Richard Thompson compared his bumpy marriage to Linda Thompson to aroller coaster named "the Wall of Death" and Pink picks up thiscarnivalesque thread, calling her troubled relationship with motocrossstar Carey Hart a Funhouse on her own entry into a long prestigiousline of autobiographical divorce albums that stretches back to Blood onthe Tracks. Naturally, Funhouse doesn't have any musical similaritieswith either Blood or Shoot Out the Lights, but Pink's divorce album isalso emotionally different than either of these classics or MarvinGaye's Here, My Dear.

Dylan, Thompson, and Gaye layer their albums with self-recriminationsand ruminations, niceties that Pink shrugs off in one song, thebrooding "I Don't Believe You." Other songs allude to the pain of theseparation but never in a way that digs deep -- the musically fineblues-rocker "Mean" trots out clichés, the delicate spooky Stevie Nicksfolk of "Crystal Ball" skirts the divorce, and far from being a primalscream, "Please Don't Leave Me" surges on a Max Martin hook that pushesaway the pain. But as Pink makes clear with the album-opening single"So What" -- also co-written with Martin -- she's more than ready toget out of this relationship, thrilled that she's still a rock star,still drinking in the afternoon.