YouSaid · the spoken record

Chuck Klosterman

lines on the record: 87
first: 2022-02-23
most recent: 2022-02-23
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Well, I mean, overrated forever and now underrated because of his sort of political position in the sense that people now have decided that not only do they not like him, but that somehow cream was bad and that Derek and the Dominoes was bad. So he was overrated my whole life. Like there was a long period where if you would have said, who are the most overrated figures in rock history? I would be like, that's easy. Like Jim Morrison and Eric Clapton. But it changed so dramatically and so radically that now it's almost as though we can't think of him as, you know, probably the most significant white blues guitar player of all time. So I would say now he is slightly underrated, but it's his own fault.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“I don't know if any of those qualities factor into someone being overrated or underrated. I mean, I would say this, it is almost impossible to say a member of the Beatles is underrated. Not because they are overrated, but because, you know, we look at their work in such a way that, you know, there's nobody out there saying that all things must pass isn't good. So I suppose if you had to make an assessment, you could say that George's music was a little more samey than John or Paul, that fundamentally his songs follow a similar kind of chord structure and a similar sort of delivery pattern that all things must pass as many versions of three good songs. So I suppose that makes him slightly overrated, but I mean like I love George Harrison, so I hate to say that, but I guess if I had to pick one or two, that's what I picked.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Food from other countries. General Zoe's chicken. That's what I love. You know, it's like, it's a form of the other or whatever that is actually a form of us.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“And I think that to be honest, I was pretty unsophisticated in that way, in that I thought that I was getting deeper into culture by pursuing what I was already kind of into. So I would see a movie like Run the La Run, and I would think, oh, now I'm understanding this thing, but I was just seeing one part of it. There's a bunch of stuff I could make up. But I think in reality, my interests are domestic. They really are. There were tons of bands I liked from Britain, but that somehow didn't seem in any way separate from US culture. Like the Beatles seemed like part of American culture. Like Led Zeppelin seems like part of American culture. In fact, Led Zeppelin seems more like it's part of American culture than UK culture. I was really into groups like Pizzicato V, like Japanese pop music. I really like Swedish pop music. But there again, that's something that's been so integrated into our world here. It's almost like saying, oh, like, I love...”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Of the place you're from, from the way it is perceived, and your natural inclination is to almost argue with these people. I was teaching a class called 20th Century Pop culture. It's the first day and I'm walking to class and a graduate student just starts walking alongside of me and he seems like a nice guy and he asked me what I'm doing and I tell him I'm teaching this class on 20th century pop culture. And he's like, well, that should take 10 minutes because they just perceive America as having no culture. But it was crazy because they all loved hip-hop. And I would be like, well, hip-hop is American culture. And they'd be like, oh, no, that's an immigrant culture. I'm like, not really. That's kind of a weird way to perceive it. But I know what you're really asking more about.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Non American culture boy, I am a pretty American person in a lot of ways. I'm sure a criticism of this book is that instead of being called the nineties, it should be called the American nineties. I have a somewhat sort of maybe myopic view about how culture works. But in two thousand eight I was a guest professor at the University of Leipzig, and I taught American studies there for a semester. And it was in East Germany, so it was very interesting. It was like German's the main language, the second most popular language was Russian. So I could teach a class at this university, but I couldn't mail a letter because I'd go to the post office and no one knew what I wanted. But being in East Germany, the thing that fascinated me was talking to Germans, especially German students, about their perception of America. And I think that the most valuable thing about traveling is the greater understanding you have.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Went back and we read everything that was on Grantlin, we would find a lot of junk that just kind of, I don't know, seems ridiculous now. But at the same time, the things that people remember were the best parts.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“I appreciate you saying that. I think it was that they just kind of went out and got the best writers they could find and paid them enough to do projects at other places probably wouldn't see a real demand for and kind of let them do it. I mean, the first story I wrote for Grantlin was about going to a junior college basketball game when I was like a sophomore in high school and it was a Native American team who was playing and they only had six guys on the roster and three of them fouled out and they won the game three on five. But this was a small junior college game in Wapaton, North Dakota from the eighties. There's no place to present that story to. But at Grantland it was like go ahead like the weirder the better, you know? From the perspective of being a writer, Grantlin almost is like almost an unrealistic scenario just that like we want you to be you know and as a consequence I suppose if we really”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“time you heard it for the first time. And that kind of takes away the significance of a magazine like Spin. I read Spin because I thought it had the best writers about music, but I wouldn't need people to write about music if I could instantly hear the song itself. So I think that's part of it”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, the first thing I would say is it started, I think, in 1988 and was still going pretty well till 2006, so it didn't really fail. It had a long life. Why is it still not like a factor in the way the music industry operates? Well, lots of reasons. One, magazines in general matter less. More significantly though, is the idea that like, you know, when I was reading spin as a college student, you would read about a band like pavement, or you'd read about a band like Teenage Fan Club. And those records weren't even out yet. So you would be reading this review of someone trying to sort of describe what the music was and if you would like it, if it applied to you or whatever. And then you'd wait for the record and finally hear it and you would have had this whole kind of built-in superstructure in your mind over what this music was. And now you're finally hearing it. Whereas now it would be you would hear about the band the same.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“It was when I kind of had nothing. So I don't know what I would be like now. I don't even like reading my early books because I can't relate to the person who wrote them. So the idea of me thinking about what I was like at 13, no idea.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“But I think part of the reason I was able to succeed as a critic was because I came from a place where I was so limited in the art I was consuming that I had to think about it differently. You know, I didn't have MTV. I think even if I'd grown up in Minneapolis because the people that I became friends with later in life, most of which came from bigger towns, you know, the people who seemed like me as an adult, they were the people who listened to the Smiths and who kind of thought Guns& Roses was terrible or whatever, you know. But Guns& Roses was the most interesting thing I had. I would look at Axel Rose the way somebody else might think of, I'm not even thinking of like David Byrne or something. Like I had to get all this meaning from him. So that really worked to my advantage, I think, as I kind of matured and was able to experience these other kinds of art, but still kind of working from the way it”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“And it kind of became my whole identity for a while. So how would that experience possibly happen now? Like I would be on the internet, I assume that instead of just sitting in my bedroom, listening to an Ozzy Osborne cassette and just reading the liner notes over and over again, I would be on a computer. And the experience of having my brother drop something off and then leave would be replaced by someone online that I find interesting, sort of leading me in some direction. I don't think that I would have the same experience with music that I had growing up in a situation where my options were limited, where there was long stretches of time when I had six cassettes. That was all I had, and I would just play them over and over and over again and think about them and see things in that music that probably didn't exist. It seems odd to say this now, and it seems almost crazy.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“That's an almost impossible question, but a great one. Like, it's fun to think about that. But the answer I give is going to be completely worthless. Because if I'm coming up in rural North Dakota now, okay, so my hometown had 500 people and I lived outside of that town. In my hometown, there was essentially two kinds of music. There was metal and there was country like ACDC was kind of the crossover act. That's kind of all there was. You know, there was top 40 music that no one seemed to care about. And even as high school students, we seem to view as shallow and superficial while we were listening to bands like Poison and Motley Crew. So there's lots of contradictions here. It doesn't always make sense. But I fell into that music like my brother came back from the army. He had a motley crookassette. He had an Ozzy Osborne Cassette. I had been listening to like, you know, Hughie Lewis and Eddie Grant and madness and prince. I got this. I just loved it immediately.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Difficult now to create something that isn't at least partially retro. I mean, in fact, it almost seems to be gone entirely.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, no, I guess the short answer is no, but that's like what you're describing in some ways though is really is like the slow cancellation of the future. That music from say 1991, 92, 93, like Nirvana's never mind came out the same day as blood sugar sex magic came out. You know, there was a whole bunch of records that came out that day. Had you played them to someone from 1971, it would not have seemed even like music. I think that somebody who was into rock in 1971, who was listening to Led Zeppelin and the early Beatles solo records and all that, you played them this music. They would be like, well, it seems dissident. It doesn't seem songful. It doesn't seem like music at all. I don't like the way it's recorded. It would be just really troubling. It is very unlikely that someone would have that experience from hearing music now who would really bend into music at the turn of the 21st century. It would not seem that different. It's very different.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“And if you consider yourself a goth kid or a metalhead or any of these things that happened at that time, the way your group was perceived kind of calcified or galvanized the meaning of those signifiers. And that's just not really how it is now. That's gone. Now, there again, it's something I kind of miss that. I'm not sure why I miss it. Is it just because I was familiar with it? I don't know. Like to ascribe actual value to it's complicated”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“You had a real limitation, you were limited in your choice, and you were limited in the number of directions you can go. After Napster and just with file sharing in general and then moving into things like Spotify and Apple Music, there is no pressure to sort of go down the same path over time. Like music is now a buffet and its value, it's tangible value is less. So people kind of just pick and choose and everyone just sort of creates a playlist or a mixtape that suits their personality in specific and that fights against the idea of creating a subculture. Because with that subculture, what you need are the people who have shared values by default. In other words, what they decide is cool or uncool is not totally just based on what they think, but what their peers seem to think and what the artists that these peers are listening to seem to think.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“I think there are still musical subcultures, but they're exclusively online now. I think the idea of the physical mass subculture is probably gone. And, you know, and of course these are easy things to be wrong about, but part of that had to do with the fact of scarcity and not that the records didn't exist, but that you had to pay for them. And people in teen culture had limited amount of funds. So you had enough money to buy one CD. So you bought the cure. And you listen to that real intensely because it's the only one you got that week. And when you go back in two weeks, maybe you buy Sisters of Mercy or nine-inch nails or something that's vaguely tied to it. And then you kind of realize that the people who like the cure seem to shop at this place called Hot Topic. So maybe you start shopping there. The next thing you know, you're part of this subculture.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Was like, we got to get ahead of this But that fear was around. It was like a, you know, like many things in the 90s. It was the strange combination of anxiety and excitement. Like it was thrilling. This was occurring. And yet also seemed like the recipe for disaster. So it was like you had to sort of embrace the idea while also stopping it.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I think with a pretty palpable degree of fear, which is not uncommon. I mean, you look back at a Godzilla movie and it's like, you know, atomic testing is going to cause this calamities Frankenstein is founded on this. In the 90s, of course, we have the cloning of Dolly, the sheep. And that's kind of a hinge point for the way, like the idea of genetic engineering was seen. And there was just this immediate fear that genetics was going to be used very often to reanimate things from the past, a little bit like Jurassic Park. I mean, Jurassic Park's the biggest mainstream example. That's not really an anti-science book or an anti-science movie, but it is that the scientists have gone too far. I did find it very intriguing to realize that after Dolly the sheep was cloned in Scotland, like Bill Clinton was trying to introduce legislation that would stop the cloning of a human being.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Like, we thought this and we were wrong. Someone could do that with a book about the 90s. But I felt that that would be kind of a misshapen view of how it was. Like, my goal in this was to write a book that was not looking at the 90s the way we think about the culture now and sort of jamming that retrospective view into sort of a modern ideology. But to go back and try to capture what it actually felt like to experience that time. Like in some ways, it's like it's easy to seem smart by looking back and finding little signposts that signal a future, but it's also not difficult to do that. What's much harder is to describe what it felt like to kind of hang around that signpost with no understanding that it had any sort of future symbolic value.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“I would say that one of the things that I found interesting was I am not certain it is a misremembered period. I think that there is a caricature and like an idea of the nineties. I think I kind of in this book I kind of describe it as kind of like a low stakes grunge cartoon kind of. And that's not perfect, but it's not radically incorrect. I mean, the 90s are still close enough that a lot of the things I think that we project upon that period aren't so far from the truth. And okay, when you look at like David Helberstams, the 50s or books written about the 60s or books written about the 70s, typically the author is sort of pushed or maybe feels obligated to contradict the widespread perception of the period. Like, you know, we thought the 70s were boring. Actually, there was all this tumult going on. It's always like.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“To the 80s in a lot of ways. The real jump came when shows either kind of moved away from the network concept or even within the network concept you could make a show like Lost, which wasn't really like something that you would have seen in the past.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I would say that there's the first golden area of television, which everybody kind of understands as sort of its seminal period where, you know, back when television was like it's still like a new concept, I would say the second golden age of television actually probably comes post 90s if we're looking at the value of the content. I mean, I think that when you look at that early part of the 21st century where you still have the sopranos, you have the wire. Madman is there, breaking mad. You know, it's like there are these shows that probably were for that period of time generally superior to what was happening in cinema, which seemed like an unthinkable thing at the beginning of the 90s to even assert that somehow television could be better than movies from like a critical perspective was just kind of unthinkable. Seinfeld was a great show, but I wouldn't say the 90s were a golden age of television. They were probably closer to”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Idea of a sitcom where everything is happy and everything works out. That was important. But the bigger thing was that those ideas were just on and people just watched them because there they were. And that sort of sets the texture of an era more than, say, twin peaks or something that doesn't seem like it fits in the time that it came.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Points in the zeitgeist that everyone is discussing simultaneously. And yet any episode of Seinfeld was seen in experience by more people, which meant that experience was just kind of normative entertainment. It's always so tempting when you look back at any period of time to look for sort of these strange apex moments. The outlier that sort of seemed incongruitous with everything else that was happening and maybe seems closer to what's happening in the culture of the present. And you go like, well, this is what really mattered. I always sense that the thing that really mattered was the things that we did not even view as having that sort of ancillary secondary meaning. They were just what was being consumed and sort of the ideas and the morals and sort of like the values, I guess, within that. So like what was important about Seinfeld wasn't that it was more kind of rude and brusque and kind of adversarial with the classic.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“I still find it funny, although I will admit, it might be difficult for someone who experienced it first to have a real accurate understanding of that. One thing that I have found when I talk to young people is that they tend to like friends more than Seinfeld. They see friends almost as this timeless situation dealing with problems that everyone goes through, where Seinfeld seems more rooted in this kind of like worldview that doesn't exist as much anymore. So I might be a hard person to gauge that. It does still seem funny to me. I think the thing that matters, though, is that the tone of Seinfeld was both unlike the culture of today, but also massively popular. That is the thing that just kept coming up over and over again whenever I'd write about television. This idea that we have these events now, like, oh, the finale of Game of Thrones, the finale of madmen or whatever, that seem like these.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“They'd go, oh, that's two-lane blacktop. Like, their job was to remember kind of cultural minutia. That is gone now because now everyone has the machine that does that, which is, I guess, maybe personally disappointed because it seemed like that was what my life was going to become like the person who remembered all these sort of insignificant things and sort of remembered what kind of, you know, but that seems to be over now. Now that it's all so available, instead of culture having depth, it's more like a real shallow ocean. that's very easy to wade into and scoop up whatever you need. And it's vast, but it doesn't go deep.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Answer the easy answer, or the predictable answer, or the answer anyone would give would say is the internet, that the internet emerges in the nineties, it makes kind of a big jump in 95, but is still sort of, when you think of the internet in the 90s, it's really more of a mechanical discussion more than a cultural discussion. But then when you move beyond about 2001, kind of beyond 9-11 and you see the introduction of social media and all these things, and just the ability that it is so easy for anyone to instantly access something, like anything, something or anything. I mean, I use this example a lot, you know, it's like when I worked in newspapers in the 90s, there would always be like a person that that newspaper, maybe they had once been a reporter, now they're on the night desk or something, and you would go up to a person like that and you'd be like, hey, you know, I'm trying to think of this movie. It's like, I don't know, it was like about cars and I think there's a beach boy in it.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“The 90s to me sort of signal the end of when you were able to look at certain things or certain qualities or a certain vague sense and identify it as from that period. I fear that that may be over, although I'm not sure why I fear it.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Whatsoever, figuring out which one came first, even like a little kid couldn't look at a movie from 1965 and a movie from 1980 and instantly understand that one predates the other. But if you do that with a film from 2005 and a film from 2020, again, sort of an obscure film where you don't recognize the actors, you're just looking at it aesthetically and trying to deduce which one came first and which one came second. It's almost impossible. And this phenomenon just seems to almost be infiltrating every aspect of the culture. This idea that everything to a degree now is somewhat retro and that certain kind of natural evolutions that happened because culture was lost or sort of forgotten or just kind of moved beyond, which doesn't really happen now. It's like so easy to access the recent past that it all sort of becomes pushed into the same sort of kind of gumbo or whatever.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I mean, I think it's possible, very easy. In fact, to argue that the 90s were the last decade of the 20th century, but also just the last decade that was sort of this immutable framing of time. One thing I talk about a little bit in the book, maybe I should have talked about more, but I find I wanted to get away from seeing the past through the prism of the present. But this guy Mark Fisher, who's dead now, had this idea about the slow cancellation of the future. I feel like that's one of the most profound ideas that I've come across in the last 10 years of my life. And it seems so palpable that this is occurring, that an example I will often use is, you know, if you take, say, 10 minutes from an obscure film in 1965 with like no major actors. And then you take 10 minutes from an obscure film from 1980 where nobody became famous. And you show anyone these 10 minute clips, they will have no problem.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“These things, you know, the release of nevermind or like Quentin Tarantino films and all these things that this is still the history they're living in. And then for other people, it's no different than the moon landing. It's just exposition about an event that they didn't experience. How do you write a book with the idea that maybe half the audience is going to be in category A and half the audience is going to be in category B? It was kind of a complicated problem. Like, did I need to literally explain what a compact disc is? I asked that myself at one point, you know, then I would be like, well, you know, when I was growing up, I fully understood what a real Turill was and what an A-track was, even though if I didn't necessarily purchase them. But something has changed about the way time is perceived. And I sense that you've recognized this too. It's ten years is different now than the way it used to be.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Although that is common, I think, to sword of amplify fears in the moment and then retroactively look at anything that didn't happen and sort of perceive it as, well, I guess, you know, maybe we were amplifying that too much at the time. I mean, if 9-11 doesn't happen, we look at the attacking of the USS Cole very differently. We look at the first attempt on the World Trade Center very differently. Now that seems like a precursor to a plan that had been existed for this long stretch of time, and that this was always the goal. But if 9-11 doesn't occur, it's almost a forgotten event. So it's really difficult. But particularly history that people have lived through, you know, the hardest thing about writing a book about the 90s I found was the kind of bifurcation between people who remember the 90s almost like they just happened.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“Death rows, but I think the fear was, oh, what if a suitcase bomb gets out of Russia, someone blows up Chicago or something? I think that was something that never came to fruition. There's a specific thing that you kind of had in mind when you asked that question.”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source
“So, what was the one that never came? Yeah, that never happened. Well, I mean, the easy answer would be Y2K, that was, of course, at the very end. And whether or not that didn't come to fruition, I suppose, depends on if you're the kind of person who thinks, well, this is an example of them seeing a problem, diagnosing it correctly, taking all the steps of stopping it from happening, and then having a non-event. Or if you're someone who's like, well, you know, some countries barely did anything, had the same sort of result as we did, how come our microchips didn't stop working in our dishwashers? It was never going to happen. So it was the event that didn't occur. Either way, it wasn't a tragedy, but it was certainly something we talked about for an entire year and thought about constantly and kind of perceived as sort of, you know, the possible end to the way we understood civilization. If you go to the very early part of the nineties, I suppose it was the idea that the Cold War was still sort of kind of in its”
2022-02-23 · Conversations with Tyler · Chuck Klosterman on Writing the Past and Relishing the Present · IDENTIFIED FROM THE TRANSCRIPT · source