Pharrell Williams was born and raised in Virginia Beach, Virginia, where his friends and family knew from his earliest days as a percussionist in the school band, and his singing performances in school plays, that the artist with the top song on worldwide pop charts for the last 10 weeks would amount to something rare. Even before Pharrell posted the ‘Happy’ dance video last October, he’d won seven Grammy Awards for songwriting, production, and performance, composed the soundtrack to Despicable Me and its sequel (which included ‘Happy’) and performed, produced, or composed alongside an A list of pop stars ranging from Beyonce’ to Miley Cyrus to Robin Thicke to Kanye West and Snoop Dogg.
With the ‘Happy’ video, and the enormous reach of the wired world, Pharrell has transcended boundaries of geography, class, and ideology. ‘Happy’ displays the powerful influence of music, verse, and video to attract and inspire a global audience. And though ‘Happy’ asks no more of its viewers than to laugh, dance, clap, lipsynch, and produce a video for YouTube, it proves just how quickly people, especially young people, can shape a global movement when they’re motivated.
On Christmas Day 2013 ‘Happy’ had 5 million views on YouTube. By May 10, 2014, it had 232 million views. Young people from nations on six continents had posted their own versions, many of which had attracted hundreds of thousands of views.
Now imagine, just for a minute, if that kind of global community could be called to come together to act on trends in a way that would make us just as happy.
One of the powerful unarticulated messages of ‘Happy’ is that it recognizes, ever so obliquely, that the world and its human community is a bit lost, what Pharrell describes as “a room without a roof.” His solution, emphatically stated, is “happiness is the truth.” Continue reading “Pharrell’s ‘Happy’ Is Fun and, Perhaps, Something More”