of high culture naturally concentrates on the Graeco-Roman tradition, and its resumption from the Renaissance onwards, such conditions existed in other places at other times. A tentative list of high cultures, or cultures producing High Art, might therefore include:

• Ancient Greece
• Ancient Rome
• Ancient China
• Ancient India
• Byzantium
• Ancient Egypt
• Persia
• Several cultures of the Middle East at various periods
• Europe from the 14th century

Art music[link]

Art music (or serious music^[2] or erudite music) is an umbrella term used to refer to musical traditions implying advanced structural and theoretical considerations and a written musical tradition.^[3] The notion of art music is a frequent and well defined musicological distinction, e.g., referred to by musicologist Philip Tagg as one of an "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics." He explains that each of these three is distinguishable from the others according to certain criteria.^[4] In this regard, it is frequently used as a contrasting term to popular music and traditional or folk music.^[5][6][7]

Promotion of high culture[link]

The term has always been susceptible to attack for elitism, and, in response, many proponents of the concept devoted great efforts to promoting high culture among a wider public than the highly educated bourgeoisie whose natural territory it was supposed to be. There was a drive, beginning in the 19th century, to open museums and concert halls to give the general public access to high culture. Figures such as John Ruskin and Lord Reith of the BBC in Britain, Leon Trotsky and others in Communist Russia, and many others in America and throughout the western world have worked to widen the appeal of elements of high culture such as Classical music, Art by old masters and the literary classics.

With the widening of access to university education, the effort spread there, and all aspects of high culture became the objects of academic study, which with the exception of the classics had not often been the case until the late 19th century. University liberal arts courses still play an important role in the promotion of the concept of high culture, though often now avoiding the term itself.

Especially in Europe, governments have been prepared to subsidize high culture through the funding of museums, opera and ballet companies, orchestras, cinema, public broadcasting stations such as BBC Radio 3, ARTE and in other ways. Organisations such as the Arts Council in Britain, and in most European countries, whole ministries administer these programmes. This includes the subsidy of new works by composers, writers and artists. There are also many private philanthropic sources of funding, which are especially important in the US, where the federally-funded Corporation for Public Broadcasting also funds broadcasting. These may be seen as part of the broader concept of official culture, although often a mass audience is not the intended market.

Theoreticians[link]

High culture and its relation to mass culture have been, in different ways, a central concern of much theoretical work in cultural studies, critical theory, media studies and sociology, as well as in postmodernism and in many strands of Marxist thought. It was especially central to the concerns of Walter Benjamin, whose 1935/36 essay The Work of Art in the Age of Mechanical Reproduction has been highly influential, as has the work of Theodor Adorno.Gramscianism can see elite culture as "an instrument of social control".^[8]

High culture also became an important concept in political theory on nationalism for writers such as Ernest Renan and Ernest Gellner, who saw it as a necessary component of a healthy national identity. Gellner's concept of a high culture extended beyond the arts; he defined it in Nations and Nationalism (1983) as: "...a literate codified culture which permits context-free communication". This is a distinction between different cultures, rather than within a culture, contrasting high with simpler, agrarian low cultures.

Pierre Bourdieu's book: La Distinction (English translation: Distinction - A Social Critique of the Judgement of Taste) (1979) is a study influential in sociology of another much broader, class-based, definition of high culture, or "taste", which includes etiquette, appreciation of fine food and wine, and even military service, but also references different social codes supposedly observed in the dominant class, and that are not accessible to the lower classes. This partly reflects a French conception of the term which is different from the more serious-minded Anglo-German concept of Arnold, Benjamin, Leavis or Bloom. Bourdieu introduced the concept of cultural capital, knowledge and habits acquired by a dominant class upbringing that his surveys in post-war France found led to increased relative social and economic success despite a supposedly egalitarian educational system.

See also[link]

Notes[link]

References[link]

• Bakhtin, M. M. (1981) The Dialogic Imagination: Four Essays. Ed. Michael Holquist. Trans. Caryl Emerson and Michael Holquist. Austin and London: University of Texas Press.

External links[link]

• Full text of Matthew Arnold's Culture and Anarchy online
• Memory and modernity:reflections on Ernest Gellner's theory of nationalism - Lecture text by Anthony D Smith

Walt Whitman
Walt Whitman, 1887
Born	(1819-05-31)May 31, 1819 West Hills, Town of Huntington, Long Island, New York, U.S.
Died	March 26, 1892(1892-03-26) (aged 72) Camden, New Jersey, U.S.
Signature

Walter "Walt" Whitman (May 31, 1819 – March 26, 1892) was an American poet, essayist and journalist. A humanist, he was a part of the transition between transcendentalism and realism, incorporating both views in his works. Whitman is among the most influential poets in the American canon, often called the father of free verse.^[1] His work was very controversial in its time, particularly his poetry collection Leaves of Grass, which was described as obscene for its overt sexuality.

Born on Long Island, Whitman worked as a journalist, a teacher, a government clerk, and – in addition to publishing his poetry – was a volunteer nurse during the American Civil War. Early in his career, he also produced a temperance novel, Franklin Evans (1842). Whitman's major work, Leaves of Grass, was first published in 1855 with his own money. The work was an attempt at reaching out to the common person with an American epic. He continued expanding and revising it until his death in 1892. After a stroke towards the end of his life, he moved to Camden, New Jersey, where his health further declined. He died at age 72 and his funeral became a public spectacle.^[2][3]

Whitman's sexuality is often discussed alongside his poetry. Though biographers continue to debate his sexuality, he is usually described as either homosexual or bisexual in his feelings and attractions.^[4] However, there is disagreement among biographers as to whether Whitman had actual sexual experiences with men.^[5] Whitman was concerned with politics throughout his life. He supported the Wilmot Proviso and opposed the extension of slavery generally. His poetry presented an egalitarian view of the races, and at one point he called for the abolition of slavery, but later he saw the abolitionist movement as a threat to democracy.^[6]

Life and work[link]

Early life[link]

Walter Whitman was born on May 31, 1819, in West Hills, Town of Huntington, Long Island, to parents with interests in Quaker thought, Walter and Louisa Van Velsor Whitman. The second of nine children,^[7] he was immediately nicknamed "Walt" to distinguish him from his father.^[8] Walter Whitman Sr. named three of his seven sons after American leaders: Andrew Jackson, George Washington, and Thomas Jefferson. The oldest was named Jesse and another boy died unnamed at the age of six months. The couple's sixth son, the youngest, was named Edward.^[8] At age four, Whitman moved with his family from West Hills to Brooklyn, living in a series of homes, in part due to bad investments.^[9] Whitman looked back on his childhood as generally restless and unhappy, given his family's difficult economic status.^[10] One happy moment that he later recalled was when he was lifted in the air and kissed on the cheek by the Marquis de Lafayette during a celebration in Brooklyn on July 4, 1825.^[11]

At age eleven Whitman concluded formal schooling.^[12] He then sought employment for further income for his family; he was an office boy for two lawyers and later was an apprentice and printer's devil for the weekly Long Island newspaper the Patriot, edited by Samuel E. Clements.^[13] There, Whitman learned about the printing press and typesetting.^[14] He may have written "sentimental bits" of filler material for occasional issues.^[15] Clements aroused controversy when he and two friends attempted to dig up the corpse of Elias Hicks to create a plaster mold of his head.^[16] Clements left the Patriot shortly after, possibly as a result of the controversy.^[17]

Early career[link]

Whitman, age 28

The following summer Whitman worked for another printer, Erastus Worthington, in Brooklyn.^[18] His family moved back to West Hills in the spring, but Whitman remained and took a job at the shop of Alden Spooner, editor of the leading Whig weekly newspaper the Long-Island Star.^[18] While at the Star, Whitman became a regular patron of the local library, joined a town debating society, began attending theater performances,^[19] and anonymously published some of his earliest poetry in the New York Mirror.^[20] At age 16 in May 1835, Whitman left the Star and Brooklyn.^[21] He moved to New York City to work as a compositor^[22] though, in later years, Whitman could not remember where.^[23] He attempted to find further work but had difficulty in part due to a severe fire in the printing and publishing district^[23] and in part due to a general collapse in the economy leading up to the Panic of 1837.^[24] In May 1836, he rejoined his family, now living in Hempstead, Long Island.^[25] Whitman taught intermittently at various schools until the spring of 1838, though he was not satisfied as a teacher.^[26]

After his teaching attempts, Whitman went back to Huntington, New York to found his own newspaper, the Long Islander. Whitman served as publisher, editor, pressman, and distributor and even provided home delivery. After ten months, he sold the publication to E. O. Crowell, whose first issue appeared on July 12, 1839.^[27] No copies of the Long-Islander published under Whitman survive.^[28] By the summer of 1839, he found a job as a typesetter in Jamaica, Queens with the Long Island Democrat, edited by James J. Brenton.^[27] He left shortly thereafter, and made another attempt at teaching from the winter of 1840 to the spring of 1841.^[29] One story, possibly apocryphal, tells of Whitman being chased away from a teaching job in Southold, New York in 1840. After a local preacher called him a "Sodomite", Whitman was allegedly tarred and feathered. Biographer Justin Kaplan notes that the story is likely untrue because Whitman regularly vacationed in the town thereafter.^[30] Biographer Jerome Loving calls the incident a "myth".^[31] During this time, Whitman published a series of ten editorials called "Sun-Down Papers—From the Desk of a Schoolmaster" in three newspapers between the winter of 1840 and July 1841. In these essays, he adopted a constructed persona, a technique he would employ throughout his career.^[32]

Whitman moved to New York City in May, initially working a low-level job at the New World, working under Park Benjamin, Sr. and Rufus Wilmot Griswold.^[33] He continued working for short periods of time for various newspapers; in 1842 he was editor of the Aurora and from 1846 to 1848 he was editor of the Brooklyn Eagle.^[34] He also contributed freelance fiction and poetry throughout the 1840s.^[35] Whitman lost his position at the Brooklyn Eagle in 1848 after siding with the free-soil "Barnburner" wing of the Democratic party against the newspaper's owner, Isaac Van Anden, who belonged to the conservative, or "Hunker", wing of the party.^[36] Whitman was a delegate to the 1848 founding convention of the Free Soil Party.

[edit] Leaves of Grass

Whitman claimed that after years of competing for "the usual rewards", he determined to become a poet.^[37] He first experimented with a variety of popular literary genres which appealed to the cultural tastes of the period.^[38] As early as 1850, he began writing what would become Leaves of Grass,^[39] a collection of poetry which he would continue editing and revising until his death.^[40] Whitman intended to write a distinctly American epic^[41] and used free verse with a cadence based on the Bible.^[42] At the end of June 1855, Whitman surprised his brothers with the already-printed first edition of Leaves of Grass. George "didn't think it worth reading".^[43]

Walt Whitman, age 37, frontispiece to Leaves of Grass, Fulton St., Brooklyn, N.Y., steel engraving by Samuel Hollyer from a lost daguerreotype by Gabriel Harrison.

Whitman paid for the publication of the first edition of Leaves of Grass himself^[43] and had it printed at a local print shop during their breaks from commercial jobs.^[44] A total of 795 copies were printed.^[45] No name is given as author; instead, facing the title page was an engraved portrait done by Samuel Hollyer,^[46] but 500 lines into the body of the text he calls himself "Walt Whitman, an American, one of the roughs, a kosmos, disorderly, fleshly, and sensual, no sentimentalist, no stander above men or women or apart from them, no more modest than immodest".^[47] The inaugural volume of poetry was preceded by a prose preface of 827 lines. The succeeding untitled twelve poems totaled 2315 lines—1336 lines belonging to the first untitled poem, later called "Song of Myself". The book received its strongest praise from Ralph Waldo Emerson, who wrote a flattering five page letter to Whitman and spoke highly of the book to friends.^[48] The first edition of Leaves of Grass was widely distributed and stirred up significant interest,^[49] in part due to Emerson's approval,^[50] but was occasionally criticized for the seemingly "obscene" nature of the poetry.^[51] Geologist John Peter Lesley wrote to Emerson, calling the book "trashy, profane & obscene" and the author "a pretentious ass".^[52] On July 11, 1855, a few days after Leaves of Grass was published, Whitman's father died at the age of 65.^[53]

In the months following the first edition of Leaves of Grass, critical responses began focusing more on the potentially offensive sexual themes. Though the second edition was already printed and bound, the publisher almost did not release it.^[54] In the end, the edition went to retail, with 20 additional poems,^[55] in August 1856.^[56] Leaves of Grass was revised and re-released in 1860^[57] again in 1867, and several more times throughout the remainder of Whitman's life. Several well-known writers admired the work enough to visit Whitman, including Bronson Alcott and Henry David Thoreau.^[58]

During the first publications of Leaves of Grass, Whitman had financial difficulties and was forced to work as a journalist again, specifically with Brooklyn's Daily Times starting in May 1857.^[59] As an editor, he oversaw the paper's contents, contributed book reviews, and wrote editorials.^[60] He left the job in 1859, though it is unclear if he was fired or chose to leave.^[61] Whitman, who typically kept detailed notebooks and journals, left very little information about himself in the late 1850s.^[62]

Civil War years[link]

Walt Whitman as photographed by Mathew Brady

Walt Whitman's handwritten manuscript for "Broadway, 1861".

As the American Civil War was beginning, Whitman published his poem "Beat! Beat! Drums!" as a patriotic rally call for the North.^[63] Whitman's brother George had joined the Union army and began sending Whitman several vividly detailed letters of the battle front.^[64] On December 16, 1862, a listing of fallen and wounded soldiers in the New York Tribune included "First Lieutenant G. W. Whitmore", which Whitman worried was a reference to his brother George.^[65] He made his way south immediately to find him, though his wallet was stolen on the way.^[66] "Walking all day and night, unable to ride, trying to get information, trying to get access to big people", Whitman later wrote,^[67] he eventually found George alive, with only a superficial wound on his cheek.^[65] Whitman, profoundly affected by seeing the wounded soldiers and the heaps of their amputated limbs, left for Washington on December 28, 1862 with the intention of never returning to New York.^[66]

In Washington, D.C., Whitman's friend Charley Eldridge helped him obtain part-time work in the army paymaster's office, leaving time for Whitman to volunteer as a nurse in the army hospitals.^[68] He would write of this experience in "The Great Army of the Sick", published in a New York newspaper in 1863^[69] and, 12 years later, in a book called Memoranda During the War.^[70] He then contacted Emerson, this time to ask for help in obtaining a government post.^[66] Another friend, John Trowbridge, passed on a letter of recommendation from Emerson to Salmon P. Chase, Secretary of the Treasury, hoping he would grant Whitman a position in that department. Chase, however, did not want to hire the author of such a disreputable book as Leaves of Grass.^[71]

The Whitman family had a difficult end to 1864. On September 30, 1864, Whitman's brother George was captured by Confederates in Virginia,^[72] and another brother, Andrew Jackson, died of tuberculosis compounded by alcoholism on December 3.^[73] That month, Whitman committed his brother Jesse to the Kings County Lunatic Asylum.^[74] Whitman's spirits were raised, however, when he finally got a better-paying government post as a low-grade clerk in the Bureau of Indian Affairs in the Department of the Interior, thanks to his friend William Douglas O'Connor. O'Connor, a poet, daguerreotypist and an editor at the Saturday Evening Post, had written to William Tod Otto, Assistant Secretary of the Interior, on Whitman's behalf.^[75] Whitman began the new appointment on January 24, 1865, with a yearly salary of $1,200.^[76] A month later, on February 24, 1865, George was released from capture and granted a furlough because of his poor health.^[75] By May 1, Whitman received a promotion to a slightly higher clerkship^[76] and published Drum-Taps.^[77]

Effective June 30, 1865, however, Whitman was fired from his job.^[77] His dismissal came from the new Secretary of the Interior, former Iowa Senator James Harlan.^[76] Though Harlan dismissed several clerks who "were seldom at their respective desks", he may have fired Whitman on moral grounds after finding an 1860 edition of Leaves of Grass.^[78] O'Connor protested until J. Hubley Ashton had Whitman transferred to the Attorney General's office on July 1.^[79] O'Connor, though, was still upset and vindicated Whitman by publishing a biased and exaggerated biographical study, The Good Gray Poet, in January 1866. The fifty-cent pamphlet defended Whitman as a wholesome patriot, established the poet's nickname and increased his popularity.^[80] Also aiding in his popularity was the publication of "O Captain! My Captain!", a relatively conventional poem on the death of Abraham Lincoln, the only poem to appear in anthologies during Whitman's lifetime.^[81]

Part of Whitman's role at the Attorney General's office was interviewing former Confederate soldiers for Presidential pardons. "There are real characters among them", he later wrote, "and you know I have a fancy for anything out of the ordinary."^[82] In August 1866, he took a month off in order to prepare a new edition of Leaves of Grass which would not be published until 1867 after difficulty in finding a publisher.^[83] He hoped it would be its last edition.^[84] In February 1868 Poems of Walt Whitman was published in England thanks to the influence of William Michael Rossetti,^[85] with minor changes that Whitman reluctantly approved.^[86] The edition became popular in England, especially with endorsements from the highly respected writer Anne Gilchrist.^[87] Another edition of Leaves of Grass was issued in 1871, the same year it was mistakenly reported that its author died in a railroad accident.^[88] As Whitman's international fame increased, he remained at the attorney general's office until January 1872.^[89] He spent much of 1872 caring for his mother who was now nearly eighty and struggling with arthritis.^[90] He also traveled and was invited to Dartmouth College to give the commencement address on June 26, 1872.^[91]

Health decline and death[link]

Walt Whitman spent his last years at his home in Camden, New Jersey. Today, it is open to the public as the Walt Whitman House.

After suffering a paralytic stroke in early 1873, Whitman was induced to move from Washington to the home of his brother - George Washington Whitman, an Engineer — at 431 Stevens Street in Camden, New Jersey. His mother, having fallen ill, was also there and died that same year in May. Both events were difficult for Whitman and left him depressed and he would remain at his brothers home until buying his own in 1884.^[92] However, before purchasing his own home, he spent the greatest period of his residence in Camden at his brother's home in Stevens Street. While in residence he was very productive publishing three version of Leaves of Grass among other works. He was also last fully physically active in this house, receiving both Oscar Wilde and Thomas Eakins. His other brother, Edward, an "invalid" since birth, also lived in the house.

When his brother and sister-in-law were forced to move for business reasons, he bought his own house at 328 Mickle Street (now 330 Mickle Street).^[93] First taken care of by tenants, he was completely bed ridden for most of his time in Mickle Street. During this time, he began socializing with Mary Oakes Davis – the widow of a sea captain. She was a neighbor to him boarding with a family in Bridge Avenue just a few blocks from Mickle Street.^[94] She moved in with Whitman on February 24, 1885, to serve as his housekeeper in exchange for free rent. She brought with her a cat, a dog, two turtledoves, a canary, and other assorted animals.^[95] During this time, Whitman produced further editions of Leaves of Grass in 1876, 1881, and 1889.

As the end of 1891 approached, he prepared a final edition of Leaves of Grass, an edition which has been nicknamed the "Deathbed Edition". He wrote, "L. of G. at last complete—after 33 y'rs of hackling at it, all times & moods of my life, fair weather & foul, all parts of the land, and peace & war, young & old".^[96] Preparing for death, Whitman commissioned a granite mausoleum shaped like a house for $4,000^[97] and visited it often during construction.^[98] In the last week of his life, he was too weak to lift a knife or fork and wrote: "I suffer all the time: I have no relief, no escape: it is monotony — monotony — monotony — in pain."^[99]

	"America" An 1890 recording thought to be Walt Whitman reading the opening four lines of his poem "America".
Problems listening to this file? See media help.

Whitman died on March 26, 1892.^[100] An autopsy revealed his lungs had diminished to one-eighth their normal breathing capacity, a result of bronchial pneumonia,^[97] and that an egg-sized abscess on his chest had eroded one of his ribs. The cause of death was officially listed as "pleurisy of the left side, consumption of the right lung, general miliary tuberculosis and parenchymatous nephritis."^[101] A public viewing of his body was held at his Camden home; over one thousand people visited in three hours^[2] and Whitman's oak coffin was barely visible because of all the flowers and wreaths left for him.^[101] Four days after his death, he was buried in his tomb at Harleigh Cemetery in Camden .^[2] Another public ceremony was held at the cemetery, with friends giving speeches, live music, and refreshments.^[3] Whitman's friend, the orator Robert Ingersoll, delivered the eulogy.^[102] Later, the remains of Whitman's parents and two of his brothers and their families were moved to the mausoleum.^[103]

Writing[link]

Portrait of Whitman by Thomas Eakins, 1887-88

Whitman's work breaks the boundaries of poetic form and is generally prose-like.^[1] He also used unusual images and symbols in his poetry, including rotting leaves, tufts of straw, and debris.^[104] He also openly wrote about death and sexuality, including prostitution.^[84] He is often labeled as the father of free verse, though he did not invent it.^[1]

Poetic theory[link]

Whitman wrote in the preface to the 1855 edition of Leaves of Grass, "The proof of a poet is that his country absorbs him as affectionately as he has absorbed it." He believed there was a vital, symbiotic relationship between the poet and society.^[105] This connection was emphasized especially in "Song of Myself" by using an all-powerful first-person narration.^[106] As an American epic, it deviated from the historic use of an elevated hero and instead assumed the identity of the common people.^[107] Leaves of Grass also responded to the impact that recent urbanization in the United States had on the masses.^[108]

Lifestyle and beliefs[link]

Alcohol[link]

Whitman was a vocal proponent of temperance and in his youth rarely drank alcohol. He once claimed he did not taste "strong liquor" until he was thirty^[109] and occasionally argued for prohibition.^[110] One of his earliest long fiction works, the novel Franklin Evans; or, The Inebriate, first published November 23, 1842, is a temperance novel.^[111] Whitman wrote the novel at the height of popularity of the Washingtonian movement though the movement itself was plagued with contradictions, as was Franklin Evans.^[112] Years later Whitman claimed he was embarrassed by the book^[113] and called it a "damned rot".^[114] He dismissed it by saying he wrote the novel in three days solely for money while he was under the influence of alcohol himself.^[115] Even so, he wrote other pieces recommending temperance, including The Madman and a short story "Reuben's Last Wish".^[116] Later in life he was more liberal with alcohol, enjoying local wines and champagne.^[117]

Religion[link]

Whitman was deeply influenced by deism. He denied any one faith was more important than another, and embraced all religions equally.^[118] In "Song of Myself", he gave an inventory of major religions and indicated he respected and accepted all of them – a sentiment he further emphasized in his poem "With Antecedents", affirming: "I adopt each theory, myth, god, and demi-god, / I see that the old accounts, bibles, genealogies, are true, without exception".^[118] In 1874, he was invited to write a poem about the Spiritualism movement, to which he responded, "It seems to me nearly altogether a poor, cheap, crude humbug."^[119] Whitman was a religious skeptic: though he accepted all churches, he believed in none.^[118] God, to Whitman, was both immanent and transcendent and the human soul was immortal and in a state of progressive development.^[120]

Sexuality[link]

Whitman and Peter Doyle, one of the men with whom Whitman was believed to have had an intimate relationship

Whitman's sexuality is generally assumed to be homosexual or bisexual based on his poetry, though that has been at times disputed.^[4] His poetry depicts love and sexuality in a more earthy, individualistic way common in American culture before the medicalization of sexuality in the late 19th century.^[121] Though Leaves of Grass was often labeled pornographic or obscene, only one critic remarked on its author's presumed sexual activity: in a November 1855 review, Rufus Wilmot Griswold suggested Whitman was guilty of "that horrible sin not to be mentioned among Christians".^[122] Whitman had intense friendships with many men and boys throughout his life. Some biographers have claimed that he may not have actually engaged in sexual relationships with males,^[5] while others cite letters, journal entries and other sources which they claim as proof of the sexual nature of some of his relationships.^[123]

Peter Doyle may be the most likely candidate for the love of Whitman's life, according to biographer David S. Reynolds.^[124] Doyle was a bus conductor whom Whitman met around 1866 and the two were inseparable for several years. Interviewed in 1895, Doyle said: "We were familiar at once — I put my hand on his knee — we understood. He did not get out at the end of the trip — in fact went all the way back with me."^[125] In his notebooks, Whitman disguised Doyle's initials using the code "16.4".^[126] A more direct second-hand account comes from Oscar Wilde. Wilde met Whitman in America in 1882 and wrote to the homosexual rights activist George Cecil Ives that there was "no doubt" about the great American poet's sexual orientation — "I have the kiss of Walt Whitman still on my lips," he boasted.^[127] The only explicit description of Whitman's sexual activities is second hand. In 1924 Edward Carpenter, then an old man, described an erotic encounter he had had in his youth with Whitman to Gavin Arthur, who recorded it in detail in his journal.^[128][129] Late in his life, when Whitman was asked outright if his series of "Calamus" poems were homosexual, he chose not to respond.^[130]

Walt Whitman and Bill Duckett

Another possible lover was Bill Duckett. As a young teenage boy he lived in on the same street in Camden and moved in with Whitman, living with him a number of years and serving him in various roles. Duckett was fifteen when Whitman bought his house at 328 Mickle Street. Since, at least 1880, Duckett and his grandmother, Lydia Watson, were boarders subletting space from another family at 334 Mickle Street. Due to this close proximity it is obvious that Duckett and Whitman met as neighbors. Their relationship was close, with the youth sharing Whitman's money when he had it. Whitman described their friendship as "thick." Though some biographers describe him as a boarder, others identify him as a lover.^[131] Their photograph [pictured] is described as "modeled on the conventions of a marriage portrait," part of a series of portraits of the poet with his young male friends, and encrypting male-male desire.^[132] Yet another intense relationship with a young man was the one with Harry Stafford, with whose family he stayed when at Timber Creek, and whom he first met when the young man was 18, in 1876. Whitman gave young Stafford a ring, which was returned and given back over the course of a stormy relationship lasting a number of years. Of that ring Stafford wrote to Whitman, "You know when you put it on there was but one thing to part it from me, and that was death."^[133]

There is also some evidence that Whitman may have had sexual relationships with women. He had a romantic friendship with a New York actress named Ellen Grey in the spring of 1862, but it is not known if it was also sexual. He still had a photo of her decades later when he moved to Camden and referred to her as "an old sweetheart of mine".^[134] In a letter dated August 21, 1890 he claimed, "I have had six children — two are dead". This claim has never been corroborated.^[135] Toward the end of his life, he often told stories of previous girlfriends and sweethearts and denied an allegation from the New York Herald that he had "never had a love affair".^[136] As Whitman biographer Jerome Loving wrote, "the discussion of Whitman's sexual orientation will probably continue in spite of whatever evidence emerges."^[5]

Shakespeare authorship[link]

Whitman was an adherent of the Shakespeare authorship question, refusing to believe in the historic attribution of the works to William Shakespeare of Stratford-upon-Avon. Whitman comments in his November Boughs (1888) regarding Shakespeare's historical plays:

Conceiv'd out of the fullest heat and pulse of European feudalism—personifying in unparalleled ways the medieval aristocracy, its towering spirit of ruthless and gigantic caste, with its own peculiar air and arrogance (no mere imitation)—only one of the "wolfish earls" so plenteous in the plays themselves, or some born descendant and knower, might seem to be the true author of those amazing works—works in some respects greater than anything else in recorded literature.^[137]

Slavery[link]

Whitman opposed the extension of slavery in the United States and supported the Wilmot Proviso.^[138] At first he was opposed to abolitionism, believing the movement did more harm than good. In 1846, he wrote that the abolitionists had, in fact, slowed the advancement of their cause by their "ultraism and officiousness".^[139] His main concern was that their methods disrupted the democratic process, as did the refusal of the Southern states to put the interests of the nation as a whole above their own.^[138] In 1856, in his unpublished The Eighteenth Presidency, addressing the men of the South, he wrote "you are either to abolish slavery or it will abolish you". Whitman also subscribed to the widespread opinion that even free African-Americans should not vote^[140] and was concerned at the increasing number of African-Americans in the legislature.^[141]

Legacy and influence[link]

Whitman was honored on a 'Famous Americans Series' Postal issue, in 1940.

Walt Whitman has been claimed as America's first "poet of democracy", a title meant to reflect his ability to write in a singularly American character. A British friend of Walt Whitman, Mary Smith Whitall Costelloe, wrote: "You cannot really understand America without Walt Whitman, without Leaves of Grass... He has expressed that civilization, 'up to date,' as he would say, and no student of the philosophy of history can do without him."^[142] Modernist poet Ezra Pound called Whitman "America's poet... He is America."^[143] Andrew Carnegie called him "the great poet of America so far".^[144] Whitman considered himself a messiah-like figure in poetry.^[145] Others agreed: one of his admirers, William Sloane Kennedy, speculated that "people will be celebrating the birth of Walt Whitman as they are now the birth of Christ".^[146]

The literary critic, Harold Bloom wrote, as the introduction for the 150th anniversary of Leaves of Grass:

If you are American, then Walt Whitman is your imaginative father and mother, even if, like myself, you have never composed a line of verse. You can nominate a fair number of literary works as candidates for the secular Scripture of the United States. They might include Melville's Moby-Dick, Twain's Adventures of Huckleberry Finn, and Emerson's two series of Essays and The Conduct of Life. None of those, not even Emerson's, are as central as the first edition of Leaves of Grass.^[147]

Whitman's vagabond lifestyle was adopted by the Beat movement and its leaders such as Allen Ginsberg and Jack Kerouac in the 1950s and 1960s as well as anti-war poets like Adrienne Rich and Gary Snyder.^[148] Lawrence Ferlinghetti numbered himself among Whitman's "wild children", and the title of his 1961 collection Starting from San Francisco is a deliberate reference to Whitman's Starting from Paumanok.^[149] Whitman also influenced Bram Stoker, author of Dracula, and was the model for the character of Dracula. Stoker said in his notes that Dracula represented the quintessential male which, to Stoker, was Whitman, with whom he corresponded until Whitman's death.^[150] Other admirers included the Eagle Street College, an informal group established in 1885 at the home of James William Wallace in Eagle Street, Bolton, to read and discuss the poetry of Whitman. The group subsequently became known as the Bolton Whitman Fellowship or Whitmanites. Its members held an annual 'Whitman Day' celebration around the poet's birthday.^[151]

Whitman's poetry has been set to music by a large number of composers; indeed it has been suggested his poetry has been set to music more than any other American poet except for Emily Dickinson and Henry Wadsworth Longfellow.^[152] Those who have set his poems to music have included Kurt Weill, Ralph Vaughan Williams, Frederick Delius, Paul Hindemith, Karl Amadeus Hartmann, Benjamin Britten, Leonard Bernstein, Ned Rorem, Ronald Corp, George Crumb, Roger Sessions and John Adams.

Whitman is a 2009 inductee of the New Jersey Hall of Fame.^[153] The Walt Whitman Bridge crosses the Delaware River near his home in Camden.

Works[link]

• Franklin Evans (1842)
• Leaves of Grass (1855)
• Drum-Taps (1865)
• Memoranda During the War
• Specimen Days
• Democratic Vistas (1871)

See also[link]

Poetry portal

• American philosophy
• Dr. Quinn, Medicine Woman
• Walt Whitman Bridge, connecting Philadelphia to Gloucester City, New Jersey, is named for Walt Whitman.
• Walt Whitman High School in Bethesda, Maryland
• Walt Whitman High School in Huntington, New York
• Walt Whitman Shops in Huntington Station, New York

Notes[link]

References[link]

• Callow, Philip. From Noon to Starry Night: A Life of Walt Whitman. Chicago: Ivan R. Dee, 1992. ISBN 0-929587-95-2
• Kaplan, Justin. Walt Whitman: A Life. New York: Simon and Schuster, 1979. ISBN 0-671-22542-1
• Loving, Jerome. Walt Whitman: The Song of Himself. University of California Press, 1999. ISBN 0-520-22687-9
• Miller, James E., Jr. Walt Whitman. New York: Twayne Publishers, Inc. 1962
• Reynolds, David S. Walt Whitman's America: A Cultural Biography. New York: Vintage Books, 1995. ISBN 0-679-76709-6
• Stacy, Jason. Walt Whitman's Multitudes: Labor Reform and Persona in Whitman's Journalism and the First Leaves of Grass, 1840-1855. New York: Peter Lang Publishing, 2008. ISBN 978-1-4331-0383-4

External links[link]

Wikisource has original works written by or about: Walt Whitman

Wikiquote has a collection of quotations related to: Walt Whitman

Wikimedia Commons has media related to: Walt Whitman

• Walt Whitman: Online Resources at the Library of Congress
• The Walt Whitman Archive includes all editions of "Leaves of Grass" in page-images and transcription, as well as manuscripts, criticism, and biography
• Walt Whitman Page by Camden County, New Jersey Historical Society
• Works by or about Walt Whitman in libraries (WorldCat catalog)
• Walt Whitman household in NJ in 1880 census
• Walt Whitman letters from the Civil War - taken from the 'Wound Dresser'
• Poems by Walt Whitman An extensive collection of Whitman's poetry
• Poets.org – Biography, related essays, poems, and reading guides from the Academy of American Poets
• MS Lowell 15. Whitman, Walt, 1819-1892. Passage to India : autograph manuscript; Washington, 1870. 21s. (21p.) Houghton Library, Harvard University.
• New York Times, January 22, 1882 WHITMAN, POET AND SEER; A REVIEW OF HIS LITERARY SCHEME, WORK, AND METHOD This is made available online for free in the pre-1922 NYT archives.
• Booknotes interview with David S. Reynolds on Walt Whitman's America: A Cultural Biography, April 28, 1996.

Sites

• Walt Whitman Birthplace State Historic Site
• Walt Whitman Camden Home Historic Site
• Walt Whitman's grave site at Find A Grave.com

Mikey Bustos
Background information
Birth name	Michael John Tumanguil Pestano Bustos
Born	(1981-06-23) 23 June 1981 (age 31) Weston, Ontario, Canada
Genres	Pop, R&B
Occupations	Singer-songwriter , Part-Time Actor , Comedian
Instruments	Vocals
Years active	2003–present
Website	http://www.mikeybustos.ca/events.asp

Mikey Bustos (born June 23, 1981) is a Filipino Canadian singer who has appeared on the reality television show Canadian Idol.

Early life[link]

Bustos is from the Weston neighbourhood of Toronto. Before Canadian Idol, he worked as a temp at the Bank of Montreal.^[1]

Canadian Idol[link]

Bustos placed seventh runner-up in the finals of Canadian Idol Season One in August 2003, despite Chart magazine's prediction: "If we were to lay our bets today, ChartAttack’s money would be on Toronto contestant Mikey Bustos, a slightly strange looking young man with a shaved head and the voice of an angel."^[2] From his very first audition where he floored the four judges, he established the largest fan base early in the competition, and made headlines all over the country.^{[citation needed]}

Bustos recorded with BMG Canada/Vik Recordings for the Canadian Idol compilation album, which was certified Gold on the Soundscan Billboard charts on second day of release, and ranked in the Top 5 best selling Canadian albums in its debut week, selling over 60,000 units nationwide.^{[citation needed]}

[edit] Post Idol

After competing on Canadian Idol, Bustos began performing throughout Canada and the US at many events and showcases at top venues. Mikey also had special guest appearances and interviews at numerous radio stations including CHUM FM, CFMT, Z 103.5 FM, Flow 93.5 FM, Mix 99.9 FM, AM 680 News, CHIN Ottawa FM, CKMS 100.3 FM Waterloo, and has several times appeared on CTV (Etalk Daily/ Canada AM Live), CBC Quebec, and local stations like Omni1 and Rogers (Daytime Toronto).^{[citation needed]}

Career[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2012)

In 2004, Bustos recorded, performed, and mastered his craft in New York City residing in Queens and Manhattan, collaborating and recording with acclaimed producer Glenn Swan of the renowned Chung King Studios.

In 2005, Bustos released his debut extended play entitled Love Me Again on May 7. It was produced by Brent Bodrug of B-Group Music, who previously had worked with Alanis Morissette, Jack Soul, and Sugar Jones. It is available at all HMV locations across Canada.

In 2006, Bustos continued touring in the U.S. performing in New York, Chicago, Los Angeles, San Diego, and Las Vegas. He also began to perform in other countries, traveling to the Philippines, where he was front act for the Pussycat Dolls. Mikey also had a series of guest appearances, interviews, and live performances on popular Philippine TV shows including TFC's ASAP '06, and GMA's Eat Bulaga, Star Talk, SOP, S-Files, Unang Hirit, SIS, MTV Philippines, and even the country's first Philippine Idol. Mikey's radio performances and mall performance at Eastwood City in Manila were also highlights.

In 2007, Bustos was featured in a commercial for MTV Canada & was the front act for Christina Aguilera in the Philippines on July 6. He released a music video the next year for his single "If It Feels Good Then We Should" from his debut solo album Memoirs of a Superhero. The album was released on December 23, 2008, and its album art was designed by Orange Pop Media.

In 2009, Bustos' single "If It Feels Good Then We Should" reached Top 20 for multiple weeks on Canadian mainstream radio, as well as Top 2 Music Video on the California Music Channel in the US. His single "All I Need Is Me" was also played at Footlocker Stores nationwide. Under Bustos Entertainment Inc, he signed with Universal Music/North Fontana Distribution in May 2009.

In 2010, Bustos was nominated for a Toronto Independent Music Award for Best Adult Contemporary category. His song "Everytime My Heart Beats" from his debut album "Memoirs of a Superhero" since its release has become a Youtube phenomenon. Mikey was also involved in musical theater projects including a star role in the Summerworks production of Prison Dancer: The Musical.

Bustos continues to tour the world performing and making guest appearances on TV, radio, and the internet. He is also the co-founder, creator, and co-owner of a store providing formicariums (ant farms) and ant keeping products to enthusiasts worldwide.

YouTube videos[link]

Bustos is known for his videos uploaded on video website YouTube about Filipino tutorials, including eating Balut (duck embryo), Filipino dining, Filipino courting, and the Filipino CR. He also made a parody of "Born This Way" by Lady Gaga entitled "Pinoy This Way". He has been appeared on TV several times: TV Patrol and Bandila on ABS-CBN; and 24 Oras and Saksi on GMA.

Product Endorsements[link]

In 2011, Bustos became the spokesperson and endorser for brands like Samsung, Nescafe, and Mang Juan snacks.^[3] His TV commercials for Chicharron ni Mang Juan run on Philippines TV on all major networks nationwide.

Television[link]

References[link]

External links[link]

• Mikey Bustos official site
• Mikey Bustos on Canadian Idol
• The AntsCanada Ants Store

Method Man
December 21, 2010
Background information
Birth name	Clifford Smith
Also known as	Meth, Tical, Johnny Blaze, Methtical, Shakwon, Iron Lung, Hot Nikkels, MZA, John J
Born	(1971-04-01) April 1, 1971 (age 41)[1][2] Staten Island, New York City, United States
Genres	Hip hop
Occupations	Rapper, actor
Years active	1990–present (rapping) 1995–present (acting)
Labels	Def Jam
Associated acts	Wu-Tang Clan, Redman, Erick Sermon, LL Cool J, The Notorious B.I.G., DMX, Xzibit, Shyheim
Website	method-man.com

Clifford Smith (born April 1, 1971),^[3] better known by his stage name Method Man, is an American hip hop artist, record producer, actor and member of the hip hop collective Wu-Tang Clan. He took his stage name from the 1979 film The Fearless Young Boxer, also known as Method Man. He is one half of the rap duo Method Man & Redman. He won a Grammy Award for Best Rap Performance by a Duo or Group for "I'll Be There for You/You're All I Need to Get By" with Mary J. Blige. In 2007, the writers of About.com placed him on their list of the Top 50 MCs of Our Time (1987–2007).^[4]

Method Man appeared in the motion pictures Belly, How High, Garden State as well as a minor role in The Wackness. More recently, he appeared as a crewman in George Lucas' film Red Tails. On television, he and hip-hop collaborator Redman co-starred on the short-lived Fox sitcom Method & Red, and he had a recurring role on HBO's Oz as Tug Daniels and as Calvin "Cheese" Wagstaff on the acclaimed HBO drama series The Wire.

Early life[link]

Born in Staten Island, New York, on April 1 , 1971, Clifford Smith divided his childhood between his father's Long Island residence and his mother's home in the Park Hill section of Staten Island aka Killa Hill.^[5] He has two sisters, Terri and Missy.^[5]

Rapping career[link]

[edit] 1992–96: Enter the Wu-Tang (36 Chambers) and Tical

As Wu-Tang Clan ascended to hip hop stardom, Method Man was always one of the most visible members of the collective. He was one of only two members to get a solo song on the group's debut album Enter the Wu-Tang: 36 Chambers and he was the first to release a solo album under the Clan's unusual contract which allowed its members to release albums under any record label (Method chose to sign with rap label Def Jam). Method Man's solo debut, Tical (1994) was critically acclaimed and well received, entering the American charts at #4 and eventually selling in excess of one million copies. That album featured the hit single "All I Need" which was later remixed featuring Mary J Blige, which won a Grammy "I'll Be There for You/You're All I Need,"). during this time Method Man also became close friends with The Notorious B.I.G., and was the only guest rapper featured on his debut album Ready to Die. He was also featured on Spice 1's album "AmeriKKKa's Nightmare" on the track "Hard 2 Kill". In 1995, he was also featured on "Got the Flava" off Showbiz and A.G.'s album Goodfellas. In 1996, Method Man appeared on Tupac Shakur's album All Eyez on Me, on the song "Got My Mind Made Up" alongside his rhyme partner Redman, The Dogg Pound (Daz and Kurupt) and Inspectah Deck (Rebel INS), whose verse did not make the released album version (although his nickname "Rebel INS" can be heard as the song fades).

[edit] 1997–98: Wu-Tang Forever and Tical 2000: Judgement Day

On June 3, 1997 the Wu-Tang Clan released their Grammy-nominated multiplatinum double CD Wu-Tang Forever, the long-awaited follow up to 36 Chambers. The album has sold over 8.3 million copies to date worldwide.

His second solo album was Tical 2000: Judgement Day, released in 1998, which was heavily influenced by the apocalypse theories surrounding the forthcoming end of the millennium, and which featured myriad guest appearances from his fellow Wu-Tang MCs, proving for the world that Method Man is in fact America's most blunted(with the help of Red Man). The album was certified double platinum. Other guest appearances include Lisa "Left Eye" Lopes, D'Angelo, Chris Rock, Mobb Deep, Redman, and brief cameos from Russell Simmons, Bishop Don "Magic" Juan, Janet Jackson, and Donald Trump. The album sold better than his first fueled by the party track "Judgment Day" and the D'Angelo collaboration "Break Ups 2 Make Ups", earning Platinum and Gold certifications in the U.S. and Canada respectively. Reviews for the album were mixed and its long runtime and abundance of intermittent comedy skits were widely criticized. Producers on this album included True Master, 4th Disciple and the RZA.

[edit] 1999–2000: Blackout! (with Redman)

Method Man was part of the very successful Hard Knock Life Tour with Jay-Z, Redman, Ja Rule, and DMX. During this tour, Method Man & Redman recorded Blackout!, a light-hearted, bass-heavy, profanity-laced, party record with an EPMD-evoking emphasis on funky beats and the mischievous wit and cool flows and good rhythm of the two MCs. The album reached platinum status quickly, both in the U.S. and Canada, fueled by "Da Rockwilder", "Cereal Killa", "1, 2, 1, 2", "Tear It Off" and "Y.O.U.". This album also featured three previously released tracks on which the two collaborated.

Their success would lead the duo on to star in movies and TV shows, become product spokespersons and household names, but also associated them with marijuana use in the media. The most immediate results of their success was their co-starring roles in the major motion picture film How High, their endorsement deal for Right Guard, Redman's starring role in Seed of Chucky and a short-lived sitcom on Fox Television entitled Method & Red.

[edit] 2000–04: The W, Iron Flag, and Tihkal 0: The Prequel

The Wu-Tang Clan released The W on November 21, 2000 and Iron Flag on December 18, 2001. The W received both critical and commercial success for the group, while Iron Flag did receive some but not to the effect of The W. The efforts earned two more platinum plaques for the Wu-Tang Clan.

In 2004, Meth released his third solo album Tical 0: The Prequel, which featured the hit party single "What's Happenin'" with Busta Rhymes. Hip hop critics voiced their displeasure with the album, many agreeing that Tical 0 felt like generic party rap and featured too many mainstream guests, detracting from his own performances. Regardless, this album sold reasonably well and was certified gold record by the RIAA relatively quickly, but would not see the platinum success of his previous solo releases. There was trouble even before the album's release when Method apparently complained to the press about excessive interference from Def Jam over the album's beats (Meth supposedly desired more input from Wu-Tang leader RZA). On its release, many fans and critics were taken aback by its strong "mainstream" or "commercial" sound, highlighted by the guest appearances of pop-rap stars like Missy Elliott and P. Diddy, two artists that are involved with much different facets of rap music.

P. Diddy was one of the executive producers for the album, although Meth later voiced his displeasure with the final product. "On the third LP, it was suggested (by Def Jam) to bring in Harve Pierre and P. Diddy. Who am I to argue? Puff knows how to sell some records. But that wasn't the direction to go in, and I know that."^[6]

[edit] 2006–07: 4:21... The Day After

Method Man at the 2007 Eurockéennes.

Method Man's fourth album, entitled 4:21: The Day After was released in August 2006 with a star lineup of producers featuring Havoc, Erick Sermon, Scott Storch, Allah Mathematics, Mr. Porter, and, most importantly to Meth, RZA. This time around, a more focused Method Man went back to his hip hop roots and both hip hop fans and the media took notice. He did an interview on the ItsHipHop.Tv.^[7] Despite this being one of Meth's strongest solo efforts to date, the album failed to do well commercially due to it having no single or video, which Method Man has held discontent towards his own label for. However, he has been touring strongly all over the world to promote the album, and has appeared onstage with fellow Wu-Tang member Inspectah Deck, as well as New York up and comers Saigon, and Gat Murdah. Meth contributed various reasons for the problems between him and his label, Def Jam. While he puts most of the blame on personal agendas in the Def Jam offices, Meth did take some blame, himself, for giving into his record label.

In early May 2007, Method Man's camp leaked the street single "New York New York" which became a popular track on the internet.^[8]

[edit] 2007–10: Blackout! 2

On March 27, 2007, Redman confirmed on BET's Rap City: Tha Bassment that the sequel to How High, How High 2, is currently being written.

In an April 10, 2007 Onion AV Club interview,^[9] Redman hinted that there would be a second collaborative album with Method Man, with work beginning in midsummer or early September.

In early 2008, a remake of the Smoothe da Hustler and Trigger tha Gambler classic Broken Language was released to the internet by the duo entitled Broken Language 2008, fueling rumors of a Blackout! sequel coming soon. This rumor was further fueled by the duo while performing in Gainesville, Florida at the University of Florida. A Blackout! 2 LP was scheduled for a December 9, 2008 release but was recently pushed back to the first quarter of 2009, with a new release date on May 19. Bun B has confirmed that he will guest star on Blackout! 2 – in April 2009, a single has been released named City Lights, produced by Nasty Kutt ^[10] Also producers such as Erick Sermon, Rockwilder and Pete Rock have announced their presence on the album.

The duo has finished their Still High tour with Termanalogy, the Alchemist, and Evidence of Dilated Peoples.

[edit] 2011–present: Crystal Meth

Crystal Meth is Method Man's upcoming fifth studio album.^[11][12][13] The album has no confirmed release date. The Crystal Meth was first announced before Method Man began working on his and Redman's sophomore collaboration album, Blackout! 2. In the liner notes of that album, it was given a scheduled release date for 2009. The album, however, was further postponed until it was later mentioned in an MTV interview it would be released in early 2010.^[11] no update on the album's progress or release date has been made. At a concert on the 23 of December 2010 Method Man told the crowd to look for his album in March 2011. However the album was pushed back to an unknown release date.

In a recent interview with The Come Up Show following a recent performance in Canada in April 2011, Method Man replied with this regarding his current 'weed-loving' image:"When you get older and you've got kids and your kids are going to school and you know [their] teachers...and they see how active you are and concerned [you are] with your kids' education or well being, it's hard to sit there and be taken seriously if people are always talking about he's always high...which is totally not the case," he said. "When I first came out, I was young, we were doing our thing, we smoked a lot...and we didn't care if the world knew. Now, I have to use more discretion because of my kids. This is not for me; everything I do is for them now, so I use a bit more discretion and I don't put weed as a forefront any more."

On October 5, 2011, a new single from Method Man, titled "World Gone Sour (The Lost Kids)", was released on iTunes.^[14] Recently, he confirmed that the album will come out next year and will have the usual line-up of producers including RZA, Rockwilder, Erick Sermon, 3rd Digala of Digem Tracks and some other new underground producers he's begun to work with.^[15] He also expressed a desire to work with Odd Future frontman Tyler, The Creator.^[16] It was recently announced via Facebook that Crystal Meth will be his last album & to be fully produced by RZA.

Acting career[link]

In the early 2000s Method Man began a career in acting. He has had recurring roles in critically acclaimed television shows such as HBO's Oz as Tug Daniels, HBO's The Wire in which he plays Prop Joe's nephew Cheese, The Twilight Zone and CSI: Crime Scene Investigation. He and Redman hosted a pilot on MTV called Stung. He has made numerous appearances as himself on TV shows such as Mind of Mencia and Chappelle's Show.

Method Man portrays Drops on CSI, a wealthy Las Vegas party promoter who clashes with the CSI team, specifically investigator Nick Stokes, in their investigations involving his clubs or entourage. His first appearance on CSI as Drops was in the 2006 episode "Poppin' Tags". He resumed the role in the 2007 episode "Big Shots" and again in the 2008 episode "Drops Out".

His first prominent role came in 1998 with the film Belly along with fellow rappers Nas and DMX. He has since added many credits to his name, including roles in the films Garden State, One Eight Seven, and many others, with starring roles in the feature films such as How High and Soul Plane. On March 27, 2007 Redman confirmed on BET's show Rap City that the sequel to How High was being written. The script for How High 2 is being written by Dustin Lee Abraham of CSI, who also wrote the first movie. In 2005 Method Man also had a cameo in the horror movie Venom, where he played a deputy who shortly into the movie is killed. He appears in the 2008 movies The Wackness and also, Meet the Spartans.

Method Man stars in the episode "Snitch" of Law & Order SVU as the main antagonist. The episode was first broadcast December 4, 2007.

Method Man has made an appearance in the Def Jam series of video games. In Fight for NY he voiced Blaze, one of the main characters. In Icon, he voiced Gooch, a major character in the storyline. In Underground, He voiced Meth, one of the major characters. He made a guest appearance in the music video for the 2003 "If I Ain't Got You" by Alicia Keys, where he played the role of her boyfriend. He also appeared in Beanie Sigel's music video "Feel It in the Air", where Method Man played an undercover cop leading an operation against Sigel.

Method Man has fallen back from pursuing more acting roles after the situation with his sitcom on Fox left a bad taste in his mouth,^[17] and now mostly just acts if the project is being handled by a friend of his, as was the case with CSI and The Wire. He also played an arsonist and a wealthy executive as well as main antagonist in an episode of the fox TV show The Good Guys.

Method Man appears as a hip hop business mogul in an episode of Burn Notice.

Method man had a cameo appearance in the 1997 film Cop Land as a physically violent fleeing criminal that throws Peter Berg's character off of a New York rooftop. Method Man has also appeared in the TV drama Wonderland, as a patient in a mental hospital.

Method man plays a small role in the 2011 film "The Sitter" starring Jonah Hill. In 2012 he played crewman "Sticks" in George Lucas' movie Red Tails about the Tuskegee airmen.

Other ventures[link]

Method Man appeared in the 1995 documentary entitled The Show. There is a memorable scene in which Method Man, on a train in Japan, gets into an argument with U-God and Ghostface Killah, over camera time, radio interviews, and clothing mishaps.

In 2006, Method Man appeared on the MTV reality game show Yo Momma in the first episode of Season 1.

Method Man is the first of the Wu-Tang Clan to produce a series of eponymous graphic novels for Hachette Book Group USA's imprint Grand Central Publishing^[18] (to be followed by GZA and Ghostface Killah).^[19]

Personal life[link]

He became engaged to his wife in 1999 and they married in 2001.^[5] He has three children: two sons (born in 1996 and 2001), and one daughter (born in 1997). Method Man also has collabed with Rochester rapper "Dale Mahoney" on his project "Jordans&Drugs" in 2012.^[20]

Legal issues[link]

On Thursday May 17, 2007 Method Man was arrested in New York City on marijuana charges. His Mercedes-Benz convertible was pulled over at the Battery Tunnel en route to Manhattan, and when he rolled his window down the officer noticed a strong smell of marijuana. "It was like something out of Cheech & Chong. He rolls down the window and the smoke would choke a horse," a source later said.^[21] The arresting officer said he noticed two blunts and a plastic bag with more marijuana in plain view. Upon further inspection more marijuana was found under the driver's seat. The arrest was made at about 10 P.M. Thursday night near the Battery Tunnel toll booths on Hamilton Ave. in Carroll Gardens. He was charged with unlawful possession of marijuana, criminal possession of marijuana, operating a motor vehicle under the influence and driving an uninspected motor vehicle. He later made many public service appearances to try to make up for it, most notably at Abraham Lincoln High School in Brooklyn.^[22]

On October 5, 2009, Method Man was arrested at his home in Staten Island for income tax violations.^[23] He was accused of failing to file income tax returns for the state of New York between 2004 and 2007 and owes nearly $33,000 in taxes. On June 28, 2010,^[24] Method Man plead guilty to tax evasion and was sentenced to a conditional discharge^[25] and paid a $106,000.00 fine.^[24]

Controversies[link]

Wu-Tang management[link]

In 2003, Method Man criticized Oli "Power" Grant and Mitchell "Divine" Diggs, the managers of the Wu-Tang business.^[26] "Number 1 on my shit list right now is Divine from Wu-Tang management. He took something major from me that he had no intention of giving back."^[27] Divine is multiplatinum record producer RZA's brother who along with Oli "Power" Grant took over the business end of Wu-Tang around 1997.

Aside from the financial issues, Method Man was unhappy with the decision to bring Wu-Tang into the fashion world for a brief period of time with Wu-Wear, despite the brand being a major money-maker for the group. "When Wu-Wear started making shoes and sneakers and pants, it was shoddy material. I never rocked that shit."^[27]

Wendy Williams[link]

In 2006 Method Man had a highly personal and highly publicized conflict with TV talk show host Wendy Williams on The Breakdown, an internet show on ONLOQ.com. Williams talked on air about Method Man's wife having cancer, which was something he had wanted to keep very private and even her own family members had not yet known about. He said that people who lived next door to him didn't even know, but Williams had dug it up and made it public over the radio. Because of this leaked information, Method Man and his wife had many problems.^[28]

Williams also reported rumors that Method Man had even been having an affair with his wife's doctor. Method Man first heard of this while in recording sessions in Los Angeles.

Sean Combs[link]

During a concert in 2006, Method Man criticized Diddy's decisions on the posthumous The Notorious B.I.G. Duets: The Final Chapter album, saying that Biggie never would have worked with some of the subpar rappers. "They got niggas on that album Big would have never rocked with," Meth said of the album. "Musically, I ain't fuckin' with Puff Daddy".^[30] He also brought up the fact that he was the only other rapper that Biggie chose to have on his debut album Ready To Die. He was featured on the track "The What".

Previously, Diddy had been one of the executive producers for Method Man's 2004 album Tical 0: The Prequel, to which Meth later voiced his displeasure on the final product. From then on, he focused on production from within the clan and its closely tied collaborators.

Fox Television[link]

He starred in a Fox sitcom called Method & Red in late 2004, however after only a short time on the air the show was put on hiatus and never returned. Method Man later complained in the press about Fox's influence on the show's style, claiming that "there's been too much compromise on our side and not enough on their side" and bemoaning the network's decision to add a laugh track. Before the show even aired for the first time, he was telling fans not to bother watching it. He told the newspaper:

Discography[link]

Filmography[link]

Method Man filmography

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Method Man

• Method Man at the Internet Movie Database
• Official website