I have been enjoying a rendition of your already famous song, Let's Get The Party Started. And, as you might imagine, I am struggling over the existential nature of the lyrics. Our vocalist, Anne GG, with her associates, Early GG and Margaret GG, have well interpreted the pathos, I think.
I'm coming up so you better get this party started
I'm coming up so you better get this party started
[Here immediately, we see the plight of the self, searching to affirm that there can be no, never be no party starting, unless that self comes up. And of course it begins with "up" not down. We don't hear the artist say that the integrated self goes down, hence starting the party, but up. That is a clever trick you pull right here at the beginning.]
Get this party started,
on a saturday night,
everybody's waiting for me to arrive
Sending out the message to all of my friends
we'll be looking flashy in my Mercedes Benz
I got lots of style with my gold diamond rings
I can go for miles if you know what I mean
["If you know what I mean." Friends, of course we know, our hearts pump with the rhythm of this desperate cry for release from the materialism of the age that equates the essence of the "me" we are waiting for with the arrival of gaudy, insubstantial replacements, a.k.a. a Mercedes Benz, gold, and diamonds. We surely do know what you mean, Pink my friend. You have sent us that message and we understand.]
I'm coming up so you better get this party started
I'm coming up so you better get this party started
Pumpin up the volume,
breaking down to the beat
cruisin' through the west side
I'll be checkin' the scene
Boulevard is freaking as I'm coming fast
I'll be burning rubber,
you'll be kissin my ass
Pull up to the bumper get out of the car
License plate says
Number One Superstar
[The heartbreak of this realization, that the present experience of soulishness is so very fleeting--"Boulevard is freaking as I'm coming fast," "burning rubber," et al--is pronounced here and particularly in this rendition of the song. Our 15 minutes of, not just fame, Number One Superstar, but existence at all, symbolized with the kiss of death and, of course the picture of the Gates of Hades itself, "Pull up to the bumper get out of the car," creates or, perhaps, reveals a rising angst that cannot be overstated.]
I'm coming up so you better get this party started
I'm coming up so you better get this party started
(get this party started)
Making my connection as I enter the room
everybody is chillin'
[Funeral parloresque, we see not just the self in this existential predicament, but everybody facing the same chillin' dilemna!]
as I set up the groove
Pumpin up the volume
with this brand new beat
everybody's dancin'
and they're dancin' for me
I'm the operator
you can call anytime
I'll be your connection to
the party line
[Finally, we see the Danse Macabre begin,

and our selves face the dance of death, not with the elegance we had hoped for, but a new uncertain beat, hammering. We turn in hopes of finding salvation from the other dancers, but see that they are all dancin' for me, with the only connection busy, because it is, after all a "party" line.]
I'm coming up so you better get this party started
I'm coming up so you better get this party started
I'm coming up so you better get this party started
I'm coming up so you better get this party started
(get this party started)
(ooooh, get this party started right now)
(get this party started)
(get this party started, right now)
[Ending, of course, not with a bang, but a whimper.]

You have certainly "brought us down" with this one!
Sincerely,
brd