Features
It was just one year ago that Rabbi Matthew Leibl entertained a Rady JCC audience with “Oy to the World!”
This article first appeared in the Dec. 23, 2019 issue of The Jewish Post & News. It’s hard to believe, but it was only a year ago that Rabbi Matthew Leibl entertained a packed room of mostly seniors in the Adult Lounge of the Asper Campus with a medley of famous xmas songs – all written by Jewish composers.
By BERNIE BELLAN
Rabbi Matthew Leibl is not your usual rabbi – but he sure can command a room.
With all his considerable talents – as a clever and always witty speaker, as a terrific keyboardist and pleasant singer, and with a range of interests from that go anywhere from Jewish scholarship to sports, Rabbi Matthew can both entertain – and educate, often simultaneously.
It came as no surprise, therefore, that on Tuesday, December 10, 2019, the adult lounge of the Asper Campus was packed – entirely with older adults mind you, who were there to hear Rabbi Matthew give a presentation that was titled “Oy to the World: The Jewish Contribution to Christmas”. (The name of the event itself was a pretty good clue that this was not going to be your typical “drash”.)
It turns out that Rabbi Matthew did do his research for what was to follow. He unveiled a seamless narrative, mixing well-known Christmas songs with stories about their composers, combining everything into a narrative that demonstrated how so many Jews have influenced our modern attitudes to Christmas.
Of course, nothing that Rabbi Matthew does is predictable, so when he greeted the audience with the first few lines of “It’s beginning to look a lot like Christmas”, I would dare say that most of us there were expecting him to reveal that well-known song was written by a Jew.
Aha – gotcha! It was written by Meredith Wilson – most famous undoubtedly for having written “The Music Man” – or, as Rabbi Matthew announced to the audience: “not a Jew”.
The tone was set, therefore, for what would turn out to be an evening of surprises, in which Rabbi Matthew would sing a well-known Christmas song, and then follow the song with what was almost always an unexpected story, either about how the song was written, or about how it came to be universally popular (often when the composer himself thought it would be a flop).
But first, Rabbi Matthew told another funny story about how, as a child, he misinterpreted the name of a well-known Christmas carol: “Hark, the Herald Angels Sing”. To his mind, Rabbi Matthew said, he thought it was a song about his “Zaida Harold” (the late Harold Pollock) – “Hark, the ‘Harold” Angels Sing”.
At that point, Rabbi Matthew launched into playing – and singing, words to a song that just didn’t seem familiar. Here’s what he sang:
The sun is shining, the grass is green
The orange and palm trees sway
There’s never been such a day
In Beverly Hills, L.A
But it’s December the twenty-fourth
And I am longing to be up North
Can you guess that those are the words in the introduction to “I’m Dreaming of a White Christmas”? As Rabbi Matthew explained it, however, we never actually hear the introduction to the song on any of its many recordings – and the image that introduction evokes is hardly one of a “white Christmas”. In fact, time and time again, as we were to learn, songs that have come to conjure up images of snow-lined streets, fireplaces blazing, and other such stereotypical Christmas images, were actually composed in Los Angeles – often during heat waves when various composers were all trying to cool themselves off by imagining cold winter scenes!
In any event, “White Christmas” was composed by Irving Berlin – born Israel Isidore Beilin in 1888 in Russia. A prodigy at an early age, Berlin’s first big hit was “Alexander’s Ragtime Band”. Berlin is considered one of the greatest American songwriters of all time. With so many hits to his name, it’s hard to realize they were all written by the same person. For instance, Berlin also wrote “God Bless America” (in 1938), which was a way for him to show his appreciation for the country that had taken in his family.
“White Christmas”, as Rabbi Matthew told the audience, was originally written in 1940 for the movie, “Holiday Inn”, which wasn’t released until 1942. (The introduction was scrapped when it was sung in the movie.)
The song, however, sung by Bing Crosby, was first played on the radio on Christmas day, 1941. It became an immediate sensation – and the Bing Crosby version went on to sell over 50 million copies, making it the best-selling Christmas single of all time. (Altogether, various different recordings of the song have sold over 100 million copies.)
Not only is “White Christmas” a song that tugged at the heartstrings at a time when America had just been plunged into what would become the second most costly war (in terms of lives lost) after the American Civil War, as Rabbi Matthew explained, it also set two other precedents: It was the first commercial success for a Christmas song and it was the first-ever secular Christmas song.
The song also set the pattern for future composers to follow, in terms of its beat which, as Rabbi Matthew noted, was “A,A,B,A”. “The time repeats, but the words change,” Rabbi Matthew explained.
Having begun with what is undoubtedly the most successful Christmas song of all time, Rabbi Matthew then took a step back in time to play another song that wasn’t really a Christmas song in the sense that it doesn’t mention the name “Christmas” at all, but nonetheless has come to be associated with the Christmas season: “Walking in a Winter Wonderland”, music by Felix Bernard, and written in 1934.
“The words to the song are terrible,” Rabbi Matthew suggested. He gave as an example these lines:
“He’ll say ‘are you married?’, we’ll say ‘no, man’‘
But you can do the job when you’re in town’ “
Moving back to the 1940s again – which turned out to be a most productive decade when it came to composing great Christmas songs, Rabbi Matthew sang “I’ll be home for Christmas”, released in 1943, music by Walter Kent (a.k.a. Walter Kaufman). The song was also first recorded by Bing Crosby.
As with “White Christmas”, this song captured the mood of America, with its famous final line “I’ll be home, if only in my dreams.” At the time, while America was fully at war with Japan in the Pacific, hundreds of thousands of American soldiers were also in England preparing for what would turn out to be D-day the next year.
As it was, there was also quite a bit of controversy attached to “I’ll be home for Christmas”, as another composer, by the name of “Buck Ram” (whose name I can’t help but think would be great for a male porn star), claimed he had met Walter Kent and lyricist Kim Gannon at a bar, where he had given them a copy of the song. His name was eventually added to the record label as a co-writer and he received royalties.
The next song on Rabbi Leibl’s list was “Chestnuts Roasting on an Open Fire” (or as it is actually titled, “The Christmas Song”), music by Mel Tormé (whose name was really Tormé!). As I noted at the beginning of this article, this was one of those songs written in L.A. during a torrid summer heat wave.
Rabbi Leibl quoted Mel Tormé as having said this about his song: “It was not one of my favourites, but it was my annuity!” The song is also noteworthy for being the first song ever to drop the name “Santa Claus” into it. (Boy, you have to wonder what Christmas would be like if so many Jews hadn’t fashioned its modern-day image.)
Keeping with the theme of heat waves, the next song was also written in the same 1945 heat wave that engulfed Los Angeles: “Let it Snow”, lyrics by Sammy Cahn, music by Jule Styne.
Here are some comments made by Rabbi Leibl about the song: They (the composers) were trying to think cool thoughts…there’s no mention of Christmas…the song appears at the end of “Die Hard” – one of the two greatest Christmas movies ever made (the other being “Home Alone”). You can kind of get a sense of the era in which Rabbi Leibl grew up by his loving references to the 1980s.
As with every other song he played during the evening, the next one was accompanied by a very amusing anecdote.
The song was “City Sidewalks, Silver Bells” – written in 1951 by Jay Livingston (
born Jay Levison) (music) and Ray Evans (lyrics) – both Jewish. The duo also went on to write “Que Sera Sera” – which is probably the first song I myself ever remember from a movie.
“Silver Bells” was originally called “Tinkle Bells”, Rabbi Matthew explained, but when Jay Livingston went home to his wife and told her that he and Evans had composed a song called “Tinkle Bells”, her reactions was: “Are you crazy? Do you know what ‘tinkle’ means?” (Actually, a reference to Wikipedia expands upon Rabbi Matthew’s story. Apparently, Jay Livingston didn’t know what his wife was talking about: “Of course, Jay and Ray had never heard it used in that way. ‘Tinkle’ (for ‘pee’) is a woman’s term. As Jay said in the act that they used to do, ‘When I was a boy, I said “Pee-pee”. Come to think of it, I STILL say “Pee-pee’”, only more frequently’.”
In any event, the song title was changed to “Silver Bells” – and although it was first sung by William Frawley (who went on to play Fred Mertz in “I Love Lucy”), it was made famous when it was recorded by Bing Crosby in 1950.
Forward to 1962 – and the Cuban Missile Crisis. (Where’s this going, you’re probably wondering?) Rabbi Leibl told a story about someone named Gloria Shayne who, when she was growing up, happened to live next door to a family by the name of Kennedy (as Gerry Posner would say, “as in John Fitzgerald Kennedy’ ”).
Gloria Shayne and her then-husband, Noël Regney, wrote the song, “Do You Hear What I Hear?” as a plea for peace. Something else that set this song apart from every other song Rabbi Leibl sang that evening, as he noted, was that it was the only one that mentioned the name “Christ”.
Many of you reading this might remember the “Andy Williams Show”, which was popular in the 1960s. But, did you know that the song “It’s the most Wonderful Time of the Year” was written for that show? It was written in 1963 by Sydney Pola (born Sidney Edward Pollacsek) and George Wyle (born Bernard Weissman, also famous for composing the theme song to “Gilligan’s Island”, a very important show for Rabbi Leibl’s parents’ generation). By the way, although I was taking copious notes during this very important lecture, I have had to resort to Googling a good portion of the information you’re reading here. I can’t imagine how much work Rabbi Matthew put into putting together his song list. He really should do his show again; I’m sure it would attract an even bigger audience next year.
Next, we were told we’re going to hear songs by “the greatest Christmas composer of all time!” But, what about all the songs we just heard? Who could top some of those songwriters?
It turned out that it was Johnny Marks. Here’s an excerpt from Wikipedia: John David Marks (November 10, 1909 – September 3, 1985) was an American songwriter. Although he was Jewish, he specialized in Christmas songs and wrote many holiday standards, including “Rudolph, the Red-Nosed Reindeer” (a hit for Gene Autry and others), “Rockin’ Around the Christmas Tree” (a hit for Brenda Lee), “A Holly Jolly Christmas” (recorded by the Quinto Sisters and later by Burl Ives)” and even more.
While Rabbi Leibl told one story after another about each of the above songs, he really outdid himself when he told the story how “Rudolph the Red-Nosed Reindeer” came into being. The story goes that Marx’s sister was married to a guy by the name of Robert Ray.
Ray was working for the department store Montgomery Ward, working as a low-level copywriter. Although Rabbi Leibl described what happened in great detail, it’s such a beautiful story that I thought I’d quote extensively from the Wikipedia article describing how the song came into being:
Sometime in the 1930s, May moved to Chicago and took a job as a low-paid in-house advertising copywriter for Montgomery Ward. In early 1939, May’s boss at Montgomery Ward asked him to write a “cheery” Christmas book for shoppers and suggested that an animal be the star of the book. Montgomery Ward had been buying and giving away coloring books for Christmas every year and it was decided that creating their own book would save money and be a nice good-will gesture.
May’s wife, Evelyn, had contracted cancer in 1937 and was quite ill as he started on the book in early 1939. May “drew on memories of his own painfully shy childhood when creating his Rudolph stories.” He decided on making a reindeer the central character of the book because his then four-year-old daughter, Barbara, loved the deer in the Chicago zoo. He ran verses and chapters of the Rudolph poem by Barbara to make sure they entertained children. The final version of the poem was first read to Barbara and his wife’s parents…
In 1948, May’s brother-in-law, Johnny Marks, wrote (words and music) an adaptation of Rudolph. Though the song was turned down by such popular vocalists as Bing Crosby and Dinah Shore, it was recorded by the singing cowboy Gene Autry. “Rudolph the Red-Nosed Reindeer” was released in 1949 and became a phenomenal success, selling more records than any other Christmas song, with the exception of “White Christmas”.
And with that, the entire audience joined in the singing of “Rudolph the Red-Nosed Reindeer.” All that was needed to cap off the evening was for everyone to adjourn to The Shanghai (which, alas, is no longer) – and which, Rabbi Leibl recalled, was where his family always used to go for Christmas.
Next on the list of off-beat stories for this paper: A scholarly dissertation on David Steinberg’s famous line that almost got him thrown off the Smothers Brothers Show for good: “Let’s put the ‘Ch’ back into Chanukah – and the ‘Christ’ back into Christmas.”
You can watch a compilation of Rabbi Matthew singing popular xmas songs here: https://www.youtube.com/watch?v=bWyZ1djqxaI
Features
A Half Century of Calumny at the UN
By HENRY SREBRNIK For the past half-century, the United Nations’ Committee on the Exercise of the Inalienable Rights of the Palestinian People (CEIRPP) has worked to delegitimize the State of Israel by amplifying Palestinian efforts to depict the Jewish state as a “colonial” and “apartheid” regime. The Palestinians are the only people to have such a dedicated propaganda organ inside the United Nations, while Israel is the only UN member state to face such attacks.
The Committee is the child of that notorious day, November 10, 1975, when the UN General Assembly passed Resolution 3379, equating Zionism with “racism.” The General Assembly also passed Resolution 3376, which created CEIRPP. In subsequent years, further resolutions expanded CEIRPP and provided it with greater resources. A UN report from 2024 shows that financial resources dedicated to servicing CEIRPP specifically stand at $3.1 million per year.
The language of Resolution 3379 encapsulated the antisemitic themes of Soviet and Arab propaganda. In his address to the General Assembly opposing Resolution 3379, Israel’s then-UN ambassador, Chaim Herzog, remarked that the draft was being debated on the 37th anniversary of the Nazi pogrom known as Kristallnacht, adding that Nazi dictator Adolf Hitler would have welcomed the proceedings.
While that resolution was ultimately rescinded in 1991, CEIRPP continued to carry out its work, promoting the ideas at the heart of the Zionism-is-racism resolution, with its call for “the elimination of colonialism and neo-colonialism, foreign occupation, zionism, apartheid and racial discrimination in all its forms.”
Within two years of the committee’s creation, its work and mission became further entrenched within the internal UN bureaucracy. On December 2, 1977, the General Assembly passed Resolution 32/40 (B), authorizing the creation of a “Special Unit on Palestinian Rights,” which would serve the committee by “preparing studies and publications” devoted to both Palestinian rights and the United Nations’ own efforts in that regard. This included the announcement of the annual observance of November 29, the anniversary of the United Nations General Assembly 1947 passage of Resolution 181 to partition Palestine, as the “International Day of Solidarity with the Palestinian People.”
The “Special Unit” created through Resolution 32/40 (B) grew into an entire Division for Palestinian Rights (DPR) in 1979, housed within what is now known as the Department of Political and Peacebuilding Affairs. The DPR’s current role includes planning and servicing the committee’s various meetings in New York and internationally, maintaining an online database known as the United Nations Information System on the Question of Palestine.
The CEIRPP is presently composed of 25 member states and 24 observers, the vast majority non-democratic countries in the Global South. Of these, 23 are Muslim countries. Observers include the League of Arab States and the Organization of Islamic Cooperation.
The committee works in five areas: promoting Palestinian self-determination, advocating for an “immediate end” to Israel’s control of territories conquered during the 1967 war, mobilizing international support, liaising with UN bodies on the Palestinian question, and working with civil society organizations and parliamentarians to advance the Palestinian cause. While the committee does not directly impact the foreign policy of member states, it influences policy discussions and provides anti-Zionist NGOs with access to UN diplomats, staff, and financial resources.
In addition to the CEIRPP, there are several other UN bodies solely dedicated to the Palestinian cause. Created to provide humanitarian aid to Palestinians displaced by the 1948 Arab-Israeli war, the UN Relief and Works Agency (UNRWA), a billion-dollar agency with 30,000 employees, expanded its roster from an initial 750,000 to 5.9 million by embracing a uniquely expansive definition of refugees. It is the only refugee agency dedicated to one particular group. All others come under the aegis of the Office of the United Nations High Commissioner for Refugees (UNHCR). Israel estimates that as 25 per cent of UNRWA employees belong to terrorist organizations. Some were found to have not only supported but directly participated in the October 7 Hamas attacks.
The position of the Special Rapporteur on the Occupied Palestinian Territories was launched by a resolution in 1993, and its occupant reports on the human rights situation in the territories. In July 2025, the United States announced sanctions against the present rapporteur, Francesca Albanese, accusing her of having “spewed unabashed antisemitism.” Albanese’s activities are supported by staff from the UN human rights office, at an estimated cost of $500,000 a year.
Launched in 1968, the Special Committee to Investigate Israeli Practices has produced annual 70-page reports, with legal analysis and recommendations on Israel’s alleged violations, summaries of Palestinian testimonies, and collections of statistics. Composed of Malaysia, Senegal, and Sri Lanka, and staffed out of the UN human rights office, the Special Committee also conducts regular field missions, including to Amman, Cairo, and Damascus. It has a mandate to investigate only alleged Israeli abuses. Its reports include unsubstantiated allegations, such as claims that Israeli excavations undermine the structural foundations of the Al-Aqsa Mosque on Jerusalem’s Temple Mount.
Also since 1968, the World Health Organization (WHO) has maintained an agenda item dedicated to scrutinizing Israel’s health record at the annual meetings of the World Health Assembly, its decision-making body. Israel is the only state to face such an agenda item.
In 2024, the UN General Assembly adopted 164 resolutions on Israel and 84 on all other countries combined. From 2006 through 2024, the UN Human Rights Council adopted 108 resolutions against Israel, 44 against Syria, 15 against Iran, eight against Russia, and three against Venezuela.
Meanwhile, the anti-Israel machine goes on without pause. Yet another UN commission of inquiry on Israel, headed by Navi Pillay, on Oct. 28 presented a report accusing the Jewish state of genocide. This body was initiated by the Arab and Islamic states at a special session that they convened at the UN Human Rights Council in wake of the May 2021 Hamas-Israel war. It was tasked with examining the “root causes” of the conflict, including Israel’s alleged “systematic discrimination” based on race. Instead of the usual one-year term for such inquiries, the investigation of Israel was made perpetual — it has no end date.
So while most people focus on the attacks on Israel launched regularly both in the UN General Assembly and Security Council, behind the scenes an entire bureaucracy is engaged in slandering and defaming the world’s only Jewish state. This relentless campaign takes its toll and serves to continually paint Israel as a uniquely malevolent nation worthy of elimination. We have seen the fruits of these labours since October 7, 2023.
Henry Srebrnik is a professor of political science at the University of Prince Edward Island.
Features
Streaming-only households are growing in Canada
More and more Canadians are cutting the cord and relying exclusively on internet-delivered video. Fresh industry data indicates streaming-only homes are approaching three in then households, while the share with no cable or satellite subscription hit roughly 46% in 2024, clear signs of a decisive shift toward SVOD and free ad-supported streaming.
Cord-cutting crosses a new threshold
The long-running trickle of cord-cutting has become a stream. Convergence Research’s latest “Couch Potato” outlook estimates that 46% of Canadian households had no cable, satellite or telco TV subscription in 2024, up four percent from 2023, with the figure projected to rise further in the next few years. Trade coverage of the same report underscores the trend: OTT revenues rose an estimated 15% in 2024 as traditional TV subscriptions continued falling. While individual timelines differ by source, the trend is the same: legacy TV is shrinking fast as Canadians rebuild their viewing stacks around apps.
At the same time, streaming is not only near-universal but increasingly standalone. Media in Canada reported “nearly three in 10” households are streaming-only, relying on online sources instead of cable bundles. It’s a trend we’ve seen in other fields as well, such as casino games, where people are more interested in the online alternatives instead of landbased sites. Thus, digitalization is not a TV-thing only, but a general trend in the country. Young adult Canadians are even more onboard on this trend, accelerating the generational hand-off from channel guides to connected-TV home screens.
Regulatory and market signals reinforce the shift as well. In June 2024, the CRTC required large online streaming services to contribute 5% of their Canadian revenues to support local news and domestic content. Major platforms challenged certain aspects of the framework, but the new contributions regime, according to reports, should add roughly C$200 million annually to the ecosystem.
What’s driving streaming-only growth
Three intertwined forces explain why this change keeps advancing. First come value and flexibility: with household budgets under pressure, Canadians are more selective about which services they keep year-round. MTM’s 2024/2025 read shows people are “streamlining” their subscriptions, maintaining one or two anchors and rotating others around tent-pole releases, while filling gaps with free ad-supported TV and platform freebies.
Technology and habit formation have an important role as well. The app grid on a smart TV has replaced the channel guide for many households; game consoles and streaming sticks have made it trivial to jump between different streaming apps. Once viewers get used to on-demand navigation, reverting to fixed-time channels feels limiting, especially for younger audiences that were born with immediacy and personalization.
Content economics are nudging straggles online too. Rights for premium series and more live sports are flowing to digital, thanks to options like NBA Pass, F1 TV Pro, and others. As subscription TV revenues are declining, broadcasters and distributors are experimenting with slimmer linear tiers, hybrid bundles that pair broadband with streamer discounts, and ad-supported options that meet price-sensitive households where they are. The result is a feedback loop: as more content and better prices accrue to streaming, more households find they no longer need traditional TV packages at all.
Features
Exploring how to earn money in Tongits Go and GZone Tongits: Rewards and Myths
Tongits stands out as one of the most iconic card games in the Philippines, fusing fun, excitement, strategy, and social interaction. Spanning generations, this traditional game has remained a staple during family gatherings and leisure moments, bringing people together with its engaging mechanics. The emergence of mobile platforms such as Tongits Go elevated the experience further, offering Filipino players the opportunity to enjoy the thrill of the game anywhere and anytime. Alongside this advancement, however, a recurring question floods online forums: “Can I and how to earn money in Tongits Go? ”
Understanding the answer requires separating myths from facts surrounding Tongits Go, as well as examining alternatives like GZone Tongits, which brings competitive gameplay and tangible rewards into the picture.
Tongits Go: Digital Entertainment Rooted in In-Game Progress and Rewards
The appeal of Tongits Go lies in its seamless ability to deliver the essence of the traditional card game in a digital format. Widely accessible on mobile devices, the app continues to attract thousands of players seeking entertainment and lighthearted competition. However, misinformation about its ability to provide real monetary benefits stirs confusion, with claims linking how to earn money in Tongits Go to GCash as a source of cash withdrawals.
Myth: Real Money Withdrawals Are a Tongits Go Feature
Tongits Go is designed purely as an entertainment-centric platform. It operates as a digital space for online casino rather than an e-wallet or online casino. While players can earn in-app rewards such as Gold and Gostars, these hold value only within the game environment. Gold is primarily used for joining tables, competing in tournaments, and unlocking gameplay options. Gostars, meanwhile, are accumulated through completing daily missions or participating in special events. Occasionally, Gostars may be redeemed for prepaid loads or promotional digital vouchers, but these opportunities are infrequent and offer minimal monetary value.
Contrary to false claims about Tongits Go online acting as a money-making platform, there is no system in place for converting virtual winnings to genuine cash. The promotion of such statements often stems from unofficial or unreliable sources, heightening the need for player vigilance in protecting their personal information against scams.
Fact: In-Game Achievements Enhance the Fun Factor
How to earn real money in Tongits Go account rewards players through engaging in-game challenges that foster personal growth and development without monetary stakes. Tools such as the Battle Pass system, tournament leaderboards, achievement rewards, and daily missions help players track their progress and compete against others for prizes such as additional Gold and Gostars.
This approach motivates participants to focus on enhancing their gameplay skills and sharpening their strategies, contributing to a vibrant community atmosphere built on friendly competition.
Promoting Safe Play and Caution
How to earn real money in Tongits Go emphasizes ethical and responsible practices by encouraging players to moderate their time spent on the app. The developers position the game as a platform for relaxation and recreation rather than profit generation, warning users to remain alert against external claims promising “real cash withdrawals.” Ensuring safe and responsible play remains a cornerstone of Tongits Go’s philosophy.
GZone Tongits: Navigating Competitive Gameplay with Genuine Rewards
For players seeking higher stakes, GZone Tongits stands out as a viable alternative. Unlike Tongits Go, which functions purely as an entertainment platform, GZone Tongits combines skill-based gameplay with tangible rewards. As a PAGCOR-licensed platform adhering to Philippine online casino regulations, GZone guarantees fair competition, transparency, and a safe player experience.
Real-Time PVP Competitions
Unlike casual apps, GZone Tongits incorporates Player vs. Player (PVP) matchups where individuals compete against other real players rather than AI opponents. This format introduces a dynamic and unpredictable element to each round while maintaining familiar mechanics rooted in traditional Tongits online gameplay.
Several variations of how to play Tongits are offered through GameZone Tongits, catering to diverse player preferences. Tongits Plus sticks closely to the original Filipino rules, preserving cultural authenticity. Tongits Joker introduces Joker cards, adding new layers of challenge and strategy. Tongits Quick, on the other hand, is a streamlined, fast-paced version suited for shorter play sessions. With flexible table levels ranging from Newbie to Master, the platform accommodates players of all skill levels, fostering an inclusive environment.
Legal Regulation and Verified Rewards
Game Zone Tongits sets itself apart through its legal framework, which guarantees its credibility across game transactions. As a PAGCOR-certified online casino platform, it abides by strict regulatory guidelines, ensuring fairness, transparency, and security for every player involved in competitions. Key events, such as the prestigious ₱10,000,000 GameZone Tablegame Champions Cup (GTCC)—the Philippines’ first Tongits e-sports championship—offer significant rewards to top-performing individuals, elevating the competitiveness of the game.
Unlike Tongits Go, GZone Tongits creates earning opportunities that are verified and legitimate. The presence of regulated payout systems ensures real-value rewards for players, making competition profitable without compromising integrity.
Smart Reward Structures and Responsibility in GameZone casino
GameZone Tongits supports an ecosystem that rewards players strategically while promoting responsible practices. Features such as daily and weekly rebates return percentages of wagers to players, creating avenues to continually reinvest and optimize their play experience.
VIP levels unlock better rewards and exclusive access to high-stakes tables for loyal players, while regular tournaments and leaderboard placements recognize skill and consistency, offering tangible prizes and acknowledgment. Tools for establishing spending limits and setting playtime boundaries enable players to engage responsibly, reinforcing GameZone’s commitment to moderation and sustainability.
Exploring Tongits Platforms Based on Player Preferences
Tongits Go provides a welcoming space for casual gamers seeking entertainment, social connections, and lighthearted play. Its focus on digital rewards, such as prepaid loads and promotional incentives, keeps gameplay enjoyable without monetary pressure. Those who prioritize relaxation and shared laughs often gravitate toward Tongits Go as the ideal choice for convenient online casino experiences.
Meanwhile, GameZone online Tongits appeals to competitive enthusiasts ready to immerse themselves in tournaments offering real-world prizes. Its elevated gameplay merges professional standards with Filipino tradition, providing guaranteed payouts alongside thrilling matchups. GameZone Tongits delivers a regulated environment perfect for individuals looking to combine play skills with tangible rewards.
Preserving Filipino Tongits Culture Through Modern Play
The allure of Tongits transcends generations, blending strategy and camaraderie to create an experience steeped in Filipino tradition. Digital platforms such as Tongits Go and GameZone slot adapt this beloved pastime to modern online casino preferences, catering to players from varied backgrounds and interests. Whether pursuing casual engagement or competitive achievements, the game retains its heart through its ability to build connections and challenge players to think intelligently.