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How Gambling Differed In The 20th Century From The One We Have Now



Betting has occurred in some form or another across the documented history of humanity in every part of the planet. Gaming and gambling are a component of our shared cultural legacy as music, folklore, and visual arts. However, although betting has been for as long as humans, there have been tremendous alterations in how and why people bet and cultural views about these behaviours. In a shorter than a century, betting went from being generally prohibited to virtually generally allowed. Many individuals nowadays have no qualms regarding the issue of how to get no deposit free spins in 2022, although their parents may have considered betting unethical. How has wagering culture altered so drastically in such a short time?


For ages, legislators have debated how to regulate betting activity. On the one hand, religious authorities have long denounced wagering and gambling as nasty habits. On the other side, cash may be earned, and state-run raffles have long been employed to replenish the public purse. Taxation on wagering is recorded in ancient literature dating back to the 4th century BC. Around the mid-twentieth era, there were even more concentrated attempts to standardise wagering regulations in both the United States and the United Kingdom. In the US, Nevada was the first to exploit gaming as a tool of financial relief during the Great Depression, paving the way for Las Vegas to become the world’s most recognised betting location.

Unfortunately, within a few years, the city had become associated with criminal organisations, and the link between gaming and vice grew even more substantial. Sports betting, particularly horse and greyhound racing, has historically been the most common in the United Kingdom. A statute was approved in 1960 that legalised several types of betting and allowed licensed wagering establishments to operate for business. High street bookies have now become a fixture in the UK towns and cities throughout the nation. If you are interested in cryptocurrency, then it will be interesting for you to know that Roush Fenway racing first to offer crypto fan tokens in Nascar.


By the start of the 21st century, societal views against wagering remained split and often contradictory. Casinos have been portrayed as sleek, stylish, and sophisticated venues in films such as the James Bond series. A casino, at least for the wealthy, was associated with luxury. That picture contradicted the more common reality. While several European casinos exemplified old-world elegance, most gaming establishments were far from attractive. The glitterati did not frequent bingo halls, racetracks, or betting shops. Casinos in the United States were often dark rooms packed with gambling machines or flamboyant and brilliantly illuminated. The mafia held sway in Vegas until the mid-1980s, when a sustained effort by federal officials ultimately put an end to Mafia participation in casino gaming.

This may be seen as the beginning of a shift in gambling attitudes. As the Mafia connotations lessened and faded, what was previously edgy, potentially alluring, but undeniably licentious, gambling began to become more innocuous in the communal psyche.


Until the turn of the century, existing betting law across the globe, particularly in the United States and the United Kingdom, was more or less fit for purpose. The late 1990s witnessed online casinos’ birth and quick rise, ushering in the following significant change in wagering views. While all types of 1$ deposit casino wagering had gradually grown more socially tolerated over the previous decade, this invention would be a game changer. Whereas wagering was traditionally restricted by geography or social position, internet casinos made it available to everybody. Betting was democratised, and the impact only amplified as internet access expanded. Early regulators and regulating agencies were non-governmental, such as the Kahnawake Gaming Commission, or situated in questionable jurisdictions.


It wasn’t long before the powerful nations understood they needed to take control of the issue. There have been many ways to regulate internet betting globally, but the general trend has been on the same path. Cultural attitudes about gaming have been significantly more permissive than at any other point in the previous century. The United Kingdom, in particular, has pushed into the development of betting culture, introducing the Gambling Act in 2005 and revising it in 2014. Betting and gaming generate around 3 billion British pounds in tax income annually. Gambling corporations dominate advertising during athletic events and post-watershed television, from sports betting to bingo.


For the time term, it seems that wagering is universally allowed as a kind of entertainment and a taxed source of money for authorities all around the globe. While some governments have elected to forego official regulation, for the time being, most rules have recognised that sports betting is here to stay. Despite specific reservations about aspects of online casinos and wagering in general – financial fraud, gambling addiction, and unethical tactics – the overall public’s stance is one of acceptance. Already a multibillion-dollar industry, the pandemic years witnessed an increase in individuals turning to online betting as entertainment.

Accurate data are challenging, although some studies show that roughly a quarter of the world’s population gambles regularly. This is more than it was a few decades ago. Member nations and provinces in the United States and Canada continue democratising sports betting and online betting regulations. Each year, more European countries develop their gaming license and regulate authorities. Some will always see betting as a sin to be avoided, but due to societal shifts, it is now a minority viewpoint. A Gallup survey conducted in 2020 indicated that a record number of Americans – 71 percent – considered wagering a morally acceptable pastime. Such a figure would have been unthinkable not long ago. Also, there is a great mobile apps’ impact on the casino industry.


Gaming has a nasty image, and for a good reason. The drawbacks of betting are well-publicized and may be severe. They are also avoidable and manageable if you know how to wager sensibly.

  • The odds are stacked against you – gaming is economically unsound. Why? Because you are up against the odds. Every gaming establishment has an edge. This is hardly a surprise. It’s a key consideration when weighing the benefits and drawbacks of both online and land-based gaming. The gaming establishment always triumphs, sooner or later. It’s known as the house edge in casinos and symbolises the statistical advantage the wagering establishment has over gamblers. As a consequence, irrespective of how much you win, the house wins more cash in the long term.
  • Money loss – one of the most significant drawbacks of online poker, or any wagering, is that players cannot win every game without losing a few. It is likely to be at large at a wagering establishment, but it is also possible to lose cash. As previously stated, the betting establishment has an advantage over the participants. It is a disadvantage for the participants, but it does not prevent them from wagering, mainly because they recognise that wagering is a game of chance for the most part.
  • Addictive – one of the most severe internet downsides of gambling is the potential for developing a gaming problem. A gambling problem is a decisive impulse control issue that may result in significant alterations in brain function. Those who suffer from this sort of addiction frequently cannot control their need to gamble, despite the consequences to their life. Of course, you may have a gambling issue without going completely insane. Problem gambling is any gambling behaviour that may negatively influence your life.


Ken Fallin’s Broadway: Sarah Paulson in Appropriate



Branden Jacobs-Jenkins’ Appropriate not only got a second extension, but transferred  theatre. Slated to close March 3 at the Hayes Theater, Appropriate will now play a 13-week engagement at the Belasco Theatre, with performances beginning March 25. The strictly limited run will continue through June 23. The reason for the transfer was Paula Vogel’s Mother Play, was already slated to perform.

To read T2C’s review of Appropriate  click here and here.

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Off Broadway

Brooklyn Laundry a Touching and Comedic New York Love Story



John Patrick Shanley’s Brooklyn Laundry is heartbreaking, soul searching and will hit home, especially if your life has not always been a bed of roses. This imperfect love story, is touching as we meet a hardened disillusioned Fran (Cecily Strong), as she enters her local laundromat and meets upbeat owner Owen (David Zayas). The two seem an unlikely match, but opposites attract and these two both desperately need and want love. Owen asks Fran out and she says yes, but first she has to deal with some horrifying problems that are weighing her down.

David Zaya, Cecily Strong photo by Jeremy Daniel

First up her older sister Trish (Florencia Lozano) is dying. The father of her two children is a dead beat dad, so Fran gives of her own life to routinely goes upstate to help out.

When Fran and Owen do go on their date, it takes chocolate magic mushrooms to break the ice. They both have unrealistic versions of their wants and expectations. Fear over sexual performance, commitment and finances in raising children plague Owen. The two hit it off and are looking forward to their next encounter, except Fran’s other sister, Susie (Andrea Syglowski), whose loveless marriage and disable child, are about to make Fran’s burden even heavier. Fran can not catch a break. Even when she stands up for herself she is saddled with responsibility and familial tasks.

Can this connection win over insurmountable odds?

Shanley, also directs. I found this play so real, where you laugh, because if not, tears will come streaming down your face. Right now it seems as if most of our lives are out of control and how you cope, becomes the question of the day.

Each of these actors infuses warmth, humanity and longing for what should, could or will be, that we are right there with them. Zayas and Strong’ have such a palatable chemistry, that you root for the happy ending that may seem more of a miracle.

Santo Loquasto’s revolving set is rather spectacular involving a realistic laundromat, two homes and a beautifully lit  restaurant by Brian MacDevitt.

It seems this is the year of Shanley, with the Off-Broadway revival of Danny and the Deep Blue Sea and the Broadway revival of Doubt, but if they are all like this, count me in for this absorbing 80 minutes fable of love.

Brooklyn Laundry: Manhattan Theatre Club at City Center, 131 West 55th Street through April 14.

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Live From The Hotel Edison Times Square Chronicles Presents Classical/Rock Violinist Daisy Jopling



“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.

You can also see us on





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Broadway To Honor Hinton Battle



Broadway will honor the memory of Hinton Battle, the three-time Tony Award-winning singer/ actor/ phenomenal dancer who was trailblazing. Mr. Battle passed away on January 30, 2024, at the age of 67. On March 12, 2024, the Committee of Theatre Owners will dim all the lights of all the Broadway theatres in New York for one minute at exactly 6:45pm, in his honor.Hinton Battle won three Tony’s and made his Broadway debut at 18,  playing the original Scarecrow in The Wiz.

You can see our tribute here. He was one of the great ones.


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A Sign of the Times Off-Broadway Dreams of the Dawn of a New Day




It’s the dawn of a new day, says A Sign of the Times, the latest jukebox musical that opens itself up to a sweet nostalgia of American postwar at the New World Stages off-Broadway. It’s overflowing with well-known songs from the 1960s, beautifully performed and glowing, with melodies made popular and iconic by Petula Clark, Dusty Springfield, and Lesley Gore. With such a strong playlist at its core, the new musical, created by producer Richard J. Robin (Memphis) with a somewhat contrived book by Lindsey Hope Pearlman (MacGyver the Musical), tries valiantly to stitch together the tale of a young woman, Cindy, played with wide-eyed determination by Chilina Kennedy (Broadway’s Paradise Square) who is trying with all her might to find a different way of living outside the heteronormative Ohio small town community she rings in the new year with. It’s a well-formulated beginning, possibly because of the fine crew surrounding her, especially her two gal pals, portrayed wonderfully by the very talented and funny Alyssa Carol (Broadway’s Bad Cinderella) and Maggie McDowell (Broadway’s Kinky Boots) giving it their all. The two are conflicted, wanting her both to stay and marry her handsome, epic raspy-voiced boyfriend, Matt, played deliciously croon-worthy by Justin Matthew Sargent (Broadway’s Spider-Man…) giving off a dreamy Luke Perry/Dylan vibe in abundance, but they also would love for her to get out of Ohio and follow her photographic dreams in the big city of New York. Like any good friend would.

J Savage, Alyssa Carol, Justin Matthew Sargent, Chilina Kennedy, and Cassie Austin in A Sign of the Times. Photo by Jeremy Daniel.

But the well-strummed “I Only Want to Be with You” proposal, delivered smoothly by Sargent’s Matt, is not enough to hold down the “Who Am I?” questioning for Cindy, and off she goes on an awkwardly tight bus ride to the Big Apple in hope that “Round Every Corner” there might be some morsel of career success. It’s an empowering first chapter to Cindy’s adventure, even with the all too true and too funny apartment hunting shenanigans. Packed in with it all also comes about every culturally significant political movement that existed in those formative years, passively aggressively shoved into this tale of a time and a place in our cultural history. None of which have gone away. It’s a grand attempt, overflowing with issues and meaning, as this musical tries its best to give us another shiny and splashy Hairspray. That comparison, I know is an ‘apples to oranges jukebox’ one, but that show, back in its day, magically and deftly found its way to encapsulate segregation and racism in 1962 Baltimore with originality and musical gold, but unfortunately, with this show’s heavy-handed book, A Sign of the Times doesn’t hold its shape as strongly as that aerosol can of Ultra Clutch was made to do for those dos. Even with all of these stellar songs and performances brought to life at New World Stages.

But the cast of pros can not be held back by this book, as each and everyone delivers those iconic songs with charm, vitality, and style on a slick stage design by Evan Adamson (Le Petit Theatre’s A Christmas Carol) with expert lighting design by Ken Billington (Broadway’s New York, New York), determined and fun costuming by Johanna Pan (Barrington’s James and the Giant Peach), and a solid sound design by Shannon Slaton (Broadway’s Melissa Etheridge: My Window). Their voices ring out infectiously strong, leading us through the chance encounters and “Count Me In” moments that basically “Rescue Me” and everyone around them, particularly Crystal Lucas-Perry (Broadway’s Ain’t No Mo’) as the aspiring singer/quick-change artist Tanya, who even though she was under-mic’d in the first act, still managed to captivate, even when given dialogue that was as corny as Corny Collins. “Something [does] Got a Hold on Me” when she starts to sing, so “why am I dreaming about something else?“.

Crystal Lucas-Perry and Chilina Kennedy in Off-Broadway’s A Sign of the Times. Photo by Jeremy Daniel.

There is also the political activist/protestor and Tanya’s handsome man, Cody, played solidly by the well-voiced Akron Lanier Watson (Broadway’s The Color Purple revival) who tries to engage us and her with the cause. On the other end of that police baton, there is a slimy advertising executive Brian, played true to form by Ryan Silverman (Broadway’s Side Show), who uses his power and privilege to woo the determined Cindy. Yet, even with all those red flags flying, she continues to hold on to her dream of being a photographer, even as we watch her fall for this creepy businessman who charms her into not seeing the ugly blending of professional and personal that is rampant in their workplace and in his demeanor. It’s a stretch of the “Gimme Some Lovin’” imagination to believe Cindy, let alone the more worldly Tanya, can not see clearly through his harassment schtick from that first walk home, but I guess we can relax through this two-and-a-half-hour show knowing that it has to come eventually in this “Five O’clock World” gone wild.

Not even when the old Ohio boyfriend, Matt, whom we are all starting to warm up to a bit more with each Brian/Cindy “Call Me” moment, calls himself asking her to take the “Last Train to Clarksville” before he heads off to Vietnam after getting drafted, does Cindy falter in her dream of photography career success. But it’s hard to quibble about too many hot topics for one show when the cast is having so much fun kicking up their heels to the strong choreography of JoAnn M. Hunter (Mirvish’s Joseph and the Amazing Technicolor Dreamcoat) and her “The Shoop Shoop Song” energy. The playfulness shines when used in the right moments, exemplified in the “The ‘In’ Crowd” party, hosted by the wildly fun, pop artist, cheekily named Randy Forthwall, played joyfully by Edward Staudenmayer (Broadway’s Girl from the North Country) who also adds that same flair to a dozen other minor roles. It is exactly the formula this show needs a whole lot more of and is the bus ride that could bring it success.

Edward Staudenmayer, Melessie Clark, Lena Teresa Matthews, Alyssa Carol, Erica Simone Barnett, Kuppi Alec Jessop, and Crystal Lucas-Perry in Off-Broadway’s A Sign of the Times. Photo by Jeremy Daniel.

Director Gabriel Barre (Broadway’s Amazing Grace) does his best to keep the engine running, but sometimes he stalls it with a few heavy-handed approaches to some bigger issue moments, like Tanya’s “Society’s Child“. It’s touching but somehow too light and in need of a stronger punch, but I also have a feeling that Lucas-Perry could have handled that one all on her own without the dramatization playing out awkwardly over to the side. Yet, once again, the music is what delivers the energy and charm of this piece “Downtown” for our pleasure under the direction of music director Britt Bonney (Broadway’s Camelot) with music supervision, arrangements, and orchestrations by Joseph Church (Broadway’s The Lion King). But as with many jukebox musicals, the songs are the gold here, even when the lyrics only fit marginally into the storyline. The belting and the wildly colorful embodiment of the period are exactly what the piece needs to take it to the finishing line. Not the clumsy overwrought storyline and dialogue, checking as many boxes as one could hope for, that stops it in its soundtracks.

Trying hard to be a whole lot of things to a whole lot of people, Off-Broadway’s A Sign of the Times does find its way to be filled up with a ton of 1960s musical delights, performed wonderfully, all lined up in a row. Unfortunately, it is also a show with a storyline spit out by a computer program to cover all the issues of the time and place (and beyond, maybe “ten years ahead of wherever“) shoved in between and inside the cracks awkwardly. It never really finds its way into the well-balanced heights of its counterpart Hairspray, but it does entertain you well when it embraces the music it wants to share with us. Brad Peterson’s projection design (Off-Broadway’s Broadway Bounty Hunter) tries his best to add dimension and the weight of the decade with his projected photographs of activists and social movement moments, but the energy of the music presented here is really what drives this musical to its destination.

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