I can’t remember the last time that I ate On the string-heavy indictment “One Foot Wrong”, Pink starts by asking the following: Yet Funhouse never settles on one stance or persona for Pink to latch onto. These are her songs about herself, bits of autobiography compressed into four-minute sugar rushes, all ready for purchase iTunes. We cannot accept the subject of these songs as anyone else but Pink. Obviously this is somewhat heady stuff for a pop record, but the marketing, press releases, and videos make it clear. As such, Funhouse is all over the place emotionally.
After forging a life with her better half for so long, it’s a shock when that half gets up and leaves, taking much of her identity with her. Just a glance at the rest of the song titles gives insight into Pink’s post-relationship emotional states: “I Don’t Believe You”, “Please Don’t Leave Me”, “It’s All Your Fault”. Immediately following that track, Pink launches into the surprisingly downtrodden “Sober”, a song that once again spends time convincing herself that everything’s alright (“How do I feel this good sober?” the chorus asks). During the last chorus, her wails of “I don’t want you tonight” and “I’m alright” reek of a strange sort of desperation, as if she’s not actually enjoying her new single life, instead spending time convincing herself that she’s enjoying it. “So What” is as big a red herring single as you can find, yet the cracks of regret seep through even that.
So even though the exuberant cover of Funhouse bills Pink as enjoying the single life to its fullest, it’s an album that’s actually drenched in regret. Then came her marriage to motocross star Carey Hart. President”), or her would-be one-night stand (the raunchy kiss-off “U + Ur Hand”). Here was a pop starlet who wasn’t too scared to call out the stupidity of her supposed former “peers” (“Stupid Girls”), her country’s president (“Dear Mr. The title applied to Pink both artistically and commercially. Upset with the tepid sales of Try This, Pink went back to the sprawling confessional pop of her sophomore release, resulting in 2006’s I’m Not Dead. With her second album alone, she had become a pop enigma, which, invariably, led her to become ennobled, soon hiring Rancid frontman Tim Armstrong as a pop songwriter, resulting in the aptly-named 2003 disc Try This, a guitar-heavy pop album that, despite some excellent singles (namely “Trouble” and “God’s a DJ”), failed to connect with listeners in any significant way. These tracks put family tragedy right in the center of pop radio, proving that Pink’s “edginess” did not stem from her Not For Red Carpet fashion bent, but her willingness to expose herself emotionally on the Top 40. In producer Linda Perry (ex-4 Non Blondes), Pink found a woman who was willing to indulge her cathartic brand of dance-pop, helping write songs like “Don’t Let Me Get Me” and “My Vietnam”. Yet Alecia “Pink” Moore wasn’t too happy with having her sound controlled by pop svengalis, which is why 2001’s breakthrough album M!ssundaztood was her statement of defiance. Her 2000 debut Can’t Take Me Home was very much the pre-packaged pop disc that could only be made by a girl who was “edgier” than her then-contemporaries Britney Spears and Jessica Simpson. Then again, Pink’s album titles have always been good indicators of their contents. Truth be told, Funhouse is as misleading an album title as you can possibly get. Pink’s Funhouse is rife with promise: post-divorce, it’s Pink’s time to party, and as lead single “So What” shows, she’s going to do it on her own terms: guitars screaming all around her while she gives the middle finger to the sky and continues her riotous bout of midday drinking, relishing her newfound independence and having a damn good time in doing so.
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