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Hiromix (née Toshikawa Hiromi – 1976 Tokyo) est une photographe japonaise. Vit et travaille à Tokyo.
Hiromix (de son vrai nom Toshikawa Hiromi 利川裕美) s’est rapidement faite connaître en remportant en 1995, à l’âge de seulement 19 ans, le prix Canon « Shashin shin-seiki » 写真新世紀 (« New Cosmos for Photography »), l’un des meilleurs tremplins à l’époque pour les jeunes photographes japonais.Girls Blue, publié l’année suivante, est son premier livre, réalisé à partir de certaines des images qui lui ont valu le prix Canon. Profitant de sa notoriété subite, Hiromix deviendra ensuite tour à tour mannequin, chanteuse et actrice, ce qui nuira à son image d’artiste. Elle obtiendra néanmoins le Prix Kimura Ihei en 2000, en même temps que Nagashima Yurie 長島有里枝 et Ninagawa Mika 蜷川実花.
Presqu’une star dans son pays, Hiromix (son vrai nom étant Hiromi Toshikawa) acquiert une vraie reconnaissance après qu’Araki Nobuyoshi la nomme gagnante du concours de photographie où elle présente un photo book de 36 pages composé de simples photos, tirages couleurs. Ce petit livre se nomme « Seventeen Girl Days » et il reprend une tradition au Japon: le journal de jeune fille (qu’ Araki lui-même a produit). Ce livre nous offre la vision originale d’une jeune lycéenne japonaise de 17ans, dans un style simple et cru. II est constitué de photos d’animaux, de disques, posters, fleurs, d’amis et d’autoportraits. Aujourd’hui, elle continue de publier les photos de sa vie quotidienne tout en ayant acquis une certaine renommée par ses expositions. Elle a fait une apparition dans « Lost in translation » de Sofia Coppola dont elle est l’amie.
Girls Blue, Rockin’ on, inc., 1996
Japanese Beauty, Magazine House, 1997
Hiromix, Steidl Publishers, 1998 (ISBN 3882435755)
Hiromix Works, 2000) (ISBN 4947599790)
Keita Maruyama Backstage+, 2001 (ISBN 4838713541)
Hiromix Paris ’97‐’98, 2001 (ISBN 4255001162)
Hiromix ’01, 2002 (ISBN 4947599995)
Jalal Husseini est né en 1988.
Il revient en Afghanistan après l’occupation des Talibans et rentre à la Fine Arts Faculty de la Kabul University en 2005. Il va aider les autres étudiants dans la production de films. ”In the Night Color” est son premier court métrage mais c’est avec “Angels of Earth” en 2009 qu’il débute sa carrière professionnelle. Avec des amis il fonde Jump Cut Cinematic Group qui créa une «new wave» au sein du cinéma Afghan. Il réalise le film “In the Name of Opium” en 2010. “Angels of Earth” a reçu de nombreux prix lors du “4th Kabul international short film festival” et du “TOLO TV short film festival”. “In the Name of Opium” reçu le prix du 2ème meilleur court métrage et le prix du jury au festival du court métrage pour drug en 2010 qui est tenu par AACHEN institute. In the Name of Opium and Angels of Earth ont été sélectionnés pour des festivals en India, Iran, Tajikistan.2010 Exposition collective sur Slick Art Fair et Galerie Nikki Diana Marquardt
Inspiré par Goya, Rembrandt et « le cri » d’Edvard Munch, pionnier de l’expressionisme dans la peinture moderne, Najafov est aujourd’hui comparé à Francis Bacon tant les références sont présentes dans son œuvre. Aujourd’hui à l’avant-garde de la scène artistique contemporaine en Azerbaïdjan, ses peintures et sculptures expressives sont exposées à des foires et expositions internationales prestigieuses. Fort d’une impressionnante somme de travail et d’une reconnaissance internationale croissante, Najafov fait partie intégrante d’une génération d’artistes ayant trouvé un soutien renouvelé à la scène artistique Azéri en plein essor.
• 2013 – Galerie Nikki Diana Marquardt, Paris
Gazelli Art House – « Dancing on Bones » (18 January – 7 March 2013) – London, UK
• 2012 – Philips de Pury & Company, « Fly to Baku », Contemporary art from Azerbaïdjan, London, UK
– Galerie Nikki Diana Marquardt, Paris
• 2011– Art-London. UK.
– Brissot Gallery. Paris. Franco-rus show. Paris. France
– « Terres de Pensée ». Brissot Gallery. Paris. France
– « ArtLab ». Melun. France. Paris. France
– « Avant première ». I-gallery. Paris. France
– « Down to Earth ». Gazelli Art House. London. United Kingdom
– Da-End Gallery. Paris. France
– « Illusion Parallele ». I-gallery. Paris
– Brissot Gallery. Paris
• 2010 – Le Musée d’art Contemporain de Bakou : 25 toiles choisies et accrochées à l’exposition permanente du Musée « Le corps dans l’espace suspendue », Galerie Yaradan, Bakou
– « Niyaz-Daria ». Vivienne Art Galerie. Paris. France
– «International Cite des Arts». Moscow. Russia
– Cairo International Biennale. Cairo. Egypt
– «Vision Solidaires». Brissot Gallery. Paris. France
• 2009 – Basel Art Fair , Pavilion of Azerbaijan. Basel. Switserland.
53th Venesia Biennale of Contemporary Art. Venise. Italy
Kichik Qalart, Personal exhibition. Baku. Azerbaidjan
French Embassy in Azerbaijan. Personal exhibiton. Baku. Azerbajan
Contemporary Art Museum, permanent сollection. Baku. Azerbajan
• 2008 – Singverdson Bo Gallery. Rodby. Denmark
Year of Azerbaijan in Germany, Minstry of foreigh affaires. Berlin. Germany
• 2007 – Kassel Art Fair , Kassel. Germany
5+ (Museum Center), Baku. Azerbaijan
• 2006 – U.N.O. Geneva. Swetzerland
• 2005 – Man and Woman. Museum center. Baku. Azerbaijan
• 2004 – British bar, Baku. Azerbajan
• 2004-2008 – Vitrage workshop (started to work with oil colors), Baku. Azerbaijan
• 1998 -1998 – Artificer, Baku. Azerbaijan
• 1994-1995 – Bodyguarding, Baku. Azerbaijan
• 1993-1994 – Department of the Interior hand-to-hand fight couch, Baku. Azerbaijan
• 1990-1993 – hand-to-hand fight couch, Baku. Azerbaijan
• 1988-1990 – Vitrage workshop, Baku. Azerbaijan
• 1986-1988 – Military service, Baku. Azerbaijan
• 1983 – 1986 – BTF College, Baku. AzerbaijanExpositions collectives
• 2011 – Art London (UK)
“Foreword” – Contemporary art exhibition organized by YARAT! Contemporary Art Space, Baku, Azerbaijan
« Modern works from Azerbaijan. The land of fire ». Fondation Heydar Aliyev, Hotel d’Evreux, Paris. France
• 2009 – Présentation de 27 toiles au Pavillon de l’Azerbaïdjan à la Biennale de Venise
• 2008 – « Les quatre saisons », Centre des Musées, Bakou « Le réchauffement climatique », Galerie Sigvardson, Rodby (Danemark)
• 2007 – « 5+ », Musée d’art Moderne, Kishinev (Moldavie) « Les peintre contemporains de l’Azerbaïdjan », le Musée d’art Contemporain, Kassel
• 2006 – « Le mouvement et l’espace », le Ministère de la Culture d’Azerbaïdjan, Bakou « L’autre art », exposition organisée par la Mission de l’ONU ; Genève
• 2005 – « Homme et Femme », Galerie Sattar Bahlulzade , Bakou
• 2004 – « New Circle », ACH, MoscouFrieze.com
Née à Jakarta en 1953.
Vit et travaille entre Bali et Jakarta
Astari Rasjid naît en 1953 à Jakarta en Indonésie. Ses œuvres sont profondément ancrées dans la tradition javanaise, mais elle y dépeint une société en pleines mutations, mêlant aux éléments traditionnels des objets de consommation modernes. Aujourd’hui elle vit et travaille à Jakarta et à Bali.
Elle a étudié la peinture à l’Université du Minnesota, Etats-Unis et au Royal College of Art de Londres et expose souvent ses pièces aux Etats-Unis.
Au cours des dix dernières années, l’œuvre d’Astari a mis l’accent sur une série d’autoportraits, au travers d’une quête de soi qui n’est pas liée uniquement à l’exploration des expériences personnelles et des souvenirs. Point de vue, parodies et stéréotypes sont souvent présents dans son œuvre au travers des représentations de ses histoires personnelles qui montrent les symptômes et repositionnements du soi.
Astari a peint un autoportrait à partir du portrait de Frida Kahlo. Dans ce tableau, les deux femmes échangent leurs costumes. Astari se peint dans un vêtement traditionnel mexicain et Frida Kahlo dans un vêtement traditionnel javanais.
Pour Beirut Art Fair, Astari présente une sculpture en bronze « Love void » représentant un sac de designers, un « status bag » comme on les appelle. Elle illustre, en montrant des impacts de balle, le danger et le massacre que la guerre fait subir aux femmes.
Elle expose au pavillon Indonésien à la 55ème Biennale de Venise.
1988 Painting Course, Royal College of Art, London
1987 Advanced Painting, University of Minnesota, Minnesota
1973 English Literature, University of Indonesia
Selected Solo Exhibitions
2008 His/Hers Exhibition, Vanessa Art Link 798 District, Beijing
2000 – 2001 Wings & Excursions, Ganesha Gallery, Four Seasons Resort Bali, Jimbaran, Bali
1999 – 2000 Recollections, Ganesha Gallery, Four Seasons Resort Bali, Jimbaran, Bali
Selected Group Exhibitions
Pameran Karya Sang Juara, National Gallery, Jakarta
Vue Privee, Spottiswoode Park, Singapore
Equality in Art, Asean Building, Jakarta
The Group Exhibition Re’claim, National Gallery,
Beyond the East, Macro Museum, Rome
Great Exhibition of Contemporary Sculpture Indonesia
EKSPANSI, National Gallery, Jakarta
Kartini, The Power ofWomen ln Art, Cultural Center
Koesnadi Hardjasoemantri, Yogyakarta
1001 Doors: Reinterpreting Traditions,
Ciputra World Marketing Gallery, Jakarta
Crossing and Blurring the Boundaries, National Gallery, Jakarta
No Direction Home, National Gallery, Jakarta
Faith + Reason Manila Contemporary, Pasong Tamo Extension,Brgy. Magallanes, Makati City, Philippines
Latitudes ln Transit, A Collective Sample of Mexican and Indonesian Women Artists, National Gallery, Jakarta
Self-Portrait Famous Living Artists of Indonesia, Jogja Gallery, Yogjakarta
Pameran Besar Seni Rupa Indonesia 2008
(Manifesto), National Gallery, Jakarta
The 22nd Asian International Art Exhibition, Selasar Sunaryo Art Space, Bandung
Indonesian Women Artists – The Curtain Opens and The Exhibition, National Gallery, Jakarta
FETISH Objects Art Project #1, Biasa Art Space, Kuta, Bali
Common Grounds – A Glimpse of Indonesian Contemporary Art Exhibition, National Gallery, Jakarta.
Jakarta Art Biennale 2006- BEYOND the limits and its challenges,
National Gallery, Jakarta
Self Portrait – Women Against Violence Exhibition, Kashya Hildebrand Gallery, New York.
Biennale Jogja VIII 2005 – Disini & Kini, Taman Budaya Yogyakarta, Yogyakarta
The 20th Asian International Art Exhibition, Manila.
Beauté et Expression Terroriste, Galerie Loft, Paris
The Second Beijing International Art Biennale, Beijing
Equatorial Heat, Sichuan Art Museum, China
The 18th Asian International Art Exhibition, The Museum Heritage, Hong Kong
CP Open Biennale – Interpellation, National Gallery, Jakarta
Not 1. Am I?, CP Artspace, Washington DC
Una Mirada Desde Dentro, Casa de Cantabria, Madrid…
Many casino games can be traced to antiquity; still others are associated with specific historical moments in time and place. Today’s casino game of Keno is one such, with its roots in Chinese prehistory and history, as well as having a specific historical significance for Americans. In China, a game very similar to Keno has been played for several thousand years—by emperors, warlords, merchants and peasants—even communists have been known to try to make some capital from picking “the numbers” although such activities are frowned upon by the party bosses (known in Chinese as party poopers). The name of the Chinese game was/is Kino.
In the 1800’s, when the American west was being conquered and then connected to civilization, and the railroads were being built, cheap labor was imported from China, and with it was also imported the game of Kino. It was so popular with the Chinese laborers that soon enterprising Americans, seeing the incredible profits that could accrue from winning said laborers hard-earned pay, took over the game, changed its name to Keno, and set up “Keno parlors” throughout the west. Keno was known as the “Chinese Lottery,” and like any lottery it was a boon to its owners and a bane to its players. At one time just about every town in the west had its Keno parlor.
Still, for those of you who enjoy playing lotteries, or local charity chance books, or if numbers are your thing, the casino game of Keno might hold some interest for you. It is indeed the equivalent of a lottery but much faster! You don’t have to wait a few days for the results, just a few minutes. Of course, like the lottery, Keno comes in with very high edges for the house—25 percent, more or less, depending on the casino where the UFA game is being played and the type of wagers being pursued.
The players’ tickets are numbered one through eighty. You can choose to play between one and twenty numbers on a given ticket. The numbers to be played are “X’ed” out in crayon (back to childhood we go!). To win a multi-number bet, you often don’t have to select all the numbers, just some of them. Here are some of the most popular betting options at Keno:
Types of Bets at Keno
- Straight Ticket: A player can mark one, two, or more numbers on a ticket.
- Split Ticket: Player can bet on two or more groups of numbers on a single ticket by circling the groups to be played.
- Way Ticket: Combining several groups of numbers on the same ticket.
- Combination Ticket: The player selects two or more groups of numbers and indicates how the groups are to be combined to form many tickets within one ticket.
- King Ticket: One number is selected to be used with all the other groups that have been indicated.
- Multi Race Ticket: This is a ticket that indicates that it will be played for two or more sessions in a row.
Sometimes I receive mailings from individuals who are selling systems to beat Keno. They claim that they have found patterns to the numbers that can be exploited by their “super-seven Keno buster” or their “Keno pyramid” method or their “ping-pong power play.” The costs of these systems are—to say the least—exorbitant. The claims of the systems are—to be frank—bogus. Is there a magical system for beating Keno? Sorry, no. The system sellers are scamming us. The Keno numbers are selected randomly, either by air-driven ping-pong balls (just like many state lotteries) or by computer. The fact that some numbers may have hit several times and other numbers may not have shown their faces for quite awhile is no indication that a number will continue to hit or is due to hit. Picking numbers is sheer guesswork.
So why play Keno? First, it offers a relaxing atmosphere. Keno lounges are usually pleasantly appointed places, with comfortable chairs. You can drink a cup of coffee, pick your numbers in a leisurely fashion, and not worry about other players telling you what to do or what not to do. Played properly for small stakes, Keno, even with its abominably high house edges, will not drain your gambling bankroll any time soon as it is the snail of casino games.
And like anything in life, there is a better or a worse way to approach a Keno game. Walter Thomason, in his excellent book 109 Ways to Beat the Casinos (Bonus Books, $13.95), gives some great advice when it comes to Keno. “Don’t select more than eight numbers on a straight ticket. The odds of hitting all eight are 230,000 to 1—but the odds of hitting all nine out of nine numbers are 1.3 million to 1! Bet way tickets rather than straight tickets. The odds are the same, but you’ll hit more payoffs.”
The 5-Step Keno Strategy
- Play the minimum amount allowed, which is usually a dollar or two, as the house edge is very big at Keno—25 percent more or less. Luckily the game is slow, maybe one game per 6–10 minutes.
- If you are betting on several numbers, always have them in some kind of small or large sequence as you’ll note how often numbers run in sequence (but the game is still random!). This can be done on “way” tickets as well.
- Use Keno as a break from more adrenaline producing games when you want to stay in the action but you need a little rest from betting serious money.
- Video Keno, while much faster than regular Keno, has much better paybacks—more like your typical slot machine. However, you can play video Keno so fast that the speed makes up for the decrease in the house edge. My advice is to stick with the slow game and relax, have a cup of coffee or read a paper between games.
- Avoid betting the multi-race ticket. Don’t get caught up in Keno mania, the desire to hit your “lucky” numbers. Some people obsess that if they play the same numbers over and over, sooner or later these numbers will hit. They then fear not to play lest their numbers hit when they aren’t on them. To forestall Keno mania, don’t play the same combination of numbers all the time. Mix them up and try, do try, not to remember which numbers you played in previous games. Bet one game at a time only!
In hold’em, when you suspect an opponent might be bluffing, what’s the lowest hand with which you can call? In the big blind against a suspected blind steal, it may not be as much as you think.
In a $20-$40 hold’em game in Las Vegas recently, I was in the big blind. An extremely aggressive player sat two seats to my right. Everyone around the table folded to the aggressive player on the button, who made the expected raise to $40. The small blind folded. The next decision was up to me.
Much has been written about what it takes to call (or raise with) in this spot. When facing a suspected blind steal, it’s sometimes necessary to defend your blind, albeit selectively — or you’ll be identified as an easy target and get run over by aggressive players. Something told me the player raising my big blind didn’t really have much of a hand. In fact, the way that he thrust his chips forcefully into the pot convinced me that I wouldn’t need much of a hand to outplay him after the flop. I called.
The flop came rags, 8c 5h 3d. Although I didn’t have a pair, I considered tokyoslot88 betting-out and going for a steal. But I still wasn’t convinced that my opponent didn’t have a real hand. Before I could rap the table signaling my intent to check, the aggressive player reached quickly for his chips. From the way that he seemed to be so eager to bet, I was becoming increasingly more confident in what my first instinct had told me — that he was bluffing.
Then and there, I made a decision based purely on instinct. Barring unforeseen developments, I was going to play my hand all the way to the river. It appeared my opponent was aggressive enough to blast away at the pot all the way to the end in a desperate attempt to recover what he already had invested. If my assessment was correct, I didn’t want him going anywhere. Indeed, I wanted him to continue bluffing, with me hemming and hawing, playing the role of the hayseed tourist as though I was contemplating seriously whether or not to call his bet.
The turn paired the board. This presented some wonderful options for me. In standard game situations, when the board pairs, a bet or check-raise can be a very powerful play (even without three of a kind). However, I suspected my opponent was simply going to continue shoveling his money into the pot, which I would gratuitously accept — if my presumptions proved to be correct. He bet and I called.
The river was a blank.
I checked again, and sat completely still. I didn’t want to give my opponent any indication that I was fully prepared to call. Again, I wanted him to bet. Many players in this spot who are head-up against an opponent who is smooth-calling all the way to the river simply will check behind and reveal a hand. A bet, especially a forceful one coming from a very aggressive player, just screams, “I’m bluffing!” It’s the final act of desperation. The player bet and I called.
“I missed,” the player sadly announced as he turned up Q-10.
Suddenly, I felt like a proud peacock, swelling with pride. “King high,” I said, revealing K-9, which seemed to be a stunningly weak hand with which to be calling in a muscle game like $20-$40 hold’em. The other players at the table were in disbelief. The modest-sized pot was pushed to me. More important than the money won was the table image that I had established for the remainder of the session. The success of my bizarre play accomplished two things: First, the aggressive player on my right now would be neutralized and no longer would threaten to steal my blinds. Second, I had telegraphed mixed messages to the other players — that I was either a complete baffling idiot or a very solid player who shouldn’t be messed with, which — although contradictory — isn’t a bad image to have at any poker table.
Of course, my instincts just as easily could have been incorrect. Critics may even suggest that I was lucky. My decision to call down a pure bluff with K-9 would have been atrocious had I guessed wrong and the player shown me a real hand. Worse, he could have shown me a weak hand (such as a small pair or ace high), and I would have been forced to concede the pot and face embarrassment.
My blind defense raised interesting questions. Afterwards, I was eager to discover the long-term value (if any) of calling suspected steal attempts with relatively weak hands, based purely on mathematical principles. In other words, with how LOW a hand could I have called with in the previous scenario to ensure positive expectation? Could I have called my opponent down with any king high? What about a hand such as Q-J? Or, Q-2? What about J-10? As you are about to discover, hands that are playable in this spot (under the previous assumption, that the opponent is bluffing) may be surprising.
The following examples assume two things: (1) You are playing against a very aggressive opponent, and (2) The player must be capable of raising initially and running a bluff with any two cards. Otherwise, none of this applies. These conclusions do not apply when facing typical players, so-called “tourists,” or tight players. The recommendations apply only when playing against semi-sophisticated players and maniacs who are aggressive enough to consistently blast away at the pot. Since a fair number of middle-limit hold’em games around the country are comprised of players fitting this description precisely, the following recommendations are hardly inconsequential. In fact, calling down a suspected blind steal may be quite profitable if certain guidelines are examined carefully and selectively applied.
I consulted with J.P. Massar, who made the final table at the 1999 Tournament of Champions and has won and placed high in a number major events. Massar has as solid math credentials as any poker player I know. Massar noted that the calling requirements on the turn are stricter than those on the river (which is no surprise, since you will have to call two big bets to get a showdown). Therefore, Massar had to construct his examples in terms of calling on the turn, assuming a call on the river, instead of just in terms of a call on the river. Given the anecdote above, Massar reached some interesting conclusions:
The effective odds of calling a bet on the turn (assuming that my opponent will bet and I will call on the river 100 percent of the time) are $80 to win what’s in the pot now — which is $170, plus my opponent’s bet on the river of $40, or $210 total. The math says that one needs to win at least 28 percent of the time at the showdown to make a profit.
Suppose that the board on the turn is 8-5-3-5 (rainbow). Computer analysis shows that J-9 is enough of a hand to win at least 28 percent of the time!
Instead, suppose that the board on the turn is Q-8-7-3 (rainbow). Now, analysis shows that K-2 (that is, any king high) is good enough.
Suppose that my opponent is not a total maniac and will raise only initially with the best 70 percent of his hands instead of every single one. How does this affect the quality of hand that you need to make the call? In the 8-5-3-5 example, one needs a Q-7 (as opposed to J-9) to call him down. In the later Q-8-7-3 example, a K-9 (as opposed to any K) is good enough.
Note once again that these results are valid only when using the assumptions listed above. Furthermore, any particular board may present flush possibilities; the examples above use boards with no flushes possible on the river. If flushes are possible and you cannot make a flush, the quality of hand with which you need to call down will go up. Also, there are hands such as low straight draws with which it would be correct to call the turn but not the river if you miss.
Finally, I don’t claim that calling down with hands at least as good as the threshold hands given above is always the most profitable play, only that it is “profitable.” Betting or check-raising the turn or the river with some of the hands might turn out to be a better play than simply check-calling.
When it comes to giving or taking poker advice, every situation is unique. There is certainly no such thing as a situation in which it is 100 percent correct to make a “blind defense.” In most cases, when the bet is raised before the flop, it’s proper to give up the blind and wait for a better opportunity later, since you are placing money at risk and will be out of position throughout the hand.
But as you can see from my K-9 story, and probably from your own playing experience, you should be able to recognize the signs of a blind steal. It’s easy to run a bluff. It takes quite a bit more sophistication to call down a bluff and make the correct decision, based on good instincts combined with sound mathematical principles.
The last two decades have witnessed an explosion in the number of poker books available to the aspiring player. This has significantly impacted the way poker is played in today’s casinos and card rooms. However, just because poker has grown like wild over the last several years doesn’t mean that the first poker book was written in 1979. One of these earlier books was A. D. Livingston’s Poker Strategy and Winning Play, written in 1971. This book was reprinted in 1991 as Poker Strategy. So, how does it compare to more recent works?
Overall, most of Livingston’s strategic advice is sound, including the admonition to play tight. Many of the concepts he writes about have been echoed by more contemporary authors, including his belief that bluffs should pay for themselves. That is, that Livingston believes that bluffing just for advertizing is a mistake. On the other hand, it will come as no surprise that some of his notions are very much dated. For example, the high-low split games discussed in this book never require a qualifier for low. Also, it’s amusing to hear Livingston talk about an exciting new form of poker called “Hold Me” played with two cards dealt down and five community cards dealt face up on the table. His advice on strategy for this game isn’t any good by contemporary standards, but even without a great deal of experience in the game, the author realized the importance of kickers, which shows some general understanding of the game in question.
The second section of the book covers mathematics. His introduction to determining event probabilities using combinations is reasonably well explained, but much of Livingston’s calculations aren’t very important in the ป๊อกเด้ง ไฮโล games that are commonly played today. The general focus of the book is not on the games that are typically found in the modern card room, but rather on home games. Therefore, determining the probabilities of events in Cincinnati or Deuces Wild Draw is on topic for the book, even if it won’t seem terribly relevant to most poker players.
The third section of the book is a description of many kinds of poker played in home games, including some brief strategic information about each game. Much of this would be pretty obvious to the veteran poker player, for example, that one should play awfully tight without the ace of spades in the hole if the game is Chicago. At the same time, some of it is insightful. Occasionally, the terminology used in the book may be a little confusing to people used to the vocabulary of contemporary poker literature. When speaking of games with community cards, Livingston refers to every round of betting in which a new card is exposed as a “turn”. As long as the reader is aware of this, it probably won’t be too distracting.
By today’s standards, nothing in Poker Strategy would be considered ground breaking. There are some strategic errors in the text, but at the time it was originally written it probably contained some of the better poker advice available in print. Unfortunately, as far as I can tell, no updates have been made to the original printing. Poker Strategy might be useful to those players who either want some pointers on how to improve their chances when someone calls for Baseball in a home game, or if they want to learn about some different and unusual games they might want to play next Friday night. Poker book junkies might find this book an amusing read, but I believe that $15 is a little steep for a book that hasn’t been updated in over 30 years.
Poker Strategy is a reprint of A. D. Livingston’s 1971 book Poker Strategy and Winning Play. While the book shows its age, it does contain some insight, especially when it comes to the wilder varieties of poker often played in home games. There’s nothing fundamental in this book that isn’t repeated more carefully in the contemporary poker literature, but for those who just like to read poker books it can provide some entertainment.…
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To join Aspinalls.com, visitors simply need to log on to www.aspinalls.com and install the software for the casino of their choice. The software can be downloaded directly from the site or installed from a free CD-ROM. The registration process then takes just a few minutes. To qualify for the Dell Latitude l400 notebook Compaq and iPAQT PDA promotion, newly registered members must deposit and play their first $50 before 5th November 2001.
Microgaming Comments on Departing Licensees
Microgaming – Microgaming advises that two of its operator groups have ceased using the company’s online casino software.
It is well known that Microgaming imposes very strict regulation on its operators. Microgaming’s service provides continuous upgrades and improvements, PricewaterhouseCoopers reports, and programs allowing the players maximum information, control, and protection of their play. New features incorporated in software about to be launched will enhance these advantages.
Microgaming software also provides some of the highest player jackpots in the online gaming industry.
Microgaming’s Roger Raatgever stated that since Microgaming is the largest supplier of Judi Online Terpercaya software, it is inevitable that the company will lose operators from time to time.
Microgaming is confident that its operators will continue to prosper and grow from the use of its unique software. Microgaming pledges to continue to play its part in providing its operators and players with software and services to ensure entertainment of utmost integrity, security, and pleasure.
Microgaming considers the key to its success to be the continuous development of innovative value added products, and the associated intellectual property. As a matter of general policy therefore, Microgaming also announces a standing reward of up to US$ 500,000 for information leading to the successful prosecution, civil or criminal, of any person or corporate entity that has pirated or unlawfully profited from its intellectual property.…