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After Gamergate, female video game developers on the rise
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PHILADELPHIA (AP) — Students from an all-female arts college in Philadelphia attended a conference for video game developers last year and, without even trying, they stood out.

"We were basically the only girls in the room," recalled Lindsey O'Brien, 21, a rising senior at Philadelphia's Moore College of Art & Design.

The male-dominated video game industry is changing as more women develop games, play games and take jobs reviewing games. While the ongoing cyber harassment of female gamers known as "Gamergate" indicates a reluctance by some to accept the growing number of women in the industry, mainstream institutions are welcoming all to the console.

Moore's animation and gaming arts program will see its first class of game developers graduate next year. The Massachusetts Institute of Technology created its Game Lab in 2012. New York University's Tisch School began offering a video game design degree last year.

"There's going to be a huge boom of women entering the industry in the next 10 years," said Stephen Wood, Moore's gaming arts professor, who took over the fledging program when he joined the faculty in 2014. "In the '80s and '90s, video games were seen as things boys do. But in the '90s and early 2000s, girls said, 'We're going to play, too.' Now those girls are going to college and studying video games. We're helping close that gender gap and being part of the solution."

According to a 2015 survey by the International Game Developers Association, the number of female video game developers has doubled in the past seven years, from 11 percent in 2009 to about 21 percent now. About 79 percent of the survey's 2,000 respondents agreed diversity in the industry is "very" or "somewhat" important.

"Much dialogue has occurred in the past couple of years around the topic, (with) a strong majority recognizing that greater diversity on development teams . creates a stronger foundation for the team to create games that may maximize their global appeal," said Kate Edwards, executive director of the association.

Since joining Moore, Wood has seen the gaming arts program grow from eight students to about 40. He acknowledges he had some bias against female game creators until he saw his students' work.

"They create these awesome games that are no different than what you'd see in the industry today," he said. "It's a misperception that girls are making games with rainbows and unicorns. They're really not. I don't play a new game and say, 'Oh, this was designed by a woman, this was designed by a guy.'"

O'Brien learned the ins and outs of gaming from her mother, who could tear up the Atari. O'Brien started out on Sega Genesis and PlayStation systems, bonding with her older brother as they played games like "Mortal Kombat."

"I have tons of female friends who like shooter games, like 'Call of Duty,'" she said. "A lot of people who aren't part of the community are shocked when they hear that."

"Gamergate" began in 2013 when anonymous online commenters claimed a female video game developer was getting an unjust amount of attention for a new product. She was the victim of cyber harassment that then spread to other women in the industry, including Edwards, the executive director of the Game Developers Association.

Edwards said the incidents have raised important industry issues. Intel, for example, pledged $300 million in 2015 to fund a three-year effort to increase the number of under-represented groups — including women, Hispanics and African-Americans — by 14 percent.

Wood said he talks to his students about the potential for abuse. The good thing, he said, is Moore students have a tight bond and can stand together against such threats. O'Brien, too, said she expects some negative responses, but she's ready for them.

"There are some people who say girls don't know about games, that girls can't make games," O'Brien said. "I think if somebody has the skills to do the job, they should do the job."

Allman Brothers tribute band a treat
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Entrancing the crowd with their Allmanesque vocals and guitarmony, End of the Line brought a powerful performance to an enthusiastic audience at the Park Theater Saturday night. From left is Justin Smith (keyboards and vocals), Adam Gorman (guitar), Ryan McClanahan, (drums) and Conor Kelly (guitar). Out of shot is drummer Dave Czuba and bassist Casey Conway.

“Guitarmony” was promised and delivered Saturday night when End of the Line: An Allman Brothers Tribute Band brought their scintillating Southern rock, country and blues roots musicianship to the Park Theater.

Before the band took the stage, Thin Lizzy’s “The Boys are Back in Town” played on the historic speakers setting the seventies mood for the fans as they settled in their seats.

As a nod to the 55th anniversary of the band’s 1969 debut album, The Allman Brothers Band, the first songs were note for note from that seminal album beginning with “Don’t Want You No More.” When Smith launched into “It’s Not My Cross to Bear,” a time warp seemed to overcome the theater. 

The screen behind the band flickered with alternating images of lava lamps, colorful mushrooms, and the original live footage from the Fillmore Live album.

Playing to a large and seasoned crowd, this collection of Nashville musicians and songwriters reveled in their playing. 

For a little over two hours, the audience was transported to a time over a half a century ago. The soulful blues and melodious Southern jams filled the space as these young musicians channeled their inner Gregg and Duane Allman, Dickey Betts and Derek Trucks among others.

With a deep blue’s growl, Justin Smith rivaled the original Gregg Allman as he played the organ with grace and grit. 

Adam Gorman, hailing from Macon, Georgia, seemed to know his way around a blues guitar fo’ sho.’ Along with the fantastic Conor Kelly and Casey Conway on guitar and bass, they created that sweet guitarmony the band has been hailed for.

“How about that bass?” yelled an appreciative fan from the balcony and the whole theater roared in agreement.

Not one but two drummers kept an amazing synchronized beat: Ryan McClanahan and Dave Czuba.

Other highlights included “Revival,” “Idle Wild South,” and the eloquent jazzy “Stand Back” from the Eat a Peach album. 

After intermission, the band jumped into the iconic “Ramblin’ Man,” the highest charting song of all the band’s tunes.

 “Statesboro Blues” was arguably the finest moment in a litany of fine moments. Covering the black blues artist Blind Willie McTell, the Allman Brother’s classic is a tribute and an infectious cross between black Southern blues music and white Southern musicianship.

“Sweet Melissa” and “Blue Sky” were both artfully done.

They also covered a tender version of “Desdemona” from Hittin’ The Note, one of the later Allman Brother gems. “Trouble Me No More” was a sweet moment as well.

The band are currently touring. They plan on performing in the home of more modern and famous Southern rock bands, The B-52s and R.E.M. in Athens, Georgia on April 20,

You can read more about the band and their touring schedule on Facebook, Instagram and the band’s website: endofthelineband.com.