Japan has seen a number of young US pop divas
make their way across the Pacific over the last year. But
compared to Britney Spears or even Michelle Branch, Pink presents
a far more complex picture.
While initially grouped together with the rest of the late-'90s
teen pop crowd, Alecia Moore a.k.a. Pink blew up the mold
that had been crafted for her with last year's multi-platinum
The pigeonholing of her into the contemporary R&B template
had worked for Pink on her solo 2000 debut, Can't Take
Me Home, which spawned three Top Ten singles including There
But as she entered her 20s, the Philly native was beginning
to feel constrained. LA would hook me up with producers,
she told Rolling Stone, and I'd walk into the studio
like Hi, how ya doing, yeah, we have this song, go in
the vocal booth and sing it, no, do it like this, it's
nice to meet you, bye.' And I was like, This is
what music is? This is the process? This sucks.'
Tired of singing others' songs, she hooked up with former
4 Non Blondes lead singer Linda Perry to co-write M!ssandaztood,
resulting in an album that took a hard right towards rock
and away from R&B. Reportedly, the record execs at Arista
were not pleased.
Another reason why I did this record [is] so that everybody
could kiss my ass, Pink said. I had to do a record
that would keep me above water.
Confounding the record company's skepticism, M!ssundaztood
has gone on to outdo her debut, mostly on the strengths of
the Top Five party anthem Get the Party Started
and the defiant Don't Let Me Get Me.
In the process, the album has positioned Pink as a sassy songwriter
with her finger on the pulse of the pop consciousness, and
perhaps most capable among the 20-something crew to take over
from Madonna as reigning pop queen.
Pink plays Tokyo International Forum
on November 21, and a recently added show at Shibuya Kokkaido
on November 22. See listings for details.