Thursday, October 01, 2020

Book News: Leatherface vs. Tricky Dick: ‘The Texas Chain Saw Massacre’ as Political Satire

Not long ago I appeared on The Poker Zoo podcast to talk about my book Poker & Pop Culture as well as other things concerning the state of the game today. It was a fun conversation covering a lot of topics, including the history and current state of poker blogs.

Near the beginning of the show I gave a quick summary of how this blog came about and where it fit into the larger story of poker blogs circa 2006. I talked about how blogs began to fade away, particularly after Black Friday (April 2011) when this big, global online "community" of poker players to which we all belonged suddenly became fractured, especially from the perspective of those of us in the U.S.

I persisted with Hard-Boiled Poker, however, continuing to post every weekday for another five years or so, then still posting quite frequently after that before slowing down to begin working in earnest on Poker & Pop Culture.

As we talked about on the podcast, writing P&PC is what really more or less moved me off the blog, as I didn't have the time or mental fuel to write about poker both for the book and here. (And the book is a monster, by the way -- 432 pages, 160,000 words.) As I have noted here before, I can't help but view Poker & Pop Culture as kind of a culmination of my poker writing, bringing together a lot of what I was sharing here on the blog and elsewhere over 12 or so years of writing about the game.

I was eager after that to write about something not poker. I had another novel in mind, and in fact was starting to work on it when the novel coronavirus emerged to distract. But by then I already had a different project in the works... and extra motivation, too, thanks to a deal with a house to publish it.

That book is now finished and in "pre-production," you might say. Editing, proofing, formatting, etc. The current schedule has it coming out either end of 2020 or early 2021.

I mentioned the book at the end of another enjoyable interview I did for Club Poker a while back. When mentioning the book there I suggested that with my next project I had decided to follow the "pop culture" path rather than the "poker" one.

In the past, starting a few years before my poker writing, I did some more "academic" writing while teaching full-time. Some of that writing was about horror films, and I placed articles in a few different publications including Film Literature and the Journal of Popular Culture. One of those articles was about The Blair Witch Project. Another concerned The Stepfather and its relationship to an episode in Dashiell Hammett's The Maltese Falcon.

Another focused on Halloween III: Season of the Witch and modern horror franchises, more generally speaking. If you're curious what I say in that article, here is a post I wrote for another blog that explains it a bit. You can also check the Wikipedia page for H3 to see a reference to one of the arguments I make in that article.

For a time I was considering a book-length project about horror movies. However that was around the time poker stepped in to create a big life detour that included leaving that idea to the side.

Readers of the blog know I've also had a significant interest in poker-playing presidents, in particular Richard Nixon who earned a lot of space in the "Poker in the White House" chapter in P&PC. Several years ago I began teaching a second American Studies class at UNC Charlotte that focuses on Nixon alongside my "Poker in American Film and Culture" class. In fact, for a while I thought I might write a short book about Nixon, examining his strange and remarkable political career through the lens of his poker playing.

I tell you all of that to help explain how I ended up spending a good part of the last year writing this new book, one that combines my interest in horror films and in Richard Nixon. The book focuses on the 1974 film The Texas Chain Saw Massacre, and the title gives a good idea of the book's approach:

Leatherface vs. Tricky Dick: 'The Texas Chain Saw Massacre' as Political Satire.

The idea for Chain Saw first came to director Tobe Hooper near the end of 1972. The film finally premiered on October 1, 1974 (46 years ago today). In other words, the movie was conceived, written, shot, edited, and ultimately premiered exactly as the Watergate scandal unfolded, with Nixon resigning (and getting pardoned) shortly before the first audiences got to see Chain Saw.

Over the years Hooper in interviews frequently made reference to the film's many social and political subtexts, including directly citing Watergate as having "inspired" Chain Saw. His partner and co-writer Kim Henkel has also made reference to the filmmakers' awareness of the contemporary political context when making the movie. Meanwhile the film itself includes many moments and details that further encourage a reading of the movie as a kind of commentary on Watergate, if you can stop being frightened enough to notice them.

My book does a deep dive into those details, providing a minute-by-minute analysis of the movie in order to explore its numerous political messages, many of which pertain to Watergate.

I don't argue away other interpretations of the film, or deny other intentions of those who made Chain Saw (including the primary one to scare the hell out of you). Nor do I suggest the film presents a consistent, ongoing "allegory" of Watergate, although I do often liken Leatherface and his murderous family to Nixon and all the president's men.

It was a very fun book to write, and I'm hopeful readers will enjoy it when it appears. I think fans of Chain Saw should like it, as should those interested in presidential politics and political satire. Speaking of the latter, I delve quite a bit into other examples of Watergate satire along the way (other films, books, columns, comedy records) as I show how Chain Saw also takes a similar, indirect and (darkly) humorous approach in its criticism of Nixon and his administration.

For a film that has been picked over as much as Chain Saw, I do think I was able to cover some new ground with my analysis and comparison of the film to the political horror show happening while it was being made. I also hope the book helps readers understand just how villainous a character Nixon was, and how at the time the film premiered it wasn't at all outrageous to compare him to a mask-wearing, chainsaw-wielding maniac. 

I will be sharing more details here soon regarding a publication date for Leatherface vs. Tricky Dick and how to get it. I also look forward to sharing the fantastic cover created by my publisher, Headpress, which is a scream. Stay tuned!

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Tuesday, March 17, 2020

The Reality Crisis

I am a sucker for apocalyptic fiction.

I think it has something to do with having been a teenager during the 1980s, the last decade of the Cold War when it occasionally seemed genuinely possible an errant spy plane or some skirmish thousands of miles away could erupt into flat-out nuclear war. At least that’s what all those movies very convincingly suggested in ways that lodged permanently into a certain suggestible teen’s still-forming noggin’.

I’m talking about films like The Day After, Testament, Threads, Countdown to Looking Glass, Special Bulletin, When the Wind Blows, Miracle Mile, By Dawn’s Early Light and others belonging to the “here’s what it would be like” or “here’s how it could happen” categories. More fanciful stuff like Mad Max, WarGames, and Red Dawn also kept the possibility firmly foregrounded. Even silly titles like Spies Like Us used the potential of nuclear confrontation between the Soviets and America as a ready situation for the comedy.

When it comes to nuclear nostalgia, the “Duck and Cover” kids hiding under their desks during the 1950s tend to be referenced more often than whatever it was the children of the 1980s were experiencing as Reagan and Gorbachev’s brinkmanship waxed and waned.

Maybe it was just me, but when growing up it often felt like I was “overhearing” that conversation taking place among adults, us kids being mostly excluded from it all. That is to say, I have no memories of being addressed directly about any of it. No one seemed to be delivering specific warnings to me about fallout shelters, stockpiling two-week supplies of food and water, and other ways to Protect and Survive.

But the movies created an impression. So did books like Brave New World, The Plague, Nineteen Eighty-Four (which I first read in 1984), Day of the Triffids, Fahrenheit 451, On the Beach, The Stand, and the like. I’ve revisited a lot of these in recent years, while picking up others like Alas, Babylon, Z for Zachariah, and Swan Song. I’ve gone back to most of the movies, too, being drawn to them no doubt because of that early exposure (pun intended).

Besides Poker & Pop Culture, I’ve written a couple of novels, and in fact over the last couple of years have spent odd hours here and there plotting and writing early chapters of a third novel which unlike the first two is most certainly apocalyptic fiction.

What I have plotted out kind of follows a similar trajectory as the nuclear war stories in that it begins with an event that affects everyone in a detrimental way, only in my story what happens next is great uncertainty and debate about the event itself (among other conflicts).

That’s kind of abstract, I know, but I’m loathe to be more specific. Especially at this moment, when the real world has unexpectedly provided us with its own version of an order-disrupting, destructive event.

Perhaps because of this particular obsession interest, I started following the news out of Wuhan in the Hubei province of China relatively early on. This weekend I checked my history to see I first searched “coronavirus” on January 25, although I am sure I was reading articles about the then burgeoning outbreak a week or two before. In any case, I definitely followed it each day since, although like others here in America who were similarly doing so it seemed safely distant and thus less immediately concerning.

Don’t get me wrong. It was real and intensely horrific in its details, but thanks to the distance as well as China’s robust control of information about what was happening, it also all seemed well out of reach. Or that we seemed well out of reach, depending on how you look at it.

It wasn’t as though America was ignoring it, though. Starting February 2, foreign nationals (aside from immediate family members of U.S. citizens and permanent residents) who had been in China at any point during the previous two weeks were prohibited from entering the U.S. And anyone coming from Hubei would be quarantined two weeks as well.

I watched the numbers of cases and deaths in China rise and rise, then appear to settle a bit. I heard about the case in Washington reported on January 21, a man who had been to Wuhan. We reached the last days of February with there still only being 15 cases reported in the entire country, not counting ones contracted by Americans who were aboard the Diamond Princess cruise ship docked in Japan (and who were eventually flown back to the U.S.).

All of the cases were in Washington and California aside one each in Massachusetts, Wisconsin, and Texas. None had been reported for the last two weeks. And there were zero deaths. Yet.

I’d like to say I had grown more concerned, being relatively well informed and all as I was. But it wasn’t until Sunday, March 1 that I can say I realized that COVID-19 had arrived in earnest.

Two new cases in Washington had been reported the day before on Saturday, as was the first death. That was Leap Day, February 29. Both were from the same county as the original case in January. However neither of the individuals had been to China, nor had they had any contact with the original patient or with each other. They appeared to be examples of “community transmission,” a phrase and concept with which we have become familiar in the days since.

The next day came a report that researchers examining the virus genomes of both the first confirmed case from January and one of the two new ones found that the latter one was almost certainly descended from the former. A comparison of the genetic sequences revealed both contained a rare variation, almost unique among the nearly 60 samples of the virus they had been sent from China.

What did that mean? It meant that the two cases, despite being separated by six weeks and zero contact between the patients, were almost certainly linked. Further study of the sequences’ similarities enabled the researchers to estimate a range of 150-1,500 people might have been part of the chain of folks who passed it from one to the other, with the most likely range around 300-500.

Hundreds of people, undetected, each becoming a new node from which more (tens? hundreds?) could emanate. That got my attention. I started buying meds and food.

Ten days later we’re all watching basketball and readying for a prime time statement from the Oval Office. There would be a ban on “all travel from Europe to the United States for the next 30 days,” we learned amid mean-spirited shots implying Europe’s culpability for our misfortune. There were additional measures, uncertainly read from the teleprompter and, as it turned out, either inaccurate or not real at all. There were more mistakes and/or misrepresentations than would seem possible in a 10-minute address (never mind one of such consequence), although we wouldn’t know about that until later.

The response was called “the most aggressive and comprehensive effort to confront a foreign virus in modern history.” The virus itself was being strangely characterized as though it were an invading enemy. Or a threat from abroad. It seemed a better fit for one of those movies mentioned above, not for the actual, real crisis.

The speech was unsettling -- not just for its content (as remarkable as it was), but also in the way it provided evidence further confirming a severe lack of leadership.

The short speech had just concluded when we learned Utah Jazz player Rudy Gobert had the virus. Then that Tom Hanks had it. Then that the NBA had suspended its season. All within minutes. Suddenly it felt a little like 9/11 after the Pentagon was hit. What next?

Well, the shutting down of just about everything else was next, for starters. The market spiraling ever downward. More dire news both here and abroad. And deteriorating faith in leadership, with “I don’t know anything about it” (regarding the elimination of the government’s pandemic response team two years ago and not replacing it) and “I don’t take responsibility at all” (regarding the unpreparedness and slow response to providing testing) now destined to become captions describing this moment in our history.

Way, way back in the day -- like eight weeks ago -- I remember the impeachment trial. Do you? Long time ago, I know. And before that other debates involving our current government that often took the form of one side trusting in available, concrete evidence and the other believing in what appeared an entirely alternate reality unfettered by facts.

I remember referring to what was happening as a “reality crisis,” and noticing some others do the same. Many were still accepting objective, provable facts as a guide for our actions and decisions, but there was a surprisingly large percentage of people who were otherwise informed and thus unwilling to accept such evidence at all.

That crisis was frankly the theme I had thought to pursue in my fictional book, with the event itself actually causing havoc by disturbing our ability to comprehend what exactly had happened. Thus the early part of the book would cover the event and immediate effects, then the rest carry things forward to show how the different ways of interpreting the event created different factions opposed to one another and fighting for control over the present and over how we would view the past.

Again, sorry to be so abstract. But hopefully you can see how the story was inspired by this “reality crisis” that has been produced by American politics of the last three years, and how somehow we arrived at a place where a large percentage of us have chosen to believe a fictional version of reality over the real thing.

This divide has often been mistakenly labeled “partisanship,” but that is misleading in that it suggest traditional differences of opinion or even ideology. It isn’t a political disagreement, it’s an existential one.

Now the reality crisis is affecting the way Americans are responding to the spread of COVID-19, with those already accustomed to denying reality comfortably continuing to do so. An NPR/PBS NewsHour/Marist poll conducted last Friday and Saturday by and released today shares evidence that supports this observation.

In fact, the poll includes one question directly asking people what they think is real:

“Do you think the coronavirus is a real threat or blown out of proportion?”

Just 56% of adults responded to say they believed COVID-19 was “a real threat,” with 38% saying it was being “blown out of proportion.” That in itself is jawdropping, as anyone who has paid any attention at all to what is happening in other countries and how quickly the spread of the virus and the devastation it causes has taken place should think otherwise.

The reality crisis can be seen in the party identification of respondents -- 76% of Democrats think the threat is real, while only 40% of Republicans do. Meanwhile more than half of Republicans -- 54% -- think the crisis is being overblown, while 20% of Democrats do.

It gets more incredible. This question also appeared on a previous poll taken on January 31 and February 1, when Americans had just begun to hear about what was happening in China and the first travel restrictions were being announced.

Then the overall percentage of adults who thought the threat was real was 66% -- in other words, higher than it is today. In fact, both parties are represented similarly in the earlier poll, with 72% of Republicans and 70% of Democrats saying it is a real threat.

You read that correctly. At the time the earlier poll was taken, there were eight U.S. cases reported and zero deaths. Today there have been nearly 4,700 cases reported and 88 deaths. And today fewer Americans believe the threat is real.

What happened over the intervening six weeks? A lot of downplaying of COVID-19. This effort to make the threat seem less severe (or not “real”) has come from many different sources, but I think anyone who has read this far knows who the most important influencers have been.

Here is the bottom line, though: Those who don’t believe the virus is a real threat are themselves a real threat -- not just to those of us who do, but to everyone.

Not believing in COVID-19 literally makes it stronger. That’s reality.

I’m reminded of a scene from The Day After that takes place about two-thirds of the way into the film, after the bombs have been dropped.

A Missouri family living on a farm has holed up in their basement to avoid being exposed to radioactive fallout. A college student who was trying to hitchhike home when the attack occurred finds the home and the family takes him in. Some days later the older daughter, driven stir crazy by the situation and anxiety over her fiancé, crazily runs out of the house and the hitchhiker goes out to get her.

Surrounded by dead farm animals, he tries to convince her that being outdoors is extremely dangerous. The threat is real.

“You can’t see it. You can’t feel it. You can’t taste it,” he says. “But it’s here. Right now. All around us.”

There are a lot of people in this country and elsewhere who need to be told this, and somehow convinced to believe it.

My novel has been on hold for a while, in part because Poker & Pop Culture got in the way but also because I now have another nonfiction book with an early summer deadline that I need to finish first. Whether or not I’ll be enthused to return to it in June or July is uncertain, given how likely it is that by then reality will have made the fiction I was imagining seem much less interesting. The “novel coronavirus” is challenging the novel, too.

Meanwhile my wife and I are both staying at home on the farm and plan to remain put for as long as is necessary. That means I might well be posting here again from time to time, too. By the way, the photos accompanying this article are from a few months ago and feature one of our fantastic “barn cats,” Nancy, who is equally adept at drama and comedy. (Click ‘em to embiggen.)

Let’s all do our best to stay in touch here, online, for the time being -- with each other, and with reality.

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Friday, June 07, 2019

Book News: Poker & Pop Culture Now Available!

Checking in again to let everyone know my book Poker & Pop Culture: Telling the Story of America’s Favorite Card Game is now out! No more preordering and waiting... order it today and you’ll have it right away.

I received some author copies a short while back, and earlier this week I got a copy of the e-book from D&B Poker as well. Here is a short video that provides a glimpse of both -- take a look:

Valerie Cross also wrote a nice piece about me and the book for PokerNews last week. Check it out: “Martin Harris Shares Inspirations for New Book ‘Poker and Pop Culture.’

Right now you can order the paperback from Amazon, and I imagine the e-book version is going to show up there soon as well. Meanwhile both the paperback and e-book can be ordered at the D&B Poker site. In fact, if you get the e-book from D&B, we’ve added a special bonus “appendix” that includes a list of “The Top 100 Poker Movies” with summaries, memorable quotes, and links to the films’ IMDB entries. (The appendix won’t be included with the e-book if you get it on Amazon.)

Also coming in the near future will be an audio book. Last month I spent many hours in a studio recording the book, and before too long that ought to start showing up as well both on the D&B site and Amazon.

Here are some places online where I’ve found you can buy the book:

  • D&B Poker
  • Amazon
  • Apple Books
  • Books-A-Million
  • Barnes & Noble
  • Book Depository
  • Target
  • ThriftBooks
  • Poker & Pop Culture is also on sale right now at the D&B Poker booth at the World Series of Poker there in the halls of the Rio. I’ll be heading out there next week for a visit, and I’ll surely spend some time hanging out there at the booth, too.

    As I say in the video (and have talked about here on the blog), the book provides both a history of poker and a history of how poker has been represented in American popular culture -- i.e., movies, television, music, fiction, drama, plays, literature, and so on. Thus the book not only tells you when and where and how poker has been played over the last two centuries, but also when and where and how poker has been portrayed, too, and how those portrayals have influenced opinions about poker and the game’s significance to America.

    There to the left is a picture of the list of the book’s chapters. It took me a while to settle on this way of organizing the book, and in fact once I did I had this piece of paper posted by my desk -- kind of a way to keep that “bird’s eye view” before me as I wrote.

    As you can see, each chapter covers a particular place where poker can be found, with that idea being applied broadly to refer to locations in history (e.g., the Old West, the Civil War, etc.), in media (movies, television, music), in society (business, politics), in time (the past, the future) and in literal locations (homes, clubs, casinos).

    The book is roughly chronological, starting with poker’s origins and ending with discussions of the game in contemporary contexts. But what I’ve really tried to do is create a kind of “geography” for poker with each chapter highlighting a different place for the reader to visit where poker exists. That includes real places, made-up ones, and many combining fact and fiction.

    It’s a pretty complicated story, really. One theme that emerges fairly quickly in the book is how poker occupies this very paradoxical place in America as a game both beloved and condemned. There are just as many examples in popular culture of poker being romanticized and celebrated as there are examples of it being censured and demonized.

    I’m not really an unrelenting “cheerleader” for poker in the book, having chosen instead to try to be somewhat objective as I chronicle and interpret all of these examples of poker from American history and culture. That said, I think just by writing a book like this I’m obviously taking the position of someone who thinks the game is worth studying and of historical importance.

    It’s definitely satisfying to have reached this point in the book-making process. Of course, there’s also that difficult sense of “letting go” while knowing I might have said more, or said things differently -- something akin to ending a poker session knowing that while you did your best, there were still hands in which you might have made different (and possibly better) decisions. (To mitigate that feeling, I hang onto the idea of a revised, expanded edition down the road.)

    Thanks to those who have picked up the book already, and thanks in advance to those who plan to do so later. And to you, reader of Hard-Boiled Poker, who inspired me more than you realize to take this interest in the game and writing about it in this direction.

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    Monday, April 15, 2019

    Poker & Pop Culture Now Available for Preorder!

    As I’ve shared over Twitter and Instagram, my book Poker & Pop Culture: Telling the Story of America’s Favorite Card Game is now complete, and in fact has already been sent to the printer in time for publication around late May-early June.

    You can preorder either the paperback or e-book right now from a number of different outlets. (There will also be an audio version of the book coming soon as well.) Ordering from the publisher, D&B Poker, is the most direct way to get it (and the place I’d advise you to go) -- here is the site for that.

    Looking elsewhere, you can also preorder the book from Amazon, Barnes & Noble, Books-a-Million, and probably other places, too, that I’ve yet to discover. No matter where you go, if you buy it now it will be delivered to your doorstep right around the first of June. If I understand correctly, you also won’t be charged until it actually ships.

    I delivered the completed manuscript back in early January, but after a decent amount of editing and additional work I truly didn’t have the sense the book was “done” until a couple of weeks ago. As visitors to this blog have probably surmised, a great deal of my poker-writing energy was poured into that project -- a primary reason why I’ve been scarce over here for a while.

    I’ve appeared on a few podcasts lately to talk about the book. If you’re curious, you can listen to those to get a bit of a preview:

  • House of Cards, Episode 574 (January 20, 2019)
  • Thinking Poker Podcast, Episode 284 (4 Feb. 2019)
  • The Chip Race, Season 8, episode 5 (11 Mar. 2019)
  • There is an extract available over on the D&B site that includes the beginning of the book and part of the chapter “Poker in the Movies.” It also includes the table of contents, which gives you an idea of the book's scope.

    On those podcasts and in other situations, I have been describing the book as having a couple of primary purposes. One is to share the history of poker in America, starting with the very first reports of games and carrying the narrative all of the way to the present. Another important purpose is to tell the story of how poker has been presented in popular culture -- e.g., in the movies, on television, in music, in paintings, in literature and drama, in magazines and in a host of other contexts -- along the way showing how those representations of the game have importantly shaped opinions about poker.

    Regarding the latter (poker in popular culture), a lot of the focus in the book is on poker popping up in “non-poker” contexts. For example, in the chapter “Poker on Television,” I do spend some time talking about “poker television” -- i.e., the WSOP, the WPT, and all of the other “poker shows” that helped increase the game’s popularity, especially during the “boom” years of the 2000s. But I spend even more space describing poker being portrayed in TV westerns, dramas, and comedies -- i.e., not actual poker but fictional poker -- and talk as well about how those portrayals of the game have encouraged certain ideas about poker’s meaning and significance.

    Another way of describing the two goals of the book would be to say Poker & Pop Culture tries to share the true story of poker’s origin, development, and growth while at the same time provide a comprehensive overview of fictional portrayals of poker. It’s a lot to cover, which is one reason why the book is more than 400 pages long.

    When it comes to the true history of poker, a lot has been necessarily hidden, which requires writers like me to dig deep and sometimes be forced to settle for speculative answers to questions about the game’s history. Meanwhile, the fictional portrayals of the game might be a little easier to chronicle, but the “texts” nonetheless require some interpretation in order to figure out just what they are saying about poker and its place in American history and culture.

    I’m very happy with how the book has turned out, and how it kind of represents a culmination of the nearly 3,000 posts I’ve written here on Hard-Boiled Poker as well as all of the other poker-related writing I’ve done over the last 13 years. (The cover is pretty awesome, too.)

    Speaking of, eight years ago today -- April 15, 2011 -- if you had asked me whether I thought I’d still be writing about poker in 2019, let alone publishing a poker book, I’m pretty sure I would have said no. As many of you well remember, that was “Black Friday,” the day playing poker online was essentially removed as an option for American players. In fact, it still isn’t an option for most of us.

    I was in Lima, Peru that day, helping cover a poker tournament for PokerStars. I remember how disorienting that day was, and how a few nights later my friends and I gathered to enjoy each other’s company and contemplate the future, each of us thinking how we’d somehow reached the end of something.

    As it happened, aside from no longer playing online, the changes weren’t nearly as dramatic as we thought they might be. I was able to continue going on such “poker trips” to other countries and around the United States, too, and still do today (though not as frequently). And by continuing to write about poker, the seeds were planted that eventually grew into Poker & Pop Culture.

    In a later chapter the book does cover “Black Friday” and the wild “rise and fall” of online poker in the U.S., a topic that could certainly take up an entire book of its own. Indeed, many of the chapters are like that, in my opinion, capable of being expanded greatly into much longer studies.

    In any case, I’m super excited the book is coming out soon and to be able to share it with everyone. Feels a little like I’ve been dealt a premium hand and am now just waiting -- a little anxious, very psyched -- to see how things develop from here.

    You may be wondering whether or not it is “positive EV” for you to go ahead and purchase the book now or wait until later. I’ve actually studied this situation, and it turns out buying Poker & Pop Culture falls well within your preordering range:

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    Friday, June 15, 2018

    #pokerpopculture

    Starting a short while ago -- a little before I shared here the big news of my new book, Poker & Pop Culture: Telling the Story of America’s Favorite Card Game, which will be coming out via D&B Poker next summer -- I had an idea for something fun to do over Twitter as I continue to work on the book.

    I’ve mentioned here how I’ve found it hard to post on the blog since most of my time and energy has necessarily been going toward the manuscript. But I also find I want to share certain “poker & pop culture”-related items I’ve encountered (or that I’ve discovered and explored before, in some cases long ago) without writing entire blog posts about them.

    I’ve started sharing those items over Twitter, using the hashtag “#pokerpopculture” whenever I do. I’ve delivered about 20 of those tweets so far -- here are a few of them:

    As you can tell, the connecting thread here between the tweets are the way all highlight mentions of poker in the “mainstream” that help highlight connections between the game and American history and culture, generally speaking. That’s a primary thread of my book as well, although there the items are all presented in their appropriate contexts -- hopefully in ways that are both informative and entertaining.

    Anyhow, you can follow me @hardboiledpoker and when you do click on #pokerpopculture for more.

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    Thursday, May 17, 2018

    For the Book

    When I last checked in I mentioned a new book in the works, one focusing on poker and popular culture that will be bringing together a lot of the poker-related writing I’ve done over the last decade-plus both here on the blog and via other outlets.

    As I’ve mentioned, the book will be called Poker & Pop Culture: Telling the Story of America’s Favorite Card Game. While it discusses the history of the game it will primarily focus on cultural representations of poker -- i.e., “mainstream” depictions of the game that also tell the story of poker’s significance and attitudes toward the game.

    As I continue to work on the book I’ve come to realize every time I think about posting something here on the blog, I’m better served not doing so and instead saving it “for the book.” Truth be told, it isn’t true that everything I might write about here belongs in the book, but I’m still at an early enough stage where I’m more inclined to include more than exclude when it comes to envisioning Poker & Pop Culture.

    It’s great fun, let me tell you, thinking about what I want to include and still sitting here at a point where most of the different possible versions of the book still happily co-exist in my jingle-brain.

    That said, I know that way of thinking about the book isn’t going to last much longer, as the book will, in the end, be of reasonable length. I remember interviewing James McManus back in 2009 shortly after he’d published Cowboys Full and him telling me how his original draft had been around 1,000 pages. I’m quickly realizing how if I included everything I could end up with something similarly unwieldy, and so am already in the process of trimming back as I expand.

    I guess I’m also saving “for the book” my finite supply of energy for writing about poker, which I’m also continuing to do elsewhere as part of my regular workload. I additionally keep teaching my poker-related American Studies courses every semester at UNC-Charlotte, which also takes away from the time I might have spent on here scribbling over here.

    I’ll keep checking in here, though, when I can, and promise once the manuscript has been submitted to do so more often, particularly as we get nearer to publication.

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    Sunday, April 01, 2018

    Book Announcement: Poker & Pop Culture: Telling the Story of America’s Favorite Card Game Coming 2019

    I have some fun news to share, and for some reason April 1 felt like a good day to share it. This one is a long time coming, something I’ve hinted at here on the blog a few times before.

    The “poker & pop culture” book is happening. No foolin’! (And no shinola.)

    The book will be published by D&B Poker. After many years of publishing strategy books, D&B Poker has widened its scope a bit to include other poker-related titles like Tricia Cardner and Jonathan Little’s books on psychology and poker, as well as autobiographies by Mike Sexton and Phil Hellmuth.

    You’ve probably heard as well about Lance Bradley’s book due to appear this summer titled The Pursuit of Poker Success: Learn From 50 of the World’s Best Poker Players that features Bradley interviewing many of the game’s best known and most successful players. You can preorder Lance's book now either via D&B Poker or Amazon.

    My book will be titled Poker & Pop Culture: Telling the Story of America’s Favorite Card Game. Ordered somewhat chronologically as a history of the game, the book primarily will focus on poker’s prominence in American popular culture or the “mainstream.” In other words, I’ll be examining the game as it has been discussed and portrayed over the last two centuries-plus not just at the tables, but in newspapers, magazines, letters, memoirs, paintings, fiction, drama, radio shows, music, film, television, and elsewhere.

    The book will additionally highlight poker being frequently evoked in politics, business, economics, warfare and diplomacy, business, economics, sports, and other “non-poker” contexts, with all of those references furthering the argument for poker’s importance to U.S. history and culture.

    Such references to poker popping up day-to-day American life also tend to foreground links between certain ideals and values considered “American” -- things like individual liberty, self-reliance, the frontier spirit, egalitarianism, the “pursuit of happiness,” the ideologies of capitalism, and so on -- and so that obviously will be part of the story, too.

    The idea of doing some sort of poker book probably began for me way back during the early days of the blog (begun almost 12 years ago), at some point not long after I picked up the habit of writing about poker on a regular basis both here and then soon after for a variety of different sites and publications.

    For a few years that was mostly just an idle thought encouraged by the fast-growing number of Hard-Boiled Poker posts. However, once I developed and began teaching my “Poker and American Film and Culture” class in 2011, the idea began to take on a more concrete shape as I envisioned creating a book that might serve as a kind of textbook for the course.

    Then in 2014 things got even more specific when with the help of an agent I began shopping book proposals and developing blurbs, detailed outlines and annotated tables of contents, sample chapters, and the like.

    That process evolved into a year-and-a-half long mini-adventure that was interesting for me though less so for others, I imagine, so I’ll gloss over the details. Instead I’ll just skip ahead to the happy ending of D&B Poker entering the picture. I’ll be spending most of this year writing and rewriting as I get the manuscript together, with the 2019 World Series of Poker being the current target for the book to hit the stands.

    I’ve written a book-length disseration and two novels before (Same Difference and Obsessica), and so I have had some experience planning and completing long-term writing projects. As in poker, patience is a big part of seeing such things through and having something to show for it in the end.

    But this will be something different, a new and different kind of writing challenge. And I expect it ultimately to be a lot of fun for your humble scribbler and (hopefully) for some of you, too.

    I’ll keep you updated on the project over here as well as on Twitter. Meanwhile big thanks to everyone who has read posts here and other articles of mine, and whose support and feedback encouraged me to keep writing. I know already the list of people I’m going to want to mention in the Foreword will be a long one.

    Image: A Friend in Need (1903) by Cassius M. Coolidge, public domain.

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    Monday, June 26, 2017

    New Poker Reads to Recommend

    Checking in briefly to let you know I’m still here, up to my eyeballs at the moment with World Series of Poker-related stuff as well as teaching a summer session version of my “Poker in American Film and Culture.”

    There’s also the usual, endless amount of farm work to be done. We’ve picked up a new barn cat who just appeared one day and has now moved in permanently. Just six months or so, and impossibly cute. We call her Nancy.

    But you didn’t come here for news flashes about felines. Let me share something of use to you -- recommendations of a couple of new poker titles, both of which can be filed under the heading of something a little out-of-the-ordinary when it comes to this niche genre.

    One is my friend Tommy Angelo’s new one Painless Poker, a book he first started telling me about several years ago and which has finally made it to the presses. I’m about halfway through this one now, and it has been an entirely enjoyable ride thus far.

    Painless Poker is an entirely unique poker book, compiling both a wide variety of advice to players and some enjoyable, insightful character creation and examples of storytelling. If you’ve read Tommy’s earlier books -- Elements of Poker or A Rubber Band Story and Other Poker Tales -- you’ll recognize he takes a similar approach toward combining entertainment and enlightenment with Painless Poker.

    Rather than explain the narrative frame, I’ll let Tommy do that himself -- check out this interview we did for PokerNews a while back that introduces the book and includes an excerpt: “Tommy Angelo Presents His New Book ‘Painless Poker.’

    The other book I wanted to recommend is a nifty, slim history telling the remarkable story of poker’s prominence in Gardena, California during the middle decades of the 20th century, a book called Gardena Poker Clubs: A High-Stakes History by Max Votolato.

    I found out about this book after doing a bit of writing myself about California Poker for my ongoing “Poker & Pop Culture” series of articles for PokerNews. One article in particular concentrated on a recent documentary Votolato made titled Freeway City that presented the history of Gardena with considerable attention given to the role the several famous poker rooms played in the city’s story.

    The experience making that film led Votolato to follow-up with the book where he could share a lot more about the various figures and card clubs. It’s a neat, well-made volume with lots of pictures -- really a valuable resource to those interested in poker’s historical development during the 20th century.

    So there are a couple of summer reads for you. And of course, if you’re looking for something besides poker to read about while on the beach, you can always pick up my novel Obsessica as well.

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    Thursday, June 15, 2017

    Revelation Regarding the (Alleged) Moss-Dandolos Match

    Busy days here on the farm of late, although like everyone I’ve been following all that has gone on at the World Series of Poker thus far. Hard to believe they are only about two weeks into the series, as they’ve already gotten up to the 30th event today.

    Have been glad to track the updates on PokerNews once more, and am tuning in over at PokerGO now and then. Speaking of the latter, they finally did get PayPal working and so I got a monthly subscription. They have it on Roku now, too, although I never have been able to get anything to load over there (it seems to stick in a “Retrieving” cycle and never quite opens the live event).

    I did want to touch base, though, and let visitors know about a recent “Poker & Pop Culture” column of mine that relates somewhat to the history of the WSOP.

    A few weeks back I ran a revised and expanded version of a column focusing on a famous heads-up poker game between Johnny Moss and Nick “The Greek” Dandolos. If you’re reading this blog you’ve probably heard of that match before.

    According to most accounts, the pair got together sometime around 1951 (or thereabouts) at Binion’s Horseshoe to play a high-stakes match that lasted several months, with Moss ultimately said to have come away a big winner ($2 million or more, say some). The game was open to the public, goes the story, and for that reason sometimes gets linked to the later idea of the WSOP first run at Binion’s in 1970.

    That column, titled “Moss and Dandolos at the Horseshoe - Legend or Myth?” was really more about the many stories about the game than about the game itself.

    I included in there how one of the most referenced sources for details regarding the match is Al Alvarez’s The Biggest Game in Town (1983), a favorite poker book of mine that I’ve written about here many, many times over the years.

    I also included a bit from Jesse May regarding how some of those who talked to Alvarez for his book (including Moss) likely embellished their tales more than a little bit.

    In any case, about a week after that column went up I had a nice surprise when I got a note from a person who works for Jack Binion. The note asked if I could get in touch, as Mr. Binion had some information to share about the Moss-Dandolos story that could help clear up a lot of the uncertainty surrounding it.

    I called and after a couple more exchanges ended up getting some fairly remarkable memories from Jack Binion regarding the alleged match. I say “alleged” because one of the clarifications he made was to explain that the match never really happened! At least not at Binion’s, and not in public. And likely not for the super-high stakes often cited, either.

    I won’t give away the rest of the story here, but instead point you over to the newer article that shares Jack Binion’s insight:

    Poker & Pop Culture: Jack Binion Sorts Fact From Fiction Regarding Moss-Dandolos Match.”

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    Wednesday, November 23, 2016

    Poker on the Radio

    A quick one today just to point you to a new “Poker & Pop Culture” column that went up yesterday on PokerNews, this one concentrating on popular poker songs over the decades.

    The column is titled “Top 10 Most Popular Poker Songs,” although that’s a little misleading as I didn’t necessarily try to present a definitive ranking, but rather just highlight 10 poker-themed songs that were inarguably popular among contemporary audiences.

    The list is chronological, starting with Bert Williams’s “The Darktown Poker Club” (1914) and ending with Lady GaGa’s “Poker Face” (2008).

    Nearly all of the songs included are poker-centric, you could say, with only T. Texas Tyler’s “The Deck of Cards” (1948) and Elvis Presley’s “Viva Las Vegas” (1964) perhaps being less specifically about poker. (Tyler’s could refer to any card game, while Presley’s is of course about gambling and Vegas, generally speaking).

    It’s mainly meant to inspire some debate and perhaps some suggestions regarding other songs not mentioned in the article that ought to be part of such a list. Take a look and let me know if you have any thoughts.

    Image: “Vintage Westinghouse Wood Table Radio,” Joe Haupt. CC BY-SA 2.0.

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    Wednesday, November 16, 2016

    Down from the Bookshelf

    On Monday I mentioned in passing my ongoing “Poker & Pop Culture” series over on PokerNews, which continues on a weekly basis. This week I completed another section of columns and so wanted just to share those here.

    Starting a few weeks ago I began looking at a number of poker books published from the 1870s through the 1920s, most of which fall under the “strategy” category. These include the first full-length books focused solely on poker -- i.e., that aren’t just devoting a section or chapter to the game, but deal with poker only.

    The appearance of such books is itself proof of poker’s growing popularity post-Civil War and on up through the early 1900s. The books also provide a lot of evidence regarding poker’s place in the culture as well, including the way the game wasn’t so readily accepted by many and sometimes outwardly viewed as dangerous and something to be avoided -- even by the books’ authors in a couple of cases (no shinola).

    In fact, when it comes to these books about strategy (most of which focus on five-card draw), I personally find these contextual references and allusions much more interesting than the actual strategy discussions. Actually in some cases the strategic advice is quite good and even prefigures a lot of later poker strategy, but wonky discussions of odds of probabilities aren’t nearly as compelling as the digressive tidbits and anecdotes revealing various cultural responses to poker.

    Here are books covered in the five articles:

  • Robert C. Schenck, Draw. Rules for Playing Poker (1872)
  • Henry T. Winterblossom, The Game of Draw-Poker, Mathematically Illustrated (1875)
  • John Blackbridge, The Complete Poker-Player (1875)
  • Jack Abbott, A Treatise on Jack Pot Poker (1881)
  • Talk of Uncle George to his nephew about draw poker (1883)
  • William James Florence, The Handbook of Poker (1892)
  • Garrett Brown, How to Win at Poker (1899)
  • David A. Curtis, The Science of Draw Poker (1901)
  • R.F. Foster, Practical Poker (1904)
  • Algernon Crofton, Poker. Its Laws and Principles (1915)
  • H.T. Webster et al., Webster’s Poker Book (1925)

    And here are the columns in which discussions of these books appear:

  • The Congressman Who Accidentally Wrote a Poker Book (Schenck)
  • Professor Henry T. Winterblossom Does the Math (Winterblossom)
  • Strategy Books Telling How to Play, But Warning Not To (Blackbridge, “George,” Florence)
  • Laughing and Learning with “Webster’s Poker Book” (Webster)
  • Everything New Is Old Again (Abbott, Brown, Curtis, Foster, Crofton)

    The series will be moving away from these old musty books for a while, talking about other topics like poker during wartime, poker in the movies, poker in popular music, poker in the White House and more.

    Image: “Old Books 1,” Charles Hackley. CC BY 2.0.

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  • Monday, November 14, 2016

    In Memoriam

    News of a few deaths sadly coming over the wires here in recent days. Doesn’t matter how much a person has done or how long that person has lived, always feels like things are unfinished when the end arrives -- for the individual and for those of us left behind.

    Leonard Cohen’s passing on the eve of the election last Monday cast a pall over the past week for many (and added further to the pall caused by the election results for a decent percentage of that group).

    Have to confess that I never quite connected with Cohen’s music although always appreciated his important place in the singer-songwriter story. I knew “Suzanne” and a few other tracks, and over this last week have been listening to more and realizing how huge the gaps are in my knowledge.

    Unfairly I’d had Cohen lodged in a little-visited part of my memory occupied as well by Rod McKuen, another poet-slash-songwriter who achieved a similarly huge following although without the consistent critical acclaim of Cohen. Rolling Stone offers a decent overview of Cohen’s oeuvre and significance.

    Leon Russell passed away yesterday, and like Cohen he had been mostly performing on the edges of my awareness previously. I suppose I knew him mostly through Joe Cocker (who covered both Russell and Cohen on his Joe Cocker! breakthrough), though that was obviously just the very tip of a vast catalogue.

    “Tight Rope” is the Russell song permanently part of the classic rock rotation, although as a songwriter he’s a bigger part of our collective consciousness than most of us realize, penning an early version of the Stones’ “Shine a Light,” “Superstar” (made famous by the Carpenters), “This Masquerade” (a hit for George Benson), and dozens of other familiar titles. Check The New York Times obit for the full story.

    Finally I was sorry to hear of the passing the poker writer and historian Johnny Hughes last week. I never interacted directly with Hughes, although certainly read with interest his many contributions to poker forums where he could be found sharing various poker-related tales and sometimes arguing with other posters over their veracity.

    Hughes wrote both fiction and nonfiction. When working on my own “Poker & Pop Culture” series I’ve frequently encountered Hughes’s explorations of similar ground, in particular when dealing with the Old West and its colorful cast of characters, some of whom he covered in Famous Gamblers: Poker History, and Texas Stories.

    My buddy Dr. Pauly knew Hughes much better, and he penned a thoughtful tribute for Club Poker over the weekend that’s worth a look.

    Each of these three deserve better remembrances than I can provide, so follow those links for more.

    (The photo up top is one of several so-so shots I took inside St. John’s Co-Cathedral in Malta a few weeks ago, which as an elaborate memorial to those who have passed seemed suitable to use here.)

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    Tuesday, October 04, 2016

    A 19th-Century Poker Movie: Poker at Dawson City

    Just a quick post today to share an interesting find I happened upon while doing some reading around for Poker & Pop Culture.

    The newest installment of the series went up on PokerNews today, a fun discussion of a couple of paintings by Frederic Remington featuring poker games -- one about to break into the violence, the other one having already ended in bloodshed. Check it out: “Poker & Pop Culture: Frederic Remington’s Cowboys, Cards, and Carnage.”

    While reading around for that one, I happened on another old, old, old poker-related film clip. A week ago in the series I wrote about the 1912 short A Cure for Pokeritis, a topic of earlier posts here on HBP. As I’ve noted here, it’s more or less the “first poker movie,” although there exists an earlier one from 1910 by D.W. Griffith called The Last Deal (something I mention in the column).

    Well, there’s an even older “poker movie,” although again it’s hard really to count this one as it is merely a 20-second clip directed by James H. White, one of about 1,200 films made by the Edison Manufacturing Company studio during the last years of the 19th century and first years of the 20th.

    The title suggests what we’re seeing takes place at Dawson City, a town in Yukon, Canada where the Yukon Gold Rush was attracting many at the time the film was made. However, the scene was certainly shot in New Jersey in Edison’s studio.

    There’s no poker at all, really -- just a funny-to-watch brawl apparently resulting from some sort of argument caused by the game. Kind of a humorous, light version of the deadly scene depicted in Remington’s painting, A Misdeal discussed in today’s column.

    Here’s the film, in its entirety -- neat to see:

    The mention of Edison gives me an excuse to point out that one of the tracks on my pop album Welcome to Muscle Beach is called “Thomas Edison” and is about the inventor. In fact, the song features Edison himself!

    Click here to visit my Bandcamp page to hear it. Then you might as well download it (and everything else from my seven albums) for free!

    (And if you do listen or download anything, let me know what you think.)

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    Tuesday, September 13, 2016

    Bert Williams’s “Poker Pantomime”

    Today’s installment of “Poker & Pop Culture” shares a bit from a collection of stories I found a few years back -- actually a couple of collections -- about the invented Thompson Street Poker Club originally written for Life magazine way back in the 1880s by Henry Guy Carleton.

    I’m discussing the books as part of a short series of articles about early “poker clubs” (both real and fictional), but they are probably most notable because they involve the earliest “poker books” featuring African American characters.

    As with all of these columns, there are long, interesting detours that I usually need to cut out both because of space considerations and because those side roads tend to be a little too obscure or too far off the beaten path.

    For example, a couple of weeks ago I wrote about Bret Harte’s 1869 story “The Poker Outcasts of Poker Flat” and near the end got into some of the many film adaptations. One such adaptation came in the 1970s from the Italian director Lucio Fulci, a film called Four of the Apocalypse that actually draws from two different Harte stories and adds a lot else to fill out the plot.

    Fulci is better known for several horror films, including some “giallos” and gore/exploitation films like Zombi 2 and City of the Living Dead and others that have been met with varying degrees of controversy. As someone curious about some of these films, I had to resist going too far down the non-relevant-to-poker road of exploring how this latter-day “spaghetti western” fit into Fulci’s overall oeuvre. (I still couldn’t resist mentioning his background, though.)

    I ended this week’s column about the Thompson Street Poker Club bringing up the 1914 song by Bert Williams, “The Darktown Poker Club.” It’s a legitimate reference, as the song was said to be inspired by the stories. Doing so also gave me a chance to mention in one article both the earliest poker books about African American characters and Williams who was the first black American to appear on the Broadway stage.

    I’d known about the song for a long time. In fact, I included it in the very first episode of The Hard-Boiled Poker Radio Show (from over eight years ago) -- which, by the way, I still don’t regard as having been abandoned altogether (even though it has been three years since the last episode).

    When revisiting the song and Williams career a little for today’s column, I found a cool clip of a famous routine of his, called the “poker pantomime,” that he first performed on Broadway in a 1908 production called Bandanna Land and which became an oft-repeated part of his act in other contexts.

    The routine was later included in a silent two-reel film called A Natural Born Gambler (released July 24, 1916), Williams’s first film that was longer than a short. I’ve not seen the entire film, but reading the synopsis it is clear this poker pantomime scene comes at the very end as a kind of tacked-on postlude -- it’s Williams pretending to deal a hand of poker in jail.

    Like I say, this was intriguing but a bit out of the way for today’s column. In fact, to have included the clip would introduced the need for a lot of contextual discussion both about the film, Williams’s career, and -- as anyone looking at the clip can see -- the Williams’s use of blackface.

    Those familiar with early 20th-century film know about white performers famously using blackface makeup to portray black roles, a practice dating from minstrel shows of the mid-19th century and lasting into the the middle of the 20th century (and occasionally afterwards).

    Al Jolson’s turn in blackface in 1927’s The Jazz Singer is probably the most widely remembered instance. I remember once seeing the 1936 film Swing Time in a theater -- an amazing movie, really -- in which Fred Astaire appears in blackface for one scene (and thus kind of makes it hard to recommend the movie without an additional disclamer).

    Whites’ appropriation of black identity is troubling enough, but blackface almost always tended to exaggerate racist stereotypes even further. Meanwhile black performers’ use of blackface -- done in part to assuage white audiences -- adds another layer of complexity to the issue.

    In any event, I say all of that as I introduce this clip featuring Williams doing his poker pantomime, to which the uploader has conveniently (and appropriately) added his singing “The Darktown Poker Club” as a soundtrack.

    It’s a genuinely funny clip, offering as it does a glimpse of Williams’s larger talents. I wanted to share it here -- not that long after the 100th anniversary of its release -- as an interesting cultural expression of poker.

    Photo: Bert Williams, public domain.

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    Wednesday, August 10, 2016

    Canada Bill, Karl May, and Imagining the Old West

    This week’s installment of Poker & Pop Culture over on PokerNews is the last of a few entries discussing “steamboat poker” during the 19th century.

    The last of the characters covered in the steamboat sequence is William “Canada Bill” Jones, a hustler who was in fact better known for his prowess dealing three-card monte than for his poker playing. In fact, George Devol (with whom Jones partnered for a time) said “he was a fool at short cards” (i.e., poker).

    The section on Canada Bill includes mention of one of the more famous quotes attributed to him, one having to do with it being “immoral” to let suckers keep their money, a line that comes up in Rounders (among other places).

    One side road that I didn’t go down in the column regarding Canada Bill was the way he pops up in a couple of stories from the 1870s written by a popular German fiction writer named Karl May. One is titled “Ein Self-Man” and the other “Three carde monte,” and the last one gets retold early on in a later work of May’s called Old Surehand II.

    The stories are set in the Old West and involve a fictional version of Canada Bill. In the stories May pits his version of Canada Bill against Abraham Lincoln, kind of staging an odd, partly humorous “battle” between the Canada and the U.S. with the two characters representing their respective nations. With both characters, May is highly liberal with his embellishing and reimagining, so much so that the characters are really only superficially connected to their historical counterparts.

    May isn’t so well known in the U.S., but is very popular in Germany, having sold over 200 million books during a career that stretched from the 1870s to his death in 1912. He wrote adventure stories and novels set in various places far from Germany such as the Orient, the Middle East, and the U.S. A recent New Yorker profile of him says his “stories of the American West are to this day better known to Germans than the works of Thomas Mann.”

    Among his most popular works were a series of stories and novels about an Apache named Winnetou and his friend Old Shatterhand, a German immigrant who narrates. Well after his death during the 1960s, a bunch of film adaptations of May’s writings were made, most of them of his Old West stories. Whether via his writings or indirectly through the films, May’s many “Cowboys and Indians” stories have had a lot to do with how many Germans came to view the early history of the United States and especially Native Americans.

    I’m intrigued to read more of Karl May and get more familiar with this curious Europeanized version of 19th-century America. Perhaps what makes me most curious, though, is the fact that May never actually visited the U.S. (even though apparently he often told people that he had).

    That is to say, all he knew of the American West he had learned from books and others’ writings. Then he transformed it into something else. As The New Yorker piece explains, May’s writings never did that well in translation among American audiences, primarily because what they were describing was too familiar, or not as “exotic”-seeming as was the case for the Germans who read him.

    “Americans would be more likely to get the stories if they were set on another planet,” says an American publisher of May’s translated works. He adds that the books are in fact most popular among German immigrants.

    Seems like it could be an interesting detour to take, reading some more Karl May and learning more about this wholly imagined Old West he created in his writings.

    Meanwhile, if you’re curious to read about the actual Old West -- in particular poker playing on 19th century steamboats -- here are those Poker & Pop Culture columns:

  • Professional Card Sharps Rocking the Boat
  • George Devol, the Ultimate Steamboat Sharp
  • ‘It’s Immoral to Let a Sucker Keep His Money’
  • Image: Winnetou, Karl May, Amazon.

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    Thursday, July 21, 2016

    Wild Bill’s Last Hand

    Over in the “Poker & Pop Culture” series on PokerNews I’ve reached the end of a section focusing on “saloon poker” during the 19th century, mostly focusing on some of the more notable names associated with poker of the era.

    This week’s column is all about James Butler “Wild Bill” Hickok, covering his story in brief including his famous murder at a poker table in 1876. From there, though, I move on to talk more broadly about the idea of the “dead man’s hand” as it has played out in popular culture over the almost 140 years since.

    Hickok, as many know, was said to be holding two pair, aces and eights, at the time he was murdered. In the column I talk about how in fact there were several other poker hands designated the “dead man’s hand” before a book about Hickock in the 1920s helped solidify the association between the term and his hand.

    I also get into some -- not all -- of the later references to the dead man’s hand and/or aces and eights, a catalogue that includes John Wayne, R.P. McMurphy of One Flew Over the Cuckoo’s Nest, Motörhead, and Bob Dylan among others.

    Here are links to all the “saloon poker” posts, if you’re curious to explore any of them:

  • Digging for Gold (and Aces) in California
  • Doc Holliday and Wyatt Earp, A Premium Pair
  • The Many Versions of Bat Masterson
  • Lady Gamblers and Poker Alice
  • The Long, Strange Life of the Dead Man’s Hand
  • My primary goal with these articles is to highlight the many ways poker enters “mainstream” popular culture, and not necessarily to write a straightforward history of poker as others have done (including most recently James McManus in his 2009 book Cowboys Full). However, particularly during these early installments of the series, I have nonetheless spent some time narrating the game’s early history to set up a useful context for what’s to come.

    The next few articles come under the heading of “steamboat poker,” then after a brief discussion of poker in the Civil War I’ll be moving on to consider the game as it appeared in a variety of contexts -- in early clubs, on the bookshelf (with the first poker strategy titles), and in homes of the late 19th and early 20th centuries.

    Photo: Wild Bill Hickok, public domain.

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    Wednesday, July 13, 2016

    Ladies at the Saloon Tables

    Another “Poker & Pop Culture” entry I wanted to pass along today.

    Am still amid the Old West in the survey, working my way through some of the more celebrated examples of players of “saloon poker.” I’ll move over to the steamboats soon, as well as to the Civil War battlefields for a quick stop before moving forward into the 20th century in earnest.

    This week’s entry is titled “Lady Gamblers and Poker Alice” and compiles a few stories of women who were known to gamble and play cards during the Old West era. Alice Ivers -- a.k.a. “Poker Alice” -- generally grabs all the headlines when it comes to pre-1900 women poker players. But there are a ton of others with equally interesting stories, and so I included references to several in what amounted to a little survey.

    The culture’s response to the women who dared take seats at those saloon table games is intriguing as well, something I only get into briefly in the column. Many were predictably “punished” (in different ways) for their boldness, with a few even losing their lives as an indirect result. But some were also made into heroic figures (like some of the male gunslinging gamblers of the day), their stories celebrated and embellished greatly even while alive, and especially after death.

    Image: “Beware Poker Players and Loose Women” (adapted), Debra Drummond. CC BY-SA 2.0.

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    Wednesday, June 29, 2016

    Dealing and Dueling: Earp and Holliday

    This week’s “Poker & Pop Culture” column focuses on the gambling gunfighers Wyatt Earp and Doc Holliday.

    In real life, their stories intersected a few times, with the lawman and dentist most famously meeting up in Tombstone for the legendary “gunfight at the O.K. Corral.” Most agree the actual fight only took thirty seconds (and not exactly at the O.K. Corral), with the “good guys” (Earp, his two brothers, and Holliday) dominating the outlaws (the Clantons and McLaurys). But later on it was embellished and expanded considerably, especially in the dozens of films made featuring Earp and Holliday.

    There a few stories about both Earp and Holliday playing poker, although they’re mostly lacking detail other than perhaps mentioning a location and/or the stakes or amount won or lost. Rather than stay back in the 19th century chasing down historical tumbleweeds, for the column I focused on a few of the more interesting films featuring the pair -- My Darling Clementine (1946), Gunfight at the O.K. Corral (1957), Cheyenne Autumn (1964), and Tombstone (1993).

    I focused mainly on how poker is used in those films, both to help shape the characters of Earp and Holliday and to reflect larger themes of the films and their portrayals of the Old West. The parallel between poker and gunfighting is unsubtle in most westerns, really, both being presented as high-stakes “games” in which the players have to make their own rules and agree to abide by them. In the “Wild West” that agreement is always quite tenuous, which means like the gunfights the poker games also tend to end violently.

    My Darling Clementine is my favorite of these films -- by far, really. Both Henry Fonda as Earp and Victor Mature as Holliday are terrific. Fonda has that light touch at times (as usual), but is also great when exerting his authority and getting mean. Mature, meanwhile, is dark and full of foreboding, well presenting that film’s version of Holliday with all of his existentialist dread. (Those photos up top, with Earp on the left and Holliday on the right, kind of reverse the light-dark symbolism.)

    But all the films mess with the characters and the history. With Clementine, director John Ford even wanted to change all the character names since the script had gravitated so far from reality, but the studio wouldn’t let him.

    Here’s the column, if you’re interested to read more about these cinematic portrayals of Earp and Holliday:

  • Poker & Pop Culture: Wyatt Earp and Doc Holliday, a Premium Pair
  • There’s a bit more to talk about with regard to “saloon poker,” but I thought it was worthwhile bringing in some of the westerns that so greatly shape and alter our view of the Old West -- and of poker.

    Photos: Wyatt Earp, Doc Holliday, public domain.

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