Untangling the various game modes, bonuses offered, promotions and pay-out conditions are not easy for those entering the world of online gaming for the first time. So, how can you evaluate an online casino operator? To help answer this very daunting question, we have compiled the seven top tips to assist in choosing the most suitable casino operator. We hope this with the help you make your assessment without being pushed in one direction rather than another.
1: LOOK FOR REVIEWS AND OPINIONS
The starting point when approaching a new activity is to read opinions or reviews and online casinos are no exception. Indeed, just because money is at stake, it is essential to know what the reputation of the various virtual casinos is. For this reason, we recommend reading both the reviews published by reliable and expert sources on the subject and the opinions left online by the players. In this way, it is possible to get a reasonably clear idea of the strengths and weaknesses of the various online casinos and specially to avoid the gambling halls whose reputation is not acceptable.
A small note regarding personal opinions left on the net by the players. Do not stop at the first reading but delve into the subject. Some assessments may not be valid: players angry at a loss that they are not able to accept could leave negative evaluations on software providers; others may post extremely positive impressions just because they have an economic interest in doing so. So, look at more sources, so you have a general idea.
2: USE SUPPORT AND ASSISTANCE SERVICES
All gaming platforms on the web have a support service for players: use it whenever you need it, even if you are not registered. The best casinos on the internet provide a support service through an instant chat, which you can access for free even if you have not registered an account. If you have questions of any kind, do not hesitate to contact the chat operators, who are usually very available and well prepared. It is the best way to get information without waiting times.
3: TRY THE GAMES FOR FREE
The games represent the essence of every online casino. The offer of slot machines, jackpot bingo, casino games and live tables is extensive. The games offered by each virtual room vary depending on the software platform on which the casino itself is based. Some gaming services are based on only one of them, others on two or more. In most cases, players can try the games available in various casinos for free on sites like 777 Casino’s Videoslots and others like Mr Spin.
You can then visit the websites of various virtual rooms and try many games and slots, for free and without having to proceed every time you sign up. If you find a game particularly interesting, at that point you can limit the choice to the casinos that offer it.
4: READ THE CONDITIONS ON BONUSES AND PROMOTIONS
One of the most complicated aspects to evaluate is the one concerning bonuses and promotions. What kind of bonus is issued? What are the conditions and wagering requirements? Are these real bonuses or game bonuses? The topic is quite broad, and if you want to deepen the details you can take a look at our section on casino bonuses.
The most important thing to check is whether the presence of the bonus blocks withdrawals or not. In the first case the bonuses should be avoided because even in case of winning it is not possible to cash out until certain conditions are met. If instead the bonuses do not block withdrawals, you can proceed to evaluate the method of release (immediate, gradual or postponed), the amount and the percentage. AAMS casinos must publish information about bonus regulations on their website pages: just do some quick research to get all the information. If you are in a hurry, as mentioned previously, you can contact the assistance service of a specific operator.
5: CHOOSE THE ACCESS MODE
Every web gaming room has various access modes: online, via a download program and, in most cases, with mobile devices. Each access mode is different from the others and can also change the available games and the winning percentages. We always recommend the online version, offers maximum compatibility with all devices, even mobile (in this case the games are always less than the version for fixed platforms).
6: EVALUATE THE ODDS OF WINNING AND RTP
Let’s start from the definition: the RTP represents the percentage of money collected by the online casino through the bets made which on average is returned to the players in the form of winnings. By subtracting 100% of a game’s RTP value, you get the value of the casino’s profit margin for that game.
For example: if the RTP for a roulette version is 98%, it means that the casino has a margin of 2%. If you wager £100, on average, the casino collects £2. The image next shows the RTP value of an online casino for the various versions of roulette (at the time of writing the article).
The question is: can the RTP publish by the casinos be used in a concrete way to understand which games have the highest winning odds? The answer is: yes and no.
Although this value gives an idea of the “quantity” of winnings that can be achieved in a particular game, we must consider several “adverse” factors that make it more an indication than a fact of real utility:
- RTP is an average calculated over a previous period. Knowing the percentage of winnings estimated over the last month or the entire useful life of the casino does not guarantee certainties regarding its current value for many games. For slot machines, for example, it is not uncommon to see even 20% differences between consecutive months.
- Games pay-out winnings randomly, and there are more and more people connected at the same time. The system could collect loser’s bets of 99 players and return them to only 1 or divide them more or less equally among all players, in a completely random.
- RTP does not provide any information regarding the “quality” of winnings. A 99% RTP for a game could result in consecutive winnings of 99 units for every 100 betting units, as well as no pay-out for a single player, or high winnings for a single player and no winnings for others, with all possible variations of the case.
As we can see, the percentage of the return of money collected in the form of online casino winnings is essentially an indication of “how much the casino pays” in general. It could be a parameter to be used for the choice of a casino rather than another, but it should not be understood as a fact for the individual player. In fact, it can happen to find games with RTP of 200%. Does this mean that if I play, I certainly win double what I bet? Absolutely not, it only means that in the space of a month the casino has paid twice what is collected by all the best of all the players. It is not a guarantee of winning.
7: KNOW THE TERMINOLOGY AND RULES
Being informed is always the best way to prevent unpleasant surprises. Reading the regulations and the conditions are very dull, we do not question it, but it is necessary to understand the functioning of a casino fully. We do our best to bring as many useful information as possible to the reviews, but all players should have a vision of the regulations before playing.
The Glorious Corner
YOUNG’S 12 — (via Ultimate Classic Rock) Since he began making records in the 60’s, Neil Young has seldom let a year or two pass between albums. Even as the last LP by Buffalo Springfield was being prepped for release, the Canadian singer-songwriter was making his self-titled solo debut, which came out just a few months later.
Young has never been reluctant to follow his creative muse, even if he’s in the middle of another project. More than one time during his career he’s shelved a project just to move on to something else. Sometimes – as in the case of Homegrown and Chrome Dreams – those records would be released at a later (sometimes much later) date; in other instances, we’re still waiting.
All this productivity and activity can lead to periods of inconsistency, as you’ll see in the below list of the 12 Worst Neil Young Albums. One era in particular stands out: the ’80s (spoiler: Six successive albums during the decade make the list). But LPs from the ’60s, ’70s, ’90s and the ’00s are here, too.After the Gold Rush and Harvest. Even when the records didn’t reach his usual standards, most of them still found new ways to continue on the restless path he started in the mid-’60s. From synth-pop and traditional country to ’50 rock ‘n’ roll and horn-spotted soul, Young’s instincts rarely took him to expected destinations.When you’re as prolific as Young, they can’t all be
Are You Passionate?’ (2002)
Young’s 24th album was supposed to be another Crazy Horse collaboration, Toast, which didn’t get released until 2022. Instead, he pivoted to a record with Booker T. & the MG’s that was billed as a soul album and included Young’s response to 9/11, “Let’s Roll.” One of the shelved Crazy Horse tracks is included, and it concludes with a nine-minute jam. Scant direction and thin songs sink Are You Passionate?
‘Peace Trail’ (2016)
Young’s 36th studio LP was sandwiched between a live album with Promise of the Real and a solo archival release recorded in 1976. Both are preferable to this quickly assembled record made with drummer Jim Keltner and bassist Paul Bushnell. Its political points are similar to the ones he’d been supporting since the ’60s, but now with a technological lean (there’s even some Auto-Tune on a track). Instantly disposable.
The second of two albums released by Young in 2014 (the first was the solo acoustic A Letter Home), Storytone featured big band and orchestral backings to songs inspired by a new romance with actress Daryl Hannah. Forgettable and uncertain – swing and classical don’t mix all that well – the album arrived during a period of prolific activity. An equally unmemorable stripped-down version of the album was released at the same time.
‘Old Ways’ (1985)
Young’s country album Old Ways was first proposed after 1983’s Trans, the synth-based LP he delivered to Geffen. The label balked and insisted on a rock album instead; they got the 1950s throwback Everybody’s Rockin’. Young returned to his country album in 1985, enlisting Waylon Jennings, Willie Nelson and fiddle and pedal steel musicians. Another unremarkable genre detour during Young’s most dour decade.
‘Everybody’s Rockin” (1983)
Young’s second Geffen LP was as baffling as the first. But where Trans moved forward, Everybody’s Rockin’ was a throwback to 1950s rockabilly, complete with a retro look (pompadour, face-dominating sideburns) and name (Neil and the Shocking Pinks). Four songs were covers; an original (“Wonderin'”) dated to 1970. It runs less than 25 minutes. Geffen soon sued Young for making deliberately uncommercial records.
‘Landing on Water’ (1986)
Three genre-specific albums left Young at odds with Geffen Records in the mid-’80s to the point where the label sued him for making records that didn’t sound like Neil Young records. Landing on Water was his return (albeit once again stitched together from years-old sessions) to fuss-free rock music. Good luck finding a memorable song, though. Even Young has referred to Landing on Water as a “piece of crap.”
‘Broken Arrow’ (1996)
After 1989’s career-reviving Freedom, Neil Young had an admirable run in the first half of the ’90s. Then Broken Arrow arrived. Shaken by the death of longtime producer David Briggs, Young and Crazy Horse falteringly recorded the LP over a month, often with no guidance or direction (the first three songs each run more than seven minutes and are little more than aimless jams). An unsteady new era was around the corner.
‘This Note’s for You’ (1988)
After a contentious five-album run with Geffen, Young returned to Reprise for his 16th LP. But he still wasn’t ready to discard the ’80s explorations that marked the decade. The flimsy This Note’s for You, co-credited to the Bluenotes (a horn-based group with other ties to Young’s past), dipped into jump blues music while adhering to a slim conceptual thread about commercialism. At least it contained a minor hit in the title track.
Neil Young made five albums with Geffen in the ’80s, none of them particularly good. But at least most of them have some sort of identifiable tag: synth-pop, rockabilly, country. Life has nothing to single it out. Mostly recorded live with overdubs added later, the Crazy Horse collaboration ended Young’s controversial relationship with Geffen on a sour, but expected, note. Maybe the most easily dismissed LP in his entire catalog.
After more than two dozen years with Reprise Records, Neil Young jumped to the flourishing Geffen label for his 12th album. Nobody expected his first record under the new contract to be a futuristic new-wave LP made with synths and a vocoder altering Young’s voice – especially the label. Young has said he made Trans to communicate with his son, who had cerebral palsy. A year later Geffen filed a lawsuit.
‘American Stars ‘n Bars’ (1977)
Neil Young’s catalog is scattered with albums stitched together from various session sources. For his eighth LP, he collected nine songs recorded over a two-and-a-half-year period, starting in 1974. The results were mixed. The stripped-back country rock made with Crazy Horse on Side One has little connection to the plugged-in fury of “Like a Hurricane,” a mid-decade highlight, and the solo acoustic “Will to Love.” Aimless.
‘Neil Young’ (1968)
Young’s solo debut isn’t terrible, it’s just a letdown after the buzz he generated with Buffalo Springfield. Only a handful of songs (including “The Loner,” fleshed out onstage over the years) make an impression; the rest finds the still-growing singer-songwriter tentatively stepping away from his former band while occasionally tethered to their era-identified folk rock. Better things were to come.
SHORT TAKES — On Wednesday’s Today Show, Carson Daly revealed his first concert ever was Ziggy Marley. And as he and a friend took their seats, it seemed to Daly as if smoke rose from the stage. Daly’s friend said it was happy smoke …
I never heard of Leah McSweeney (another Bravo Housewife), but Tuesday she filed a lawsuit against Andy Cohen. More lurid details for sure. Is Andy this year’s Harvey? I’ll tell you, between Cohen, Puffy and the gals … it’s a huge, huge mess and heads will definitely roll at NBC/Comcast. Stay tuned … Yankee-Bernie Williams is at the Carlyle?
I haven’t heard his music, but this reminds me of Knick-Earl Monroe years back introducing his Pretty Pearl Records. I honestly don’t even remember the artists, but the project came and went pretty quick … Debbie Gibson on the 80’s Cruise with Wang Chung; Escape Club; English Beat; Soft Cell; Air Supply; Ray Parker; Animotion; and Tommy Tutone. Check it out here: https://the80scruise.com/lineup/ …
So sad about Richard Lewis. He used to be a very, very frequent companion to me back in the day at Lorelei on West 58th street. He was always so funny and sweet. A true companion for the naughty 90’s. He’ll be much missed …
Zach Martin interviews 17-old wunderkind Kjersti Long on his NEW HD radio today … Felix Cavaliere and The Rascals at the Patchogue Theater on April 26 and SONY Hall on May 17th … Happy BDay Zach Lloyd; Mitch Ryder; Roy Trakin; and Judy Libow!
NAMES IN THE NEWS — Jacqueline Boyd; Nancy Harrison; Tom & Lisa Cuddy; Jim Kerr; Debbie Gibson; Heather Moore; Roger Friedman; Mark Bego; Melinda Newman; Joe Lynch; Obi Steinman; Felix Cavaliere; Amanda Naylor; Tolouse Bean; Howard Jones; Mark Alpert; Donald Johnson Kyla Nicole; Angela Tarantino;n Barry Fisch; and SADIE!
Like a Goddess Dressed by Erté
That was how Lorna Dallas took over the stage Sunday night at one of the newest cabaret rooms, Chelsea Table + Stage. So regal was she that one wished she had entered via the dramatic curved staircase behind the stage, perhaps with some subtle tinkling on the piano of “Beautiful Girls” from Follies. Well, maybe next time. All that mattered was that she finally arrived, and this long-awaited return was greeted with warm enthusiasm by her fans who filled the room.
Lorna’s quasi-operatic voice served well the composers she honored with loving and intelligent renditions of their music. Sometimes a soul needs just a bit of Ivor Novello to brighten the moment, and Lorna delivered just enough to make us yearn for more. She sang of her delight in dressing up, which led into “Put On Your Sunday Clothes”, a combination no one saw coming. When she mentioned Very Warm for May, the prospect of hearing one of Kern and Hammerstein’s most popular songs from that show, “All the Things You Are”, stirred the heart. But again, Lorna surprised us with a haunting rendition of the other song from that show that seemed destined for greatness “In the Heart of the Dark”.
A visit by the Gershwins in the form of “By Strauss” suited Lorna’s talents well, and she speeded ahead a half-century to Sondheim with his song from the film Dick Tracy “Back in Business” followed by his somber and wistful “In Buddy’s Eyes” and Rodgers & Hammerstein’s “I Have Dreamed”. A fascinating history of the song “Here’s That Rainy Day” from Carnival in Flanders followed, and then, reluctantly, the evening had to end. Lorna delivered so much in such a short time, and yet we all wanted more.
Cabaret enthusiasts know that the names Barry Kleinbort and Christopher Denny are like the Good Housekeeping Seal of Approval on any show with which they are affiliated. Denny supplied is customary skillful piano virtuosity and gentle support, while Kleinbort, in addition to masterful direction, also contributed extra material. Those who recall a time when the word diva had a very positive connotation will agree that Lorna Dallas is one of the few left standing who merit that sobriquet.
Grand Hotel: The 35th Anniversary Original Broadway Cast Reunion Concert at 54 Below
Grand Hotel original cast members Karen Akers, Timothy Jerome, Bob Stillman, David Jackson, David Andrew White, and Walter Willison, reunited last night at 54 Below. Even original bass player Ray Kilday was there.
54 Below was transformed into Berlin’s Grand Hotel for the event. The staging was immersive as Walter Willison, introduced, directed and produced. The choreography (originally done by Broadway legend Tommy Tune, was there celebrating his 85th birthday on Monday night).
Two tango dancers (Michael Choi and Vanda Polakova), circled the room making their way to the stage for “I Waltz Alone.” The concert featured choreography by Michael Notardonato, who also served as associate director.
Willison, who also played Colonel Doctor Otternschlag) kept Maury Yeston’s entire glorious score. “I Want to Go to Hollywood” for example. That number was skillfully sung by Susan Wood Duncan, who played Flaemmchen in the touring cast.
Ken Jennings stepped in as Otto Kringelein, leading the company in a moving “We’ll Take a Glass Together!” was sung in the bar area.
A highlight was Diane J. Findlay
Jennifer Bassey Davis as Elizaveta Grushinskaya, and Akers as Rafaella, were haunting.
Harper Lee Andrews and Susie McCollum played the roles their mothers originated.
On Monday Happy Birthday closed the show to a reprise of “We’ll Take a Glass Together” and thus they did.
Live From The Hotel Edison Times Square Chronicles Presents Maury Yeston and Victoria Clark Rescheduled
I am so pleased to announce that on March 13th we are rescheduling our interview with are two time Tony winner Maury Yeston and two time Tony winner Victoria Clark.
“Live From The Hotel Edison Times Square Chronicles Presents ”, is a new show that is filmed live every Wednesday from 5 – 6 in the lobby of the iconic Hotel Edison, before a live audience. To see our first episode click here second episode click here and for our third episode click here.
Hope you can join us for what will be one fabulous musical night.
A Look At The Vineyard Theatre’s Starry Gala
Photo Patti LuPone and Jesse Tyler Ferguson© Bruce Glikas @bruglikas@broadwaybruce_
Here are photos from the Vineyard Theatre’s 2024 Annual Gala honoring Tony Award-winning actor Jesse Tyler Ferguson (Take Me Out) held Monday, February 26, 2024, at the Edison Ballroom, the festive evening included performances by Sara Bareilles with Rosie’s Theatre Kids, Patti LuPone, Lea DeLaria, Celia Keenan-Bolger and more. Sarah Saltzberg served as host and Hiram Delgado, Bill Heck, Ken Marks, Michael Oberholtzer and Eduardo Ramos paid hilarious tribute to their Take Me Out co-star.
Also attendance to support were Chelsea Clinton, Kevin Cahoon, Crystal Dickinson, Brandon J. Dirden, Brandon Victor Dixon, Renata Friedman, Montego Glover, Michael R. Jackson, Haskell King, Christine Lahti, John Lavelle, Luke Macfarlane, Justin Mikita, Deirdre O’Connell, Hadi Tabbal and Rolanda Watts.
Celebratory toasts were also given to Rosemarie Bray, Educator at Union Square Academy of Health Sciences and Christina Poon, General Manager of W Hotel – New York – Union Square. The Gala will be
The Gala was co-directed by Leigh Silverman (Suffs, Harry Clarke, Sandra) and Colin Hanlon (DOT, “Modern Family”) with musical direction by Vadim Feichtner (Spelling Bee, Falsettos, New Brain).
The Gala host committee includes the Patrick J. Adams, Blavatnik Family Foundation, John Barrie and Betsy Smith, Kathleen and Henry Chalfant, Ken and Rande Greiner, Mark Lerner and Steven Frank, Padma Lakshmi, Sue Marks, Justin Mikita, David J. Schwartz andTrudy Zohn, Annette Stover and Richard Feiner and Julia Vitullo-Martin.Under the artistic leadership of Douglas Aibel and Sarah Stern, Vineyard Theatre develops and produces new plays and musicals that push the boundaries of what theatre can be and do. For over 40 years, The Vineyard has nurtured a community of fearless theatre makers whose work has expanded the form, the field, and the larger culture. Vineyard Theatre has transferred eleven shows to Broadway, seven directly after their acclaimed Vineyard premieres: Lucas Hnath’s Dana H. and Tina Satter’s Is This A Room (both New York Times Best Theatre of 2021); Paula Vogel’s Indecent; Nicky Silver’s The Lyons; Kander, Ebb and Thompson’s The Scottsboro Boys; Bell and Bowen’s [title of show]; and Avenue Q by Marx, Lopez and Whitty (Tony Award, Best Musical). In recent years, four additional shows launched at The Vineyard have been revived in their first Broadway productions: Paula Vogel’s Pulitzer Prize-winning How I Learned to Drive; Lanie Robertson’s Lady Day at Emerson’s Bar And Grill; Becky Mode’s Fully Committed; and Edward Albee’s Pulitzer Prize-winning Three Tall Women. From our home in NYC’s Union Square, The Vineyard develops and premieres new plays and musicals which go on to be seen around the country and the world. Recently, Jeremy O. Harris’ play “Daddy” (2019) received its London premiere at the Almeida; Ngozi Anyanwu’s Good Grief (2018) and David Cale’s Harry Clarke (2017) were recorded by Audible; Branden Jacobs-Jenkins’ Gloria (2014), a finali st for the Pulitzer Prize, transferred to Chicago’s Goodman Theatre; Paula Vogel’s Tony Award-winning Indecent (2016) aired on PBS’s “Great Performances” and was one of the most-produced plays nationwide in 2019; and Oscar Nominee Colman Domingo’s Dot (2016) is being adapted into an AMC series. The Vineyard’s first major digital work, Lessons in Survival, was named one of the top theatrical experiences of 2020 by the New York Times and has been viewed by audiences in more than 40 countries. The Vineyard’s Paula Vogel Playwriting Award, Susan Stroman Directing Award, and Colman Domingo Award provide residencies to early-career artists and our education programs serve over 700 New York City public high school students annually, culminating in Developing Artists’ REBEL VERSES Youth Arts Festival. The Roth-Vogel New Play Commission is awarded annually to a mid to late-career playwright to create and develop a new play with The Vineyard. Our work and artists have been honored with numerous awards including Pulitzer Prizes and Tony Awards, and the company is proud to be the recipient of special Drama Desk, Obie, and Lucille Lortel Awards for artistic excellence and support of artists.
The Glorious Corner
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