Anthem Lights - Best of 2012 Pop Mash-Up Lyrics
Lyrics
Call Me Maybe, Payphone, Wide Awake, Starships
I'm at a payphone,
I threw a wish in the well, don't ask me, I'll never tell,
I looked to you as it fell, and now you're in my way,
I'd trade my soul for a wish, pennies and dimes for a kiss,
I wasn't looking for this, but now you're in my way,
I've wasted my nights, you turned out the lights,
Now I'm paralyzed, still stuck in that time,
When we called it love, but even the sun sets in paradise,
I'm at a payphone,
Hey, I just met you, and this is crazy,
But here's my number, so call me, maybe,
It's hard to look right at you baby,
Here's my number,
I'm at a payphone trying to call home,
All of my change I spent on you,
Where have the times gone, baby it's all wrong,
Where are the plans we made for two,
If happy ever after did exist,
I would still be holding you like this,
All those fairy tales are full of it,
One more stupid love song, I'll be sick,
Yeah, I'm falling from cloud nine, crashing from the high,
Letting go tonight, falling from cloud nine....
Starships are meant to fly, hands up and touch the sky,
Let's do this one last time, let's do this one more time,
One more time, one more time,
Tonight, we are young, so let's set the world on fire,
We can burn brighter than the sun (x2)
Tonight....
Call me maybe at a payphone wide awake and standing,
On a starship waiting while we're young, tonight...
Video
Best of 2012 Pop Mashup | Call Me Maybe x Payphone x Wide Awake x Starships | Anthem Lights
Meaning & Inspiration
Anthem Lights' "Best of 2012 Pop Mash-Up," released on December 31, 2012, brings together four of the year's most prominent pop hits: Carly Rae Jepsen's "Call Me Maybe," Maroon 5's "Payphone," Katy Perry's "Wide Awake," and Nicki Minaj's "Starships." While the medley primarily draws from secular themes of fleeting romance, regret, and youthful exuberance, its skillful weaving of these narratives offers a surprisingly fertile ground for reflection when viewed through a lens of faith. The mash-up implicitly touches upon the human tendency to seek satisfaction in temporary connections and experiences, mirroring the biblical admonition against placing our ultimate hope in worldly possessions or relationships. The recurring sentiment of being "at a payphone" and the desire to "call home" can be interpreted as a yearning for a deeper, more constant connection, much like the Psalmist's cry, "As the deer pants for streams of water, so my soul pants for you, O God" (Psalm 42:1). The frustration expressed in "Payphone," with its wasted nights and the realization that love's promises can be hollow, resonates with the wisdom found in Ecclesiastes, which warns of the vanity of worldly pursuits. The section drawing from "Wide Awake" captures a moment of dawning realization, a departure from illusion towards a clearer understanding, akin to how the Apostle Paul encourages believers to "throw off everything that hinders and the sin that so easily entangles" (Hebrews 12:1) and to "be transformed by the renewing of your mind" (Romans 12:2). Finally, the jubilant energy of "Starships" and the call to "set the world on fire" when "we are young" can be seen as a vibrant, albeit secular, echo of the Great Commission, urging believers to be lights in the world and to live with passion for a greater purpose, as Jesus Himself said, "You are the light of the world" (Matthew 5:14). Ultimately, this pop mash-up, while unintentional in its spiritual messaging, serves as a reminder of the universal human longing for meaning and connection, and how even in the pursuit of earthly pleasures, echoes of our spiritual destiny can be found.