Forging the Future
of New England

Family Portraits in Ruins: Pink’s Testimony and the Wreckage of Divorce Culture Third-wave feminism spoke of smashing the patriarchy. The rallying cry promised freedom from oppressive structures, but what it often delivered — through shifts in divorce law, custody norms, and cultural messaging — was the smashing of families. One doesn’t need to read legal briefs or sociology papers to see the fallout. The most compelling testimony comes from the children themselves, and Pink’s 2001 hit Family Portrait is a raw, unfiltered cry from inside the ruins. The Father Hunger The central refrain of the song — “Daddy don’t leave” — is not political rhetoric, it’s a child’s desperate plea. Pink paints the picture of a young girl bargaining with her father: “I’ll be so much better… I won’t spill the milk at dinner.” This reveals the way children internalize divorce, carrying guilt and responsibility for adult dysfunction. Far from liberation, the absence of the father creates an existential wound, leaving the daughter to believe her worth is contingent on preventing abandonment. Maternal Chaos Pink also describes the mother’s breakdown — crying, yelling, fighting over money. The home is not a sanctuary but a battlefield: “It ain’t easy growing up in World War III.” The supposed empowerment of women through divorce often translates into instability for children. The song captures this chaos viscerally: the sound of breaking glass, the crying mother, the fractured sense of safety. Feminist liberation here does not look like strength but fragility passed down to the child. The Lost Patriarchal Order The haunting wish in the song is not for independence or freedom but for a restoration: “In our family portrait, we look pretty happy… let’s go back to that.” Pink’s nostalgia — even if it is “pretend” — reveals a deep cultural longing for structure, unity, and fatherhood. Ironically, while feminist discourse framed the patriarchal household as oppressive, the child inside that broken home dreams not of emancipation but of its return. Cultural Testimony This is why Family Portrait is more than a pop ballad. It’s an artifact of cultural truth. Children of divorce did not celebrate the dismantling of patriarchy — they mourned it. Their music, their stories, their broken pleas became evidence of what was lost. The feminist slogans shouted in the streets find their counterpoint in the whispers and cries of children who just wanted their dad to stay home. Conclusion Pink, an icon of rebellion and independence, did not sing this as theory. She sang it as lived pain. Her song is evidence that when fathers were written out of the home by cultural and legal revolutions, children paid the price. The family portrait — once the symbol of order and stability — became a museum piece of something children could only pretend to have.

As pride month comes to an end, the New England National Party is proud of its activists, and the various actions they took to promote Christian virtue, and stand against the toxic LGBT culture that has permeated the states of New England. This is only the beginning for our organization, and we look forward to leading the way, and showing all of New England that God’s Church is on the offensive once more. Following is an open letter to Connecticut Attorney General William Tong (who is well acquainted with our members) by the Reverend Jake Dell from the 1st Congregational Church of Woodbury, Connecticut. Christians will not be silent observers to politics anymore. New England Lives. United for Liberty, Prosperity, and Virtue. - The NENP