I don’t have many associations with this song, apart from some vague memories of the rather odd video. Benatar plays a troubled teen who is kicked out of the house and winds up dancing with strangers in a bar. Then one day a fellow employee is roughed up by the sleazy manager and she comes to the girl’s defense by leading the rest of the employees in a line dance not unlike the one the zombies do in ‘Thriller.’
This song came up recently when I was talking about the near-blanket rule I have about songs with spoken-word parts. As in, I hate almost all of them. I’m thinking of the sort of thing you hear in Elvis Presley songs, where after the second chorus the singer feels the need to chit-chat: “You know, baby, every time I see your face I want to die…” You know the drill. It’s like somebody interrupted the song to read a Hallmark card.
Certain songs are so intertwined with movies they’ve appeared in that they sort of become extensions of the film. The films of Martin Scorsese, Quentin Tarantino and Andersons Wes and Paul Thomas come immediately to mind. 
Sadly, the draconian Warner Music Group decision to pull all their content from YouTube has forced me to skip over Lucinda Williams’ next two albums — World Without Tears and West — and straight to her latest release, 
Never one to rush, Williams took another six years before releasing her next album, Car Wheels on a Gravel Road. The long wait, and the story behind it, became another chapter in Williams’ story… she was derided as a control freak, her perfectionism painted in the worst possible light.
