Klosterman: Led Zeppelin, “That Guy,” and The Hobbit

“Whenever I find myself in an argument about the greatest rock bands of all time, I always place Zeppelin third, behind the Beatles and the Rolling Stones. This sentiment is incredibly common; if we polled everyone in North America who likes rock music, those three bands would almost certainly be the consensus selections (and in that order). But Zeppelin is far and away the most popular rock band of all time, and they’re popular in a way that Beatles and Stones cannot possibly compete with; this is because every straight man born after the year 1958 has at least one transitory period of his life when he believes Led Zeppelin is the only good band that ever existed. And there is no other rock group that generates that experience.

A few years ago, I was an on-air guest for a morning radio show in Akron. I was on the air with the librarian from the Akron public library, and we were discussing either John Cheever or Guided by Voices, or possibly both. Talk radio in Akron is f-cking crazy. While we were walking out of the studio, the librarian noticed the show’s 19-year-old producer; the producer had a blond mullet, his blank eyes were beyond bloodshot, and he was wearing ripped jeans and a black Swan Song T-shirt with all the runes from the Zoso album. The librarian turned to me and said, “You know, I went to high school with that guy.” This librarian is 42. But he was right. He did go to high school with that guy. So did I. Everyone in America went to high school with that guy. Right now, there are boys in fourth grade who do not even realize that they will become “that guy” as soon as they finish reading The Hobbit in eighth grade. There are people having unprotected sex at this very moment, and the fetus spawned from that union will become “that guy” in two decades. Led Zeppelin is the most legitimately timeless musical entity of the past half century; they are the only group in the history of rock ‘n’ roll that every male rock fan seems to experience in exactly the same way.”

~ Chuck Klosterman, Killing Yourself to Live: 85% of a True Story (New York: Scribner, 2005), pp. 197-198.

The Empire Strikes Back, Reality Bites, and Gen X Optimism

“As the scene continues, Luke is driven out onto a catwalk, where he loses his right hand and is informed that he’s heir to the intergalactic Osama bin Laden. He more or less tries to commit suicide. Now, Luke is saved from this fate (of course), and since this is a movie, logic tells us that (of course) Vader will fall in the next installment of the series, even though it will take three years to get there. This is all understood. But that understanding is an adult understanding. As an eight-year-old, the final message of The Empire Strikes Back felt remarkably hopeless: Luke’s a good person, but Luke still lost. And it wasn’t like the end of Rocky, where Apollo Creed wins the split decision but Rocky wins the larger victory for human spirit; Darth Vader beats Luke the way Ike used to beat Tina. A psychologist once told me that — over the span of her entire career — she had never known a man who didn’t have some kind of creepy, unresolved issue with his father. She told me that’s just an inherent part of being male. And here we have a movie where the hero is fighting every ideology he hates, gets his ass kicked, and is then informed, “Oh, and by the way: I’m your dad. But you knew that all along.”

In the same scene, Darth Vader tells Skywalker he has to made a decision: He can keep fighting a war he will probably lose, or he can compromise his ethics and succeed wildly. Many young adults face a similar decision after college, and those seen as “responsible” inevitably choose the latter path. However, an eight-year-old would never sell out. Little kids will always take the righteous option. And what’s intriguing about Gen Xers is they never really wavered from that decision. Luke’s quandary in The Empire Strikes Back is exactly like the situation facing Winona Rider in 1994′s Reality Bites: Should she stick with the nice, sensible guy who treats her well (Ben Stiller), or should she roll the dice with the frustrating boho bozo who treats her like crap (Ethan Hawke)? For a detached adult, that answer seems obvious; for people who were twenty-one when this movie came out, the answer was just as obvious but completely different. As we all know, Winona went with Hawke. She had to. When Gene Siskel and Roger Ebert reviewed Reality Bites, I recall them complaining that Ryder picked the wrong guy; as far as I could tell, choosing the wrong guy was the whole point.

As I stated earlier, all the cliches about Gen Xers were true — but the point everyone failed to make was that our whole demographic was comprised of cynical optimists. Whenever my circa-1993 friends and I would sit around and discuss the future, there was always the omnipresent sentiment that the world was on the decline, but we were somehow destined to succeed individually. Everyone felt they would somehow be the exception within an otherwise grim universe. This is why Ryder had to pick Hawke. Winona made the kind of romantic decision most people my age would have made in 1994: She pursued a path that was difficult and depressing, and she did so because it showed the slightest potential for transcendence. Not coincidently, this is also the Jedi’s path. Adventure? Excitement? The Jedi craves not these things. However, he does crave something greater than the bloodless existence of his father. Quite simply, Winona Ryder is Luke Skywalker, only with a better haircut and a killer rack.”

~ Chuck Klosterman, Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto (New York: Scribner, 2003), pp. 154-155.