Metrosexual is a neologism derived from metropolitan and heterosexual coined in 1994 describing a man (especially one living in an urban, post-industrial, capitalist culture) who spends a lot of time and money on shopping for his appearance.^[1] Debate surrounds the term's use as a theoretical signifier of sex deconstruction and its associations with consumerism.

Origin[link]

The term originated in an article by Mark Simpson^[2] published on November 15, 1994, in The Independent. Simpson wrote:

Metrosexual man, the single young man with a high disposable income, living or working in the city (because that’s where all the best shops are), is perhaps the most promising consumer market of the decade. In the Eighties he was only to be found inside fashion magazines such as GQ, in television advertisements for Levi's jeans or in gay bars. In the Nineties, he’s everywhere and he’s going shopping.

However, it was not until the early 2000s when Simpson returned to the subject that the term became globally popular.

In 2002, Salon.com published an article by Simpson,^[3] which identified David Beckham as the metrosexual poster boy and offered this updated, succinct definition:

The typical metrosexual is a young man with money to spend, living in or within easy reach of a metropolis — because that’s where all the best shops, clubs, gyms and hairdressers are. He might be officially gay, straight or bisexual, but this is utterly immaterial because he has clearly taken himself as his own love object and pleasure as his sexual preference.

The advertising agency Euro RCSG Worldwide adopted the term shortly thereafter for a marketing study. Sydney's daily broadsheet, The Sydney Morning Herald, ran a major feature in March 2003 titled "The Rise of the Metrosexual" (also syndicated in its sister paper The Age) which borrowed heavily from Simpson's Salon.com piece (but failed to acknowledge this or mention Simpson). A couple of months later, the New York Times' Sunday Styles section ran a story, "Metrosexuals Come Out." The term and its connotations continued to roll steadily into more news outlets around the world.

Though it did represent a complex and gradual change in the shopping and self-presentation habits of both men and women, the idea of metrosexuality was often distilled in the media down to a few men—David Beckham, Sam Romano, and Brad Pitt were frequently mentioned—and a short checklist of vanities, like skin care products, scented candles and costly, colorful dress shirts and pricey designer jeans.^[4] It was this image of the metrosexual—that of a straight young man who got pedicures and facials, practiced aromatherapy and spent freely on clothes—that contributed to a backlash against the term from men who merely wanted to feel free to take more care with their appearance than had been the norm in the 1990s, when companies abandoned dress codes, Dockers khakis became a popular brand, and XL, or extra-large, became the one size that fit all.^[4]

A 60 Minutes story on 1960s-70s pro footballer Joe Namath suggested he was "perhaps, America's first metrosexual"^[5] after filming his most famous ad sporting Beautymist pantyhose. Simpson has called Joe Namath "America's abandoned metrosexual prototype", leaving the field open for later Brit metro imports such as Beckham.^[6]

When the word first became popular, various sources incorrectly attributed its origin to trendspotter Marian Salzman, but by Salzman's own admission Simpson's 2002 Salon.com article was the original source for her usage of the word, which she had "updated, based on a more commercial take on the now".^[7]

Related terms[link]

Over the course of the following years, other terms countering or substituting for "metrosexual" appeared. Perhaps the most widely used was "retrosexual," which in its anti- or pre-metrosexual sense was also first used by Simpson.^[8] However, in later years the term was used by some to describe men who subscribed to what they affected to be the grooming and dress standards of a previous era, such as the handsome, impeccably turned-out fictional character of Donald Draper in the television series Mad Men, itself set in an idealised version of the early 1960s New York advertising world.

Another example was the short-lived "übersexual", was coined by marketing executives and authors of The Future of Men, and was perhaps inspired by Simpson's use of the term "uber-metrosexual" to describe David Beckham.^[9]

Simpson has argued that from the beginning the appropriation of the metrosexual concept by American marketers such as Salzman in 2003 was always about trying to straighten him out.^{[clarification needed]} Simpson's original definition of the metrosexual was sexually ambiguous, or at least went beyond the straight/gay binary. Marketers, in contrast, insisted that the metrosexual was always "straight" – they even tried to pretend that he was not vain.^[10] However, they failed to convince the public, hence, says Simpson, their attempt to create the uber-straight ubersexual.

Narcissism[link]

Narcissism, according to Simpson, plays a crucial role in the metrosexual concept. As Simpson writes in "Big Tits: Masochism and Transformation In Bodybuilding" ^[11] (Male Impersonators, 1994), narcissism is a very important aspect of contemporary masculinity. Citing Freud's On Narcissism, which analyzes the psychological aspect of narcissism and explains narcissistic love as follows:

“

A person may love: (1) According to the narcissistic type: (a) What he is himself, (b) What he once was, (c) What he would like to be, (d) Someone who once was part of himself.[12]

”

Female metrosexuality[link]

Female metrosexuality is a concept that Mark Simpson explored with American writer Caroline Hagood.^[13] They employed the female characters from the HBO series Sex and the City in order to illustrate examples of wo-metrosexuality, a term Hagood coined to refer to the feminine form of metrosexuality. The piece implied that, although this phenomenon would not necessarily empower women, the fact that the metrosexual lifestyle de-emphasizes traditional male and female gender roles could help women out in the long run. However, it is debatable whether the characters made famous by "Sex and the City" truly de-emphasized female gender roles, given that the series focused a high amount of attention on stereotypically feminine interests like clothing, appearance, and romantic entanglements.

Changing masculinity[link]

Traditional masculine norms, as described in Dr. Ronald F. Levant's Masculinity Reconstructed are: "avoidance of femininity; restricted emotions; sex disconnected from intimacy; pursuit of achievement and status; self-reliance; strength and aggression; and homophobia."^[14]

Statistics, including market research by Euro RSCG, show that the pursuit of achievement and status is not as important to men as it used to be; and neither is, to a degree, the restriction of emotions or the disconnection of sex from intimacy. Another norm change is supported by research that claimed men "no longer find sexual freedom universally enthralling." The most important shift in masculinity is that there is less avoidance of femininity and the "emergence of a segment of men who have embraced customs and attitudes once deemed the province of women."^[15] What is accepted as "masculine" has shifted considerably throughout the times, so the modern concept of how a man "should be" differs from the ideal man of previous eras. Some styles and behaviors that are today considered feminine were, in the past, part of the man's domain (e.g., knee britches, makeup, jewelry).

Changes in culture and attitudes toward masculinity, visible in the media through television shows such as Queer Eye for the Straight Guy, Queer as Folk, and Will & Grace, have changed these traditional masculine norms. Metrosexuals only made their appearance after cultural changes in the environment and changes in views on masculinity.

Simpson explains in his article "Metrosexual? That rings a bell..." that "Gay men provided the early prototype for metrosexuality. Decidedly single, definitely urban, dreadfully uncertain of their identity (hence the emphasis on pride and the susceptibility to the latest label) and socially emasculated, gay men pioneered the business of accessorising—and combining—masculinity and desirability."^[16]

But such probing analyses into various shoppers' psyches ignore other significant factors affecting men's shopping habits, foremost among them women's shopping habits. As the retail analyst Marshal Cohen explained in a 2005 article in the New York Times entitled, "Gay or Straight? Hard to Tell," the fact that women buy less of men's clothing than they used to has, more than any other factor, propelled men into stores to shop for themselves. "In 1985 only 25 percent of all men's apparel was bought by men, he said; 75 percent was bought by women for men. By 1998 men were buying 52 percent of apparel; in 2004 that number grew to 69 percent and shows no sign of slowing." One result of this shift was the revelation that men cared more about how they look than the women shopping for them had.^[4]

Men's fashion magazines – such as Details, Men's Vogue, and the defunct Cargo – target what one Details editor calls "men who moisturize and read a lot of magazines".^[17]

In popular culture[link]

In its soundbite diffusion through the channels of marketeers and popular media, who eagerly and constantly reminded their audience that the metrosexual was straight, the metrosexual has congealed into something more digestible for consumers: a heterosexual male who is in touch with his feminine side—he color-coordinates, cares deeply about exfoliation, and has perhaps manscaped.^[18] Men did not go to shopping malls, so consumer culture promoted the idea of a sensitive man who went to malls, bought magazines and spent freely to improve his personal appearance. As Simpson put it:

This commercial vision is also adapted in television's metrosexual archetype, Bravo's Queer Eye for the Straight Guy, in which the gay presenters instructively transform the appearance of the straight guy—but largely avoid dealing with his personality.

In contrast, there is also the view that metrosexuality is at least partly a naturally occurring phenomenon, much like the Aesthetic Movement of the 19th century and that the metrosexual is merely a modern incarnation of a dandy. Simpson has strongly rebutted attempts to suggest that metrosexual is 'just a dandy':

“A metrosexual wouldn't be caught dead in a powdered wig -- though he might be tempted by the stockings and buckled shoes. Sorry to be pedantic, but dandies were an 18th century phenomenon. Metrosexuals belong to the 21st century. Dandyism was the pursuit of an elite, mostly aristocratic, or wannabe aristo group of men and was largely a way of advertising their wealth, idleness and refined taste. Metrosexuality is a mainstream, mass-consumer phenomenon involving the complete commodification of the male body. It takes Hollywood, ads, sports and glossy magazines as its inspirational gallery, rather than high classicism. The metrosexual desires to be desired. The dandy aimed to be admired. Or at least bitched about."^[20]

In 2011 Simpson published the ebook Metrosexy - A 21st Century Self-Love Story, billed as 'A biography of the metrosexual. By his Dad'.^[21] It argues that the profound impact of metrosexuality on our ideas of masculinity and femininity and sexuality itself has been obscured by the media's effusive but largely 'skin-deep' coverage of it.

“Con­trary to what you have been told, met­ro­sex­u­al­ity is not about flip-flops and facials, man-bags or man­scara. Or about men becom­ing ‘girlie’ or ‘gay’. It’s about men becom­ing every­thing. To them­selves. In much the way that women have been for some time. It’s the end of the sex­ual divi­sion of bath­room and bed­room labour. It’s the end of sex­u­al­ity as we’ve known it.”

See also[link]

• Chad (slang)
• Dandy
• Fashion
• Flexisexuality
• Fop
• Gastrosexuality
• Homomasculinity
• Homosexuality
• Macaroni (fashion)
• Masculine psychology
• Metrosexuality (TV series)
• New Romantic
• Pansexuality (aka omnisexuality or polysexuality)

Notes[link]

References[link]

• Simpson, Mark (2011).'Metrosexy: A 21st Century Self-Love Story'
• O'Reilly, Ann; Matathia, Ira; Salzman, Marian (2005). The Future of Men, Palgrave Macmillan. ISBN 1-4039-6882-9.

Further reading[link]

• Rodney E. Lippard (2006). "The Metrosexual and Youth Culture". In Greenwood Publishing Group. Contemporary Youth Culture: An International Encyclopedia (illustrated ed.). pp. 288–291. ISBN 0-313-33729-2. http://books.google.com/books?id=ZaM04DMwK3gC&pg=RA1-PA289&dq=metrosexual+subculture&client=opera&hl=es. 

External links[link]

• "Metrodaddy v. Ubermummy" The father of the metrosexual mocks the marketer's 'ubertwaddle'.
• "Meet the Metrosexuals" Mark Simpson introduces the metrosexual to the US in a 2002 Salon piece.
• 'Metrodaddy Speaks!' Mark Simpson answers questions from the global media about his offspring in 2004
• Mark Simpson reassesses the term in 2005
• [1] Mark Simpson's blog
• "The Metrosexual Defined; Narcissism and Masculinity in Popular Culture" Article exploring the commercial and sociological sides of the metrosexual
• Metro-Society.com men's magazine Asia
• [2] The Metrosexual: Gender, Sexuality, and Sport by David Coad. Albany, New York: SUNY Press, 2008.

The Courage (formerly known as "Noah Gundersen & the Courage") is an indie band initially started in Centralia, Washington by siblings Abby & Noah Gundersen and expanded to Travis Ehrenstrom and Ivan Gunderson. The group has two EPs, a live CD, and a studio album. Before the removal of Noah Gundersen's name from the title and the incorporation of the entire band, a majority of the songs were written and recorded by Noah and Abby.

Biography[link]

Noah Gundersen began playing music when he was 10 or 11 years old when his parents had him take piano lessons. Later he taught himself to play the guitar and recorded songs with his father's recording equipment. Around the age of 16, Noah was performing solo in local cafes. His sister Abby began to accompany him with violin and harmonies in 2006 .^[4] Noah Gundersen & the Courage began in 2006 in Centralia, Washington.^[5] They began playing shows throughout the Washington/Oregon region, and quickly gained a fan base there. Noah's first CD, "Brand New World" (recorded by himself, Abby Gundersen, and Michael Porter) was recorded in Eugene, Oregon in a home studio.^[6] It began to be sold on the internet in 2008.^[7] That summer, an internet hacker named "andrewlandon" discovered Noah Gundersen's music and stole his song "Winter" (as well has three songs by a neighboring musician, Jacob White, and several other artists) and put it on his own MySpace.

In mid 2008, Live at the Triple Door, the band's first live CD was released independently as they toured throughout the west coast. In May, Noah and Abby made another western tour with Garage Voice and Tom Rorem, an ensuing two month tour alongside Chelsea Seth of Paper Mache occurred that August. On October 9, The Courage played a show at The Q Cafe to release Noah's newest album, "Saints & Liars". Paige Richmond, a Seattle Weekly reporter attending the show gave the band's performance and new CD an outstanding review, titling the review "Noah Gundersen Brings Q Cafe Crowd to Its Feet"^[8] As winter set in, the band became stationary while Abby began to pursue her college education and the other three set out finding other jobs. Noah Gundersen & the Courage continues to rehearse and play shows in the WA/OR area at venues such as The Round and the Triple Door, while staying less active.^[9]

On December 10 at midnight, The Courage released a new song on their myspace, "Moles", which is the only studio recording of The Courage. The song was only on their music page for a few days but physical CDs were released when they performed at the Triple Door on December 29. In the following February, the track "Middle of June", off of Saints & Liars, appeared on an episode of One Tree Hill.^[10][11]

The band announced through their new website, as well as with an interview with Seattle Weekly, that their first full-length album would be released in the summer of 2010.^[12] The album, according to Seattle Weekly, marks a transition in the band as the group moved from a singer/song-writer led band fronted by Noah Gundersen—one that frequented solo acoustic songs—to a functioning unit that creates songs that incorporate the entire band.^[13] Noah Gundersen has even considered removing his name from the band's title.^[4][5]

Recording for The Courage's studio album began on March 16 of 2010. The band announced their progress with several updates through their Twitter account revealing that on the 27th of March, they had finished recording the album and in early July, they had started mixing the album.^[14] The album is the first full-length recording to be released by The Courage.^[15]

Fearful Bones and name change (2010-present)[link]

By the beginning of August 2010, recording, production, and mixing for the new album had been completed in a barn in Sisters, Oregon. On August 3, the band announced the change of their title as well as the name of their debut album via their Twitter page,

A new song, "Frequency," was streamed for free off of their official website in the beginning of September. On September 11, The Courage played a release show for Fearful Bones and followed up with a three week tour of the West Coast with the album's producer, Matt Lee, playing lead guitar.

The Local Lounge[link]

On January 11, 2009, Noah Gundersen played live for 45 minutes on KCDA during the "Local Lounge". He performed the songs "Poor Man's Son", "The Ocean", and "No Fairness" and aired the songs "America", "Nine Pound Hammer", "Current State of Things", and "Oh, Momma".^[6]

Live performances[link]

The Courage's live performances vary greatly from Noah's studio recordings: while the studio recordings are usually only Noah and Abby Gundersen, the entire band takes part in performing live. The line-up is also constantly changing, guests may appear at shows with additional guitars, saxophones, and other instruments.

Members[link]

The core of The Courage is

• Noah Gundersen- Guitarist/Songwriter/Singer
• Abby Gundersen- Violin/Backing vocals
• Travis Ehrenstrom- Bass guitar
• Ivan Gunderson- Drums^[17]

But additional artist play varying roles in the Courage, often playing with the band live

• Michael Porter - Electric Guitar, additional guitar on "Brand New World"
• Chris Judd - Bass guitar, Vocals
• Michael Rabb - Keys, Tambourine, Vocals (appears on Live at the Triple Door)
• Drew Konzelman - Mandolin, Violin, Octave Violin, Electric Guitar
• Matt Lee - guitar (Fearful Bones tour in September 2010)

Discography[link]

Noah Gundersen and the Courage[link]

• Live at the Triple Door (2008)

The Courage[link]

• Fearful Bones (2010)

Noah Gundersen[link]

• Brand New World (2008)
• Saints & Liars (2009)
• Family (2011)

Compilations[link]

• We Love This Comp. Vol. I (2011)

The Courage's song, "All You Know," was released on Building Burning Record's 16-track compilation called We Love This Comp. Vol I on March 29, 2011.^[18] The album features several Oregon based folk and indie bands.^[19]

Associated acts[link]

National Theatre Project[link]

Bassist Travis Ehrenstrom leads an acoustic Oregon based band, National Theatre Project.^[5][20]

• Travis Ehrenstrom - Vocals, Guitar
• Seth Rodriguez - Saxophone
• Matt Cartmill - Drums
• Patrick Pearsall - Bass

Beneath Oceans[link]

Noah Gundersen was frontman and singer for a post-hardcore group called Beneath Oceans. While the group was active, the band played shows throughout the West Coast, and recorded an unreleased EP. At the end of 2008, with the departure of Keelan O'Hara, Gundersen announced that the band was done.
Beneath Oceans Myspace profile

References[link]

1. ^ ^{a b} http://www.thefalcononline.com/article.php?id=6584
2. ^ http://www.cdbaby.com/cd/noahgundersen2
3. ^ http://www.last.fm/music/Noah+Gundersen
4. ^ ^{a b c} http://penandpaige.com/blog/clintons-ham-it-up-noah-gundersen-sets-precedent/
5. ^ ^{a b c} http://www.tsweekly.com/sound/music-features/the-passionate-life-getting-philosophical-and-sun-tanned-with-noah-gundersen-and-the-courage.html
6. ^ ^{a b} http://www.1031kcda.com/pages/LocalLoungeHome.html?feed=233962&article=4808856
7. ^ http://www.cdbaby.com/cd/noahgundersen
8. ^ http://blogs.seattleweekly.com/reverb/2009/10/live_review_noah_gundersen_bri.php
9. ^ http://www.noahgundersen.com/
10. ^ http://www.tvfanatic.com/2010/02/one-tree-hill-music-the-last-day-of-our-acquaintance/
11. ^ http://www.oth-music.com/episode718.html
12. ^ http://thecourageband.com/Home.html News section
13. ^ http://blogs.seattleweekly.com/reverb/2010/02/last_night_noah_gundersen_cove.php?utm_source=twitterfeed&utm_medium=twitter
14. ^ http://twitter.com/TheCourage The Courage Twitter account
15. ^ http://thecourageband.com/TheBoards.html Boards -> Posts from the band -> New blog from Abby
16. ^ http://twitter.com/TheCourage August 3rd, 2010
17. ^ http://www.facebook.com/pages/Noah-Gunderson/66583399539#!/pages/Noah-Gunderson/66583399539?v=wall
18. ^ http://burningbuildingrecordings.bandcamp.com/album/we-love-this-comp-vol-i
19. ^ http://www.whatsup-magazine.com/2011/04/13/cd-reviews-april-2011-various-artists-we-love-this-comp-vol-1/
20. ^ http://www.myspace.com/travisehrenstrom

External links[link]

• Noah Gundersen's myspace profile
• The Triple Door website
• Interview with Noah Gundersen
• Concert review by The Falcon online
• The Courage twitter page

Brian McKnight
Background information
Born	(1969-06-05) June 5, 1969 (age 43)
Origin	Buffalo, New York, United States
Genres	R&B, soul, quiet storm
Occupations	Singer-songwriter, Producer
Instruments	Vocals, Piano, Keyboards, Guitar, Bass guitar, Trumpet, Flugelhorn, Trombone, Tuba, Percussion
Years active	1988–present
Labels	Mercury (1988–1997) Motown (1998–2005) Warner Bros. (2006–2008) E1 Music (2009-Present)
Website	bmcknight.com

Brian McKnight (born June 5, 1969) is an American singer-songwriter, arranger, producer, and R&B musician. He is a multi-instrumentalist who plays eight instruments including piano, guitar, bass guitar, percussion, trombone, tuba, flugelhorn and trumpet.^[1]. McKnight is perhaps most recognized for his strong falsetto range, and is widely regarded as one of the strongest talents in the adult urban contemporary R&B genre, although his recent efforts have received mixed reviews.

McKnight's work has earned him 16 Grammy Awards nominations, but currently holds the record for having won none.

Biography[link]

1969-1986: Early life and career beginnings[link]

McKnight was born in Buffalo, New York. His musical career began in childhood when he became a member of his church choir and a band leader for his high school, Sweet Home High School.^[2].

1987-1997: Mercury Records[link]

In 1987, McKnight's older brother, Claude McKnight III, and his band, Take 6, signed a record deal with Warner Brothers. This encouraged McKnight to shop his own demo tapes and by the age of 19, he'd signed his first recording deal with Mercury Records subsidiary, Wing Records.^[2] In 1992, Brian McKnight was released, and his self-titled debut peaked at fifty-eight in the Billboard 200 chart, which primarily featured the ballad (and top twenty single) "One Last Cry". It was followed by two more albums for Mercury, 1995's I Remember You and 1997's Anytime. Anytime, McKnight's final album with Mercury, sold over two million copies and was nominated for a Grammy. The video for "Anytime", directed by Darren Grant, was nominated for Best Male Video at the 1998 MTV Video Music Awards.

In 1997, McKnight recorded "Remember the Magic" for Disney World's 25th anniversary.

1997-2003: Motown Records[link]

McKnight signed with Motown in 1998 and released the Christmas album Bethlehem. In 1999, McKnight released Back at One, his most successful album at date, which eventually went on to sell over 3 million copies.

2004-2012: Warner Brothers and Television/Radio Career[link]

In 2004, McKnight co-wrote with Australian Soul artist Guy Sebastian the song "Wait", off Sebastian's Beautiful Life album.

In October 2007, McKnight made his Broadway debut in the show Chicago.

From 2006 to 2010 he hosted a radio show, The Brian McKnight Morning Show with Pat Prescott on KTWV The Wave in Los Angeles, CA. The show was briefly simulcast on KHJZ-FM, Smooth Jazz 95.7 The Wave in Houston, TX from 6AM-9AM CST.

On January 26, 2009, McKnight hosted "The Brian McKnight Show" from 7PM-Midnight on 98.7 KISS FM in New York City.

In 2009, he appeared in the second season of Celebrity Apprentice.^[3] Each celebrity played to raise money for the charity of his or her choice; McKnight elected to play for Youthville USA.

From September 2009 to May 2010, McKnight hosted ^[4] The Brian McKnight Show, a late night talk show billed as a combination of talk and variety, aired in syndication. The show was cancelled on May 29, 2010 after one season.

On March 31, 2011 McKnight sang the National Anthem for MLB Opening Day in Cincinnati, Ohio with his sons Brian, Jr. and Niko. He had previously sung the National Anthem for the 1997 NBA All-Star Game in Cleveland, Ohio, Game 6 of the 2002 World Series in Anaheim, California, near his Los Angeles home, and the 2005 Major League Baseball All-Star Game in Detroit. McKnight has also made numerous other "National Anthem" appearances throughout his career.

On April 23, 2012 McKnight posted to youtube "If You're Ready To Learn", which has been characterized by Billboard as a "filthy jam." Billboard selected this lyric from the work to quote: "Let me show you how your p---y works/Since you didn't bring it to me first." ^[5] Other media outlets such as MTV and the Toronto Sun have also written about McKnight's recent, more adult-orientated efforts.^[6][7]

Artistry[link]

McKnight's vocal style draws from Stevie Wonder (particularly in his use of melisma), Michael Sembello, Michael McDonald, Kenny Loggins, and his own brother, Take 6 co-founder Claude V. McKnight. Soul singer James Ingram also strongly influenced McKnight. His music production sensibilities, including his penchant for piano based pop ballads, method of background vocal recording and melismatic voice inflections all draw from Ingram. McKnight also has the uncanny ability to mimic the timbre and style of other singers such as Nat King Cole, Stevie Wonder, Marvin Gaye and Prince.

Throughout his career, McKnight has collaborated with a variety of musicians including Mariah Carey, Sin Bandera, Mase, Sean "Puffy" Combs, Marcus Cole, Mary J. Blige, Justin Timberlake, Nelly, Vanessa Williams, Ivete Sangalo, Kirk Franklin, For Real, Canibus, Quincy Jones, Boyz II Men, Christina Aguilera, Regine Velasquez, Shoshana Bean, Gordon Goodwin's Big Phat Band, Rascal Flatts, Willie Nelson, Talib Kweli, MJG (of the Southern Rap duo Eightball & MJG), Josh Groban (on his 2007 #1 Christmas album Noel Schajris), and CeCe Peniston.

In 1992, he released his self-titled debut album, Brian McKnight, which peaked at fifty-eight in the Billboard 200 chart and features the Billboard Hot 100 top twenty hit single "One Last Cry".

McKnight's work has earned him 16 Grammy Awards nominations but holds the record for having won none.

Personal life[link]

McKnight is divorced and has three sons: Brian Jr., Niko and Clyde. McKnight currently lives in Los Angeles, California.^[8]

Religion[link]

Brian McKnight was previously a Seventh-day Adventist. He grew up attending Emmanuel Temple. He also attended Oakwood University, a Seventh-day Adventist university, in Huntsville, Alabama from 1987-1989. McKnight explains, concerning his musical beginnings in the church^{[citation needed]}:

"I'm the fifth generation of Seventh Day Adventists and the youngest of four brothers. When I was still very small, we formed a gospel quartet. Our models were the great gospel groups, the Swan Silvertones and Mighty Clouds of Joy. The McKnight brothers were serious singers. The reputation went out: these boys could shout. My big brothers—Claude (a part of the gospel group Take 6), Freddie and Michael—man, they were my heroes. Each was a leader in his own right. Outside church, they listened to jazz. Church music thrilled me, but jazz stimulated me."^{[citation needed]}

Discography[link]

Studio

• Brian McKnight (1992)
• I Remember You (1995)
• Anytime (1997)
• Bethlehem (1998)
• Back at One (1999)
• Superhero (2001)
• U Turn (2003)
• Gemini (2005)
• Ten (2006)
• Evolution of a Man (2009)
• Just Me (2011)

Compilation

• From There to Here: 1989-2002 (2002)
• Gold (2007)
• 20th Century Masters: The Millennium Collection – The Best of Brian McKnight (2007)
• Ultimate Collection (2009)
• Icon: Love Songs (2011)

Awards and nominations[link]

• American Music Awards

• • 1999, Favorite R&B/Soul Album: Anytime (Nominated)

2010

• BET Awards
  • 2007, BET J Cool Like Dat: (Nominated)

• Grammy Awards
  • 2005, Best R&B Male Vocal Performance: "What We Do Here" (Nominated)
  • 2004, Best R&B Male Vocal Performance: "Shoulda, Coulda, Woulda" (Nominated)
  • 2003, Best R&B Performance by a Duo or Group: "All the Way" w/ Kenny G (Nominated)
  • 2002, Outstanding Song Written for a Motion Picture of Television Series: "Win" from Men of Honor (Nominated)
  • 2002, Best Male Pop Vocal Performance: "Still" (Nominated)
  • 2002, Best Pop Collaboration w/ Vocals: "My Kind of Girl" w/ Justin Timberlake (Nominated)
  • 2002, Best R&B Song: "Love of My Life" (Nominated)
  • 2002, Best R&B Male Vocal Performance: "Love of My Life" (Nominated)
  • 2001, Best Male Pop Vocal Performance: "6, 8, 12" (Nominated)
  • 2001, Best R&B Male Vocal Performance: "Stay or Let It Go" (Nominated)
  • 2001, Best R&B Performance by a Duo or Group: "Coming Back Home" w/ Bebe Winans & Joe (singer) (Nominated)
  • 2000, Best R&B Album: Back at One (Nominated)
  • 2000, Best Short-Form Music Video: "Back at One" (Nominated)
  • 1999, Best R&B Male Vocal Performance: "The Only One For Me" (Nominated)
  • 1999, Best Male Pop Vocal Performance: "Anytime" (Nominated)
  • 1994, Best Pop Collaboration w/ Vocals: "Love Is" w/ Vanessa L. Williams (Nominated)

McKnight holds a Grammy Awards record having received 16 nominations without a win.

• Image Awards
  • 2002, Outstanding Male Artist: Superhero (Nominated)
  • 2001, Outstanding Male Artist: "Stay or Let It Go" (Nominated)
  • 2000, Outstanding Male Artist: "Back at One" (Winner)

• MTV Video Music Awards
  • 2000, Best R&B Video: "Back at One" (Nominated)
  • 1998, Best R&B Video: "Anytime" (Nominated)

• Soul Train Awards
  • 2002, Best R&B/Soul Male Single: "Love of My Life" (Nominated)
  • 2000, Best R&B/Soul Single Male: "Back at One" (Nominated)
  • 2000, Best R&B/Soul Male Album: Back at One (Nominated)
  • 1999, Best R&B/Soul Male Album: "Anytime" (Winner)

References[link]

• Music.Yahoo.com

External links[link]

• Brian McKnight official website
• Brian McKnight entertainment website
• Brian McKnight's Biography from VH1
• Brian McKnight's Profile from VIBE
• Brian McKnight Fans Website
• Blogs.OrlandoSentinel.com
• Brian McKnight JUST ME 2011 World Tour