Missundaztood
Missundaztood (stylized as M!ssundaztood) is the second studio album by American singer Pink. It was released on November 20, 2001, by Arista Records. After the success of Can't Take Me Home, her 2000 debut album, Pink became dissatisfied with her lack of creative control and being marketed as a white R&B singer. Aspiring to follow a rawer, rock-inspired musical direction, she began working on the album with Linda Perry after finding Perry's phone number in her makeup artist's phone book. Instead of relying on popular producers, Pink decided to collaborate with producers and artists who inspired her and enlisted help from Dallas Austin, Damon Elliott, Marti Frederiksen, and Scott Storch. Missundaztood also features guest appearances by Perry, Scratch, Steven Tyler, and guitarist Richie Supa.
This article is about the Pink album. For the Ayumi Hamasaki album, see (Miss)understood.Missundaztood
November 20, 2001
2001
- The Enterprise (Burbank)
- Pinetree Studios (Miami Beach)
- DARP Studios (Atlanta)
- Larrabee (North Hollywood)
- LP Studios (Sherman Oaks)
- Sony Studios (Santa Monica)
- Drive By Studios (North Hollywood)
55:20
The album was produced at a number of recording studios during 2001. Pink contributed significantly to the songwriting process, drawing on her experiences and vulnerabilities. The music contains introspective themes of personal insecurities, loneliness, self-identity, and family problems. Unlike the upbeat, R&B production of her previous album, Missundaztood is a pop rock record. It contains elements of a variety of other genres, including blues, metal, hip hop, new wave, and disco. Before the album's release, Pink had a conflict with her record label about artistic freedom. Arista initially rejected her new musical approach, fearing that her abandonment of R&B music would result in commercial failure.
To promote the album, Pink made televised performances and embarked on her Party Tour in 2002. Four singles supported Missundaztood, three of which peaked in the top 10 of the US Billboard Hot 100: "Get the Party Started", "Don't Let Me Get Me", and "Just Like a Pill". A worldwide commercial success, the album reached number one in Ireland and the top five on album charts in Austria, Germany, New Zealand, and the United Kingdom. It was certified five times platinum by the Recording Industry Association of America (RIAA), and received multi-platinum certifications in other countries. The album sold 12 million copies worldwide and is Pink's best-selling album.
A critical success, observers regarded Missundaztood as a significant progression from Can't Take Me Home and an artistic breakthrough for Pink. Most music critics praised the album's emotional depth and blending of styles; others appreciated Pink's vocal performances and songwriting. At the 45th Annual Grammy Awards, Missundaztood was nominated for Best Pop Vocal Album. Critics have praised Pink in retrospect for reinventing her music and increasing her creative control, calling Missundaztood distinguished and remarkable.
Background[edit]
Pink released Can't Take Me Home, her debut studio album, in April 2000 on LaFace Records.[1] The album is an R&B and dance-pop record with hip-hop influences.[2][3] Produced by L.A. Reid and Babyface, it was a commercial success and sold over three million copies worldwide.[4][5] Can't Take Me Home had a mixed critical reception, however, with many critics saying that its sound was too similar to that of American girl groups Destiny's Child and TLC.[2][4][6] Despite Can't Take Me Home's success, Pink felt dissatisfied and constrained by her lack of creative control and being marketed to a teen audience as an R&B singer.[7][8][9] Her father, Jim Moore, said in an October 2000 MTV News interview that Pink expressed interest in experimenting and showcasing her versatility on her forthcoming album.[10] She sought to create an album reflective of the musical influences with which she grew up, resembling the music of Annie Lennox and Method Man.[10][11]
Lyrics and themes[edit]
The lyrics on Missundaztood explore personal topics such as self-identity,[60] loneliness,[49] family issues,[48] self-doubt,[61] and rebellion.[62] The album's title alludes to Pink's feeling of being misunderstood:[38] "I say the wrong things, I tell the truth, which tends to get me in trouble, and I'm a very eclectic person, so I feel that's misunderstood, as well."[38] ABC News called it "a guidebook to teenage angst told through the excruciating detail of Pink's childhood".[63] Todd Burns of Stylus Magazine said that Pink "emerges as a conflicted and deeply troubled artist that is unafraid to confront her demons".[64] The album's subjects were described by the music journalist Greg Kot as "autobiographical tunes that balance vulnerability with toughness".[57] Sadie Jo Smokey of The Arizona Republic compared it to early 1990s music, "when women sang about issues and experiences".[60] According to the Michigan Daily journalist Devon Thomas, Missundaztood's introspective lyrics reveal "a surprising sense of vulnerability".[59]
The title track is an "optimistic and spunky" song.[60] On "Don't Let Me Get Me", Pink describes her feelings of inadequacy and self-hatred.[42][65] According to Kot, the song can be interpreted as "[Pink's] own abjection as a teenager who never found a peer group to belong to".[57] Its lyrics also explore Pink's frustrations with the music industry: "L.A. told me, 'You'll be a pop star / All you have to change is everything you are.' / Tired of being compared to damn Britney Spears / She's so pretty, that just ain't me".[52] Thompson described the song as an attempt "to break free from the image making machine".[50] The next song, "Just Like a Pill", uses drug references as a metaphor for unhealthy relationships.[35] The track also explores substance abuse and personal insecurities.[43][66] "Get the Party Started" differs significantly from the album's primary introspection, suggesting "a fun, independent woman emerging to take charge".[60][59]
"Respect" has a female-empowerment message.[64] On "18 Wheeler", Pink explores accepting abuse before saying that "nothing will keep her down".[67] Family struggles are among the themes of "Family Portrait".[66] The song's emotive lyrics describe the tempestuous relationship of Pink's parents, which led to their divorce.[43][55] On "Lonely Girl", Perry asks Pink "Do you even know who you are? / Do you even know what you have?"[13] Schonborn said that Pink has difficulty answering; the song is "fraught with uncertainty and doubt".[13] The lyrics of "Dear Diary" explore disillusionment and abandonment,[68] and "Numb" deals with mourning a defunct relationship.[61] It is followed by "Gone to California", a socially-minded track.[53][54][69] The album ends with "My Vietnam", which examines Pink's self-discovery.[61] Its lyrics explore her father's military service in the Vietnam War and its aftermath on his and Pink's lives.[65] According to Lester, the song uses "the image of battle as a metaphor for [Pink's] turbulent upbringing".[35]