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Joseph Harry Fowler Connick Jr. (born September 11, 1967) is an American singer, composer, actor, and television host. He has sold over 28 million albums worldwide. Connick is ranked among the top 60 best-selling male artists in the United States by the Recording Industry Association of America, with 16 million in certified sales. He has had seven top 20 US albums, and ten number-one US jazz albums, earning more number-one albums than any other artist in US jazz chart history.
Connick’s best-selling album in the United States is his Christmas album When My Heart Finds Christmas (1993). His highest-charting album is his release Only You (2004), which reached No. 5 in the US and No. 6 in Britain. He has won three Grammy Awards and two Emmy Awards. He played Grace Adler’s husband, Leo Markus, on the NBC sitcom Will & Grace from 2002 to 2006.
Connick began his acting career as a tail gunner in the World War II film Memphis Belle (1990). He played a serial killer in Copycat (1995), before being cast as a fighter pilot in the blockbuster Independence Day (1996). Connick’s first role as a leading man was in Hope Floats (1998) with Sandra Bullock. His first thriller film since Copycat came in the film Basic (2003) with John Travolta. Additionally, he played a violent ex-husband in Bug, before two romantic comedies, P.S. I Love You (2007), and the leading man in New in Town (2009) with Renée Zellweger. In 2011, he appeared in the family film Dolphin Tale as Dr. Clay Haskett and in its 2014 sequel.
Harry Connick Jr. was born and raised in New Orleans, Louisiana. His mother, Anita Frances Livingston (née Levy, 1926–1981) was a lawyer and judge in New Orleans and, later, a Louisiana Supreme Court justice. His father, Joseph Harry Fowler Connick Sr., was the district attorney of Orleans Parish from 1973 to 2003.His parents also owned a record store. Connick’s father is a Catholic of Irish, English, and German ancestry.Connick’s mother, who died from ovarian cancer, was Jewish (her parents had emigrated from Minsk and Vienna).Connick and his sister, Suzanna, were raised in the Lakeview neighborhood of New Orleans.it had to be you karaoke
Connick’s musical talents came to the fore when he started learning keyboards at age three, playing publicly at age five, and recording with a local jazz band at ten.[14] When he was nine years old, Connick performed the Piano Concerto No. 3 Opus 37 of Beethoven with the New Orleans Symphony Orchestra (now the Louisiana Philharmonic). Later he played a duet with Eubie Blake at the Royal Orleans Esplanade Lounge in New Orleans. The song was “I’m Just Wild About Harry”. This was recorded for a Japanese documentary called Jazz Around the World.[14][15] The clip was also shown in a Bravo special, called Worlds of Harry Connick, Junior. in 1999. His musical talents were developed at the New Orleans Center for Creative Arts and under the tutelage of Ellis Marsalis Jr. and James Booker.
Connick attended Jesuit High School, Isidore Newman School, Lakeview School, and the New Orleans Center for Creative Arts, all in New Orleans. Following an unsuccessful attempt to study jazz academically, and having given recitals in the classical and jazz piano programs at Loyola University, Connick moved to the 92nd Street YMHA in New York City to study at Hunter College and the Manhattan School of Music. There he met Columbia Records executive, Dr. George Butler, who persuaded him to sign with Columbia. His first record, Harry Connick Jr., was a mainly instrumental album of standards. He soon acquired a reputation in jazz because of extended stays at high-profile New York venues. His next album, 20, featured his vocals and added to this reputation.
With Connick’s reputation growing, director Rob Reiner asked him to provide a soundtrack for his romantic comedy, When Harry Met Sally… (1989), starring Meg Ryan and Billy Crystal. The soundtrack consisted of several standards, including “It Had to Be You”, “Let’s Call the Whole Thing Off” and “Don’t Get Around Much Anymore”, and achieved double-platinum status in the United States. He won his first Grammy Award for Best Jazz Male Vocal Performance for his work on the soundtrack.
Connick made his screen debut in Memphis Belle (1990), a fictional story about a B-17 Flying Fortress bomber crew in World War II. In that year he began a two-year world tour. In addition, he released two albums in July 1990: the instrumental jazz trio album Lofty’s Roach Souffle and a big-band album of mostly original songs titled We Are in Love, which also went double platinum. We Are in Love earned him his second consecutive Grammy for Best Jazz Male Vocal.
“Promise Me You’ll Remember”, his contribution to the Godfather III soundtrack, was nominated for both an Academy Award and a Golden Globe Award in 1991. In a year of recognition, he was also nominated for an Emmy Award for Best Performance in a Variety Special for his PBS special Swingin’ Out Live, which was also released as a video. In October 1991, he released his third consecutive multi-platinum album, Blue Light, Red Light, on which he wrote and arranged the songs. Also in October 1991, he starred in Little Man Tate, directed by Jodie Foster, playing the friend of a child prodigy who goes to college.
In November 1992, Connick released 25, a solo piano collection of standards that again went platinum. He also re-released the album Eleven. Connick contributed “A Wink and a Smile” to the Sleepless in Seattle soundtrack, released in 1993. His multi-platinum album of holiday songs, When My Heart Finds Christmas, was the best-selling Christmas album in 1993.
In 1994, Connick decided to branch out. He released She, an album of New Orleans funk that also went platinum. In addition, he released a song called “(I Could Only) Whisper Your Name” for the soundtrack of The Mask, starring Jim Carrey, which is his most successful single in the United States to date. it had to be you karaoke
Connick took his funk music on a tour of the United Kingdom in 1994, an effort that did not please some of his fans, who were expecting a jazz crooner. Connick also went on a tour of the People’s Republic of China in 1995, playing at the Shanghai Center Theatre. The performance was televised live in China for what became known as the Shanghai Gumbo special. In his third film Copycat, Connick played a serial killer who terrorizes a psychiatrist (played by Sigourney Weaver). Released in 1995, Copycat also starred Holly Hunter and Sigourney Weaver. The following year, he released his second funk album, Star Turtle, which did not sell as well as previous albums, although it did reach No. 38 on the charts. However, he appeared in the most successful movie of 1996,[17] Independence Day, with Will Smith and Jeff Goldblum. it had to be you karaoke
For his 1997 release To See You, Connick recorded original love songs, touring the United States and Europe with a full symphony orchestra backing him and his piano in each city. As part of his tour, he played at the Nobel Peace Prize Concert in Oslo, Norway, with his final concert of that tour in Paris being recorded for a Valentine’s Day special on PBS in 1998. He also continued his film career, starring in Excess Baggage (1997) opposite Alicia Silverstone and Benicio del Toro.
In May 1998, he had his first leading role in director Forest Whitaker’s Hope Floats, with Sandra Bullock as his female lead. He released Come By Me, his first album of big band music in eight years in 1999, and embarked on a world tour visiting the United States, Europe, Japan and Australia. In addition, he provided the voice of Dean McCoppin in the animated film The Iron Giant.
Connick wrote the score for Susan Stroman’s Broadway musical Thou Shalt Not, based on Émile Zola’s novel Thérèse Raquin, in 2000; it premiered in 2001. His music and lyrics earned a Tony Award nomination. He was also the narrator of the film My Dog Skip, released in that year.
In March 2001, Connick starred in a television production of South Pacific with Glenn Close, televised on the ABC network. He also starred in his twelfth movie, Mickey, featuring a screenplay by John Grisham that same year. In October 2001, he again released two albums: Songs I Heard, featuring big band re-workings of children’s show themes, and 30, featuring Connick on piano with guest appearances by several other musical artists. Songs I Heard won Connick another Grammy for Best Traditional Pop Album and he toured performing songs from the album, holding matinees at which each parent had to be accompanied by a child. it had to be you karaoke
In 2002, he received a U.S. Patent 6,348,648 for a “system and method for coordinating music display among players in an orchestra.”Connick appeared as Grace Adler’s boyfriend (and later husband) Leo Markus on the NBC sitcom Will & Grace from 2002 to 2006.
Pop music is a genre of popular music that originated in its modern form in the Western world during the 1950s and 1960s[not verified in body] as a softer alternative to rock and roll. The terms “popular music” and “pop music” are often used interchangeably, although the former describes all music that is popular and includes many styles. “Pop” and “rock” were synonymous terms until the late 1960s, when they were increasingly used in opposition from each other.
Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other styles such as urban, dance, rock, Latin, and country; nonetheless, there are core elements that define pop music. Identifying factors include generally short to medium-length songs written in a basic format (often the verse-chorus structure), as well as the common use of repeated choruses, melodic tunes, and hooks.
David Hatch and Stephen Millward define pop music as “a body of music which is distinguishable from popular, jazz, and folk musics”.According to Pete Seeger, pop music is “professional music which draws upon both folk music and fine arts music”. Although pop music is seen as just the singles charts, it is not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately. Thus “pop music” may be used to describe a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll. Musicologist Allan Moore surmises that the term “pop music” itself may have originated from Pop art. Additionally, it’s important to note that pop music is always evolving, which means that the definition of pop music can change, too. It’s also important to be cognizant of the distinction between pop music and popular music. According to The New Grove Dictionary Of Music and Musicians, popular music is defined as “the music since industrialization in the 1800’s that is most in line with the tastes and interests of the urban middle class.” it had to be you karaoke
The Oxford Dictionary of Music states that the term “pop” refers to music performed by such artists as the Rolling Stones (pictured here in a 2006 performance)
The term “pop song” was first recorded as being used in 1926, in the sense of a piece of music “having popular appeal”.However,[editorializing] the term was in mainstream use[not in citation given] at least ten years earlier. Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. it had to be you karaoke
According to the website of The New Grove Dictionary of Music and Musicians, called Grove Music Online, the term “pop music” “originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced”. The Oxford Dictionary of Music states that while pop’s “earlier meaning meant concerts appealing to a wide audience … since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc”. Grove Music Online also states that “… in the early 1960s [the term] ‘pop music’ competed terminologically with beat music [in England], while in the USA its coverage overlapped (as it still does) with that of ‘rock and roll'”. it had to be you karaoke
From about 1967, the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.Whereas rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial, ephemeral and accessible. According to British musicologist Simon Frith, pop music is produced “as a matter of enterprise not art”, is “designed to appeal to everyone” and “doesn’t come from any particular place or mark off any particular taste”. It is “not driven by any significant ambition except profit and commercial reward … and, in musical terms, it is essentially conservative”. It is, “provided from on high (by record companies, radio programmers, and concert promoters) rather than being made from below … Pop is not a do-it-yourself music but is professionally produced and packaged”.
, “You’ve Lost That Lovin’ Feelin'” ranks as the most frequently played song in US radio history, described by music writers Nick Logan and Bob Woffinden as “the ultimate pop record”.
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