Ashlee Simpson's Transference

You can dress me up diamonds - 1) expensive, but you can see where she's coming from.
You can dress me up in dirt - 2)first indication of atavism/hermetic fundamentalism
You can throw me like a line-man - 3)well, kids don't do enough exercise these days...
I like it better when it hurts - 4) mm,introjected anger/self-loathing possibly indicating depressive tendencies (have you read Sancher-Masoch? Not half as fruity as the cover...)

Oh, I have waited here for you
I have waited - 5) first indication of a Buddhist like calm that's just out of her reach...

You make me wanna la la - 6)neologisms as a sign of parietal disorder and/or schizophrenia
in the kitchen on the floor - 7)artful playing with Archetypes or Cinderella complex? The floor is a likely representation of the inital stages of deinidividuation
I'll be a french maid - 8)nice to see young people interested in cleanliness
When I meet you at the door - 9)but this is a mistake in modern Urban living
I'm like an alley cat - 10)homeless? hairy? or is this a veiled reference to her singing voice - interesting to note the precise anatomy of the male cat's penis with reference to note 4
Drink the milk up, I want more - 11) infantilism as a regressive ego defence?
You make me wanna - 12) further sign of ego defence / paraprax?
You make me wanna scream - 13) see note 11-12

You can meet me on an aero-plane - 14) indication of aspirational tendencies / negation / sublimation of death drive or exhumation of it?
Or in the back of the bus - 15) ego-balance maintained, reality principle engaged.
You can throw me like a boomerang - 16) analysts consistently relate this to Ashlee's "lost backpacking youth" but this perhaps tells us more about their "lost backpacking youth"
I'll come back and beat you up - 17) note the dualism here; allowing oneself to be discarded and yet returning with increased vigour and externalised aggression. Possibly referencing her recent Laingian therapeutic regime especially with regard to destructive double-bind language dualities and the inability to maintain consistency between verbal and non-verbal communication

Oh, I have waited here for you
Dont, keep me waiting - 18) This beatific state is but temporary. She's only slipped into the next room...

You make me wanna la la
in the kitchen on the floor
I'll be a french maid
When I meet you at the door
I'm like an alley cat
Drink the milk up, I want more
You make me wanna

You make me wanna la la
in the kitchen on the floor
I'll be a french maid
When I meet you at the door
I'm like an alley cat
Drink the milk up, I want more
You make me wanna
You make me wanna scream

I feel safe with you - 19) patient-analyst transference beginning; analyst is reminded that he is old enough to be her father; analyst is in temporary period of self-doubt
I can be myself tonight - 20) i.e. Maslow's self actualisation or perhaps a Godhead fascination
It's alright, with you - 21) the use of the postive/dismissive 'alright' is interesting here, suggesting an unconscious dissatisfaction / orgasmic dysfunction
Cuz you hold, my secrets tight - 22) self explanatory
You do, You do - 23) the repetions here could perhaps be ignored except for the echolalic descent that occurs at the end of the song...

You make me wanna la la, la la la, la la, la la la la la la la la la
You make me wana la la, la la la la

You make me wanna la la
in the kitchen on the floor
I'll be a french maid
When I meet you at the door
I'm like an alley cat
Drink the milk up, I want more
You make me wanna
You make me wanna la la
in the kitchen on the floor
I'll be a french maid
When I meet you at the door
I'm like an alley cat
Drink the milk up, I want more
You make me wanna
You make me wanna scream

You make me wanna la la, la la la, la la, la la la la la la la la la
You make me wana la la, la la la la
You make me wanna la la, la la la, la la, la la la la la la la la la
You make me wana la la, la la la la
You make me wanna la la, la la la, la la, la la la la la la la la la
You make me wana la la, la la la la

Ashlee Simpson - La La