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Slots: Where it all began

Slots are a staple in both land-based and online casino establishments and have a fascinating history that spans over a century.

From their humble beginnings as mechanical devices to their transformation into sophisticated online games, Slots have continually evolved with the technology advancements, to bring us games such as Gold Cash Freespins, and so many more.

Below, we explore the origins of Slots and their journey into the digital age.

The birth of the slot machine

The first slot machine, Liberty Bell, was invented in 1895 by Charles Fey, a San Francisco-based mechanic. This early machine featured three spinning reels and five symbols: hearts, diamonds, spades, horseshoes, and the Liberty Bell, after which the machine was named.

The Liberty Bell slot offered an automatic payout for matching three symbols, with the highest prize being awarded for three liberty bells.

Fey’s invention became immensely popular and laid the foundation for the future of slot machines. The simple yet effective gameplay amassed a wide audience, and the automatic payout mechanism made it a revolutionary device in the gaming industry.

The evolution of mechanical Slots

As slot machines grew in popularity, so did their complexity. In the early 20th century, manufacturers began to produce machines with more reels and a greater variety of symbols, increasing the potential combinations and payouts.

The fruit symbols we often associate with classic Slots—cherries, lemons, plums, and the BAR symbols—were introduced during this time. These symbols originated from a time when slot machines dispensed chewing gum as prizes, with each fruit representing a different flavour.

The first major advancement in slot machines came in 1963 with the introduction of the Money Honey by the manufacturing company Bally. This was the first fully electromechanical slot machine, which operated with electrical components rather than purely mechanical ones.

This innovation allowed for larger payouts and the introduction of features such as multiple paylines and more sophisticated game mechanics.

The rise of video Slots

The next significant leap in slot machine technology came in the 1970s with the development of video Slots.

The first video slot, known as Fortune Coin, was introduced in 1976 by a company called Fortune Coin Co. These machines replaced the physical reels with a video screen, allowing for a much greater variety of game themes and features. Video Slots quickly gained popularity, and by the 1980s, they were a common sight in casinos.

The move to video Slots also paved the way for the introduction of Random Number Generators (RNGs). This technology ensured that each spin was entirely random, making the games fairer and more reliable than their mechanical predecessors.

The advent of online Slots

The late 1990s saw the dawn of online casinos and, with them, the birth of online Slots.

The first online Slots were simple adaptations of their land-based counterparts, featuring basic graphics and gameplay. However, as technology advanced, so did the complexity and variety of online Slots.

They quickly became a favourite among players due to their convenience, accessibility, and the vast array of themes and features they could offer. Advanced graphics, animations, and sound effects were introduced.

Additionally, introducing progressive jackpots, where a portion of each bet contributes to a growing prize pool, added another layer to online slot gaming.

Modern online Slots

Modern online Slots offer many bonus features, including free spins, multipliers, and interactive mini-games, making them much more than just a game of chance. Developers continually push the boundaries of what’s possible, creating innovative gameplay mechanics.

Dreams, Fashion, and Cultural Fusion: A Deep Dive into Kaii Shuyu Zhou’s Latest Collection, FLAME BANE

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This summer, the fashion world has been ignited by the name Kaii Shuyu Zhou. Her latest collection, FLAME BANE, has set the fashion scene ablaze, much like the fiery hues that dominate its designs. Praised by Nasty Magazine as “A fierce dance melts the chains of conformity. In a liberating purge, chaos transforms into rebirth,” this collection is not just about its striking red and black contrasts, but also about the rich cultural undertones and dreamlike artistry that have made it one of the most talked-about fashion events of the season.

Illustration by Kaii Shuyu Zhou

The inspiration behind FLAME BANE stems from a dream Kaii had, where she found herself trapped in a confined space, face-to-face with monstrous beings bearing cold, sharp horns. These creatures, claiming to be born from the essence of humanity, emerged from a pitch-black spring, whispering of the inherent evil within all people—echoing Hobbes’ philosophy that humans are naturally solitary and violent. These complex emotions, like shadows following light, are an inseparable part of human destiny. The beasts, though shunned by society, are vibrant and powerful, symbolizing the primal drive within us all. The monsters’ scaly, sharp skin embodies the raw, untamed instincts that define human desire. These scales, like a protective layer, reveal the primal urges hidden deep within, symbolizing the liberation of desires and the fusion of human nature, sexuality, and the instinct for self-preservation.

The monsters within Kaii’s heart represent the entanglement of desire and fear, revealing a buried truth: acknowledging and accepting our inner darkness is the first step toward true self-understanding. As Nietzsche once said, only by confronting the abyss within ourselves can we discover the stars hidden in its depths.

Illustration by Kaii Shuyu Zhou

In her dream, Kaii felt society’s gaze like swords piercing her body, pinning her to an inescapable reality. Her soul struggled in this abyss, seemingly controlled by an invisible force that bred a profound love-hate relationship with her own flesh. The bright red lines, like flowing blood, symbolize her inner fervor and passion. Her soul, like a volcano on the verge of eruption, nurtures a monster that longs to scream, howl, and pierce the void within others. Yet, her body and soul are already scarred, filled with wounds too deep to heal. In this chaotic world, Kaii’s response is a mix of screams and hysterical laughter, drowning in the vortex of love and desire. The contorted limbs in her illustrations depict a struggle between endless pain and pleasure, showcasing the most primal instincts of human nature. The sharp scales in her designs symbolize the cutting edge of desire, intertwined with the cruelty of humanity.

This series of compelling 2D illustrations vividly captures the fierce spirit of the creatures from Kaii’s dream. Though renowned as a fashion designer, Kaii’s talent as an illustrator is equally formidable. Her sharp, incisive brushstrokes successfully bring the terrifying beauty of her dreams to life on paper, laying a solid foundation for this collection. However, Kaii’s true brilliance lies in her ability to transform these sketches into wearable art.

FLAME BANE 
Photography: Zaccheo Zhang
Fashion & Styling: Kaii Shuyu Zhou 
Makeup & Model: Brooke Beaulieu

In FLAME BANE, Kaii introduces a groundbreaking design technique that elevates fashion to a new level. She ingeniously wraps tape around herself and her models, drawing directly onto the tape. This process transforms the human body into a living canvas, allowing her to design garments with perfectly clean edges that seamlessly adhere to the body. This method not only reflects Kaii’s meticulous attention to detail but also showcases her bold creativity and exceptional talent. By using this innovative approach, Kaii successfully brings the creatures from her dream into the real world as garments with a unique, wearable quality. Each piece reflects her distinctive design perspective and deep understanding of art. FLAME BANE is not just a collection of clothes; it is an extension of art and an exploration of the human soul.

This groundbreaking technique transcends traditional fashion design, exploring a deeper interaction between clothing and the human body. Kaii’s approach challenges conventional design frameworks, blending personal emotion and artistic expression into her process. FLAME BANE is thus more than just a collection; it’s an exploration of the human psyche, a journey from dream to reality, an artistic extension, and a daring adventure of the soul.

Through this collection, Kaii not only redefines the boundaries of fashion design but also provides new ideas and inspiration for future innovations. The dramatic color palette of FLAME BANE plays a significant role in its impact. Deep reds, symbolizing the lifeblood of humanity, evoke passion and intensity. “Red is the color of life, energy, and raw emotion,” Kaii explains, emphasizing the visceral impact of this hue on the collection. Metallic silvers introduce a futuristic sheen, creating a striking contrast with the vibrant reds, while neutral whites and grays offer balance, adding depth and sophistication. The glossy crocodile-embossed leather further enhances the textures, mimicking the flow of blood and human tissues, making each piece visually and tactilely compelling.

FLAME BANE 
Photography: Zaccheo Zhang
Fashion & Styling: Kaii Shuyu Zhou 
Makeup & Model: Brooke Beaulieu

The breakthrough nature of FLAME BANE has already caught the attention of renowned stylists, who are now in discussions with Kaii to feature her creations on celebrities at major events. FLAME BANE not only pushes the limits of contemporary design but also invites a deeper exploration of the dreams and cultural forces that shape our perceptions of fashion.

Kaii Shuyu Zhou continues to solidify her visionary status in the fashion world, blending luxury with primal elegance in a way that is uniquely her own. Through FLAME BANE, she challenges us to confront the darkness within ourselves, transforming it into a source of beauty and strength, and in doing so, redefines the very essence of modern fashion.

Victoria Monét and Usher Team Up for New Song ‘SOS’

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Victoria Monét and Usher have joined forces for a new song, ‘SOS (Sex on Sight)’. Produced by Camper, the track is lifted from the upcoming deluxe edition of Monét’s 2023 record Jaguar II. Check it out below.

“‘SOS (Sex on Sight)’ is about desire,” Monét explained in a statement. “It’s about the urgency you feel when you need some love, physical touch, and quality attention! Sometimes that desire can feel as urgent as being rescued from a natural disaster, or, in this case, rescued from your own sensual urges. Just like a storm, ‘SOS’ summons and forewarns a lover of the rainfall that is to come and welcomes the beautiful relief from that desire. It feels romantic, playful, sultry and direct. Based in fantasy and the warmest tones of R&B. It feels timeless, and we hope you enjoy the escape!”

Unraveling the Layers of Identity: The Complex World of Yongqi Tang’s Art

Born in China in 1997, Yongqi Tang is a rising star in the contemporary art scene, currently living and working in Seattle, WA. With an MFA in Painting and Drawing (2022) and a BA in the same field (2019) from the University of Washington, Tang’s work has been widely recognized in both solo and group exhibitions across the globe. Her pieces have graced the walls of prestigious venues such as Le Scalze in Naples, Jupiter Contemporary in Miami, T293 Gallery in Rome, and Specialist Gallery in Seattle, among others. Tang’s accolades include the Artist Trust GAP Award (2023), Bernie Funk Artist Scholarship (2022), and the Puget Sound Group of Northwest Artists Scholarship Award (2022). Her works have garnered attention from prominent publications, including New American Paintings, Whitehot Magazine, and Art Maze Mag.

Exploring the Theater of the Self

Yongqi Tang’s art stands out for its profound exploration of postmodern subjectivity, particularly how fragmented social identities and diverse cultural backgrounds influence the perception of self. Drawing inspiration from the classical traditions of Renaissance and Baroque figure painting, as well as from films and literature, Tang creates a nuanced “theater of the self.” Her paintings often capture figures in mid-action, pulling viewers into scenes that offer ambiguous commentaries on multicultural identity, epistemic certainty, and the immigrant experience. 

Temporal and Cultural Juxtapositions

A key feature of Tang’s work is her consideration of temporality within her imagery. Her paintings are a mosaic of cultural and historical references, drawing from sources as varied as Dunhuang grotto murals, Italian Renaissance art, and global cinema. For instance, in her recent exhibition “Eros/Thanatos” at Le Scalze, Naples, Tang juxtaposed scenes from the film “Love Streams” with the mythological narrative of Apollo and Daphne, and depicted contemporary figures within classical imagery. By overlapping and layering forms that suggest movement and simultaneity, Tang’s paintings explore multiple realities and create a complex, multi-temporal narrative.

Eros/Thanatos: Love is Stream, 2024,91 by 106 inches, oil on canvas, Image courtesy of the artist and T293, Rome. 
Photographer: Daniele Molajoli

In “Strange Tales: The Painted Wall,” for example, the same figures reappear in various locations within the painting, inviting viewers to trace their duplicates across different moments in time. Through these fragmented identities, Tang opens a space for times, memories, and resonances to coexist in her work.

Strange Tales: The Painted Wall, 2023, 72 by 216 inches, oil on canvas. 
Photographer: Mario Galluci

The Dialectic of Meaning and Self-Recognition

“Eros/Thanatos,” a standout exhibition at Le Scalze, Naples, Italy, featured five site-specific paintings, each engaged in a dialogue with its counterparts. These works provoke a dialectic on what constitutes our sense of meaning and self-recognition. The exhibition’s title references Freud’s concept of the eternal struggle between the life and death instincts, with Tang delving into deeper questions such as whether true well-being can be achieved through intimacy and how we perceive ourselves in the absence of a stable anchor. The central theme revolves around the tension between our inherent drive for value and the impossibility of ever fully satisfying it.

Installation view of “Eros/Thanatos” at Le Scalze, Naples, Image courtesy of the artist and T293, Rome. 
Photographer: Danilo Donzelli

Looking Forward: The Open Venus

Currently a resident at the Fountainhead Residency program in Miami, Tang is preparing for her next solo exhibition, “The Open Venus,” set to open in October at Latitude Gallery NY. This new body of work promises to continue her exploration of the personal narrative, focusing on the depiction of open flesh and damaged bodies, further pushing the boundaries of contemporary art.

Yongqi Tang working at her Fountainhead studio, courtesy of Fountainhead Residency
Photographer: Martina Tuaty

Yongqi Tang’s work vividly captures the intricate layers of identity, culture, and time, transforming her paintings into more than just visual art—they become profound intellectual journeys. Each piece she creates invites viewers to question their understanding of self and their connection to the world around them. As she continues to push the boundaries of her artistic practice, Tang’s work promises to stay at the cutting edge of contemporary art, consistently offering fresh perspectives and deeper insights into the complexities of human existence.

Mikray Tursun’s “She Came from Xinjiang” — A Multifaceted Work of Cultural Transmission and Artistic Exploration

Uyghur artist Mikelayi tuerxun(Mikray tursun) recently brought her immersive theater piece, “She Came from Xinjiang,” to the London stage, marking the debut of a purely Uyghur production in the city. This performance, which Mikray not only wrote, directed, and produced but also starred in, represents a remarkable achievement in cultural transmission and artistic expression. Despite the many successes of this work, there are certain areas where the production could benefit from further refinement.

Self-Written, Self-Directed, Self-Produced: The Challenges and Triumphs of a Multifaceted Artist

Mikray Tursun’s role in “She Came from Xinjiang” goes far beyond that of the lead actress. As the sole writer, director, and producer, she single-handedly took on the challenge of bringing this complex work to life. This all-encompassing involvement required a tremendous level of dedication and skill, and Mikray rose to the occasion. From the initial concept to the final performance, she was deeply involved in every aspect of the production. This multi-role engagement ensured a cohesive vision and style throughout the play, giving the audience a work that is both personal and culturally rich.

The Fusion of Singing, Dance, and Language Expression

Mikray’s performance in “She Came from Xinjiang” showcases her versatility in singing, dance, and language. She performed traditional Uyghur songs a cappella, a challenging feat that requires impeccable pitch, rhythm, and emotional depth to captivate the audience without instrumental support. Although most of the audience did not understand Uyghur, Mikray’s solid vocal skills and profound emotional expression transcended language barriers, conveying the stories and emotions embedded in each song. Her voice, at times gentle and at others powerful, varied in tone and intensity, giving each song a unique vitality.

In her dance performances,Mikray demonstrated exceptional stage control. She employed a variety of spinning techniques, moving gracefully between the stage and the audience, which enhanced the immersive experience of the play while showcasing the beauty of traditional Uyghur dance. However, this close interaction with the audience presented certain challenges. The limited stage space occasionally led to obstructed views for some audience members, which detracted from their overall experience.

Additionally, all of Mikray’s lines were delivered in English, her third language.  This is a big challenge for me! She said.

Her pronunciation was nearly flawless, with little to no trace of an accent. Although some subtle differences from a native British accent might have been noticeable, this did not detract from her overall performance. Instead, her multilingual abilities added a unique charm to her portrayal, showcasing her dedication to her craft and her exceptional linguistic talent.

Innovative Integration of Multimedia Elements and the Challenges of Immersive Experience

“She Came from Xinjiang” also stands out for its bold exploration of multimedia elements in an immersive theater setting. Mikray utilized innovative stage design and video projections to create a culturally immersive environment for the audience. The multimedia elements enhanced the visual experience and deepened the cultural context presented in the play. However, while these video segments added richness to the production, their insertion occasionally felt abrupt, disrupting the flow of the narrative and momentarily breaking the audience’s immersion. This highlights an area for future improvement in seamlessly integrating multimedia with live performance to maintain emotional continuity.

Success as a Producer and Areas for Further Refinement

From a producer’s perspective, Mikray’s achievement with “She Came from Xinjiang” is multifaceted. She successfully brought Uyghur cultural elements to a British audience, creating a powerful fusion of artistic expression and cultural transmission. She’s doing all the work for the whole play by herself was marked by a high level of professionalism, ensuring the cohesiveness and continuity of the production. As an independent producer, Mikray’s ability to bring such a culturally deep and artistically beautiful work to an international stage is commendable.

However, Mikray recognizes that there is room for growth. Despite her bold attempts to incorporate multimedia elements and immersive theater, there remains a need to refine how these components interact with the overall production. Additionally, the finer points of language expression and audience interaction could benefit from further polish, ensuring that every viewer enjoys a fully integrated visual, auditory, and emotional experience.

Author’s Perspective: The Power of Cultural Transmission and the Future of Art

From my perspective, “She Came from Xinjiang” is not only a milestone in Mikray Tursun’s artistic career but also a successful display of Uyghur culture. In an increasingly globalized world, the value of cross-cultural exchange cannot be overstated. This play represents an important step in introducing Xinjiang culture to British audiences, and the positive response from viewers affirms the necessity and impact of such cultural transmission.

However, future artistic endeavors should focus more on refining the details and ensuring a holistic audience experience. Balancing cultural transmission with artistic expression will be an ongoing challenge for Mikray and other artists engaged in cross-cultural creation. While this work serves as a strong example of cultural exchange, expanding its impact will require continued exploration of how to seamlessly integrate these cultural elements into a global context.

Mikray Tursun’s “She Came from Xinjiang” is a work imbued with artistic ambition and cultural significance. Through her multidimensional performance and innovative production techniques, she successfully introduced the unique charm of Uyghur culture to the British stage. As an independent producer, Mikray has not only achieved remarkable success in artistic expression but also made significant contributions to cultural exchange and cross-cultural dialogue. Looking forward, as technology and art continue to converge, Mikray is poised to deliver even more profound and cohesive theatrical experiences to audiences worldwide.

Bad Moves Share Video for New Single ‘Outta My Head’

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Bad Moves have released a new single, ‘Outta My Head’, taken from their forthcoming LP Wearing Out the Refrain. The accompanying video was directed by David Combs, Benjamin Epstein, Guillan Leonardo, and Kate Sweeney, and features appearances by comedians Margaret Cho, Josh Gondelman, and Chris Gethard, as well as musicians Cheekface, Martha, Suzie True, and Chris Farren. Watch and listen below.

Wearing Out the Refrain will be released on September 13 via Don Giovanni Records. It includes the previously shared tracks ‘New Year’s Reprieve’, ‘Let Rats Inherit the Earth’, and ‘Hallelujah’.

Sex Week Share Video for New Song ‘Naked’

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Ahead of the release of their self-titled debut EP on Friday, Sex Week have shared one more single, ‘Naked’. It follows earlier cuts ‘Toad Mode’, ‘Angel Blessings’, ‘Cockpit’, and ‘Kid Muscle’. Check it out via the accompanying video below.

“’Naked’ is about two people with their own insecurities hoping to see and be seen beyond superficial expectations,” the Brooklyn duo explained in a statement. “The word naked isn’t so literal as it is more the idea of being vulnerable, and wanting to share that vulnerability with someone. Hoping that by being open, someone will in return accept you for who you are. Then, if you’re lucky, they’ll be open about their own insecurities and you can return the favor. Everyone deserves to feel love and be naked in their own way.”

Purest Form Drop New Song ‘Burn’

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Purest Form – the Los Angeles trio featuring vocalist Story Beeson (Choking on Ash, Vacant Future), guitarist-programmer Madison Woodward (Fury, Object of Affection), and bassist Riley Joyner (Roman Candles, Pocketknife) – have put out a new song called ‘Burn’. It arrives on the heels of their self-titled debut EP, which came out earlier this year. Check it out below.

“We have a burning fantasy to set fire to a complacent retroactive society,” Beeson said in a statement. “Start new. Start present. See things for what they are and destroy corrupt and evil monoliths of war.”

Adrian Younge Announces New Album Featuring Snoop Dogg, Bilal, and Stereolab’s Laetitia Sadier

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Adrian Younge has announced a new LP, Linear Labs: São Paolo, arriving November 15 via his own Linear Labs. The compilation features one unreleased song from various forthcoming albums Younge has produced for the label, including collaborations with Snoop Dog, Stereolab’s Lætitia Sadier, Brazilian actress/singer Samantha Schmütz, Middle-Eastern singer Liraz, London-based jazz vocalist ALA.NI, and soul singer Bilal. Check out the first single ‘Esperando por Você’, a preview of the upcoming Something About April III, below.

“For the last 30 years, I’ve studied rare and obscure records in an attempt to become the most unique producer in the world,” Younge said in a press release. “A world where I create music with no expiration date…a vortex where the composers of yesterday and today sonically meet to discuss the way that hip hop has informed modern ears…essentially, my music is for the heads. This is São Paulo!”

Linear Labs: São Paolo Cover Artwork:

Hemlock Ernst (Future Islands’ Samuel T. Herring) Enlists ELUCID for New Song ‘Remains’

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Hemlock Ernst, the rap project of Future Islands frontman Samuel T. Herring, has shared a new single from his upcoming album Studying Absence. ‘Remains’, which features Armand Hammer’s ELUCID, follows lead cut ‘Raised in the South’. Check it out below.

Recorded with producer Icky Reels, Studying Absence is set for release on October 16 via Tygr Rawwk Rcrds. “With Hemlock Ernst, I tend to work over soul and jazz break type beats,” Herring said in a press release. “Icky Reels’ production was a far more industrial and acidic landscape. I knew this would be more of a cerebral process, breaking down the beats, challenging the rhythms, finding the voices. But I decided to accept the challenge.”