Vegas Survival School: The Comedy of How I Ended Up Teaching Tourists And Gambling Newbie's How Not to Go Broke!

 Years ago—back when the old Hilton Sportsbook still had that “vintage Vegas” aroma of cigar smoke, cheap cologne, and crushed parlay tickets—I ran a YouTube gambling show. Every week I’d sit there predicting sports scores like I had a crystal ball (I didn’t) and interviewing professional bettors who made me look like I was still learning how to shuffle a deck of cards!

Shockingly, the show did well. After a few seasons in, a major U.S. publication hired me to ghostwrite gambling content. That’s right—someone actually said, “Let’s pay this guy to talk about betting.” And I said, “Absolutely, before you change your mind.”

Fast‑forward to early 2024. I wandered back into writing about travel and casinos, mostly because I enjoy casino games a little too much. Slots, table games, poker—you name it, I’ll play it. At this point, I’m basically a gamble‑holic writer who loves the action, the stories, and the occasional miracle win that keeps you believing that the universe might actually like you!

I’d post pictures of my slot machine adventures—some wins, some losses, and a few “don’t ask” moments. My publisher saw the photos and said:

“Gary, it’s time you spilled the real secrets. Tourists need help. Beginners need help. Honestly, the casinos need help too.”

And they weren’t wrong.

After decades in Vegas, I’ve collected more insider tips, pit‑boss wisdom, and “you didn’t hear this from me” stories than any sane person should have. I’ve learned how the games work, how the players think, and how the casinos smile politely while taking your money.

So, I struck a deal with a publisher: I’m writing a weekly—or bi‑weekly if I’m not too busy losing at slot machines, 21, or poker—column called "A Gamble-Holic Writer's Guide To Casino Gambling 101." It’s for beginners, tourists, and anyone who wants to walk into a casino and walk out with at least some of their bankroll still alive.

Because at the end of the day, I’m just a guy who loves casino games, loves writing, and loves helping newbies avoid the classic “I lost my rent money, but the buffet was good” disaster.

If my advice helps you win a few chips—or at least lose them slower—then hey, I’ve taught you a thing or two! Maybe!

{My Take}

At the end of the day, I’m just a casino‑loving, slot‑spinning, card‑slinging gamble‑holic writer trying to help the newbies to gambling, and the rookies in Vegas keep their wallets intact. If I can teach even one tourist not to chase a slot machine like it owes them money or convince one beginner that blackjack isn’t played with “vibes,” then I’ve done my job. Stick with me, and maybe—just maybe—you’ll walk out of the casino with more money than you walked in with. Or at least with a good "should a' would a' could a' been a' win story!

Good Luck!

Gary England

The Good The Bad And The Not So Ugly Sides Of Pay To Play In The Music Industry

 A few of my friends in the music business have asked me what I think about Pay to Play.

After a handful of conversations and some research. This is what I came up with.

Pay-to-play is a controversial topic in the music industry, especially in cities like Las Vegas, where competition for stage time is high. Here’s a breakdown of the good, the bad, and the not-so-ugly sides of pay-to-play:

Good Sides of Pay-to-Play

Exposure for Emerging Artists – Provides a chance for new or unsigned musicians to play at well-known venues, potentially gaining new fans and industry attention.

Opportunity to Perform on Big Stages – Some pay-to-play shows take place in venues where artists wouldn’t normally get a shot, allowing them to say they've played at a major club or festival.

Networking Potential – Can lead to connections with promoters, other bands, and industry professionals, which might open doors to better opportunities.

Control Over Performance – Since bands are essentially buying a slot, they sometimes have more control over their setlist, promotion, and guest list compared to being booked by a venue.

Potential for Profit – If ticket sales are handled well, bands can actually make money by selling more tickets than they’re required to buy upfront.

The Bad (And The Not So Ugly) Sides of Pay-to-Play

Financial Risk – Bands may have to front money for tickets they can't sell, leaving them out of pocket.

Devalues Artists – Instead of being paid for their talent, musicians are essentially paying to work, which can set a bad industry standard.

Not Always a Fair System – Watch Out! Some promoters take advantage of eager musicians, charging high fees for little to no real exposure.

Can Lead to Poor Crowds – Since some bands may struggle to sell their required tickets, shows can end up with weak attendance, leading to a disappointing gig.

Hurts Local Music Scenes – It can push out talented but financially struggling artists in favor of those who can afford to pay for stage time, leading to a scene built more on money than skill.

There are more sides and variables to "Pay to Play" in the music industry.

I'll be talking about them in my next blog post.

 

{My Take}

While pay-to-play can offer opportunities, it’s often a risky and exploitative model. Musicians should weigh the potential benefits against the downsides and consider alternatives like building a strong local following, networking with venue owners, or seeking fairer booking deals.

It's all about making money. Right?

But by whose expense?

(To Be Continued)

Comment Below.

GE