Name Year Popularity 2006 2006 2006 2006 2006 2006 2006 2010 2010 2006 2006 2006 2006 2006 2010 2006 2006 2010 2010 2006 2006 2006 2014 2014 2006 2008 2006 2010 2010 2006 2010 2006 2006 2006 2006 2010 2006 2006 2006 2006 2006 2006 2014 2010 2010 2010 2006 2006 2006 2006 2006 2006 2010 2006 2006 2006 2006 2010 2006 2006 2006 2010 2006 2006 2006 2006 2006 2010 2006 2006 2006 2006 2006 2006 2006. Something about the way she moves makes you think she may be a little unhinged. This is highly important, all is not yet revealed. Tom stands in for himself, the young woman is alone, but not wholly alone, because the Heartbreakers put forth a portrayal of each of us, trapped in various stages of our internal nightmares, our internal searches for self-unification and freedom. Our own ghosts urge us on from the top of the diner, our personal loss, but also our own dreams more fully defined through that loss. I'm gonna come back around to it so, just like the kitten in the poster, hang in there.
With no car, the possibilities she can access have narrowed, her will has been dealt a severe loss. Another thing worth noting is that solitary nature of Hell. The camera trains on that old car and then lets it pass out of our view. Sometimes the things that haunt us, that drive us, are things that were good, things we have to learn to live without. Let's talk about the car. Two cars pass each other on the road, one small, modern; it sports smooth, aerodynamic lines.
The animus and anima in the video are Tom and the Young Woman. The latter is possibly the cruelest part because growing up is like being thrown in a rock tumbler: you get beat up until you get smooth. Above the diner, invisible to everyone but Tom, a chorus of ghosts have gathered. You may go down, but you will go on. As the music plays, notice how Tom only voices a part of the lyrics. Recovery from trauma is almost as bad as the trauma itself. That year, I recall I had a lot of car dreams.
Almost all the pieces are in place. Therein lies the beauty of it all. We experience, and we bleed solo, and all anyone else can do is just some form of watching, watching as an onlooker, or watching over. It could be anywhere that was built to last, that hit a boom, and now slumps into the long, confusing decline of a bust. His mask has cracked, past tense, its break no longer apparent except in tiny ways, including the way his eyes will linger on her in recognition. Backing my argument that the ghosts are not external events or people, but internal, someone else appears among the ghosts. You have to keep a little soul.
His gaze comes from behind a smokescreen of his own guarded thoughts, watching her pass just as she watched the old car pass by a moment earlier. One of the forms of the anima is the Mother. But the camera lingers on the contented spirits of a young couple; a dark-haired man has an arm slung around a fair-haired young woman, they gaze down fondly at Tom. The young woman enters the diner, Tom's head turns subtly, tracking her. The late bass player, Howie Epstein, pours sugar in his coffee, he turns to speak with guitarist, Mike Campbell. Inside the restaurant, a harmonica begins its plaintive song, held in the hands of Tom Petty; worn blue denim, everyday cowboy boots. They each have their own dramas, their own cracked masks sliding through that diner.
Here's where the psychological shakedown begins: Tom glances up. His divorce came with a heavy price of guilt and alienation. Tom is a parallel to the unfolding story of the Young Woman, a Jungian masked persona of animus to her anima. His mask falls neatly back into place. .
However, that is just the movie that played in my head upon first hearing the lyrics. Because if you take a closer look at the cast of characters filling in the diner, you'll see how ordinary and out of place each person is. Now the Young Woman spills milk from a cream pitcher onto a dining plate. Cars represent our personal power and our will. He struggled with depression and used heroin to treat that depression. A blond adolescent boy somewhat resembling the songwriter is among the crowd of ghosts.
In the video, the Young Woman's mother is nowhere in sight, yet watching over the Young Woman is her own ghost. Her mask is cracked, everyone can see. But the magic and message this cat represents turns that idea on its head. The other is a relic from a time soon-to-be-called yesterday, but for now, it hangs out on the periphery of the bygone. General CommentThe first time I heard this song, it was really emotional to me because I thought it could be taken as the girl actually trying to hitchhike away, and then she is murdered by the guy that picks her up. She plays a nurturing role to that hope that's left inside her.
That it goes through at least four phases of development. He drifts in and out of them, beginning a line and then dropping into incomplete silence, drinking a cup of coffee, leaving things left unsaid but not unplayed. British Heartbreaker and drummer, Steve Ferrone, stands at a phone booth—the booth: another relic on its way out. Here, I believe, is where the cat and the car interact with each other. Two more members of the Heartbreakers are spotted sitting at the diner. Great song with simple chords. There are two diners, really.
When they come out of whatever their own personal hell is, they not only have to rebuild their lives and heal, they have to grow up, too. However, the last verse saying how she went down swingin' made me think that maybe she did die, just not without a fight. Its massive, angular frame jostles on the road, heaves rather than bounces. In the diner behind her, daily specials are posted in the window, you can almost smell the faint aroma of rain mingling with bottomless cups of coffee, sense fried eggs sizzling on blackened griddles. His failed marriage had been abusive and happened in the off-camera rooms of shadows and silence, behind masks. Remember how we talked about Tom's parents and what he didn't have? The seen and the unseen; the said and the unsaid. The seen and the unseen play telling two tales but taking up the same space.