![]() Speaking to Beats 1 host Zane Lowe about 2019’s Hurts 2B Human, she described the album’s title track in classic P!nk fashion-welcoming, human, but with an edge: “Everybody is going through something. In 2012, The Truth About Love marked another career high, tackling marriage, parenthood and the heft of Real Adult Emotions with a frankness that was funny, touching and refreshingly unsentimental (“It’s whispered by the angels’ lips,” she sang on the title track, “and it can turn you into a son of a bitch”). (Check out her performance of “Sober” at the 2009 VMAs for proof.) She also set new standards as a live act, incorporating aerial dance and acrobatics into her extravagant stage shows. President” or “Who Knew”-who could be a punk one minute and an embracing, almost maternal comfort the next. While her attitude was central to her appeal-whether she was tilting towards rock on 2003’s Try This or tipping back to dance on 2006’s I’m Not Dead-what really set her apart was her versatility: It was hard to imagine another singer capable of tackling something as bitterly sarcastic as “I Got Money Now” (“You don’t have to like me anymore/I’ve got money now”) and then shifting, with total credibility, to “Dear Mr. That style paved the way for artists like Halsey, Kesha and just about every other major female pop star in her wake. A year later, she released M!ssundaztood, a leap forward both artistically and commercially, bridging the immediacy of club pop with songs that were confessional, genuine, frustrated and raw (“Family Portrait”, “Just Like a Pill”). After the demise of her first group, Choice, which was briefly signed to LaFace Records, P!nk released her 2000 debut, Can’t Take Me Home, co-writing more than half the album’s tracks. Pink” character in the Quentin Tarantino film Reservoir Dogs: quippy, edgy, ready for trouble. She started performing in clubs as a teenager, taking her name from Steve Buscemi’s "Mr. As a girl, P!nk (born Alecia Beth Moore in Doylestown, Pennsylvania, in 1979) loved Madonna and Janis Joplin, and tried her hand at opera, show tunes and punk rock. “She’s so pretty/That just ain’t me.” Even as she rose in fame, she retained the whiff of an outsider-someone too frank, too unapologetic, too real for the show: not an icon, but a human being. I'm not sure what the significance of throwing a fistful of glitter in the air is, but this wimpy attitude doesn't really fit in the celebratory dysfunctional Funhouse.From the start, P!nk made it her business to be different: “Tired of being compared to damn Britney Spears,” she sang on 2001’s “Don’t Let Me Get Me". The more melancholic ballads Pink insists on recording don't seem to be particularly fun for anyone, but thankfully they are in a minority here: piano based ballad Glitter In The Air is a bit of a damp squib. #Pink funhouse album cover fullLikewise, It's All Your Fault trips along with cross-rhythms and little piano riff, full of regret, emptiness and rage. The title track is a joyous, wanton destruction of a framework that no longer fits, backed by a heavy disco beat, breaking down into some blues riff with boogie woogie piano, while roadhouse rockin' Mean discusses the train wreck of her marriage, and the energy she gains from hating her partner. ![]() She admits the party's finally over, until Bad Influence, when she gets it started again: complete with circus organ, this is her L.O.V.E.-style getting-on-down-with-the-girls anthem. Sober, with its heavy guitars and booming snare discusses the blackouts resulting from drinking to avoid becoming those she sneers at. ![]() It contains immortal lines, "I'm alright I'm fine and you're a tool", and the video actually has the aforementioned ex-husband in there, dancing along (which could be construed as a teensy bit too knowing): so all's fair in love and promotion. "I guess I just lost my husband, I don't care where he went". ![]() Post-real life marriage split-up, she swings us round 45 minutes of joyous, out-of-control relationship breakdown, with the odd drunken diversion thrown in for good measure.Īggressively swinging opener, So What, slams Pink's cards down on the table setting the defiant, self-deprecating tone of the album. But it's mainly because she pours herself into the songs with humour and grace. ![]() Pink's mastered the pop punk sound in a way that the likes of Ashlee Simpson and Kelly Clarkson can only dream of, due, in part, to the people she works with – this album includes collaborations with Billy Mann, the guy she wrote Stupid Girls and I'm Not Dead with. Her songs take you with her, whether that's praising the DJ, puking in the loos, or turning borderline alky. She sells millions, on the back of her genuinely felt self-informed lyrics, sung in an un-cleared throaty voice. ![]()
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