Track 1.

I knew Kip Winger and Motley Crue were getting blow jobs

even though I didn’t know what blow jobs were.

When I first heard the phrase, I thought of hair dryers,

the robot helmet-looking chairs inside

my mom’s beauty parlor. Where the viejas called

MTV “mierda,” but I couldn’t get enough. Heavy

metal was my favorite, backstage footage in black

and white, so it had to be real. Rockers who

looked like girls surrounded by more girls.

Indistinguishable. Make-up from the neck up.

But the girl Girls. Girls big-boobed and Aqua Netted

blondes with toasted brown skin, lined up, hobbled like bruised

peaches in halter tops, raising rail thin,

downy haired arms in bangle bracelet

unison. Yelling Woooooo at the camera,

like it was all they knew how to say.


Track 2.

When Poison played live on Headbanger’s

Ball, one of these girls lifted her “Open

Up and Say Ahhh…” t-shirt, exposing white

breasts. Bounced awake my insides. The camera

caught it. Just a flash, but long enough.

Long enough to hum electric in my mind’s eye

buzzing red as the Coca-Cola light in our drug store’s window.


Track 3.

And I wanted to touch a boob.

I decided one night, sweaty under Batman bedspread.

I wanted to touch one so bad. Even though my Cuban

grandfather called me a “fag” when I couldn’t catch

a football while he was watching. I wanted to

touch a boob. But I couldn’t play

the recorder, let alone guitar. And I didn’t have

money to buy a puffy ruffled pirate shirt or

spandex. Nor the thigh width required for

tight leather pants. No hair to style up and out.

To tease. Mine was low and tight, combed over and

back with Abuelo’s long black comb, licked fresh and

unsheathed from his back pocket. When he was done

my hair resembled Batista’s gelled helmet, not the

curly chaos of Guevara’s guerrillas.


Track 4.

The 90s came to solve all our problems.

Those pansy ass glam bands. Fuck them

said 1992, ripping Jon Bon Jovi and

Warrant off my wall. Nevermind,

said 1992, in a ringer ree, naked baby cassette in hand,

throwing away Hysteria and all those used GNR Illusions.

Said 1992, “No one gives a fuck.” Not Nirvana,

nor Mudhoney nor Fugazi. Tool. And Pearl Jam pissed off

Ticketmaster and nobody wanted seals clubbed.

Or wars started. Or New Kids. Or videos.

And the cool girls wore overalls.

And Abuelo’s closet was filled with all the flannel

I needed. And I walked to high school washed in

pre-soaked Old Spice and Pall Malls. My thighs the perfect

width for denim.


Track 5.

That fall, Billy Mirabelli got a blow job in his bathroom

while we watched Gremlins on HBO.

His mother worked the dinner shift at Ground Round,

so his house was where that kind of shit went down.

Drugs. Sex. Billy went into the bathroom like a virgin,

came out like a prayer. Hoping to be a man.

I studied his gaze. He still looked like the rest of us,

except dazed. Not older, as I’d suspected,

from the way my brother talked about the girls

who stood on Boulevard East, their pink lipstick

and yellow teeth. Their frayed, waxy bodies a

parable. Their jeans ripped down an entire thigh.

Our girls only ripped at the knee. The

denim threads, taut, like Venetian blinds.

Wigwam socks rolled calf-high. Our girls wore

beige lipstick and never smiled. Never talked.

Always bored. Like the girl who blew Billy–

she didn’t say a word, looked straight ahead while

Phoebe Cates described her dead Santa dad,

his neck snapped in bottled-up chimney.

Crumpled forward in soot.


Track 6.

I stared at the blowjob girl in spite of myself.

Though I knew enough to try not to. Her cheeks shiny

as fruit skin, reflecting the dancing yellows and

blacks of the movie. The gremlin death cries. The water

and bright lights. The eating after midnight.

Something in Billy’s eyes told me not to envy him,

his new blowjob life. Not to trust the other boys

when they clapped him on the back

raising rail-thin, downy-haired arms

in high-five unison, yelling Woooooo

at each other, like it was all they knew how to say.


Joe Costal begins listening to Christmas music right after Halloween, but not one second earlier. His writing has most recently appeared in The Maine Review, Ponder Review and Pif Magazine. His poetry will appear in the forthcoming anthology Challenges for the Delusional Part 2 by Diode Editions. Joe is an Assistant Editor at Barrelhouse. He writes and podcasts about books, music and movies for Quirk Publishers in Philadelphia and Jersey Ghouls. Joe teaches writing at Stockton University at the Jersey Shore, where he lives with his four children. His writing has earned awards and distinction from Grub Street, Painted Bride, Rider University’s Hispanic Writers Workshop & Wesleyan University.