Zombie Songs: Appetites for Destruction and The Walking Dead

MaulCoverAt the end of Robert Heinlein’s short story “All You Zombies”, the protagonist, who has managed through gender re-assignment and time travel to be his own mother and father, seems trapped in his own narcissistic circle of causality. After he has completed his cycle of movement and ‘movements’, he speaks to an unnamed other of his loneliness, only to ask of the rest of the world “I know where I came from—but where did all you zombies come from?”

His zombies, it seems, are the agentless walking-living, that teeming mass of people who aren’t causes of their own existence, who look outward for will, meaning, and mission. Zombies, thus, are easy metaphors for the automatic behavior of human beings—the way we mindlessly consume ourselves and the world around us from the moment we’re born until we die. Not being a zombie is, on one hand, a losing battle against appetite and attrition. Not thinking about zombies? Something different altogether.

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Zombie Killing Music

Last year around this time we got excited about the apocalypse and posted several things to mark the return of a certain apocalyptic narrative.  In honor of the opening of AMC’s The Walking Dead‘s fourth season, I am re-posting this piece:

So if you’re lonely
You know I’m here waiting for you
I’m just a crosshair
I’m just a shot away from you
And if you leave here
You leave me broken, shattered, I lie
I’m just a crosshair
I’m just a shot, then we can die
From “Take Me Out”, Franz Ferdinand

Several years ago I met up with an old college roommate (I’ll call him the Historian). As usual, we ended up rehashing the old days before sitting down to a game. In this instance, we were playing a clever board game called “Maul of America” which is, essentially, a game where you play people in a mall trying to escape a Zombie attack. (Get the word play, Maul? HA.)

Now, this was a nostalgic moment. The Historian introduced me to “Maul of America” long before zombies were cool, before “28 Days Later”, before World War Z, The Walking Dead, Pride and Prejudice with Zombies, and everyone talking about the upcoming Zombie Apocalypse. Before Zombies went high culture, the Historian resurrected them from the marginal and the low.

This was a time before Zombie modes in video games (when the N64 was a recent revolution) and before the global war on terror changed the way we fear. The Historian and I are old enough to recall fearing the USSR—we remember legitimately worrying about a nuclear apocalypse. We didn’t have to invent doomsday scenarios in our youth. (Although we did retreat to the woods for safety in fear of Y2K.)

The Historian is an uber-Geek. While I simply played a Bard in D&D to the 21st level, he had  disdain for that game—well into adulthood he dabbled in the esoteric, running games called Champions and Call of Cthulu (he was not, however, a LARPer). While I had traded my 12-sided dice in for guitar picks years earlier, the Historian was still mastering the art of the interactive narrative.

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Walking Dead Returns


After a long wait, AMC’ s The Walking Dead is coming back tonight with a two hour season premiere. I don’t watch a bunch of T.V. , basically a few shows and Patriots football, so this is a real treat for me. Furthermore, my brother and I have vast discrepiencies on what we like for shows, just as we do in music. This show was a hit for both of us right off and hopefully we can catch some episodes when we are together for Thanksgiving. Like music we both like, we enjoy it more together.

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Zombie Killing Music

In honor of the closing of AMC’s The Walking Dead‘s second season:

So if you’re lonely
You know I’m here waiting for you
I’m just a crosshair
I’m just a shot away from you
And if you leave here
You leave me broken, shattered, I lie
I’m just a crosshair
I’m just a shot, then we can die
From “Take Me Out”, Franz Ferdinand

Several years ago I met up with an old college roommate (I’ll call him the Historian). As usual, we ended up rehashing the old days before sitting down to a game. In this instance, we were playing a clever board game called “Maul of America” which is, essentially, a game where you play people in a mall trying to escape a Zombie attack. (Get the word play, Maul? HA.)

Now, this was a nostalgic moment. The Historian introduced me to “Maul of America” long before zombies were cool, before “28 Days Later”, before World War Z, The Walking Dead, Pride and Prejudice with Zombies, and everyone talking about the upcoming Zombie Apocalypse. Before Zombies went high culture, the Historian resurrected them from the marginal and the low.

This was a time before Zombie modes in video games (when the N64 was a recent revolution) and before the global war on terror changed the way we fear. The Historian and I are old enough to recall fearing the USSR—we remember legitimately worrying about a nuclear apocalypse. We didn’t have to invent doomsday scenarios in our youth. (Although we did retreat to the woods for safety in fear of Y2K.)

The Historian is an uber-Geek. While I simply played a Bard in D&D to the 21st level, he had  disdain for that game—well into adulthood he dabbled in the esoteric, running games called Champions and Call of Cthulu (he was not, however, a LARPer). While I had traded my 12-sided dice in for guitar picks years earlier, the Historian was still mastering the art of the interactive narrative.

Continue reading