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Robert Keith McFerrin Sr. (March 19, 1921 – November 24, 2006) was an American operatic baritone, notable for being the first African-American man to sing at the ...
Robert Keith McFerrin Jr. (born March 11, 1950) [1] is an American singer, songwriter, and conductor.His vocal techniques include singing fluidly but with quick and considerable jumps in pitch—for example, sustaining a melody while also rapidly alternating with arpeggios and harmonies—as well as scat singing, polyphonic overtone singing, and improvisational vocal percussion.
Common Threads: Stories from the Quilt is a 1989 American documentary film that tells the story of the NAMES Project AIDS Memorial Quilt. [2] Narrated by Dustin Hoffman, with a musical score written and performed by Bobby McFerrin, the film focuses on several people who are represented by panels in the Quilt, combining personal reminiscences with archive footage of the subjects, along with ...
The star was La Julia Rhea, and other members included Minto Cato, Carol Brice, Robert McFerrin, and Lillian Evanti. During its 21-year run, NNOC also mounted productions in Washington D.C., New York City, and Chicago. The company disbanded in 1962 upon Dawson's death. [2]
"Don't Worry, Be Happy" is a 1988 song by Bobby McFerrin, released as the first single from his album Simple Pleasures (1988). It was the first a cappella song to reach number-one on the Billboard Hot 100 chart, a position it held for two weeks.
"Don't Worry, Be Happy" – Bobby McFerrin (31st Grammy Awards in 1989) "Wind Beneath My Wings" – Bette Midler ... Robert Plant and Alison Krauss (51st Grammy Awards in 2009)
Robert McFerrin: first African American male to sing at the Metropolitan Opera and father of Bobby McFerrin: Leslie Meek: 1987 Administrative Law Judge, wife of Congressman Kendrick Meek: Theo Mitchell: 1960 Senator, South Carolina General Assembly: Undine Smith Moore: first Fisk graduate to receive a scholarship to Juilliard, Pulitzer Prize ...
The Los Angeles Times wrote that "McFerrin sings splendidly, his intonation never faltering as he goes from throbbing bass notes to a soaring, light falsetto." [2] The Austin American-Statesman wrote that "McFerrin's penchant for unusual vocal innovation is present throughout the album, but it is the songs without words, nominally called instrumentals in the McFerrin musical universe, that are ...