By New Times
By Derek Askey
By Mark Deming
By Serene Dominic
By Jason Keil
By Robrt L. Pela and Amy Silverman
By Jeff Moses
By Serene Dominic
Pink wants everyone to know that she isn't Britney Spears. She'll yell it from the rooftops. She'll tattoo it on her washboard midriff. She'll hold a high school principal hostage just so she can scream it over the intercom during morning announcements. She'll even sing it. Her latest album, M!ssundaztood, is a big fuck-you to anyone who thinks she remotely resembles the exuberant Top 40 table dancer.
But a close listen reveals that M!ssundaztood is less an announcement of unBritneyness than the musical manifesto of a woman who wants to topple Britney from her throne atop pop. The Philly-born, pale-skinned hoodrat born Alecia Moore has decided to become what industry folks such as L.A. Reid and Babyface have always wanted her to be. While Pink's lyrics on M!ssundaztood, her second album, stake out the deeper, darker, more personal terrain one expects from the classic "radical departure" sophomore album, what sets Pink apart is that her departure is more musically mainstream than her debut.
Don't fret. She's still the same brassy, bossy badass you fell in love with and slightly feared on her debut, but gone are the smothering, synthed-up R&B productions that made her sound like one of Destiny's Toddlers. With the help of producers Dallas Austin and former 4 Non Blondes front woman Linda Perry, Pink is fast becoming the unshackled, ball-busting pop queen Sophie B. Hawkins never quite grew into.
Britney Spears can rest assured that Pink isn't biting her style, as she constantly asserts. Still, Brit better not sleep too deeply. Pink is gaining on her in her own way, and she may just try to take her out -- Tonya Harding-style!