Missundaztood

Missundaztood[note 1] is the second studio album by American singer-songwriter Pink. It was released on November 20, 2001, by Arista Records. After the commercial breakthrough of her 2000 debut album Can't Take Me Home, Pink became frustrated and dissatisfied with the lack of creative control and being marketed as a white R&B singer. Aspiring to pursue a rawer rock-inspired musical direction, she started working on the album with Linda Perry after unwittingly discovering her phone number in her makeup artist's phone book. Rather than rely on trendy producers, Pink decided to collaborate with producers and artists who were inspiring to her, enlisting help from Dallas Austin, Damon Elliott, Marti Frederiksen, and Scott Storch. The album also features guest appearances from Perry, Scratch, Steven Tyler, and guitarist Richie Supa.

This article is about the Pink album. For the Ayumi Hamasaki album, see (Miss)understood.

Missundaztood
Studio album by
Pink
ReleasedNovember 20, 2001 (2001-11-20)
Recorded2001
Studio
GenrePop rock[2][3]
Length55:11
LabelArista
Producer
Pink chronology
Can't Take Me Home
(2000)		 Missundaztood
(2001)		 Try This
(2003)
Singles from Missundaztood
  1. "Get the Party Started"
    Released: October 16, 2001
  2. "Don't Let Me Get Me"
    Released: February 18, 2002
  3. "Just Like a Pill"
    Released: June 10, 2002
  4. "Family Portrait"
    Released: September 16, 2002

Production for the album took place at various recording studios during 2001. Pink was more involved in the songwriting on the record, drawing on individual experiences and vulnerabilities. The resulting music features introspective themes of personal insecurities, loneliness, self-identity, and family problems. Departing from the upbeat R&B production of her previous album, Missundaztood is a pop rock record. It comprises sounds from a wide range of other genres, including blues, metal, hip hop, new wave, and disco. Prior to the album's release, Pink had a conflict with her record label for more artistic freedom. Initially, they rejected her new musical approach, fearing that her sharp abandonment of R&B music would result in a commercial failure and losing her fanbase.

To further promote the album, Pink made televised performances and embarked on the Party Tour in 2002. Missundaztood was supported by four singles, three of which peaked inside the top 10 of the US Billboard Hot 100: "Get the Party Started", "Don't Let Me Get Me", and "Just Like a Pill". The record was a worldwide commercial success, reaching number one in Ireland and the top five of albums 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. As of April 2012, the album has sold 13 million copies worldwide, becoming Pink's highest-selling album.

A critical success, Missundaztood was viewed as a vast progression from Can't Take Me Home and an artistic breakthrough for Pink. The album was lauded by most music critics for its emotional depth and blending of styles, while others appreciated Pink's vocal performances and songwriting. At the 45th Annual Grammy Awards, Missundaztood was nominated for Best Pop Vocal Album. In retrospect, critics praised Pink for her reinvention and taking more creative control, while considering the album distinguished and remarkable.

Background

In April 2000, Pink released her debut studio album, Can't Take Me Home, through LaFace Records.[4] It is an R&B and dance-pop record with hip-hop influences.[5][6] The album, which was produced by L.A. Reid and Babyface, was a commercial success and sold over three million copies worldwide.[7][8] Nonetheless, Can't Take Me Home had a mixed critical reception; many critics affirmed that the album's sound was too similar to that of American girl groups Destiny's Child and TLC.[5][7][9] Despite the album's success, Pink felt unsatisfied and constricted by the lack of creative control and being marketed to a teen audience as an R&B singer.[10][11][12] In an interview with MTV News published in October 2000, Pink's father, Jim Moore, said she was interested in experimenting and showcasing her versatility on her forthcoming album.[13] Pink sought to create an album that would be reflective of the musical influences she grew up with, resembling the music of Annie Lennox and Method Man.[13][14]

Writing and recording

Sessions with Linda Perry
Linda Perry (pictured in 2008) co-wrote and produced a large portion of Missundaztood.

During a photo shoot for Teen in the spring of 2001, Pink stumbled upon the phone book of her makeup artist, Billy Brasfield.[15][16] She discovered the number of Linda Perry, the lead singer of former American alternative rock band 4 Non Blondes.[16][17] While growing up, Pink cited Bigger, Better, Faster, More! (1992) as one of her favorite albums and referred to Perry as her "childhood idol".[15][18] Thus, Pink stole the number and called her, leaving a 10-minute message on Perry's answering machine.[16][17] According to Pink, the message was about "how much I loved [Perry] and how she owes me because I got arrested singing her music out of my window at 3:30 in the morning, and how I'm gonna stalk her if she doesn't return my call".[17]

A few minutes later, Perry called Pink back and invited her to her house in Los Angeles.[17][19] When Pink proposed to write a song with Perry, she was initially reluctant to do so.[20] In an interview with San Francisco Chronicle, Perry explained, "I told [Pink] 'I'm not hip [sic] at all. I make low-fi, garage-sounding classic rock records'", to which Pink responded, "I know — that's what I want".[21] Afterward, Pink drove to meet Perry.[22] The recording sessions of Missundaztood commenced at Perry's home studio[note 2] with her sitting at the piano and asking Pink to express her feelings in a melody.[15] Pink felt in the beginning "petrified" and confused, being used to a different creative process.[note 3] As Perry began to play chords over a rough instrumental, Pink picked up a microphone and started to ad-lib.[17][20] In approximatively five minutes, "Eventually" was the first song they had written and recorded together.[17][20] Its lyrics were improvised and Pink's vocals were recorded in a single take.[23] Perry described the song's creation as emotional, helping Pink to feel comfortable and understood during the recording process.[15][23]

A week before meeting Pink, Perry worked on a song titled "Get the Party Started".[25] Unfamiliar with new music technology, Perry decided to call a friend and ask him about it.[23][25] She then purchased the equipment, including a Korg Triton synthesizer, an Akai MPC, a TASCAM DA-88 recorder, and Roland expansion cards.[23][26] Perry had originally no goal in mind and was "just figuring out what all [that] stuff does".[25] She programmed her first beat and made extensive use of a bass guitar, a horn sample, and looping "weird chords and sounds".[27] Perry finished the song by including "every catch phrase you possibly could imagine", before laughing at the realization that she had written her first dance song.[27] Aware of its commercial appeal, Perry offered "Get the Party Started" to Madonna, but was rejected.[25] Soon after the sessions of Missundaztood began, Perry brought the song to Pink's attention, who agreed to record it.[25]

Pink moved into Perry's home for several months.[19] The pair intended to write 25 songs for the album and spent their time "kicking around ideas".[17][19] The sessions at Perry's home studio yielded approximately 20 tracks completed in a month and a half.[17] Introspection and emotional discovery became the emphases of the sessions.[23][28] Working with Perry was an essential factor in Pink's decision to take artistic control of the record.[29] Pink sought to abandon the R&B "marketing concept" present on Can't Take Me Home, and rather capture reflections on her past, vulnerabilities, and insecurities.[8][24] She considered the album's creation to be "amazing, liberating, inspiring" and felt as though she and Perry had "five years of friendship in six months".[18][24] Concerning her working relationship with Pink, Perry remarked, "What happened was that we were able to open up to each other ... she completely abandoned what she was told she was supposed to be, and just became Alecia Moore".[30]

Other collaborations

"I went after people who inspired me, not the hot new record producer or anything. And it's all done very organically I mean, I'm old-school to the bone, and this is a very artist-driven record, not a producer-driven record."

—Pink on taking more creative control of her music[31]

Pink was introduced to Dallas Austin in 1996, after being signed to LaFace.[32] Austin generally disapproved of Pink's R&B direction, and sessions for Can't Take Me Home were ultimately unproductive.[33][34] Nevertheless, Pink was keen on working with Austin again on her forthcoming album.[33] The two pursued a pop rock sound, and the material they had written instantly took an autobiographical form.[34][35] Austin co-wrote and produced four songs on Missundaztood: "18 Wheeler", "Don't Let Me Get Me", "Just Like a Pill", and "Numb",[1] all of which are characterized by self-analytical introspective lyrics.[28][36] Austin encouraged Pink to be more daring in the songwriting process, as he commented, "when you're writing songs, you're not just writing a song, you're helping craft the attitude".[33][34]

Pink worked with Scott Storch on "Family Portrait", a song that originated as a poem Pink wrote at the age of nine.[35] The track observes her parents' divorce and growing up in a dysfunctional family.[37][38] Reflecting on these themes, Pink acknowledged how affected her life was and decided to express her suffering through a song.[38] "It makes me sad, but it also helped release some of my feelings", she explains. "Pain is not always a bad thing. It can be a learning thing".[38] Another collaborator was Steven Tyler, the lead singer of the American rock band Aerosmith.[16] One of her musical inspirations, Pink met Tyler at a radio show in New York.[16] They bonded quickly and planned to record a song together.[39][40] "Misery" was written by Richie Supa and co-produced with Marti Frederiksen.[1] Tyler brought the song to Pink, who loved it and went on to record it as a duet.[39] Pink described the collaboration as "an experience of a lifetime".[40]

Record label dispute

Pink had begun working with Perry on Missundaztood without the knowledge of her record label.[22] After a few sessions, the singer played four songs for Reid, including "Get the Party Started".[8] Although regarding the latter a distinct lead single choice, Reid rejected most of the material.[8][25] Two weeks later, he and Pink held a meeting in Miami.[8] Reid was originally concerned that Pink was departing remarkably from her R&B sound, hence alienating her audience who was expecting another album in the vein of Can't Take Me Home.[22][41] Pink's desire for more creative control was also met with some resistance, as she was still a new artist.[8] However, Reid failed to persuade Pink to record R&B songs.[8] After a strenuous dispute, he reconsidered his decision and gave Pink "the opportunity to fail".[8][42] Once Missundaztood took definite form, Reid felt the completed album was a "masterpiece", adding, "there was no doubt that it would be a huge record".[43] Pink discussed the danger of transcending musical genres with Los Angeles Times, saying:

"I knew the risk involved. I'd seen artists change styles and fail miserably, but I've also seen artists change and continue to do well. That's why Madonna has always been an inspiration for me. I told him I had faith in my ability and I was willing to take the chance. And I have so much respect for [Reid] because he turned around during that meeting. By the end, he said, 'OK, let's do it'."[8]

Musical style
Richie Sambora from Bon Jovi played a guitar solo on "Misery".

Missundaztood is a radical departure from the upbeat R&B stylings of Pink's debut album.[44][45] Instead, it encompasses a stylistic amalgam and features an eclectic mix of musical styles.[46] According to Ed Condran of The Philadelphia Inquirer, the music on Missundaztood incorporates a variety of music genres from pop, rock, and disco, to R&B, blues, and hip hop.[47] Stephen Thomas Erlewine of AllMusic summed up the album's musical influences as "late-'80s, metal-spiked album rock, modern hip-hop and dance" with a noticeable "dazzling modern pop production".[48] E! Online asserted that the album draws particularly from "'80s new wave, alternative rock, unashamed radio pop, and R&B".[49] MTV News journalist Jennifer Schonborn said its fusion of styles possesses a "strangely" coherent quality.[50] In the opinion of music writer Paul Lester, the diverse musical textures of Missundaztood "shouldn't have fit together, but defied all odds and did."[46] Kate Sullivan from Spin viewed Pink's direction as "a rebellion against the producer-driven machinery that created her 2000 debut, Can't Take Me Home".[22]

Songs on the album are characterized by a "harder, edgier, rock sound".[10] PopMatters' Jason Thompson writes that the production on "Missundaztood" melds "a funky ass bass line" with "some simple electric rhythm guitar and a spare synth line".[51] "Don't Let Me Get Me" and "Just Like a Pill" are prominently driven by rock-influenced electric guitars.[52][53] "Get the Party Started" features vocodered vocals and elements of dance-pop and new wave genres.[44][54][55] The sixth track on the record, "18 Wheeler", has been noted by critics for its arena rock influences and rock instrumentation.[16][36][48] Pink sings over a pop-R&B instrumentation that melds a "snare" piano and strings on "Family Portrait".[16][56] The blues rock ballad "Misery" incorporates "gritty" vocals and a guitar solo played by Bon Jovi's Richie Sambora.[16][46][57] It is followed by "Dear Diary", which consists of a trip hop beat.[58] "Numb" is an electropop song with grunge metal elements which, according to Lester, resemble the music of the American rock band Nirvana.[36][54] The last track on Missundaztood, "My Vietnam", is a rock and neofolk ballad set against an acoustic guitar played by Perry.[54][59] Towards the end of the song, a sonic interpolation of Jimi Hendrix's "Star Spangled Banner" is heard.[60]

Lyrics and themes

The lyrics on Missundaztood explore personal topics such as self-identity,[61] loneliness,[50] family issues,[49] self-doubt,[62] and rebellion.[63] The album title refers to Pink's feeling of being constantly misunderstood by people.[40] She explained: "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."[40] ABC News interprets the album to be "a guidebook to teenage angst told through the excruciating detail of Pink's childhood".[64] Todd Burns of Stylus Magazine said the singer "emerges as a conflicted and deeply troubled artist that is unafraid to confront her demons".[65] The album's subjects were summarized by music journalist Greg Kot as "autobiographical tunes that balance vulnerability with toughness".[58] Sadie Jo Smokey from The Arizona Republic compared the record's content with early 1990s music, "when women sang about issues and experiences".[61] In the opinion of The Michigan Daily journalist Devon Thomas, the introspective lyrics on Missundaztood reveal "a surprising sense of vulnerability".[60]

The title track is an "optimistic and spunky" song.[61] On "Don't Let Me Get Me", Pink describes her feelings of inadequacy and self-hatred.[44][66] 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".[58] The song's narrative also explores Pink's frustrations with the music industry, with lyrics such as, "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".[53] Thompson describes it as an attempt "to break free from the image making machine".[51] The next song, "Just Like a Pill", uses drug references as a metaphor for unhealthy relationships.[37] The track also explores themes of substance abuse and personal insecurities.[45][67] "Get the Party Started" deviates significantly from the introspective themes of the album, suggesting "a fun, independent woman emerging to take charge".[61][60]

"Respect" features a female empowerment message.[65] On "18 Wheeler", Pink discusses taking abuse, before assuring that "nothing will keep her down".[68] Among other themes, family struggles are expressed on "Family Portrait".[67] The song's emotive lyrics describe the tempestuous relationship of Pink's parents and their divorce.[45][56] On "Lonely Girl", Perry asks Pink questions such as, "Do you even know who you are?/Do you even know what you have?"[16] Schonborn asserted that Pink faces difficulties in answering and sounds "fraught with uncertainty and doubt".[16] The lyrics of "Dear Diary" detail feeling disillusioned and abandoned,[2] while "Numb" deals with suffering from a defunct relationship.[62] It is followed by "Gone to California", a socially-minded track featuring introspective expressions of society.[54][55][69] Missundaztood closes with "My Vietnam", which examines Pink's self-discovery.[62] The lyrics include references to her father's military service in the Vietnam War and its aftermath on his and the singer's life.[66] Lester notes that the song uses "the image of battle as a metaphor for [Pink's] turbulent upbringing".[37]

Marketing and sales

Missundaztood was released on November 20, 2001, through Arista Records.[1][5] The record was released in several European countries on January 28, 2002, with a different track list order and the bonus track "Catch-22".[70][71][72] The deluxe edition was released on November 26, 2002.[73] It includes the standard version of the album on CD, and a DVD comprising the music videos for "Family Portrait" and "Don't Let Me Get Me", and two live performances of "Numb" and "Family Portrait" at Scala, in London.[72] The album was released on vinyl for the first time in October 2017.[74][75][76]

Pink performing lead single "Get the Party Started" at the 2017 V Festival.

Four singles were released from the album—"Get the Party Started" on October 16, 2001,[77] "Don't Let Me Get Me" on February 18, 2002,[78] "Just Like a Pill" on June 10,[79] and "Family Portrait" on September 16.[80] All singles peaked within the top 20 of the Billboard Hot 100, with the first three peaking inside the top 10.[81] Missundaztood was promoted by Pink's awards shows performances at the Billboard Music Awards,[82] the Kids' Choice Awards,[83] the MTV Asia Awards,[38] and the MTV Video Music Awards.[84] Pink also made television appearances and performed on shows including the Late Show with David Letterman,[85] Saturday Night Live,[86] and The Tonight Show with Jay Leno.[87] Further promotional efforts in Europe included performances on Wetten, dass..?[88] and at the MTV Europe Music Awards.[89] In support of the album, Pink embarked in 2002 on her first headlining tour, the Party Tour.[90]

In the week of December 8, 2001, the album debuted at number eight on the US Billboard 200 chart, selling 220,000 copies.[91] It ultimately peaked at number six on January 26, 2002,[92] and spent a total of 90 weeks on the chart.[93] Missundaztood was the sixth-best-selling album of 2002 in the United States, with sales of 3.1 million copies.[94] On October 22, 2003, the album was certified quintuple platinum by the Recording Industry Association of America (RIAA) for shipments of five million units in the US.[95] In Canada, Missundaztood peaked at number five on the Canadian Albums Chart[96] and was certified quintuple platinum by Music Canada (MC) for shipments of 500,000 copies.[97]

In the United Kingdom, it debuted at number four on the UK Albums Chart.[98] Almost a year after its release, in the week of January 18, 2003, the album peaked at number two, behind Avril Lavigne's Let Go.[99] As of February 2021, the album had sold 1.86 million copies in the UK[100] and has been certified sextuple platinum by the British Phonographic Industry (BPI).[101] The album's highest international charting was number one in Ireland, topping the Irish Albums chart in the week ending January 9, 2003.[102] Missundaztood peaked within the top five of albums charts in Scotland (number two);[103] Austria, New Zealand, Norway (number four);[104][105][106] and Germany, Iceland, and the Netherlands (number five).[107][108][109] It received multi-platinum certifications in Germany, Switzerland (double platinum);[110][111] Australia and New Zealand (quadruple platinum).[112][113] As of April 2012, the album had sold 13 million copies worldwide, becoming Pink's highest-selling album.[114]

Critical reception
Professional ratings
Aggregate scores
SourceRating
Metacritic72/100[115]
Review scores
SourceRating
AllMusic[48]
Blender[116]
Entertainment WeeklyA-[44]
The Guardian[55]
Los Angeles Times[117]
NME[118]
Rolling Stone[45]
Slant Magazine[54]
Spin6/10[119]
The Village VoiceA[120]

Missundaztood was met with generally positive reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the album received an average score of 72, based on 15 reviews.[115] The Tampa Tribune's Cloe Cabrera described the album as "an edgy, rock-driven set", applauding its focus on expressing themes of "loneliness, family discord and [Pink's] refusal to fit in".[121] Erlewine commended the album's mixture of "bewildering" sounds and attitudes with painful subjects, adding that "there hasn't been a record in the mainstream this vibrant or this alive in a long, long time".[48]

Thomas was impressed by Pink's "heartfelt and revealing" lyrics, as well as her "assured and confident" vocals, concluding that Missundaztood is "an introspective charmer that shows the promise and versatility evident in a young and rising star."[60] Smokey remarked that Missundaztood eschews the "slick pop-R&B diva image" of Can't Take Me Home in favor of a rock direction and sound.[61] Writing for Billboard, Rashaun Hall called the record "a rock-fused, hook-friendly set", citing "Numb" and "Lonely Girl" as instances that showcase Pink's versatility.[69]

Thompson saw the album's appeal as being that it "covers such a wide array of style and substance" and highlighted Pink's songwriting.[51] Caroline Sullivan of The Guardian viewed the record as "an unusually three-dimensional picture of growing up in a broken home" and found it "surprisingly good".[55] Reviewing for The Boston Globe, Keri Callahan praised the album for its honest lyrics and catchiness that "echoes optimism and survival".[122] In Entertainment Weekly, Jim Farber said that, in comparison to Alanis Morissette's Jagged Little Pill (1995), Missundaztood "captures girlish confusion with greater accuracy and delight". He further commented that Pink sounds "like Cyndi Lauper's long lost stepsister".[44]

Sal Cinquemani of Slant Magazine praised the album's diverse sound which "differentiates [Pink] from the pop pack".[54] He asserted that Pink's vulnerability is "striking and seemingly more authentic" compared to Can't Take Me Home.[54] In The Village Voice, Robert Christgau regarded the portrayal of "credible personal pain rooted in credible family travails" as "a next step for a genre I never thought would take one".[120] Rolling Stone critic Rob Sheffield called the album "the teen-pop In Utero" and appreciated Pink's self-expressive songwriting.[45]

Other reviewers expressed less enthusiastic assessments. Los Angeles Times writer Natalie Nichols unfavorably compared Missundaztood to Can't Take Me Home, referring to the "tendency to sound vaguely familiar".[117] Alex Pappademas of Blender wrote: "Pink sees herself as a singer whose talent defies boundaries, but the melodic shortcomings of Missundaztood show that those eye-popping videos aside, she's no Madonna."[116] NME's Jim Alexander rated the record 1.5 out of 5 stars and criticized its content overall.[118]

Accolades

Missundaztood received industry nominations for Album of the Year at the 2002 Billboard Music Awards,[123] Best Album at the 2002 MTV Europe Music Awards,[124] Favorite Pop/Rock Album at the 2003 American Music Awards,[125] and Best International Album at the 23rd Brit Awards.[126] At the 45th Annual Grammy Awards in 2003, Missundaztood was nominated for Best Pop Vocal Album, while its single "Get the Party Started" also earned a nomination for Best Female Pop Vocal Performance.[127]

Impact and legacy
Missundaztood influenced Christina Aguilera to work with Linda Perry on her 2002 album, Stripped.

The release of Missundaztood coincided with a period of declining popularity of teen pop music.[128] Sia Michel from Spin credited the success of the album with the coming of age of former teen pop fans and their growing interest in different types of music.[128] Writing for The Guardian, Dorian Lynskey similarly attributed Pink's newfound popularity to the "lucrative and untapped market" of "teenage girls who may have liked Britney three years ago but now have a taste for low-key rebellion, the Osbournes and boys with tattoos".[129] Most critics praised the album for its musical departure from contemporary music and altering the industry's perception of Pink as an artist.[130][131][132] Thompson hailed Missundaztood as bold and applauded Pink for "breaking away from the stereotypes and misconceptions regarding pop stars".[51] Robert Hilburn, writing for Los Angeles Times, observed that Pink's reinvention and its potential commercial impact was initially questioned, but later considered "a move industry observers now applaud as brilliant".[8] Idolator's Jon Reyes remarked that Missundaztood "defied expectations both in sound and themes".[133] Barry Walters of Rolling Stone cited it as one of "one of the most radical R&B to-rock transformations since Prince abandoned disco for a Dirty Mind [(1980)]".[17]

In her 2019 book White Negroes, Lauren Michele Jackson compared Pink's rebellious artistic transformation with Janet Jackson's Control (1986).[134] She further stated that Pink's choice to leave the black-dominated R&B industry was able to "ultimately keep her apart from her peers".[134] In a 2021 anniversary retrospective, Arielle Gordon of Stereogum asserted that Pink's opposition to her label's strong emphasis on remaining an R&B singer "somehow wrestled autonomy of her image and sound in an industry practically fueled by harnessing complete control of their young, primarily female stars."[2] In a similar article, People editor Lanford Beard declared Missundaztood "a career-shaping album" which helped establish Pink as a "prolific creator of 'autobiographical songs filled with attitude'".[132] Pink herself commented in a 2019 interview with Variety: "[Missundaztood] was a huge turning point in my life. But before it came out, I was being told that it's going to completely fail. Still, I was stoked to be given the opportunity to fail".[135]

The album's commercial success was pivotal in promoting the career of Perry as a songwriter.[136] In subsequent years, she went on to write songs with Alicia Keys, Courtney Love, and Gwen Stefani, among others.[25][26] Retrospectively, Perry recalled that her life "took a complete turn" after the release of Missundaztood and its lead single, "Get the Party Started".[25] She added that working with Pink helped her discover that "helping artists with their vision is kind of cool".[25] Christina Aguilera cited Missundaztood as a contributing factor to enlisting Perry as one of the collaborators for her fourth studio album, Stripped (2002).[130] She further commented: "I wasn't a big fan of the Dallas Austin songs, but I really, really loved the Linda Perry songs. They had a really personal, real sense about them."[130]

Track listing
Missundaztood — Standard edition[1][137]
No.TitleWriter(s)Producer(s)Length
1."Missundaztood"
3:36
2."Don't Let Me Get Me"
Austin3:30
3."Just Like a Pill"
  • Pink
  • Austin
Austin3:57
4."Get the Party Started"PerryPerry3:11
5."Respect" (featuring Scratch)
  • Pink
  • Perry
  • Perry
  • Elliott
3:24
6."18 Wheeler"
  • Pink
  • Austin
Austin3:43
7."Family Portrait"
Storch4:56
8."Misery" (featuring Steven Tyler)Richie Supa
4:32
9."Dear Diary"
  • Pink
  • Perry
Perry3:29
10."Eventually"
  • Pink
  • Perry
Perry3:34
11."Lonely Girl" (featuring Linda Perry)PerryPerry4:20
12."Numb"
  • Pink
  • Austin
Austin3:07
13."Gone to California"
  • Pink
  • Perry
  • Perry
  • Elliott
4:33
14."My Vietnam"
  • Pink
  • Perry
  • Perry
  • Elliott
5:19
Total length:55:11
Missundaztood — Deluxe edition (DVD)[73]
No.TitleWriter(s)Length
1."Family Portrait" (music video)
  • Pink
  • Storch
4:02
2."Don't Let Me Get Me" (music video)
  • Pink
  • Austin
3:38
3."Numb" (live at Scala, London)
  • Pink
  • Austin
3:21
4."Family Portrait" (live at Scala, London)
  • Pink
  • Storch
5:30
Total length:16:31
Missundaztood — International edition[70][138]
No.TitleWriter(s)Producer(s)Length
1."Get the Party Started"PerryPerry3:12
2."18 Wheeler"
  • Pink
  • Austin
Austin3:45
3."Missundaztood"
  • Pink
  • Perry
  • Perry
  • Elliott
3:36
4."Dear Diary"
  • Pink
  • Perry
Perry3:29
5."Eventually"
  • Pink
  • Perry
Perry3:34
6."Numb"
  • Pink
  • Austin
Austin3:07
7."Just Like a Pill"
  • Pink
  • Austin
Austin3:56
8."Family Portrait"
  • Pink
  • Storch
Storch4:56
9."Misery" (featuring Steven Tyler)Supa
  • Frederiksen
  • Supa
4:31
10."Respect" (featuring Scratch)
  • Pink
  • Perry
  • Perry
  • Elliott
3:22
11."Don't Let Me Get Me"
  • Pink
  • Austin
Austin3:30
12."Gone to California"
  • Pink
  • Perry
  • Perry
  • Elliott
4:33
13."Lonely Girl" (featuring Linda Perry)PerryPerry4:20
14."My Vietnam"
  • Pink
  • Perry
  • Perry
  • Elliott
5:16
15."Catch-22" (bonus track)
  • Pink
  • Perry
  • Perry
  • Elliott
3:51
Total length:58:58
Missundaztood — Japanese Remix Plus edition (bonus tracks)[139]
No.TitleWriter(s)Length
16."Get the Party Started" (live at Scala, London)Perry3:19
17."Just Like a Pill" (Jacknife Lee Mix)
  • Pink
  • Austin
3:47
Total length:66:04

Notes
  • "Missundaztood" is stylized as "M!ssundaztood".

Personnel

Credits are adapted from album's liner notes.[1]

Studios

Musicians

Technical
  • Linda Perry – writer, production (track 1, 4–5, 9–11, 13–14), recording (track 4–5, 9–11, 13–14)
  • Pink – writer (track 1–3, 5–7, 9–10, 12–14)
  • Damon Elliott – production (track 1, 5, 13), recording (track 1), organ recording (track 13)
  • Dave "Hard Drive" Pensado – mixing (track 1, 4–5, 7, 9–11, 13–14)
  • Dave Guerrero – assistant mixing (track 1, 4–5, 7, 9–11, 13–14)
  • Dallas Austin – writer, production (track 2–3, 6, 12)
  • Carlton Lynn – recording (track 2–3, 6, 12)
  • Doug Harms – assistant recording (track 2–3, 6, 12)
  • Dave Way  – mixing (track 2, 6, 12)
  • Tim LeBlanc – assistant mixing (track 2, 6, 12)
  • Rick Sheppard – MIDI, sound design (track 2–3, 6, 12)
  • Kevin "KD" Davis – mixing (track 3)
  • Bernd Burgdorf – additional recording (track 4–5), Pro Tools programming (track 4–5, 9–10)
  • Johnathan Merritt – assistant additional recording (track 5)
  • Scott Storch – writer, production (track 7)
  • Wassim Zreik – recording (track 7)
  • Oscar Ramirez – recording (track 7)
  • Richie Supa – writer, production (track 8)
  • Marti Frederiksen – production (track 8)
  • Richard Chychki – recording (track 8)
  • Herb Powers Jr. – mastering

Management & design
  • Pink – executive production
  • Antonio "L.A." Reid – executive production
  • Kawan "KP" Prather – A&R direction
  • Celeste Moses – A&R coordinator
  • Christie LaRocque – A&R coordinator
  • Joe Mama-Nitzberg – creative direction
  • Jeff Schulz – art direction, design
  • Terry Richardson – photography
  • Patti Wilson – stylist
  • Alberto Guzman – hairstyling
  • Kristoff – hair coloring
  • Devra Kinery – make-up
  • Lee Taft – director programming
  • Donald Passman – legal representation
  • J. Eugene Saloman – legal representation
  • Jerome Levanthal – business management

Charts

Decade-end charts
Decade-end chart performance for Missundaztood
Chart (2000–2009) Position
Austrian Albums (Ö3 Austria)[188] 27
UK Albums (OCC)[189] 38
US Billboard 200[190] 38

All-time charts
All-time chart performance for Missundaztood
Chart Position
Irish Female Albums (IRMA)[191] 23
US Billboard 200[192] 157
US Billboard 200 (Women)[193] 43

Certifications and sales
Certifications and sales for Missundaztood
Region CertificationCertified units/sales
Australia (ARIA)[112] 4× Platinum 280,000^
Austria (IFPI Austria)[194] Platinum 40,000*
Belgium (BEA)[195] Gold 25,000*
Canada (Music Canada)[97] 5× Platinum 500,000^
Denmark (IFPI Danmark)[196] Platinum 50,000^
Finland (Musiikkituottajat)[197] Gold 16,534[197]
France (SNEP)[198] 2× Gold 200,000*
Germany (BVMI)[110] 2× Platinum 600,000^
Hungary (MAHASZ)[199] Gold  
Japan (RIAJ)[200] Platinum 200,000^
Netherlands (NVPI)[201] Platinum 80,000^
New Zealand (RMNZ)[113] 4× Platinum 60,000^
Norway (IFPI Norway)[202] Platinum 50,000*
Poland (ZPAV)[203] Gold 20,000*
Sweden (GLF)[204] Platinum 80,000^
Switzerland (IFPI Switzerland)[111] 2× Platinum 80,000^
United Kingdom (BPI)[101] 6× Platinum 1,860,000[note 4]
United States (RIAA)[95] 5× Platinum 5,000,000^
Summaries
Europe (IFPI)[205] 3× Platinum 3,000,000*
Worldwide — 13,000,000[note 5]

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

Release history
Release dates and formats for Missundaztood
Region Date Edition(s) Format(s) Label(s) Ref.
United States November 20, 2001 Standard
Arista [1][206]
Japan January 23, 2002 Japanese version CD BMG [138]
Germany January 28, 2002 Standard Enhanced CD Arista [70]
Netherlands [71]
United Kingdom Sony Music [72]
France February 12, 2002 Arista [207]
Japan November 6, 2002 Remix Plus CD BMG [139]
United States November 26, 2002 Deluxe CD+DVD Arista [73]
Australia October 6, 2017 Standard Vinyl Sony [74]
France [75]
United States Legacy [76]
Germany January 19, 2018 Sony [208]

See also

References

Notes
  1. Stylized as M!ssundaztood.
  2. The location is credited as LP Studios in the liner notes of Missundaztood.[1]
  3. During the recording sessions for Can't Take Me Home, Pink had to sing songs that were already written and take specific directions from producers.[15][23][24]
  4. UK sales figure for Missundaztood as of February 2021[100]
  5. Worldwide sales figure for Missundaztood as of April 2012[114]

Citations
  1. Arista 2001a.
  2. Gordon 2021.
  3. Jefferson 2020.
  4. Lester 2009, p. 9.
  5. Farber 2001a.
  6. Sculley 2006, p. 13.
  7. Campbell 2000, p. 13A.
  8. Hilburn 2003, p. E60.
  9. Strauss 2002.
  10. Petruso 2004, p. 86.
  11. Nichols 2002.
  12. Hooper 2001, p. B13.
  13. Hiatt 2000.
  14. Garratt 2002.
  15. Behind the Music 2009.
  16. Schonborn 2001c, p. 3.
  17. Walters 2002.
  18. Genegabus 2002, p. D4.
  19. Lester 2009, p. 21.
  20. Farinella 2010.
  21. Borden 2002, p. 146.
  22. Sullivan, Kate 2002, p. 70.
  23. Alper 2019.
  24. Udovitch 2002.
  25. Browne 2019.
  26. Landes 2021.
  27. Moon 2003.
  28. Graff 2003, p. D21.
  29. Sanchez 2002, p. 159.
  30. Wong 2014.
  31. Dickey 2001, p. D2.
  32. Arista 2003.
  33. Kawashima 2019.
  34. Vlad TV 2019.
  35. Kheraj 2016.
  36. Lester 2009, p. 24.
  37. Lester 2009, p. 22.
  38. Salterio 2002, p. E4.
  39. Hall 2001a, p. 14.
  40. Schumacher-Rasmussen 2001.
  41. Gardner 2001, p. 2E.
  42. Lester 2009, p. 20.
  43. Biography 2010.
  44. Farber 2001b.
  45. Sheffield 2001.
  46. Lester 2009, p. 25.
  47. Condran 2002, p. W26.
  48. Erlewine n.d.
  49. Anon. (a) n.d.
  50. Schonborn 2001a, p. 1.
  51. Thompson 2001.
  52. Murray 2001, p. C4.
  53. Wicker 2019.
  54. Cinquemani 2001.
  55. Sullivan, Caroline 2002.
  56. Cifarelli 2019, p. 26.
  57. Fuentez 2001, p. E4.
  58. Kot 2013.
  59. Appleford 2001.
  60. Thomas 2001.
  61. Smokey 2001, p. 41.
  62. Pareles 2002.
  63. Jagodzinski 2005, p. 213.
  64. Anon. 2006.
  65. Burns 2003.
  66. Danton 2002, p. 9.
  67. Petruso 2004, p. 87.
  68. Greene 2017, p. 18.
  69. Hall 2001b, p. 20.
  70. Arista 2002b.
  71. Arista 2002c.
  72. Sony 2002.
  73. Arista 2002d.
  74. Sony 2017a.
  75. Sony 2017b.
  76. Legacy 2017.
  77. Daniels 2001, p. 36.
  78. Anon. 2002c.
  79. Correia 2002, p. 35.
  80. Anon. 2002d.
  81. Billboard G.
  82. Anon. 2001, p. 82.
  83. Anon. 2002e.
  84. Gee 2002, p. C4.
  85. Anon. 2002f, p. TV9.
  86. Anon. 2002g, p. F32.
  87. Anon. 2002h, p. 4E.
  88. Anon. 2002i.
  89. Doyle 2002, p. 6C.
  90. Reid 2002.
  91. Mayfield 2001, p. 85.
  92. Billboard B.
  93. Caulfield 2008, p. 45.
  94. Anon. 2003b.
  95. RIAA.
  96. Billboard A.
  97. Music Canada.
  98. Official Charts Company E.
  99. Official Charts Company B.
  100. Anon. (b) n.d.
  101. British Phonographic Industry.
  102. Irish Recorded Music Association.
  103. Official Charts Company A.
  104. Hung Medien B.
  105. Hung Medien I.
  106. Hung Medien J.
  107. GfK Entertainment C.
  108. Anon. 2002b, p. 68.
  109. Hung Medien F.
  110. Bundesverband Musikindustrie.
  111. IFPI Switzerland.
  112. ARIA 2009a.
  113. Recorded Music NZ.
  114. Anon. 2012.
  115. Anon. (c) n.d.
  116. Pappademas n.d.
  117. Nichols 2001.
  118. Alexander 2005.
  119. Seymour 2002, p. 108.
  120. Christgau 2002.
  121. Cabrera 2002, p. 19.
  122. Callahan 2001, p. 10.
  123. Wagner 2002, p. D4.
  124. Mancini 2002.
  125. Saraceno 2002.
  126. Gibbons 2003.
  127. Anon. 2003c.
  128. Moody 2002, p. 6.
  129. Lynskey 2002.
  130. Sanneh 2002.
  131. Spicer 2003.
  132. Beard 2021.
  133. Reyes 2016.
  134. Jackson 2019, p. 17.
  135. Herman 2019.
  136. Weingarten 2003.
  137. Arista 2001c.
  138. BMG 2002a.
  139. BMG 2002b.
  140. Hung Medien A.
  141. Hung Medien C.
  142. Hung Medien D.
  143. Hung Medien E.
  144. Anon. 2002a, p. 10.
  145. Musiikkituottajat – IFPI Finland A.
  146. Hung Medien G.
  147. MAHASZ A.
  148. Hung Medien H.
  149. OLiS.
  150. Hung Medien K.
  151. Hung Medien L.
  152. ČNS IFPI.
  153. Jam! A.
  154. International Federation of the Phonographic Industry B.
  155. ARIA 2002.
  156. Hung Medien M.
  157. Ultratop B.
  158. Ultratop C.
  159. Jam! B.
  160. TOP20.dk A.
  161. Hung Medien N.
  162. Anon. 2003a, p. 15.
  163. Musiikkituottajat – IFPI Finland C.
  164. Syndicat National de l'Édition Phonographique A.
  165. GfK Entertainment A.
  166. Irish Recorded Music Association B.
  167. Recorded Music NZ A.
  168. Sverigetopplistan A.
  169. Sverigetopplistan B.
  170. Hung Medien O.
  171. Official Charts Company C.
  172. Billboard C.
  173. International Federation of the Phonographic Industry C.
  174. ARIA 2003.
  175. Hung Medien P.
  176. Ultratop D.
  177. Ultratop E.
  178. TOP20.dk B.
  179. Hung Medien Q.
  180. Syndicat National de l'Édition Phonographique C.
  181. GfK Entertainment B.
  182. Recorded Music NZ B.
  183. Sverigetopplistan C.
  184. Hung Medien R.
  185. Official Charts Company D.
  186. Billboard D.
  187. ARIA 2009.
  188. Hung Medien S.
  189. Betts 2010.
  190. Anon. 2009.
  191. White 2019.
  192. Billboard E.
  193. Billboard F.
  194. IFPI Austria.
  195. Ultratop A.
  196. IFPI Danmark.
  197. Musiikkituottajat – IFPI Finland B.
  198. Syndicat National de l'Édition Phonographique B.
  199. MAHASZ B.
  200. Recording Industry Association of Japan.
  201. NVPI.
  202. IFPI Norway.
  203. Polish Society of the Phonographic Industry.
  204. Swedish Recording Industry Association.
  205. International Federation of the Phonographic Industry A.
  206. Arista 2001b.
  207. Arista 2002a.
  208. Sony 2018a.

Websites
Chart positions and certifications
Others

Media notes
  • "Dallas Austin on telling Pink to say 'Hang me like a slave' in '18-Wheeler'". Vlad TV. August 31, 2019. Archived from the original on September 3, 2019.
  • "M!ssundaztood by P!nk". iTunes Store (US). Archived from the original on July 13, 2012. Retrieved July 13, 2012.
  • "Pink: Behind the Music". Behind the Music. Season 11. September 17, 2009. VH1.
  • "Pink: Biography". Biography. Season 24. Episode 20. October 7, 2010. A&E.
  • "Pink's Diary". Arista. Archived from the original on February 6, 2003.
  • Alper, Eric (May 8, 2019). "Linda Perry: Making Hits Her Way. In Conversation with Rick Rubin and Malcolm Gladwell". That Eric Alper (Podcast). Sirius XM. Event occurs at 31:30–42:00. Archived from the original on November 30, 2020. Retrieved August 11, 2021.
  • M!ssundaztood (LP liner notes). Pink. Australia: Sony. 2017. 88985440561. Archived from the original on July 11, 2021 – via Sanity.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (CD liner notes). Pink. France: Arista. 2002. 7-43219-13242-0. Archived from the original on June 12, 2021 – via Fnac.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (LP liner notes). Pink. France: Sony. 2018. 0190758075310. Archived from the original on October 21, 2021 – via Fnac.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (CD liner notes). Pink. Germany: Arista. 2002. 7-43219-13242-0. Archived from the original on July 10, 2021 – via JPC.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (LP liner notes). Pink. Germany: Sony. 2018. 0190758075310. Archived from the original on October 21, 2021 – via JPC.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (CD liner notes). Pink. Japan: BMG. 2002. ASIN B00005Y10C. 4988017608647. Archived from the original on October 20, 2021 – via Amazon.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (CD liner notes). Pink. Japan: BMG. 2002. 4988017612125. Archived from the original on October 21, 2021 – via CD Japan.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (CD liner notes). Pink. Netherlands: Arista. 2002. 7-43219-13242-0. Archived from the original on October 20, 2021 – via Bol.com.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (CD liner notes). Pink. United Kingdom: Sony. 2002. ASIN B00005UW47. 7-43219-13242-0. Archived from the original on April 12, 2016 – via Amazon.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (CD liner notes). Pink. United States: Arista. 2001. ASIN B00005RFAI. 07822-14718-2. Archived from the original on September 18, 2021 – via Amazon.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (Cassette liner notes). Pink. United States: Arista. 2001. ASIN B00005RGI0. 07822-14718-2. Archived from the original on December 2, 2012 – via Amazon.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (CD liner notes). Pink. United States: Arista. 2002. ASIN B00007B6RW. 07822-14808-2. Archived from the original on October 21, 2021 – via Amazon.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  • M!ssundaztood (LP liner notes). Pink. United States: Legacy. 2017. 0190758075310. Archived from the original on October 22, 2021 – via CD Universe.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
Books
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Cited literature
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