It was strange to be the 194,563,906th person to see Pharrell Williams’ “Happy” on YouTube. Stranger still was that I had never heard of the song before.
A friend linked me to a remix which I found infinitely charming, and it struck me that I had not heard the original. I sought it out and gawped blankly at my screen. This was obviously a popular song, a hallowed member of the current cultural zeitgeist of the homeland. This was something that had already become an assumed fragment of cultural heritage, a shared globule of media experience to which all North Americans, and many other global citizens, had already absorbed. In fact, Happy was beyond the saturation point when I came across it. It had already surpassed osmotic spread, whereby every human in that hemisphere had long since realigned their neural networks to simply include the song’s existence. It was something everyone already knew, had talked about, and gotten over.
And I had never heard of it.