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.” “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. 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 started performing in clubs as a teenager, taking her name from Steve Buscemi’s “Mr. Pink” character in the Quentin Tarantino film Reservoir Dogs: quippy, edgy, ready for trouble.

    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. 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”). That style paved the way for artists like Halsey, Kesha, and just about every other major female pop star in her wake.

    While her attitude was central to her appeal—whether she was tilting toward 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. President” or “Who Knew”—who could be a punk one minute and an embracing, almost maternal comfort the next. She also set new standards as a live act, incorporating aerial dance and acrobatics into her extravagant stage shows. (Check out her performance of “Sober” at the 2009 VMAs for proof.)

    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”). 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. And the point is, it’s all about your village, it’s all about your people, and the circle you create around you to get through all the bullshit in this world.”

    Reposted and edited by Third-party Images or video’s and descriptions or trademarks are the property of their respective owners..

    Apple Music™ and the Apple logo are trademarks of Apple® Inc.

    Davey Johnson
    " I started my blog for the passion I have for music.. I have been a musician for over thirty eight years as a drummer for several bands.. Please leave us a comment below or contact us and join the squad newsletter.."

    Latest articles

    Bill Would Make Tech Companies Liable If They Squash Speech

    According to information obtained exclusively by The Federalist, Sen. Kelly Loeffler (R-Ga.) introduced a bill to amend the Communications Decency Act so tech...

    Sevendust Unveil Crushing Cover of Soundgarden’s “The Day I Tried to Live”

    Just last week Sevendust guitarist Clint Lowery told The MetalSucks Quarantinecast that Sevendust had long ago finished their next album but needed to figure...

    Willie Nelson We are the Cowboys “Video”

    The Willie Nelson We are the Cowboys song and latest music video were released in 2020 as Willie covers the song for his upcoming album, First...

    GWAR Frontman: Oderus Urungus Wouldn’t Want His Statue Placed in a “Row of Losers”

    There’s lately been an ever-growing fan campaign to tear down a statue of Confederate cockfart Robert E. Lee in Richmond, VA, and replace it...

    Related articles