Player sign-up for events starts tonight, June 29, at 7:00 p.m. on

If you need help using Warhorn, instructions are available in the second post in our ENWorld thread:!&p=6630436&viewfull=1#post6630436

Also, we’ve had an event table open up in the afternoon slot (3:30 p.m. to 8:30 p.m.). If you’d like to run an event for us (or know someone who does), post your idea in the ENWorld thread, or reply to this post with the details for your event: system, title, description, age-appropriateness, and number of players.

The sad state of Gibson

It’s pretty well-known in guitar circles that if you want a Les Paul you look for a used Historic, which are Gibson custom shop replicas of classic Les Paul models. (That, or you find a good luthier to make you a replica.) And even if you do that, you are 80% likely to replace pretty much all the parts that are not wood: pickups, wiring, tuners, bridge. I did exactly this back in 2010, and the end result is one of the finest guitars I’ve ever owned.

Compare this to most Fender guitars, which are pretty much good to go right off the rack, whether it’s a $500 made in Mexico model, a circa-$1,000 US model, or something from their custom shop.

While I think the article and some of the comments overstate the quality issues at Gibson a little bit, the fact is that nobody in their right mind buys Gibsons new, for list price. They’ve been coasting on their brand legacy for decades. And, yes, the “new” models have been batting zero for a while now.

(I found this via Jim DelRosso, who shared an article about how Guitar Center has circulated a memo asking its employees not to share this Gawker story on social media.)

Looking for a GM from Gameday 41’s 3:30 p.m. slot

We’ve had a table open up in the afternoon for Chicago Gameday 41. Want to run something for us? Know someone who does? Post in our planning thread.

#chicagogameday   #chicagogameday41

Chicago Gameday 41 event line-up; player sign-up is just one week away!

Player sign-up for Gameday 41 is just one week away — next Monday at 7pm. If you haven’t already registered at, please do so. Instructions are in our ENWorld thread:!&p=6630436&viewfull=1#post6630436

Here’s a preview of the events we’ll be offering:

Morning: 9:30 a.m. – 2:30 p.m.

Apocalypse World
Earthdawn 4th Edition
HiBRiD/Ite’ Gamine Engine v2.2
Pentra (Itras By)
Savage Worlds
The Secret of Cats (Fate Core)
Translucent University

Afternoon: 3:30 p.m. – 8:00 p.m.

Earthdawn 4th Edition
Feng Shui 2
I Was A Teenage Creature
Mice & Mystics
Monsterhearts (PbtA*)
Savage Worlds
Swords Without Master
The Sword, the Crown and the Unspeakable Power (PbtA*)

* PbtA = “Powered by the Apocalypse”, i.e. a game that uses the Apocalypse World engine.!&p=6630436&viewfull=1#post6630436

David Bowie: Black Tie, White Noise (1993)

“Black Tie, White Noise” sees Bowie reuniting with “Let’s Dance” producer Nile Rodgers in an attempt to create “a new kind of melodic form of house [music].” Spiders from Mars veteran Mick Ronson is also brought in, working with Bowie for the first time in decades, as is Tin machine alum Reeves Gabrels.

Normally, I make a point of listening to these albums at least two or three times, but like “Never Let Me Down”, but I just couldn’t do it this time. Maybe it’s something about Bowie working with Rodgers that I just don’t like, or else the fact that I am not a big fan of dance music, particularly house.

For me, this is very uninteresting music: repetitive in structure, uncomplicated in harmony, and with lost of pounding four-on-the-floor rhythms. Bowie is featured on saxophone quite a bit, and I often find the melodies he chooses to play quite grating. Though his line in “Miracle Goodnight” sounds so much like the theme from “Sanford & Son” that I had to resist cringing the whole time. There’s also of plodding use of early-’90s sampling technology, e.g., snippets of spoken-word that repeat endlessly. And the cover of Cream’s “I Feel Free” is very typical ’90s R&B “let’s reimagine a classic” bombast that, for me, sucks all the life out of the song. The bonus track, “Lucy Can’t Dance”, may be one of the worst Bowie songs I’ve ever heard.

Again, it could be that this album isn’t objectively bad, but just in a style that does nothing for me. Mostly, I found myself missing Tin Machine and eager to get to “Earthling” and later albums.

A great, informative interview with Sandy Petersen about his and Greg Stafford’s return to Chaosium.

The bit that had me the most giddy was Sandy talking about Greg wanting to bring Pendragon and all things Glorantha under the Chaosium aegis once again. I can only dare to dream that RuneQuest might eventually be included, too. it would be so nice to see all those games with Chaosium logos one them once again.

Yeah, I know this is idiotic nostalgia on my part, but as the interviewer put it: “It’ll be nice not to have to apologize for Chaosium all the time.”

Sandy also mentions more attention being paid to BRP, which is nice to hear. Maybe they can put out an edition of Magic World that doesn’t make my eyes bleed.

h/t to John Stavropoulos for the link.

David Bowie (Tin Machine): “Tin Machine II” (1991)

Bowie’s second foray with Tin Machine finds the first album’s bombast tempered with a bit more melodicism this time 
around. Hugh Padgam, Bowie’s producer on “Tonight”, steps in and gives the album his characteristic sheen, of which I’ll 
admit I am a big fan, and so much prefer the sound of this album to the first. That said, it also serves to make the album 
feel more like a hard-rocking take on “Tonight”-era Bowie than a product of Tin Machine the band.

Which, honestly, I don’t mind. Hunt Sales steps up to take lead vocals — and songwriting credit — on two songs, the blues-
y “Stateside” and the sorta-power ballad “Sorry”. And, honestly, as kinda-catchy as they are, they are serious lowpoints for 
the album and would have been better left as B-sides. The album is best when Bowie and Gabrels are in charge, particularly 
“Baby Universal”, the strongest track on the album, IMO.

All that aside, I’ve listenend to the album three or four times now and, as much as I basically enjoy it, few of the tracks 
leave any lasting impression on me. I couldn’t hum you even a bar of songs like “Shopping for GIrls” or “One Shot.” Not 
that they’re bad songs; they just seem to evaporate from my memory after each listen. (Which, unfortunately can’t be said 
for the two Sales tunes.) The one cover on the album, Bryan Ferry’s “If There Is Something”, is also a bit of a slog for me 
(as is Ferry’s original, so it could be I just don’t ike the song).

So, while Tin Machine began as a wonderful experiment, it seems to overstay its welcome before this second outing is even 
done playing. Gabrels is really the big takeaway from this era of Bowie’s career, as is Bowie’s shaking off his mainstream 
success and once again challenging himself to do something different. Tin Machine is a wonderful thing that needed to 
happen, but I admit that, as much as I did enjoy this album, I’m not unhappy seeing Bowie move on to the next phase in 
his career.

Chicago Gameday 41 Event Lineup (so far)

Event planning for Gameday 41 proceeds apace. Here’s what we have so far, but keep in mind we still have room for more! If you’re interested in running an event for us, post in our planning thread on ENWorld.

Morning: 9:30 a.m. – 2:30 p.m.
• Savage Worlds
• Translucent University
• HiBRiD/Ite’ Gamine Engine v2.2
• 13th Age
• Apocalypse World
• Fate (The Secret of Cats)

Afternoon: 3:30 p.m. – 8:00 p.m.
• I Was A Teenage Creature
• Swords Without Master
• The Sword, the Crown and the Unspeakable Power
• Monsterhearts

#chicagogameday41   #chicagogameday!#ixzz3ca72f9vx