Provides a historical perspective for understanding the exponential growth of casinos in the United States since 1990, by telling the story of Atlantic City, New Jersey since the 1970s. This work uses oral history to focus on the human stories of the region in addition to the broader story of economic and social impacts.

An anthropologist looks at the new "crack cocaine" of high-tech gambling Recent decades have seen a dramatic shift away from social forms of gambling played around roulette wheels and card tables to solitary gambling at electronic terminals. Slot machines, revamped by ever more compelling digital and video technology, have unseated traditional casino games as the gambling industry's revenue mainstay. Addiction by Design takes readers into the intriguing world of machine gambling, an increasingly popular and absorbing form of play that blurs the line between human and machine, compulsion and control, risk and reward. Drawing on fifteen years of field research in Las Vegas, anthropologist Natasha Dow Schüll shows how the mechanical rhythm of electronic gambling pulls players into a trancelike state they call the "machine zone," in which daily worries, social demands, and even bodily awareness fade away. Once in the zone, gambling addicts play not to win but simply to keep playing, for as long as possible—even at the cost of physical and economic exhaustion. In continuous machine play, gamblers seek to lose themselves while the gambling industry seeks profit. Schüll describes the strategic calculations behind game algorithms and machine ergonomics, casino architecture and "ambience management," player tracking and cash access systems—all designed to meet the market's desire for maximum "time on device." Her account moves from casino floors into gamblers' everyday lives, from gambling industry conventions and Gamblers Anonymous meetings to regulatory debates over whether addiction to gambling machines stems from the consumer, the product, or the interplay between the two. Addiction by Design is a compelling inquiry into the intensifying traffic between people and machines of chance, offering clues to some of the broader anxieties and predicaments of contemporary life. At stake in Schüll's account of the intensifying traffic between people and machines of chance is a blurring of the line between design and experience, profit and loss, control and compulsion.

The Wiley-Blackwell Handbook of Disordered Gambling is a complete guide to the current empirical literature relating to the conceptualization, assessment, and treatment of disordered gambling. The international contributors are all experienced, practicing clinicians who discuss gambling within a global context. Best-practice guidelines for the clinical management of problem and disordered gambling Contains empirically derived findings that translate research into practical clinical applications that clinicians and counselors can use in understanding and treating problem gamblers Brings together a distinguished international group of scholars whose contributions discuss gambling as it occurs around the globe Clearly organized into sections that cover conceptualization, research, assessment, treatment, and special topics

Mark Griffiths has carried out extensive research into why some adolescents get hooked on gambling, how they gamble and what can be done about it. In this book he provides an overview of adolescent gambling worldwide.

The transformations of the Strip—from the fake Wild West to neon signs twenty stories high to “starchitecture”—and how they mirror America itself. The Las Vegas Strip has impersonated the Wild West, with saloon doors and wagon wheels; it has decked itself out in midcentury modern sleekness. It has illuminated itself with twenty-story-high neon signs, then junked them. After that came Disney-like theme parks featuring castles and pirates, followed by replicas of Venetian canals, New York skyscrapers, and the Eiffel Tower. (It might be noted that forty-two million people visited Las Vegas in 2015—ten million more than visited the real Paris.) More recently, the Strip decided to get classy, with casinos designed by famous architects and zillion-dollar collections of art. Las Vegas became the “implosion capital of the world” as developers, driven by competition, got rid of the old to make way for the new—offering a non-metaphorical definition of “creative destruction.” In The Strip, Stefan Al examines the many transformations of the Las Vegas Strip, arguing that they mirror transformations in America itself. The Strip is not, as popularly supposed, a display of architectural freaks but representative of architectural trends and a record of social, cultural, and economic change. Al tells two parallel stories. He describes the feverish competition of Las Vegas developers to build the snazziest, most tourist-grabbing casinos and resorts—with a cast of characters including the mobster Bugsy Siegel, the eccentric billionaire Howard Hughes, and the would-be political kingmaker Sheldon Adelson. And he views the Strip in a larger social context, showing that it has not only reflected trends but also magnified them and sometimes even initiated them. Generously illustrated with stunning color images throughout, The Strip traces the many metamorphoses of a city that offers a vivid projection of the American dream.