I Spent Last Night With Pharrell Williams, And All I Got Was An Inspiring Discussion About Gender Inequality

In the last twelve months, Pharrell Williams has produced and performed on three of the biggest releases ever: ‘Get Lucky’, ‘Blurred Lines’ and the Oscar-nominated ‘Happy’. He is friends with Beyonce, and released ‘Frontin’’ with Jay Z.  He was the lead vocalist of N.E.R.D, and one half of The Neptunes. He produced ‘Hot In Herre’ and ‘Drop It Like It’s Hot’. He sang on ‘O.N.E.’ for Swedish House Mafia. He produced THE Justin Timberlake record. You know the one. This list goes on.

Yesterday afternoon, in Australia for Future Music Festival, Pharrell hung out at Trackdown Studios in Sydney’s Entertainment Quarter to talk music journalists and presenters through his new solo album, track by track.

The event was set up in a large conference room, with white couches, a bar, and promo girls serving tapas in white dressing gowns. The stage was bordered by pull-down corporate-event-style banners with his name plastered across them, and his smiling face blown-up huge. There were fifty-or-so people assembled in the room, including Danny Clayton, Merrick Watts, and Chit Chat. Record company execs milled about, chatting to industry press, until Sony CEO Denis Handlin walked up to the podium to introduce Pharrell and present him with a skateboard and a plaque for 5 x Platinum sales of ‘Happy’.

Pharrell ambled out of backstage, taking a noticeably long time to skirt the room and climb the stairs to the stage as the podium was removed. He seemed amused and jetlagged, dressed casually in a Billionaire Girls Club hoodie, jeans, Vans and low-key jewellery. And, yes, the hat.

“If I’m talking slowly, it’s because I’m buffering,” he said. “There was a lot of shit that just happened. I mean, skateboards, plaques, a podium… All that stuff is gone now.”

It’s hard to get from the transcript below, but Pharrell seems like a pretty sweet dude. He’s humble and hardworking, and doesn’t flaunt his wealth. He is careful with what he says, but he’s not a PR machine; his responses felt considered and genuine, and they were delivered by an engaging orator who was much more funny than anyone expected.

After he talked us through the album, he sat down and chatted with anyone who approached him, posing patiently for many, many pictures. Including one with me.

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G I R L Is About Women  

“In 2014, we have a Martian rover on another planet looking for ice and water, but on our planet we’re trying to tell women what they can and can’t do with their bodies. That doesn’t make sense to me.”

Pharrell: When I was first presented with the opportunity to make this album, I had just come out of the studio with Daft Punk. Columbia called me in for a meeting.

We were downstairs at the Four Seasons in LA, and they said, ‘We heard you on ‘Get Lucky’ … We know you’re not thinking about a solo record, but we also know you’ll change your mind. And we want to be the first to help change your mind.’

I was overwhelmed. A huge sense of humility washed over me. I couldn’t believe they wanted to hear what I had to say. So I said yes. Immediately, I knew what it was going to be about. I didn’t know it would be called G I R L, but the feeling was there. I knew it needed to be celebratory, it needed to be festive. It needed to be visceral and urgent. It needed to be about these people who’ve been giving to me for 22 years.

I have all kinds of fans, but the women are a little different. Maybe it’s because they are always my muse. Some people know me for some of my records, like when I’m talking all slick and sublime, saying perverse things, talkin’ ’bout sweat, sweat, sweat. But (this time) I wanted to make sure it was coming across right.

I’ve been thinking about the fact that there’s social imbalances in the world.

When it came to naming the album G I R L, I wanted the title to be all capitals and double spaced. Not just because it looked different, or because it was an iconic word, but because it highlights one of the most important forces we have in humanity.

In 2014, we have a Martian rover on another planet looking for ice and water, but on our planet we’re trying to tell women what they can and can’t do with their bodies. That doesn’t make sense to me.

I felt that by capitalising those letters and putting the spaces in between, we could highlight that debate. My views might be flawed, my music might have some flaws, but… Women have done so much for me, and they do so much for the world.

The idea that they still don’t get paid the same as men — there’s something wrong with that. I know it’s a heavy subject, but life is heavy. If we don’t talk about it, who will? Imagine a world where half of the late night talk show hosts were women. We don’t have that. Imagine a world where 70% of world leaders were women. Wouldn’t that be a different world?

Sometimes when I say things like that, people say it’s a longshot. But I disagree. I think it’s going to happen, and I want to be on the right side of history when it does. While I’m not spelling that out, you get the sense of it. I wanted to make sure you get the spectrum of my affinity for women, and what I’m trying to say.

Legislators are trying to tax and control women’s bodies. But all those legislators have benefited from women doing two things. One, entering the act — and hopefully willingly. But most definitely by a woman agreeing to give birth, we all benefit. Do you agree?

So: I knew what I wanted to make.

When you listen to the music, they are grooves first. The thing that is the same as ‘Happy’ is, I’m not preaching to you like ‘Listen, you have to be happy right now’. It’s a groove, but if you go looking for it, there’s medicine in there.

Jake Stone: Is it hard to make a record about women, now that you’re married?

Pharrell: No, because I’m married to one. [Laughter and applause]

A woman in the room: What is it about women that you love?

Pharrell: Well, my wife is a constant reminder. All my fans have been good to me, but the women have been SO amazing for 22 years… They essentially paid for everything I have. It didn’t come from McDonalds, ’cause I got fired from there, like, three times. [Laughter] I been running through that money.

So women are my bosses, essentially. If they didn’t vote or request the songs. If they didn’t buy them or download, what would ‘Happy’ be?

It’s not my doing. That was pointed out to me by a woman. I mean, it’s not my doing … The movement that ‘Happy’ has become — it’s not my song anymore.

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The Opening Track, ‘Marilyn Monroe’, Is About Our Unrealistic Standards Of The Female Body

“You don’t have to be waif thin and a model to stand out in the world.”

Pharrell: There’s these crazy lush strings, and that would be Hans Zimmer. He did all the strings, and in some cases pencilled in things too. I was stoked to work with my mentor on a project.

‘Marilyn Monroe’ is not what you’d expect. It’s not celebrating the statuesque standard. It’s celebrating the idea that it’s that which makes you different [that] makes you special. You don’t have to be waif thin and a model to stand out in the world.

It’s the one thing that needs to change in the world, in terms of these media standards.

I tried to pick a groove that would celebrate the banging’ist chick in the world. And she is, but by her own standards. It doesn’t matter what I think or what you think. It’s what she feels.

So the chorus is “Not even Marylin Monroe, who Cleopatra pleased… Not even Joan Of Arc, that don’t mean nothin’ to me. I just want a different girl.'”

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Picking The Right Collaborators Is Part Of The Art

“I wanted the record to be kinesthetically rewarding.”

Pharrell: I wanted to have people on there that emoted. I wanted this album to be part of the shift that’s happening right now. Yes, you hear sounds, but do you FEEL something? I wanted the record to be kinesthetically rewarding.

Usually when you put on a song, the chords will tell you what’s right, and who should be singing it. I want you to walk away going, ‘Okay, I not only heard what Alicia [Keys] was saying, but I felt it too. Or The Robots on ‘Gust Of Wind’; you hear them, but they are emoting as well.

Same for Justin [Timberlake], and also Miley. That was very important to me. I don’t know how you feel about Lorde’s music, but she’s emoting, not just writing and singing. When you don’t understand the language but you still feel it, that’s when you know it’s working. It’s about intention.

I miss that kind of music, from being a kid.

A man in the room: Is it a different experience making a solo record?

Pharrell: I spent so much time being the guy standing next to the guy, and I was cool with that. Collaborating would take me to another level. But then I realised that it was all preparation for this moment.

Because you may not have been interested until now. And it didn’t have to be about me. That why I’m proud of this album: it’s not all about me. I hate talking about myself, and the monotony of repeating the same stories. Who enjoys talking about themselves all day long? So it’s nice to do this, because it’s about other people. And an appreciation for that.

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Celebrities: They’re Just Like Us

“As soon as we get in the room and the hotel door is closed, we’re like ‘OH MY GOOOOOOD’ — and we freak out for, like, twenty minutes straight. We’re all freaking out.“

Another man in the room: Now that you’re this uber star around the world, does your wife look at you differently?

Pharrell: What I’m supposed to say is, ‘No, everything is fine’. The truth of the matter is, as soon as we get in the room and the hotel door is closed, we’re like ‘OH MY GOOOOOOD’ and we freak out for, like, twenty minutes straight. We’re all freaking out.

Other dudes will ice grill it, and be like, ‘Yeah, you know… It’s cool’. But the truth of the matter is, the hotel is rushing up peanut butter and jelly sandwiches, and the bed is being jumped on, and they’re telling us to turn down our Beats Pills, because we’re freaking out.

We decided literally 13 days ago to put this out. We didn’t know that this was going to happen. You guys did this. When you realise who is responsible for it, how could you act like you did it?

I can’t even say it’s a dream come true, because I didn’t dream this for myself. It’s the lottery, bro. I mean, even this time in music. You’re not just hearing those sounds, but you’re feeling it too.

I’m thankful to be a part of it.

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Pharrell Threw Out Nine Songs Before He Found ‘Happy’

“I was at rock bottom.”

Pharrell: ‘Happy’ is about a pivotal moment in the film. The animators and creators of Despicable Me 2 needed a song that would help illustrate that this character, who is known for being an evil protagonist, was actually happy about something for once. So they gave me this amazing visual, about him being a dark spirited person who is really funny. And we came up with nine songs for it that Did. Not. Work.

I was at rock bottom, but it was only then that I got to the point where I asked myself, ‘How do I write a song about a guy being so happy that he’s relentless?’. And then I realised that the answer had been sleeping in the question. And that was a gift.

The music supervisor refused to take any of those first songs, and some of those songs were good to me. With animation though, it has to work. If the music is off, it all comes apart in front of your eyes … They pushed me, and I was thankful that I was open, and didn’t allow my ego to get in the way.

I was like, ‘Damn, this is a baby banger.’ I rode around in the truck just listening to the track over and over again.

When the movie came out, it was a record-breaking weekend for animation — whatever. But they couldn’t get the song on radio because it sounded too different. I didn’t expect anything really … It’s an awesome feeling to see that different songs can make it. There’s songs that have a lot of hits on YouTube, but it doesn’t always turn into THIS.

Jake Stone: ‘Happy’ is connecting partially because the lyric is positive and relatable, and something to strive for. Is it a stage you’ve reached in your life, that you can write about something like that honestly?

Pharrell: Man, honestly it was just the scene that inspired that song. I couldn’t have done it on my own. If it had been me, it would’ve just been all, [sings] “Sweat, sweat, sweat…” [laughter]

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‘Gust Of Wind (ft. Daft Punk)’ Came From A Dream

“Someone you love reminds you of something that is ubiquitous but as strong as air.”

Pharrell: ‘Gust Of Wind’ is my favuorite song, for real. It’s from a dream, would you believe? It’s the only time that’s happened. I woke up, and immediately texted my wife.

Usually when I write, I write in the shower, or on the plane, or in the studio. This one was different, it was special. I was just happy that the muse justified the lyric. I guess that’s why it’s my favourite…

Pharrell: Awkward. We’re all just looking at each other. Yes, sir?

Jake Stone: It’s a beautiful lyric. What does it refer to?

Pharrell: [Pause] The comparison between… it’s kinda like… the presence of the omnipotent. God.

You hit me up sometimes. Gust of wind. You push me back sometimes. Gust of wind. You remind me that there’s someone up there that ushers in the air i need to power my sail. So, when I open the window, I wanna hug you because you remind me of the air.

You think about the way wind feels. You can’t see it but you can feel it. Sometimes it overpowers you, sometimes it just brushes across your face. Someone you love reminds you of something that is ubiquitous but as strong as air.

I was happy that it came through me, and that I had something to do with it… So.

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G I R L is out now through Sony.

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Jake Stone is a songwriter and freelance journalist. He hosts a late night radio show on triple j, and writes and performs in his band bluejuice.