Glitter In The Air Analysis

Alecia Beth Moore, whose public persona is the famous artist P!nk, dominates the charts year after year, tackling all genres and topics. However, her 2008 album, Funhouse, may take the title for her most personal. All of Moore’s music comes from thoughtful experience, something that stems from gratitude in her possession of the “opportunity to say something” and to have a voice of reason. It appears to be no wonder that Moore’s album, Funhouse, explicitly focuses on the before, during, and after of her separation from husband and long time lover, Carey Hart (Martin 51). Hart acts as the muse for much of Moore’s material, appearing in many of P!nk’s music videos, and Moore shares very openly about his influence. Because Funhouse covers such …show more content…
P!nk’s piano ballad, Glitter in the Air maintains Moore’s break up continuum. Through brighter imagery, Moore’s speaker gains the ability to look back on past relationships, and to see the more light hearted, happier times, proving her stance on life as becoming much more positive and hopeful. Like in Sober, Moore’s speaker still fears the future and what it holds, so throughout Glitter in the Air, the speaker repetitiously pleads “have you ever…,” looking for a sign of affirmation towards the route on which her life treads (Moore 1). Moore employs this mantra as a way to exhibit the loneliness and melancholy of the speaker. The lyrics also feature numerous metaphors, each seemingly with no relation to the next. Examples include “it’s only half past the point of no return,” “[it’s] the thunder before the lightning, “[it’s] the breath before the kiss, and [it’s] the fear before the phrase” (Moore 5) (Moore 7) (Moore 15). Moore persists to confabulate on this topic of “it,” but never points out what exactly “it” entails, and supplies only the metaphors as clues (Moore 5). Nevertheless, when the lines receive a deeper analysis, one finds Moore’s metaphors all describe and symbolize very specific moments in time just before an altercation occurs. “It” withstands as a buffer for the beauty one can find in the present while anticipating the future (Moore 5). In retrospect of public opinion, one reporter, Lucy Davies of BBC, critiques “Glitter In The Air [as] a bit of a damp squib” and fails to see “what the significance of throwing ‘a fistful of glitter in the air’ is” (Davies 7). That said, once one sits down and examines the album, Funhouse, as a whole, and experiences the painful breakup in its entirety, one ascertains the full picture. When the speaker throws “a fistful of glitter in the air,” she releases all the anger, all the denial, all the fear, and creates