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Go to permalink When I was nine years old, I assumed that Pink was a very light-skinned black woman. Pink plays a scorned woman who has moved on from her cheating dirtbag of an ex-boyfriend. She rides her motorcycle in a big fur coat, chills at a skate park and basketball court full of shirtless, musclebound men. When her ex-boyfriend tries to get a ride from her, she responds by launching a motorcycle through the window of his spacious loft apartment, but not before telling him off in what can only be described as a bit of a blaccent.
The narrative is interspersed with scenes of Pink dancing around in an outfit that Aaliyah herself would endorse: Naive and narrow perceptions of whiteness and blackness obviously played a role in this confusion. A year or two later, when I saw a profile of Pink in a teenybopper magazine peppered with childhood photos, I realized that the woman was clearly white.
Even if she was ambivalent toward it, a willing participant or not, she was still lauded by the music press, labelmates, friends, and fans as a down white girl who effortlessly exuded black cool.
Pink was born Alecia Moore in , raised by a Catholic father and a Jewish mother in Doylestown, Pennsylvania, a middle-class town north of Philadelphia. She was a teen delinquent who drank, ran away from home, and went to drug-fueled raves. According to a interview with the Honolulu Advertiser, she broke into the home of a girl who stole her diary and stole a copy of Showgirls from a Blockbuster Video store.
She also had a penchant for shoplifting trash bags full of clothes and accessories from high-end department stores. In between shoplifting and raving, she was experimenting with music and adopted the stage name Pink, the origins of which vary from a nod to Mr. After that, Moore says that she, the only white girl in her friend group, was dubbed Pink.
She performed at Philly nightclubs, most notably the underground Club Fever which gave her a regular singing spot every Friday night after she belted a Mary J. Blige song during an open mic night, gaining respect from the largely black crowd. She lent her vocals to punk and hip-hop groups that promptly went defunct, including a short-lived girl group called Basic Instinct. Choice relocated to Atlanta to work on an album that would never see the light of day.
Reid allegedly gave Pink an ultimatum: Go solo or go home. The album peaked at No. The song scored Pink her first No. Later that year, she released the critically acclaimed Missundaztood. But even Perry was surprised at first when Pink approached her. From Rolling Stone emphasis mine: I sent it to Madonna and she passed, but a week later, Alecia [a.
Pink] called. She was signed to a black label, worked with black producers and songwriters, and—to some—even passed for a very light-skinned black woman.
Sure, she had cornrows for a time, but it was the early aughts, and white musicians from Justin Timberlake to Christina Aguilera had them. She sometimes spoke with a blaccent, but so do a lot of corny kids who listen to hip-hop. Still, Pink hesitated to call herself white, and she even winked at racial ambiguity. During a interview for Launch—which later became the now-defunct Yahoo!
People think [ We all are. We all came from the same place: Whatever you want to call it. If you respect me, I respect you. A Portishead kind of thing? In March , Vibe reported: In the sugary candyland of pop music, newcomer Pink is prepared to offer a serious shot of adrenaline.
Advertisement Rolling Stone was more explicit in April Even Pink acknowledged the problems with this characterization, as the Baltimore Sun reported in Pink is unfazed. I made something eclectic. But despite a poppier, punkier, whiter image, she still had an affinity for tokenizing herself.
Blue-eyed soul has a long and sometimes—or often, depending on who you ask—sordid history. Initially, due to her sound, listeners assumed Marie was black. The cover of her first album was that of a seascape, not her face. Several of her subsequent album covers featured her portrait, leaving little doubt about her race.
I can remember going in my house and sitting in my room and crying. There are also black people who are overly eager to crown white people who excel in shallow signifiers of black cool as honorary blacks ; Pink was a recipient of this praise. The aforementioned all-black girl group that allegedly kicked her out for being white was the first tip-off. Rolling Stone: The music industry seems more segregated than ever. I hate the lines that are drawn between people. I hate what society has taught us.
I hate history. Aside from the strange visual of Pink repeatedly getting kicked out of the homes of black matriarchs of Doylestown, this is a strange stance that complicates the narrative of Pink, the down white girl who is unbothered by race.
Advertisement A case can be made that Pink speaking in an off-and-on blaccent and wearing cornrows made her a shameless cultural appropriator, gospel background be damned. But cultural appropriation has been used for both insightful analysis and abused by performative gatekeeping over matters that are simply not that deep. But all of this speaks to how thin and wildly arbitrary the line is when it comes to authenticity. The hood pass is deeply arbitrary, relying less on a particular rulebook and more on who people—tastemakers, friends, the online peanut gallery—decide to like or dislike.
Was Pink a cultural appropriator? Blige enough to dodge the label, and maybe she had the advantage of rising to fame in an era absent of widespread criticism. Does Pink have a hood pass? My gut says no, especially if visiting a black radio station was enough to trigger a persecution complex. What I do know is that I thought she was a light-skinned black woman when I was nine years old, and it was an impression that the music industry and even Pink were willing to indulge.
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Go to permalink When I was nine years old, I assumed that Pink was a very light-skinned black woman. Pink plays a scorned woman who has moved on from her cheating dirtbag of an ex-boyfriend. She rides her motorcycle in a big fur coat, chills at a skate park and basketball court full of shirtless, musclebound men. When her ex-boyfriend tries to get a ride from her, she responds by launching a motorcycle through the window of his spacious loft apartment, but not before telling him off in what can only be described as a bit of a blaccent. The narrative is interspersed with scenes of Pink dancing around in an outfit that Aaliyah herself would endorse:
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