Nine Worlds Schedule: Now with Extra Me!

Nine Worlds 2015 logoThe Nine Worlds Schedule is now up! And it’s freakin’ amazing! So freakin’ amazing that I can’t remotely take it all in!

But what I can now tell you is that it now contains TWICE as much me as anticipated! Yes!

NOT ONLY, can you attend my paper – which is the third of three papers included in ‘Rebellion, Outsiders and Group Dynamics’, 3:15pm-4:30pm Friday – but you can also catch me on Saturday, 10am-11:15am, where I will be on the ‘Being a Geek in Academia’ panel – OMG!

OK, on the (very considerable) off-chance that my sheer presence is not enough to tempt you, here are some exciting details:

‘Rebellion, Outsiders and Group Dynamics’, 3:15pm-4:30pm, Friday

Across these three talks, the speakers explore various ideas of difference and how those differences colour of perceptions of groups outside our own. The first will look at representations of physical and mental disability in the Vorkosigan series and how the series’ protagonist defies the standard template of science-fiction heroes. The second talk will focus on the seminal Judge Dredd story America, and look at gendered attitudes towards and forms of rebellion and interaction with the overwhelmingly white and male authorities of 2000AD. Finally, the series will conclude with a discussion of relationship between “self” and “other” in Battlestar Galactica.

‘Being a Geek in Academia’, 10am-11:15am, Saturday

Ever wondered what it’s like to be a geek in the world of academia? Considering how to apply your skills to your passions and use them to build a reputation and standing? This panel will explore various ideas of how one becomes a geek in academia, combining your skills and your passions, and what makes all the stress and struggle worthwhile.

Be there or BE WHATEVER SHAPE SUITS YOU BEST.

Nine Worlds and Me!

Me!

I may or may not have green hair again for August. We shall see!

So, I have been accepted to give a paper for Nine World’s Academic track – I’m so excited! I’ll be giving a paper on ‘Battlestar Galactica and the Master/Slave Dialectic: Relating Selves to Others’, which is something I’ve been thinking about for a long time.

It’s all a bit intimidating now that it’s real, but I’ll try to do a good job!

For those not in the know, Nine Worlds Geekfest is the best, most inclusive convention I’ve ever been to.

As a geek, it’s great, because it has umpteen million tracks, covering specific fandoms like Doctor Who and A Song of Ice and Fire, as well as Podcasting, Academia, LARP, Social Gaming, Fanfic, Creative Writing, Race and Culture, LGBTQAI + Fandom, Geek Feminism, Young Adult, All the Books, and SO MUCH MORE. Along with kickass evening entertainment, like FRIGGIN’ KNIGHTMARE LIVE and the now traditional Whedon Sing-A-Long, which I have been to every year (see the video of the first impromptu Doctor Horrible act-out here).

As someone who has been marginalised, it’s great, because everyone who is there is there because they want to enjoy a safe environment where no one feels marginalised. As well as having specific tracks to discuss issues faced (by, e.g., women, LGBTQAI people, and people of colour) they also have highly diverse panels for their other tracks. They have an excellent and well-publicised anti-harassment policy (which I have seen in action, being handled with great sensitivity). They also have clear accessibility information and have made an evident effort to ensure that all events are as accessible as possible. I’ve never seen so many disabled people at a con before, looking relaxed and like they’re having fun. Same for LGBTAI folks and women. More present. More relaxed. More fun.

I also appreciate how trans/gender-queer/agender/non-binary friendly they are. Last year all loo signs in the con area were changed to ‘with urinal’ and ‘without urinal’ rather than ‘men’ and ‘women’. Along with tags you could pick up at registration to indicate your prefered pronouns.

It’s also family friendly, and I enjoyed seeing a great many young geeks and their parents being able to enjoy the con.

It’s still a problem going to general SF&F/fandom events that you will have to deal with bigoted/sexist/racist/transphobic people. I experienced this at a local meet-up I attended. Most people were lovely, but I still ended up being shouted at by an older white man aggressively defending his sexist views. I don’t know about you, but I don’t have the energy to endure that shit when I want to be geeking out anymore. At Nine Worlds? I simply haven’t had that problem. I once had a heated debate with another feminist, but that’s as confrontational as it’s gotten for me. And I never met anyone who wouldn’t let you drop out of the conversation or change topic if it was stressing you out.

I can’t recommend Nine Worlds enough, and I’m thrilled to be a part of the academic track. My profile is not up on the Guests pageit’s almost like I’m a real person.

 

 

Nine Worlds: A Thank You

This has been a con not quite like any other, and it is deserving of a post-con post not quite like any other. I don’t just want to give a shout out to the people I met whose names I can remember and say that I had a good time (although that will come), I want to thank people. An awful lot of people.

I want to thank the organisers for their vision. For wanting to do an event as open in its geekery as the big US cons at which British geeks on a tight budget have only been able to look on with envy. But not only that, I want to thank you for the vision to go further, to make inclusivity front and central. The name, Nine Worlds, frames the space in terms of multiplicity from the outset. It is in stark contrast to the most famous con, Sandiago Comic-Con, which still sounds, whether that is the intention or not,  as though the Real Geeks, the ones for whom the convention is Really For, are the comic fans – implicitly the same (straight, white, male, cisgendered, ablebodied) geeks who form some kind of nebulous Old Guard, who claim to have read the entirety of the DC and Marvell back catalogue and are ready and able to school you on it. I don’t blame Comic-Con for its name – it grew out of comics into something much broader, and that’s fine – but that doesn’t mean I can’t celebrate Nine Worlds for using their fresh start to do something different and better.

And it’s not only surface deep. The inclusivity and multiplicity goes all the way down.

It’s here in the accessibility of the con. Accessibility information is front and centre on the web and in the programme. And it makes a difference. I’ve never seen so many people with (visible) disabilities at a con, and I can only suppose that that is a consequence of them feeling confident that they could go to the con and get about and fully enjoy it, the same as everyone else.

I’ve also never seen so many women. Granted, the presence of women in cons has been more than the zeitgeist would have you believe for years, but with the exception of ‘Just a Minute’, which I went to on the first day (which was led by a man and at first seemed like it would go on without a single woman on the panel, and which did single out the woman on the panel and a gay guy for mockery (however mild) on the basis of their deviation from the (assumed male, straight) norm) you could really feel the difference in attitude in the equal presence and treatment of women, both on the panels and in the audience. I think that’s a consequence of two things: the well-publicised and explained policy on harassment, and having a whole track for events on Geek Feminism across the weekend. That says that the organisers want to make women feel comfortable and safe, but also that they regard the issues women face in Geek Culture not just as valid in themselves, but worthy of devoting time, space, and serious consideration to as an interest of geeks.

And with that in mind we reach the next person I want to thank: Siân Fever, who organised and ran the Geek Feminism track. Due to a Cow-on-the-Line delay, I missed the first Geek Feminist session I was supposed to be helping out with, but she was very understanding and when I attended her ‘What the FRAK is Geek Feminism’ 101 on Saturday morning I was beyond impressed by her understanding of the myriad of issues that face modern feminism in general, and geek feminism in particular; by her clarity in explaining these complex and fraught issues; and by her openness and ability to engage her audience. Honestly, it’s a talk that should be online for everyone to sample. But beyond her talk itself, her willingness to enter into discussion helped set a tone for the weekend and let me know, as a woman, as a feminist, as a geek, that this was a convention that was going to do things right in a way I hadn’t encountered anywhere else.

Whilst we’re on the topic of geek feminism, I want to thank Laurie Penny, whose talk on Cybersexism surprised me by bringing me to tears more than once. It surprised me because in many ways she didn’t say anything I didn’t know already or hadn’t said myself on multiple occasions, but there was an unexpected power to the sense of recognition hearing her say those things gave, and in the fact that she had been given the platform to say those things, which showed that the organisers respected her and recognised the validity of her opinions also. Here were the things that cut so very close to the bone, and that one has said so often one feels mentally hoarse (and suspects, or has even been told, that one is exaggerating and should just shut up about), and they were laid bare in a scenario that said they were worthy of attention, being expressed by an articulate and confident woman. A woman younger than me who has gained national and international recognition for speaking out on these issues and received a backlash beyond the sort of things I have experienced which have led me to have a hair-trigger blocking policy on Twitter and to close my Ask box on Tumblr. A woman who earlier this week received a bomb threat. And for what? For saying things like this:

That male geeks, geeks who were persecuted, isolated, picked on and marginalised at school, still don’t understand – still will not accept – that female geeks were right there with them, being just as geeky, and further marginalised still. Because we were the ones that even the male geeks disdained and persecuted – who are still being disdained and persecuted now. Apparently there were Dungeons and Dragons groups at my school, but I would never have known about it, because the male geeks at my school would not have been seen dead with me. Because it would have ruined their street cred – their geek cred – to give credence of the lowest of the low: a geek who is also a girl.

And she addressed the narrative of my generation where the changes that have been positive for male geeks have had negative effects for female geeks. Where the ‘geeks are cool now’ story has been expressed as a male story of male success in making money and showing the bullies they grew up with by getting the symbols of power and wealth – including getting ‘the girl’. This misogynistic tale most tellingly expressed in The Social Network, that successful tale of a man getting ahead by shaming women in the grossest fashion, and who somehow is presented as winning the sexy lawyer lady at the end of the movie, too, despite his despicable character and misogyny. I couldn’t believe the success and critical acclaim of that movie, and it meant a lot to hear Laurie Penny take it down for the exact reasons I found disgusting and appalling.

I don’t even know how to put into words how much this talk meant to me, and how much that, in itself, surprised me. So I just want to say thank you: thank you Laurie Penny, for saying these things; thank you, Siân Fever, for organising the track that put her there; thank you, Nine Worlds, for giving Siân the power to do that.

And at the same time as the Geek Feminism track was doing all this for me, there were also tracks that addressed LGBT issues, along with fun stuff aimed at queer geeks, too – discos and high tea and poetry. Whilst I don’t know what it’s like to be a queer person being given that validation and celebration and consideration, I can relate to it by considering what the feminism track did to me. And I can see the results – again, there have always been LGBT people at cons and in fandoms and involved in geekery, but there did seem to be a more visible and (this is important) relaxed quotient of LGBT attendees. And that’s fantastic.

There have also been events addressing race issues, and, again, a greater diversity of race, both in attendees and panellists. I’ve seen very few all white panels, and both the New Voices events I attended for debut authors contained a diversity of race and gender and cultural background that I, as both reader and writer, was grateful for. Some of the most interesting readings were from people of colour coming at genre fiction from different angles than mainstream white Anglo-American specfic.

These things might seem poe-faced matters to those who are privileged to enjoy cons without facing the issues some of the rest of us geeks face, but it’s not just about addressing and airing serious issues. Because by addressing and airing the serious issues it’s made the whole of the rest of the con that much more open, relaxed, and enjoyable. I thought I’ve felt geek circles to be welcoming and progressive in the past, but in the context of the experience I’ve had here, those experiences seem pale and fraught and tense. This is how you use geekery to set enthusiasm free. This is how you get all manner of geeks to feel comfortable getting to know strange people and having fun.

And coming from that I have to thank the people who have made the experience better for me on a personal level. My internet friends, Amanda Rutter, Anne Lyle, Jennifer Williams, Doug Strider, Chris Brosnahan, and Liz de Jager, who welcomed me into their midst on Friday evening when I was feeling left out and lonely because I’d come to the con by myself. My old friend, Jo Oldham, who I hadn’t seen in years and who introduced me to her new friends late on Saturday night; and Dave Tallerman, who I caught up with on Sunday. New friends I’ve made this weekend (most of whose names I am ashamed to say I have forgotten in con-overload) like Becky Austin, the best Buffy cosplayer I have ever seen, and her friends who I joined in the ‘Once More with Feeling’ sing-along, and who welcomed me without hesitation when I asked if I could be Tara in their planned live action ‘Once More, with Feeling’ at next year’s con.

And whilst I’m here, I want to thank everyone involved in the Buffy and Doctor Horrible Sing-Alongs on Saturday and Sunday night, especially our fantastic pianist, David Merriman. Someone did get a complete video of the Doctor Horrible one (complete with spontaneous re-enactment of the Town Hall scene, including two excellent Doctor Horrible cosplays), and if she gets permission from everyone involved to share it on YouTube, I’ll share that with you guys, too, because, damn, that was a very special experience.

Overall, there was just such an incredible atmosphere of inclusivity at Nine Worlds. So that, yeah, I want to tell you that I cosplayed Daenerys and people liked my wig, and the programme was full of more varied and wonderful things than I could actually go to, and I got a signed photo of Miltos and he was lovely and he kissed my hand. And I want to tell you the minor gripes: that the dealers room wasn’t that impressive and that lack of free wifi in the main hotel was a definite bummer. But mostly I just want to say: go to Nine Worlds next year. You haven’t been to a con like it and you’ll be missing out if you don’t.

Review: Wake Up Dreaming, by Stephanie Mabey

Album cover for Wake Up Dreaming, by Stephanie Mabey

Album cover for Wake Up Dreaming, by Stephanie Mabey

Whoooo-boy. It’s amazing how ranty people get when you like things they don’t. Or when you critique things they like. Comes with the territory, I suppose, but I’m sort of beyond busy at the moment and haven’t had a lot of time for responding to the Angry Internet, let alone writing new critical posts for them to stew over.

So here’s a little article that’s all about joy and celebration. You all need to get your ears on this album: Wake Up Dreaming, by Stephanie Mabey.

This album is just a breath of fresh air, joy, and exuberance. If you’re a geek and you love quirky, beautiful, original music, you need this album in your life.

I first encountered Stephanie Mabey’s work when Battleaxebunny posted ‘The Zombie Song‘ as part of the Music for the Apocalypse series that I started over at The Girls’ Guide to Surviving the Apocalypse. I have an extensive knowledge of apocalyptic and post-apocalyptic music, but I’d never heard this one before. One of the great things about being involved with this series was actively looking out new songs and finding the indie creators that I’d never hear just listening to mainstream radio, but when Battleaxebunny posted this one I had barely dipped my toe in that water, and it really opened me up to the amazing stuff scrappy creators are doing independently of big business.

If you haven’t heard ‘The Zombie Song’, allow me to improve your life (complete with some really fantastic artwork from Maddy Ashton):

When I had a post-apocalypse themed birthday party last year this song was the one everybody’s ears perked up for. The catchy rhythm somehow manages to suggest the lurching movements of a zombie whilst remaining charmingly upbeat. The lyrics are witty, sweet, and dark all at once. They clearly come from a place in love with the genre and simultaneously breath new life into the undead and into love songs:

Our love story

could be kinda gory

far from boring

We’d meet at a post…

apocalypse

The narrator warns, perkily, instantly setting the tone – this is going to be both a love song and graphically macabre, but no part of it will be maudlin. It’s not just a pleasing juxtaposition, these first lines trip us from the clichéd, saccharin notion of a ‘love story’ to the equally cliché ridden zombie genre, highlighting how narrowly both are often viewed and how much fun can be had in mashing them together, each using the other to throw its own bounds open to new possibilities.

And, as a woman listening to a female musician with clearly geeky tastes this also confronts head on the idea that women are somehow ‘naturally’ more suited to the romance genre. ‘You think I can only write love songs because I’m a girl?’ the song seems to say, ‘Well, take this love song.’

But it’s not just a ‘I’ll show you!’ forced affair, this song is written with love for a genre whose tropes are known by the writer and held with great affection – an affection that is somehow in tune with the love that is also central to the song:

You’d be hiding in

a second floor apartment

knocking all the stairs down

to save your life…

from the undead.

Double-barrelled shotgun

taking out the slow ones

then you’d see the passion

burning in my eye

and I’d keep my head.

But beyond the interest, the quirkiness, the experimentation and juxtaposition, this song is more than anything else fun. It’s so catchy I woke up with it in my head the other day and I’ve been singing it since… and I’m not sick of it yet. It’s not the sort of catchy that comes from mindless repetition; it’s the sort of catchy that comes from a tuneful, original, easy to sing chorus set in the context of genuinely interesting and non-repetitive verses. And the chorus itself catches the attention as the singer lets out her (powerful and expressive) voice in a tone whose passion and poignancy cannot help but make one smile when applied to lyrics that say:

If I were a zombie

I’d never eat your brain!

Honestly, the whole album is worth it just for this song, but after a year of loving this one track, a friend (who had bought the album after I played her the song) persuaded me to buy the rest, and boy, it was worth it.

Mabey sets the tone for the album with the joyfully apocalyptic ‘I Pushed the Button’:

Again, it’s a love song, but the metaphors via which the narrator’s emotional state is expressed are of swinging wrecking balls, having a heart ‘shaped like mushroom clouds’, being ‘wired to delete’ and ‘disassembling‘. We’ve all heard a million songs about people who sabotage their romantic relationships and self-destruct, but rarely is the familiar state of mind conveyed via such distinctively geeky reference points. It’s delightful, and the fairground quality of the melody perfectly chimes with the sense of someone who is queesily out of control in a Waltzer, (rather than the conventional rollercoaster) of highs and lows and unpredictable turns. This song is coming at a familiar idea about love from a new angle, finding extra nuance along the way, and laying out Mabey’s geek credentials up front.

And it’s not the only fairground-themed song. Track number 7 (far enough into the album to avoid overdosing on the fairground) ‘The Main Attraction‘ tackles directly the link between the modern meaning of the word ‘geek’ and its origin as a term for sideshow ‘freaks’ – ostracised by society in a way analogous to what most of us with geeky tendencies (especially women, who tend to be shunned both by the mainstream and by male geeks) grew up experiencing. In identifying herself with the ‘bearded lady’, Mabey reminds us, again, of the special pressure on women with regard to appearance. There’s something intriguing about using an identification with outsiders as a way of expressing to fellow geeks that she’s ‘one of us’, and theme of the song draws out the special comfort of finding solace in one who loves you because you are different in the same way as they are:

None of your friends

comprehend why we’re both so happy

Your parents just think

we’re a couple of freaks

Solidarity in exclusion really means something. And isn’t there something universal in that, too? We all want to feel different because our individuality makes us special, but equally we want to find someone who shared all the special things that make us different. And love is like that: that contradiction – needing someone to be like you in the ways that make you unique, unusual, different.

The title song, ‘Wake Up Dreaming‘, could sit respectably on any number of pop or rock albums:

And he can’t shake the feeling

that this whole world’s asleep

He’s full of vision no one else can see

Granted, the song’s about a wannabe comic book artist with a boring day job, but I like that it appeals to such a universal trope: to want to somehow ‘wake up’ in the dream world – the one where you’re famous, or rich, or you have the job you’ve always dreamed about – and the encouragement to keep on dreaming, that you might get there if you just hold on… And by likening the ‘day job’/dream binary to the secret identity/superhero one it’s a really clever way of exploring how geeky passions aren’t so very different from so-called ‘normal’ ones. It’s just another way of dreaming of a better life.

It’s a recurring theme throughout the album, which I guess might be why the title takes its name from this song. Some of the songs, like ‘The Zombie Song’, wear their geek card front and centre, perhaps culminating in the final song ‘The Next Level’, with 8-bit tones and lyrics which read:

I wake up, I’m pixellated

Ching, ching, collectible coins

The music gets all evil

Creepy, could this be

dun, dun, dun

The theme song for the boss

This is a song with geekery in every beat, but the overall album shifts between the geeky and more universal themes that riff on this thought of the interrelations of apparently niche passions and more generally accessible themes of what it is like to be a human.

Stephanie Mabey is a great artist with a beautiful voice turning her talent to the sort of subject matter that, if you read this blog, should be right up your alley. I can’t recommend her work enough, and she’s an indie creator, so if you give her money you’ll be doing a good thing to feed diversity in the arts.

Go here and buy her album. It’s only $10 for 11 songs, which is, like, £6.50 at the time of posting in Brit money. BARGAIN.