Add image. Top cast Edit. Drew Takahashi. More like this. Watch options. Storyline Edit. The comedic original music video for the song stars McFerrin, Robin Williams and Bill Irwin , and is considerably shorter than the album version. Add content advisory. Did you know Edit. Trivia The song's title is taken from a famous quotation by Meher Baba. User reviews 5 Review. Top review. Joy to the world. Easier said than actually done but this catchy song's title always makes us think about the possibility of turning things around despite our everyday problems, stop thinking too much and just stay happy.
As for the video clip, it's one of the funniest and nostalgic moments in video history. McFerrin is the lead guy, who from time to time has the same worries as the people he presents in the song but from other time to time he also finds a different refuge where he stops worrying about his problems because they make it double and just stays happy Music and video can actually transform your life in a matter of minutes.
I dare you not to laugh at the situations presented or not feel relaxed with Bobby's magnificent vocal attributes. It was true in the late 's and it's more true now. Surely the song has been used in many different films out there and usually to define an ironic moment but there's some unavoidable reality to it that cannot be washed away easily.
It's all that great. It's uplifting without being corny, a pure melody and a great voice following it; and with an amazing trio of actors having a great time and this whole combination transcends to us. Music videos didn't get better than this.
As part of his training regimen, he warned Robert away from gospel and pop. His studies at Chicago Musical College were interrupted by the draft; after a three-year stint in the Army he returned to complete his degree. After college, Robert performed on Broadway and with a number of opera companies before setting his sights on the big prize.
The prize included further training and, eventually a contract — though, as a black singer, he was skeptical about his prospects. Bobby was four. In his father, Bobby found the best instructor; in his son, Robert found a capable student. Still, when it came time to strike his own musical path, McFerrin stuck with the piano. As he tells it, the thunderclap of inspiration finally struck on a walk home.
While he thought focusing on vocals would make him a better improviser, and a better collaborator, he was also enamored with the work of Keith Jarrett, the jazz titan most famous for his solo piano music. It took a few years of singing in an empty room before McFerrin felt comfortable singing in front of others, and a few years after that before he booked his first solo gig.
Bobby McFerrin was largely a sop to the times, opening with an Orleans cover and featuring a duet with Phoebe Snow. These were not melismatic workouts, though McFerrin, as people say, had the range. They were full-bodied songs, with McFerrin jumping from basslines to melodic flights and back again in a blink.
He had chops, he had charisma, and he had groove. The industry noticed. The music was entering its conservatorship phase: Players moved from clubs to festivals and concert halls; smooth jazz and revivalism ruled the day. You made your money where you could. One of those Grammys was for providing the music to a forgotten Rudyard Kipling adaptation narrated by Jack Nicholson. It was a phrase popularized by Meher Baba, an Indian spiritual master who had developed a sizable American following prior to his death in He tosses out scenarios straight from the blues — no girlfriend, late rent, no cash — and smashes them with optimism straight from the spiritual tradition.
By now, McFerrin was an old hand at overdubs, and he fleshed out the simple, lilting topline with a host of embellishments. True or not, America heard Jamaican — a YouTube upload of the song, credited to Bob Marley, has over million views.
And every so often, Pentatonix land a production-assisted hit on the Hot Alongside comedians Bill Irwin and Robin Williams, McFerrin goofs around a gigantic apartment, shoeless in a white tux. At one point, he lounges on a limo that Williams … tries to buy drugs from? He was an entertainer in full, a point that was hammered home on the Grammy telecast, when he and Billy Crystal performed a hammy yet technically brilliant bit on the history of music.
I have memories of the title on bumper stickers and T-shirts, a slightly more mercenary echo of those Meher Baba posters. Really, there were lots of reasons he quit performing it. First of all, even for someone with his dexterity, the arrangement was too daunting to reproduce.
Also, he saw the stage as a playspace to explore the planned accidents of improvisation. And, finally, he probably knew there was no chance in hell of capturing the popular imagination with a similar idea, so why remind people of the original?
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