Do you ever half-hear a song, think that you really dig it, and finally track it down only to find out that the real song is not nearly as good as the sketch of it you’d drawn in your head?
I’m not a big consumer of Top-40s pop music. It’s hard for me to identify anything consistent about my tastes—they’re all over the map. But the scattered centers make for fairly narrow little circles. I like furious melodic punk (like Small Brown Bike), complex and organic electronica (like Múm), political and underground hip-hop (like Immortal Technique), bombastic indie rock (like Wolf Parade), and apocalyptic post-rock (like 65daysofstatic).
Okay, so maybe we can generalize afterall. I like loud and agressive stuff. Top-40s usually doesn’t fit that bill. Which isn’t to say it never happens. I like it when Beyoncé gets pissed, for example. In any case, even if most pop music falls outside my tightly circumscribed preferences, I can tolerate it. I can get with the mood of a party. But I don’t seek the stuff out.
That was pretty much the end of the story when I was in college. I didn’t listen to the radio, the places I spent most of my time in only played stuff popular with the black-framed glasses crew, and my friends’ blowouts usually had weird playlists. I didn’t have a pop consciousness. I never bothered to read the charts.
This is pretty much the opposite of Macedonians, who are hyperliterate about American pop music. They are voracious. Their knowledge of my own country’s musical exports not only makes mincemeat out of my own, but puts more pop-aware Americans to the test too. They know no boundaries when it comes to era, which results in bewildering setlists for the coverbands that play in bars all over Skopje. They don’t seem particularly interested in American rap, but that’s the only limitation. Otherwise, their radios play our songs.
Only a lot more often and everywhere. I have never felt so awash in the latest hits as I have in Macedonia. I’ve lived in two other foreign countries, but Germany’s music scene was more closely intergrated into continental Europe trends (lots of excruciatingly boring dance music) and Japan’s music scene was its own entity, dominated by interchangeable Idols singing wide-eyed innocent and neon-technicolor J-pop at an irritatingly high pitch. Macedonia’s radio stations take the current British and American hits, reshuffle the rankings, and then play those songs into a bloody pulp.
Or maybe it just seems that way because all of the stores and cafés are tuned into similar stations. You can’t go far on the streets of Skopje without hearing music, whether it’s native turbofolk or imported pop music. The turbofolk I have no sense for—I don’t know the canon, I don’t know the stars, and I can’t understand the lyrics unless I concentrate. But when it comes to American pop music, Macedonia has put me in much closer contact with it than I have had at home.
So this is how I caught myself really liking this song as it blared from the speakers at the gym. I’d been taking a break between sets for just long enough to hear the chorus, then I did another set and lost track of the song, only to have the chorus come back into focus again as I finished. I had just a skeletal impression of the song and the chorus to go by, but that was enough to hook me.
I listened for the station anouncement listing off the songs they’d just played, but it was in rapid Macedonian and I was a little confused. I thought I heard that it was a collaboration between Lady Gaga and Rihanna called “Paparazzi.”
Lady Gaga I hate. It’s like she took a trashy, drugged-up celebrity trainwreck scenario and made that her entire persona. The hipsters appear to appreciate the post-modernity of all of it, but… I mean, Jesus, woman, put some goddamn pants on.
Rihanna though, that was interesting. The chorus has this hurt, fake-cheerful desperation to it, with a sinister echo to the drumline and cold electronica backing it up. All I could hear was “something something would you love me? Papa-paparazzi.”
It made me wonder if this song had come out in the wake of her domestic assault, when she not only went through a severe beating at the hands of her boyfriend and fellow-star Chris Brown, but then had the police photos of her stomach-turning injuries leaked to the newspapers. So immediately after going through the physical violence of Brown’s assault, she had to endure the emotional violence of the whole American media obsessing over her response. As far as I know, she decided not to press charges and is back with Brown again.
I don’t know what to think about that. That is not a cop-out way of saying that I disapprove: I mean literally that I don’t know what I think about it. I’ve read articles arguing that condemning victims of domestic violence for returning to their abusive partners unfairly shifts the focus onto their actions, rather than the original violence of their abusers, and may even make it harder for them to pull themselves out. I’ve also read articles arguing that refusing to hold women responsible for ensuring their own physical and emotional safety by leaving abusive partners is a perverse sort of infantilization that ends up putting more women at risk. I do not know what to think.
I once, without intending to, caused a friend distress with my tone-deaf response when she confessed complex feelings about a previous relationship in which a man abused and raped her. I was trying to show that I had invested a lot of thought into the broader issues she was facing and that I took them seriously, but I neglected some basic empathy. Her boyfriend had to call me out on it in private. I have rarely felt so ashamed of myself. To this day I can’t really think about her without intense and painful feelings of embarrassment rushing up. That makes up part of my ambivalence.
Back to the song, I thought it was Rihanna singing this manic, menacing ballad about the paparazzi. From the few words I picked out, I guessed that the theme of the lyrics was that her love was compromised by this all-encircling prison of flashblubs and tabloid screeds. Paired with her real-life context, it struck me as beautiful and poignant. A private relationship twisted into a public spectacle, broken and rearranged as it was batted from the leaked photo to the op-ed. Or maybe it was already broken before the paparazzi even arrived, cracked by the pressure of merely anticipating them. Having Lady Gaga’s performed meta-celebraty there in the collaboration just added more layers of interesting complexity. I was hoping I’d stumbled on a piece of pop art.
As it turns out, the song is called “Paparazzi,” it’s by Lady Gaga only, and it sucks. The lyrics irritate me and the chorus is ruined now that I can hear what she’s actually talking about: she’s going to stalk her love interest like the paparazzi. And wear dumb clothes while she does it.
Oh, okay. Never mind then.
If I listen to just the chorus and let my attention wander, kind of like letting your vision go soft by looking into a distance that isn’t there, I can hear the emotional contours of the song I wish this was.
i’ll follow you until you love me, paparazzi

It has been an eye-opening and perspective-broadening experience to read coverage of the same happenings from the perspectives of two different countries’ media.





