Poker is serious – and big – business these days. Just take a look at the number of gaming and gambling sites offering variants on the game and the amount of media coverage and airtime it gets. It seems to be a game where you can get rich quick – but you can easily lose a considerable amount of money in a short time also; especially if you are not experienced and don’t really understand what you are doing. This compilation takes a look at the history of poker and the different variations of the game that can be played for money or pleasure. It also features more serious analysis of strategies in playing and betting on poker including the mathematical and psychological aspects of a game that is highly susceptible to both of these approaches. If you are considering taking up poker as a hobby or as gambling – this is as good a starting point as any to get you up to speed on the sorts of information and knowledge you will need to participate with even a modicum of success.

For contents, see Author Catalog.

Introduced shortly after the United States declared its independence, poker’s growth and development has paralleled that of America itself. As a gambling game with mass appeal, poker has been played by presidents and peasants, at kitchen tables and final tables, for matchsticks and millions. First came the hands, then came the stories – some true, some pure bluffs, and many in between. In Poker & Pop Culture: Telling the Story of America’s Favorite Card Game, Martin Harris shares these stories while chronicling poker’s progress from 19th-century steamboats and saloons to 21st-century virtual tables online, including: Poker on the Mississippi Poker in the Movies Poker in the Old West Poker on the Newsstand Poker in the Civil War Poker in Literature Poker on the Bookshelf Poker in Music Poker in the White House Poker on Television Poker During Wartime Poker on the Computer From Mark Twain to “Dogs Playing Poker” to W.C. Fields to John Wayne to A Streetcar Named Desire to the Cold War to Kenny Rogers to ESPN to Star Trek: The Next Generation and beyond, Poker & Pop Culture provides a comprehensive survey of cultural productions in which poker is of thematic importance, showing how the game’s portrayal in the mainstream has increased poker’s relevance to American history and shaped the way we think about the game and its significance.

David Grimsted's Melodrama Unveiled explores early American drama to try to understand why such severely limited plays were so popular for so long. Concerned with both the plays and the dramatic settings that gave them life, Grimsted offers us rich descriptions of the interaction of performers, audiences, critics, managers, and stage mechanics. Because these plays had to appeal immediately and directly to diverse audiences, they provide dramatic clues to the least common denominator of social values and concerns. In considering both the context and content of popular culture, Grimsted's book suggests how theater reflected the rapidly changing society of antebellum America.

For two centuries, nearly all historical accounts of American theatre have focused on New York, Boston, and Philadelphia. As a result, the story of theatre on the frontier consists primarily of regional studies with limited scope. Thomas A. Bogar’s Theatre on the American Frontier provides an overdue, balanced treatment of the accomplishments of the troupes working in the trans-Appalachian West. From its origins in late eighteenth-century Pittsburgh, New Orleans, and Louisville, frontier theatre grew by the close of the nineteenth century to encompass more than a dozen centers of vibrant theatrical activity. Audiences—mainly pioneers struggling with the hardships of establishing a life in the backcountry—enjoyed thrilling melodramas, the comedies of George Colman the Younger and John O’Keeffe, and even the tragedies of William Shakespeare. Theatre companies that ventured into this challenging and unfamiliar territory did so with a combination of daring and determination. Bogar’s comprehensive study brings this neglected history into the spotlight, cementing these figures and their theatrical productions and practices in their rightful place.

From James McManus, author of the bestselling Positively Fifth Street, comes the definitive story of the game that, more than any other, reflects who we are and how we operate. Cowboys Full is the story of poker, from its roots in China, the Middle East, and Europe to its ascent as a global—but especially an American—phenomenon. It describes how early Americans took a French parlor game and, with a few extra cards and an entrepreneurial spirit, turned it into a national craze by the time of the Civil War. From the kitchen-table games of ordinary citizens to its influence on generals and diplomats, poker has gone hand in hand with our national experience. Presidents from Abraham Lincoln to Barack Obama have deployed poker and its strategies to explain policy, to relax with friends, to negotiate treaties and crises, and as a political networking tool. The ways we all do battle and business are echoed by poker tactics: cheating and thwarting cheaters, leveraging uncertainty, bluffing and sussing out bluffers, managing risk and reward. Cowboys Full shows how what was once accurately called the cheater's game has become amostly honest contest of cunning, mathematical precision, and luck. It explains how poker, formerly dominated by cardsharps, is now the most popular card game in Europe, East Asia, Australia, South America, and cyberspace, as well as on television. It combines colorful history with firsthand experience from today's professional tour. And it examines poker's remarkable hold on American culture, from paintings by Frederic Remington to countless poker novels, movies, and plays. Braiding the thrill of individual hands with new ways of seeing poker's relevance to our military, diplomatic, business, and personal affairs, Cowboys Full is sure to become the classic account of America's favorite pastime.

Blackface minstrelsy is associated particularly with popular culture in the United States and Britain, yet despite the continual two-way flow of performers, troupes and companies across the Atlantic, there is little in Britain to match the scholarship of blackface studies in the States. This book concentrates on the distinctively British trajectory of minstrelsy. The historical study and cultural analysis of minstrelsy is important because of the significant role it played in Britain as a form of song, music and theatrical entertainment. Minstrelsy had a marked impact on popular music, dance and other aspects of popular culture, both in Britain and the United States. Its impact in the United States fed into significant song and music genres that were assimilated in Britain, from ragtime and jazz onwards, but prior to these influences, minstrelsy in Britain developed many distinct features and was adapted to operate within various conventions, themes and traditions in British popular culture. Pickering provides a convincing counter-argument to the assumption among writers in the United States that blackface was exclusively American and its British counterpart purely imitative. Minstrelsy was not confined to its value as song, music and dance. Jokes at the expense of black people along with demeaning racial stereotypes were integral to minstrel shows. As a form of popular entertainment, British minstrelsy created a cultural low-Other that offered confirmation of white racial ascendancy and imperial dominion around the world. The book attends closely to how this influence on colonialism and imperialism operated and proved ideologically so effective. At the same time British minstrelsy cannot be reduced to its racist and imperialist connections. Enormously important as those connections are, Pickering demonstrates the complexity of the subject by insisting that the minstrel show and minstrel performers are understood also in terms of their own theatrical dynamics, t

The popularity of the comic performers of late-Georgian and Regency England and their frequent depiction in portraits, caricatures and prints is beyond dispute, yet until now little has been written on the subject. In this unique study Jim Davis considers the representation of English low comic actors, such as Joseph Munden, John Liston, Charles Mathews and John Emery, in the visual arts of the period, the ways in which such representations became part of the visual culture of their time, and the impact of visual representation and art theory on prose descriptions of comic actors. Davis reveals how many of the actors discussed also exhibited or collected paintings and used painterly techniques to evoke the world around them. Drawing particularly on the influence of Hogarth and Wilkie, he goes on to examine portraiture as critique and what the actors themselves represented in terms of notions of national and regional identity.