Talking to Girls About Duran Duran: One Young Man's Quest for True Love and a Cooler Haircut Read Online Free Page A

the kids had planted weed there, always a seasonal highlight for the budding pyros of my neighborhood. There was a streetlight next to the bridge that the town installed just to discourage kids from hanging out after dark, but they seemed to revel in the spotlight, blasting “More Than a Feeling” and “Cat Scratch Fever” and “Iron Man” on their radios until the cops would come chase them away. Some nights we went down by the bridge to watch the high school kids who were actually on the bridge, hanging out and looking cool in their own desolate honeycomb hideout, even if they were inhaling Pam out of paper bags. Ozzy and Zeppelin were singing to them, not really to me—they came to proclaim the hippie dream over and celebrate the burnout losers of the new world.
    The bridge is still there, but it now looks tiny and dumpy, just a twenty-foot slab of rusted iron painted green, hardly the sort of real estate you imagine Satan and his minions would bother fighting over. But at the time, it was an epic battleground, a catwalk fraught with fright and dread and blood. I guess every American town had one of those—it was the battle of evermore.
    I was the oldest kid in our house, so I was fascinated by other people’s older brothers and sisters. I was thirteen when the ’70s crashed into the ’80s, and the prospect of all that adolescent angst stood before me like that bridge. I worshipped our babysitter, Patty, an Irish girl with red hair who took no shit from us at all. One night, my sisters and I badgered her into telling us The Omen as a bedtime story. She went through the whole movie scene by scene, stab wound by stab wound. I don’t know how long she spent narrating the fable of Damien and his demonic conquest of the planet—maybe it took as long as it takes to watch the actual movie—but my sisters and I just screamed along, perched on the edge of the ’80s.
    My sisters actually got to hang out with the older girls because they were on the basketball and field hockey teams. They would shoot hoops with the basketball chicks listening to F-105, and when anyone sank a basket, they would yell “Jojo COOKIN’!” which was the inexplicably thrilling catchphrase of the ranking disco DJ in town, Jojo Kinkaid. The debate over whether Jojo was cool or not still rages on in some extremely specialized circles, but one thing is for sure: he was cookin’.
    When Ann and Tracey were on the basketball team, they used to ride the bus with the older girls who blasted the radio and taught them hand dances to go with the songs. There was a hand dance for Laura Branigan’s “Gloria,” another for “You Should Hear How She Talks About You.” I never felt more like a boy than when I was trying to learn the hand dances. Ann and Tracey tried to teach me those, but I never could crack the girlie handclap language. They would do their handclap routines, “Miss Lucy Had a Steamboat,” or “Bubblegum, Bubblegum,” or “The Spades Go Two Lips Together.” Every time they tried teaching me to clap along, my hands would trip over each other. I watched the girls at recess clap their hands and wondered when I would crack the code, maybe with some help from the mythical Lady with the Alligator Purse.
    Rhythm was girl code, which is why I was obsessed with the claps, but I never got it right. Handclaps were the difference between boy music and girl music. Boys noticed the vocals, the guitars, while the real action was going on down below, where only girls could hear it. All my sisters’ favorite songs had great handclaps, and I could never learn them. It was all I could do to learn the claps in the Cars’ “My Best Friend’s Girl” (CLAP clap, CLAP clap) or “Let’s Go” (CLAP clap, CLAP clap clap, CLAP clap clap clap, let’s go), or “Bette Davis Eyes” (clap CLAP , clap CLAP).
    One time, Tracey came back from a school dance, laughing about how terribly this one guy danced. “They played ‘Private Eyes,’ and he was