#Although this was mostly an issue with older electronics. Stuff made in the 90s and 2000

[leafy-m]

I shouldn't have made this post. It's back in black & white. 😔

I complained earlier this morning in the tags about how my Nintendo Wii is inexplicably being displayed in black & white when I play it (it's not inexplicable - it's called salty air)

Anyway I just turned it on and guess who's suddenly displaying in crisp full color!! 👁️👄👁️

I didn't even touch the cables or anything. istg the best way to fix electronics is to simply complain about it to someone out loud.

Brat.

[cassatine]

Hi! Can I ask what makes West End Games the "genesis point" of Star Wars old cnaon? Isn't it just the movies?

MY TIME HASCOME. Have a [tl;dr] of my notes on WEG. 

Okay so - are the WEG games the genesis point of the old canon or is it the movies is the kind of question I’m not super interested in, so i’m more going to focus on what makes West End Games key, and the part they played.

Let’s dothe time warp – we’re in the mid-eighties, let’s say 86. Return of the Jedi was released in 83, the movies have been adaptedin as many forms as possible. There’s been children books, storybooks, activitybooks, nonfiction, etc. There’s been magazines and strip comics in newspapersand two trilogies of novels published by Bantam, plus Foster Splinter of theMind’s eye, there’s been Atari games and toys beyond counting. There’s been publishedscreenplays and artbooks, a Guide to the universe compiled by a fan andofficialized, some odds and ends I’m notcounting, and that list may seem long, but it’s ten yearsof content – the rate of release was nothing like today’s or the nineties’. Towrap it up, between 84 and 86, there’d been the Ewoks and Droidstv series, as well as the Ewok movies (I think a lot of kids loved them, but olderfans, not really) but the overall release rhythm was winding down: Kennerstopped producing SW figurines in 85 (they’d start again in 95); in 86 theMarvel run of comics ended (they published two spin-off series til 87, Droidsand Ewoks, tho). Star WarsInsider, still the Lucasfilm Fan Club Magazine at that point, would start its runin 87, but it featured little about SW for years - outside of themerchandising pages at least. Fandom was certainly active, but the rate of official content had dwindled next tonothing, and nothing new was on the horizon.

In myperiodization, that’s the end of the First Legends Era, and at this point SWwas basically dying, nevermind the Ewoks and Droids stuff. Again, I don’t meanthe core fandom, but without regular new content the wider audience was justlosing interest.

Somethingchanged that of course, otherwise I wouldn’t be here typing this, and somethingwas West End Games, a small company who, until then, had mostly publishedhistorical and fantasy RPGs. They could buy the license because… well, no onewas interested. Again, Star Wars had stopped being a hot property.

That didn’tlast long, and West End Games kicked off the Second Legends Era, expandingon the universe in a way none of the previous spin-off products had.

Their firstpublication was Star Wars: The Roleplaying Game in October 1987, covering thefirst movie’ events. It was followed a month later by a Sourcebook and until the license changed hands at the end of the nineties, WEG released over ahundred books, sourcebooks and miscellaneous stuff, including the Adventure Journal, which arguably kickedoff the long tradition of SW short stories that other official magazines wouldlater continue. Many of these first short stories were later reprinted, mainlyin the Tales anthologies - and a lot of people were angry when some of the Special Editions changes invalidated bits of these stories (the very first Canonpocalypse). The West EndGames material also started the tradition of in-universe works; most of theirguides and sourcebooks had in-universe passages, but some of the sourcebookswere fully written from an in-universe point of view.

There’s anumber of factors behind the success of the WEG Star Wars line; for thecore fandom, it came at a time when there was very little new content: WEG’s shortfictions were the only new fictional content (bar Ewoks/Droids stuff) from 86to 91, and with the Lucasfilm Fan Club Magazine, WEG was basically the only regularsource of content. It was also an encyclopedical exploration of the GFFA, more on that below. It was aninteractive kind of fictional content; a way to become an active participant in the galaxy-sized storyof Star Wars rather than remain a passive audience, more accessible thanthe electronic games of the times. 

And it wasgood. Like, critically-acclaimed good.

The WestEnd Games publications had a hugeimpact on the franchise in their time, and their products remained being ratherinfluential in later years. They’re still being so, as that “roleplayinggame material published in the 1980s” alluded to in the 2014 Canonpocalyseannouncement – i.e., the source from which the Inquisitorium, the ISB andSiennar Fleet Systems, and a great many other elements since, were pulled andbrought to the NEU.

But to goback to your actual ask, there’sa reason for looking at the West End Games products specifically as a the base of the old Legends canon (and also a source ofelements and concepts for the NEU). The RPG outlook is a very specific one; oneof statistics and numbers and rules that users learn to navigate the setting ofthe adventures. To create a RPGfrom an already existing world,you’d define a number of categories and subcategories for worldbuildingelements, break down those elements to measurable characteristics – but alsoelaborate on context and fill in many blanks. It’s a very methodic way to doworldbuilding, one oriented towards a specific purpose.

Inpractice, that meant the West End Games books, although not planned as such,doubled as a set of incredibly detailed reference books, something without equivalent at the time. Althoughthe first publications centered around the movies and, once the ExpandedUniverse really took off in the early 90s, some of the novels, comics and games,the company had soon started to create as much as adapt, branching out to new,unexplored grounds. With the adventures came details about the galaxy’sgeography and history, its inhabitants and its technology, the inner workingsof the Empire and the Rebel Alliance. And if some of these publications tied tothe movies or other products, this was no-one way relationships: from theTarkin initiative to COMPNOR, the ISB or foundational texts such as the Declaration of Rebellion and otherelements great and small, the galaxy was laid out in West End Games’publications, comprehensively and extensively.

Thing is, if many of the books featured pre-written adventures or “adventure seeds”, the fundamental goal of sourcebooks and the overall worldbuilding of the WEG stuff was to create a universe for the players to tell stories – stories in which the narrator has no control over the characters, but stories nonetheless. In a way, the sourcebooks were reference books intended for storytellers.

Which is why they became the base of the “old canon”, when it took off in the early 90s, with the Dark Horse comics and Zahn’s Thrawn trilogy – and make no mistake, the only reason these happened at all was because WEG had made Star Wars a viable brand again. Their success had proven there was a market.

And as we’ve seen, they’d already done the worldbuilding, extensively; Lucasfilm has always had final approval on the WEG books too, so the content was considered as “official” as could be, and continuity already mattered (if always with the caveat that Lucas could invalidate it if he came back to SW, as finally happened). It’s well known Zahn was sent WEG sourcebooks by Lucasfilm (who would later develop an internal “canon bible,” way before the holocron database, but wasn’t there yet), and over the years, writers used the sourcebooks as resource materials; I wish I could give you a list but I’m working on it. Recently Jason Fry said he still used the sourcebooks. Hidalgo talks about them here and there.

Moreover, anumber of Legends (and NEU) writers, of fiction as well as of nonfiction, first contributed to StarWars through WEG; Troy Denning, later to write novels for the franchise,authored two “gamebooks,” i.e Choose your own adventure books, and a sourcebook;Bill Smith wrote and co-wrote a number of books for WEG before writing twotitles for the first series of Essential Guides ; Daniel Wallace alsowent from WEG to the Essential Guides, though he only contributed to thefinal published issue of the AdventureJournal, and the rest of his RPG writing was done in the context of Wizardsof the Coast publications. Peter M. Schweighofer, who would also go on to writefor WOTC, wrote or co-wrote a number of WEG books; he also edited the Adventure Journal and wrote a number ofshort stories. Pablo Hidalgo went from playing the WEG games to writing forthem before joining Lucasfilm. There’s more but I’m still working onthat list.

[jazzviewswithcjshearn]

In Defense of Grace Kelly: Keep On Dancing-- How older jazz fans are pushing new fans away from the music

This article was originally conceived as a submission to Pitchfork magazine to beef up their jazz content, but the subject matter is probably a bit too obscure for their magazine, especially as a burgeoning writer.  It is largely a reaction to the views expressed on saxophonist Grace Kelly bringing new audiences to jazz by integrating dance and wardrobe choices commonly found in pop music on a popular internet jazz site.  She is bringing in people who aren’t necessarily jazz fans but enjoy the bounciness of the music, and that is only good because a selected few will check out the music on a deeper level.  Enjoy!

In Defense of Grace Kelly, Keep On Dancing: How jazz fans are pushing new fans away from the music

I have been a jazz fan all my life pretty much, I was incredibly blessed to be raised by a mother who played me lots of records that belonged to my father that he left behind after he got up and left  us when I was 2 years old.  Among the records I loved (and still love)  growing up were classic Blue Note records by Jimmy Smith, Art Blakey, Kenny Burrell and Horace Silver, CTI albums by Stanley Turrentine, Freddie Hubbard and the CTI All Stars, several albums by Count Basie,  the obligatory Breezin' by George Benson, and some things that haven't aged all that well by Chuck Mangione and Earl Klugh, things I no longer like.  From the time I was 8-18 years old I was a serious hard bop snob, and thanks to teachers in high school who were my mentors, they got me into Pat Metheny, Michael Brecker and others. I saw Brecker when I was 7 years old along with the Chick Corea Elektric Band on the same bill.  I didn't really get hardcore into Brecker though until my late teens when I wanted more adventurous stuff.   Metheny was my gateway to free jazz, and the many treasures on ECM.  Why all the background info?  I want to show I have a wide taste in order to discuss the main topic of this article.  Jazz fans preventing new people from getting into the music because of general snobbery.  In particular a bizarre uproar over saxophonist Grace Kelly on an internet jazz forum.

For the past 15 years I've been a regular poster on the Organissimo forums. Organissimo is a Michigan based organ trio headed by keyboardist Jim Alfredson, and they've always aimed to go beyond just the typical organ combo fare that is mostly lots of blues in F, bebop, a funk tune and some standards.  In 2003, a forum section of their website was created for expatriates of the Blue Note records forum which was taken down that same year, and I had been a part of that since the late 90's.  The majority of Organissimo posters are middle and older aged men who are primarily into classic jazz, basically the bebop era of the forties extending into the modal jazz of the mid 1960's.  Hank Mobley, Lee Morgan, Bobby Hutcherson, Grant Green (all favorites of mine, too) are long time heroes there, and there are always inquiries about what is referred to as the “train wreck” session by tenor saxophonist Tyrone Washington recorded in 1968.  Mosaic Records co founder and former Blue Note reissue guru Michael Cuscuna has unequivocally stated it's never coming out, by the way.  There are a few posters who are free jazz devotees, those who love ECM and various strains of European jazz, but largely what goes on the scene today, save for players who play bebop or hard bop based jazz are ignored.  A month ago a discussion was broached about alto saxophonist Grace Kelly, and as has happened so often there in the past, all hell broke loose.

Kelly has been on the scene for more than a decade, she first caught the attention of the jazz world as a 15 year old teenager where she performed with legends like Phil Woods and Frank Morgan.  In fact, some of her tone and phrasing heavily reflect the Woods influence, so that automatically gains her credibility as a “serious” jazzer right?  Wrong.   Not to the “O” crowd as we like to call it. Many forum posters chimed in that they never liked her playing and found it to be quite weak, and suggested that she may have gotten to where she's at due to marketing.  Some of that may be true, but she has paid her dues.  Something she's doing to increase the fan base and draw more people into jazz was causing many posters to go haywire:  she dances when she plays.  You know what? She's damn good at it and it's impressive, because her playing retains a high level.  Ms. Kelly has a Youtube channel where she has a series of videos playing saxophone to choreographed dance moves, some of them find her prancing along with fellow saxophonist Leo P. while other find her in a dance studio combining fancy ballet inspired footwork, and more popular dance forms while playing a bluesy etude.  Another video has her joined by a modern dance duo in an electronic music inspired fantasia.  All these things are ultimately great for drawing in new fans, the latter video has 18,000 views!  

It's important to remember that jazz has a rich history as a dance music, beyond just the swing era.  One of my very best friends, an excellent tenor saxophonist who is a veteran of the free jazz scene reminded me of how much Grace Kelly is adding to a long standing tradition.  One of his earliest on the bandstand apprenticeships was with alto sax free jazzer Luther Thomas,  one of the biggest names in that genre.  Thomas was into dancing, wildly swinging his horn, devising choreographed little steps, all things that have roots not only in R&B, but the swing era.  Daniel Carter, another free jazz icon also moves quite expressively and let's not forget Sonny Rollins.  John Coltrane's immortal “Chasin' The Trane” from his watershed November 1961 engagement at the Village Vanguard captured on The Complete 1961 Village Vanguard Recordings (Impulse! 1998) was so named because Rudy Van Gelder, the late, great pioneering recording engineer, was following Trane as he was testifying from his horn walking to and fro .  Coltrane was a veteran of the R&B bar walking scene, and many of his performances reflect that influence. Thelonious Monk got up and danced while Charlie Rouse soloed, Charlie Parker played standing stone still as trumpeter Dizzy Gillespie (always  an entertainer, coming from the Cab Calloway school) shouted and danced.  Jimmy Smith would often lean down and rest his chin on the organ keys, holding notes for an indeterminable amount of time, in another display of showmanship.  So none of what Grace Kelly is doing is out of the ordinary in jazz's rich history, it's all a matter of perspective.  Some folks like their musicians to stand fairly motionless like  Miles Davis soloing, then walk off the stage to give the others time to shine.  Others like musicians to have a great time, like Freddie Hubbard's (1938-2008) funny odd two step while other band mates solo.

The Organissimo forum is not the majority of jazz fans, it's an esoteric niche that just seems bigger because it's on the internet, and that demographic is not the one she is targeting.  She is not necessarily bringing hardcore jazz fans to the music either, maybe people who just like what she's doing and that's only a good thing.  In percussionist, R&B smash artist and producer Mtume's famous debate with critic Stanley Crouch,  Mr. Crouch insists music from the electric period of Miles Davis is woefully dated.  Mtume's curt reply is so witty: the generations of people who gravitated towards albums like On The Corner (Columbia, 1972) and Get Up With It (Columbia, 1974) are not jazz fans, but fans of other music who got what Davis was trying to say, and it guided them to jazz.  In much the same way Ms. Kelly is achieving the similar outcome, in my estimation.  Only a few will become rabid jazz fans, but through Kelly they will explore all the greats, eras and deep history, so why would old guard folks at an internet forum be upset? It's a win win. I believe it's the simple fact the saxophonist is drawing upon things that are used to market in the pop world, and with jazz's reputation as a musty museum music for much of the general public, for jazz fans it's bringing up a skeleton.  For years the music has struggled with keeping things strictly in the tradition while embracing contemporary trends in the marketing.  For the music to survive, ultimately this is necessary to adapt to contemporary trends.

I've seen many new posters never return to that board because of negativity they experience for their tastes.  Basic album recommendation threads devolve into demonstrations of minutiae  a casual fan has no clue about.  A Dallas based tenor saxophonist made probably the most sensible point in the entire 7 page thread on Kelly when he pointed out that although he doesn't care for her music, he more than applauded her dancing while playing, and hoped more people start doing that because it would create a whole new avenue for dancers to be integrated into the music.  Robert Glasper and Kamasi Washington, names that many young music fans know, are unfairly targeted on that board as well.  Those rampant dismissals prevent new fan bases from being created.  Why is jazz dead for many?  Because of a constant regurgitation of the past with little tolerance for what's going on now. The reason I'm so passionate about the issue is because when I was 18, I was in that camp, overly clamoring for bebop and hard bop to be the ultimate styles.

At that time I missed a lot of cutting edge stuff from the likes of Jason Moran and Greg Osby. I opened my ears, grew and today I keep my ear open to the micro innovations of musicians like Glasper, Chris Dave, Mark Giuliana, and fresh hip things happening from the likes of Bobby Previte, Wadada Leo Smith, Vijay Iyer, Hiromi, Roscoe Mitchell, Ben Monder, Steve Tibetts, Krisjan Randalu, Ayumi Ishito, Steve Coleman, Linda May Han Oh, Terence Blanchard, Thana Alexa, Satoko Fujii and so many others. Grace Kelly, keep on dancing, ignore the haters-- what you do is really fresh, intriguing and brings new blood to this music.

See the original thread below: http://www.organissimo.org/forum/index.php?/topic/81704-grace-kelly/&page=1

https://youtu.be/VMYNLwlepRM

https://youtu.be/5coo3HaUA8Y

https://youtu.be/5N7ATjmywL0