Just like other casino games, Craps has plenty of terms, slang and jargon that can be heard at the Craps table or around it. Knowing these terms makes the game a little easier to understand and play. Don’t be afraid to ask a fellow player or one of the casino employees about any slang terms you hear at the craps table.
- Abbott And Costello Craps Game
- Abbott And Costello Craps Routine
- Abbott And Costello Episodes Youtube
- Abbott And Costello Craps
- N/A Time Chase N/A Q.E. N/A Bahamas 9.5 Secret Hitler Craps One of the guys I regularly game with is a gambler (he's the one who turns Tumblin Dice into games over a few quarters) and recently built a Craps table for his basement.
- They were used to having a live audience and missed getting laughs. But they learned quickly and we had a lot of fun on that picture.' From Abbott's attempts to fleece the alleged novice Costello at craps, to goading him to blast the radio in defiance of Pendleton's orders, their interplay is captured in peak form.
- With Bud Abbott, Lou Costello, Sid Fields, Gordon Jones. Bud and Lou are unemployed actors living in Mr. Fields' boarding house. Lou's girlfriend Hillary lives across the hall.
Abbott & Costello-shootin dice (Buck Privates)2 Page 7 of 11 COSTELLO: BUT KEEP YOUR HANDS TO YOURSELF! ABBOTT: All right, now, no more arguing. Everything‟s lovely. ABBOTT: Go ahead, roll „em out. COSTELLO: Same thing? ABBOTT: Same thing. Seven you win, craps you lose. COSTELLO: It‟s a good game. Directed by Arthur Lubin. With Bud Abbott, Lou Costello, Richard Carlson, Joan Davis. After inheriting a fortune from a gangster, two dim-witted service station attendants find themselves stranded in a haunted house.
Golden casino group. Aces – Betting that the next roll will be the total sum of 2.
Any Craps – A bet that the next roll will be 2, 3, or 12.
Any Seven – A bet that the next roll will be 7.
Arm – Term used to describe a player who is skilled at throwing the dice, sometimes even suggesting that the player can alter the result by the way he throws.
Back Line – same as the Don’t Pass Line.
Betting Right – Pass Line and Come bets.
Betting Wrong – Don’t Pass Line and Don’t Come bets.
Big Eight – Even money bet that an 8 is rolled before a 7.
Big Six – Even money bet that a 6 is rolled before a 7.
Big Red – Betting on any 7 being rolled.
Boxcars – Two 6s.
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Boxman – The casino employee who sits behind the table between the two dealers and is in charge of the houses’ chips and overseeing all activity on the table
Buffalo – Betting on all the Hard Ways and Any Seven.
Buy Bets- 5% commission paid to the house so that the correct odds are paid
C &E – One time bet that the next roll will be any craps (2, 3, or 12) or 11.
Capped Dice – non standard, crooked dice which are no longer playable.
Center Bets – Also known as proposition bets, they are placed in the center of the table.
Cold Table – Something every Craps player hates! This table is losing often because shooters are not making points.
Come Bet – wager that the shooter will roll his point
Come Out Roll – The first roll by a shooter, either at the beginning of his turn or after he has made a point.
Craps Out – rolling a craps on the come out roll includes loss of pass line bets
Craps – The name of the game as well as a roll of 2, 3 or 12
Dealer 001f- the two casino employees on the sides of the Boxman who handle placing the bets and payouts
Don’t Come – Betting that the shooter will roll a 7 before he rolls his point.
Don’t Pass Bet – Making a bet against the dice before a Come Out roll.
Don’t Pass Bar – opposite of a Pass Line bet
Double Odds – Doubles the initial Pass Line, Don’t Pass Line, Come, Don’t Come bets.
Easy Way – A dice roll of 4, 6, 8, and 10 with each die having a different number.
Edge – The casino’s advantage over the player.
Even Money – 1:1 payout
Field Bet – A bet on 2, 3, 4, 9, 10, 11 or 12.
Floorman – casino employee who stands behind the craps table, dealers with players and credit
Free Odds Bet – Taken at true odds.
Front Line – Same as the Pass Line.
Hard Way- Betting on a 4, 6, 8 or 10 when both dice are the same number
Hi-Lo – One roll bet that the next roll will be a 2 or 12
Hope Bet – Single time bet that the dice will land on specific numbers.
Horn Bet – A bet on 2, 3, 11 and 12 with the same amount.
Horn High Bet – bet amount is split into five parts. Two parts on the high number 12 and three units for the other numbers 2, 3 and 11.
Hot Table – The best kind to play on! A Hot Table will have shooters making points and lots of money for other players. You can always spot these tables by the crowds around them and the noise coming from them.
Inside Numbers – 5 All star casino. , 6, 8 and 9. Used mostly when placing bets dice
Line Bet – Bet on the Pass Line or Don’t Pass Line.
Lay Bet – Betting that a point number will not be rolled before a 7 is thrown
Lay Odds – Additional odds bet against the dice
Layout – painted marks on the felt showing all bets that can be made
Little Joe – A Hard 4 or rolling 2 2s
Loaded dice – dice that are weighted, results in specific rolled numbers
MarkerBuck/Puck- A Plastic disk that the dealers use to mark the point on the Craps table; ‘Off’ or ‘On’.
Midnight – One time roll bet on 12.
Natural – 7 or 11 on the come out roll.
Odds – ratio of an event occurring, generally the amount paid out per winning bet
Off – bets will not be active on the next dice roll.
On – active
One Roll Bets – betting on a single dice roll
Outside Numbers – 4, 5 9, and 10.
Parlay – Using winnings to increase a bet, usually double (let it ride/ press the bet).
Pass Line (Bet) – Betting the dice will win or pass.
Payoff – winnings on a wager
Pit Boss – Casino employee responsible for all craps tables in one area of casino
Place Bet – betting a point number will be thrown before a 7 comes out.
Place Numbers – 4, 5, 6, 8, 9, 10.
Point – number established on Come Out roll 4, 5, 6, 8, 9, and 10
Point Number – One of the numbers 4, 5, 6, 8, 9 and 10 determined on the come out roll.
Press (a Bet) – use winnings to double a bet.
Proposition Bets – Prop Bets – single roll bets and the hardway bet.
Rail – The grooved area along the top of the craps table where chips are kept
Right Bettor – A player who bets that the shooter will make the Point.
Roll- single throw of the dice
Rounding – Payout rounding. Rounding up or down the amount.
Seven Out – When a 7 is thrown after a point has been established and before the point number is rolled again thus ending the shooters turn.
Shooter - The player who is currently rolling the dice.
Snake Eyes – When you roll a two in craps. Each die looks like a snake’s eye
Stickman – A casino employee standing opposite the Boxman who calls out the dice rolls and returns the dice to the shooter, also responsible for the placing and paying the proposition bets.
Toke – A tip given to the dealer usually made on a line or prop bet
The Point – The number established on the come-out roll. Only place numbers (4, 5, 6, 8, 9, and 10) can become the point. The shooter attempts to roll the point number again before throwing a 7 in order to win that round of pass line or come betting.
Three-way Craps – A bet made in units of 3 with one unit on 2, one unit on 3, and one unit on 12.
True Odds- odds a particular number will be rolled on any single dice roll
Abbott And Costello Craps Game
Unit – bet size used as standard of measurement
Vigorish – or Vig. The casino edge or commission taken by the house.
Working – Bets that are active on any given roll
Whirl Bet – Betting on 2, 3, 7, 11 or 12 with the same amount.
Wrong Bettor – A player betting the dice will not pass. A player who bets the shooter will not make the point and instead he will Seven-Out.
Yo – The number 11. Also called Yo-leven
We first see Bud and Lou in civilian clothes standing on astreet corner peddling neck-ties without a license. A cop appears and puts themon the run. This is a set-up for the kind of Abbott and Costello movie we wantto see, though Buck Privates wastheir first starring feature and it was still uncertain how they would fair inthe movies. But we know now not to get too cozy with our excitement for thispromising opening because Buck Privates will take the boys off the street andas peacetime recruits in an army training camp. Pure undistilled slapstick,which Abbott and Costello resurrected with some modifications as Laurel andHardy faded, is here confined to service life knockabout.
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For somecomedians, notably The Three Stooges (HalfShot Shooters, Boobs in Arms, They Stooge to Conga, Back from the Front, Higher Than a Kite, Dizzy Pilots, The Yoke’s onMe, No Dough Boys, and G.I. Wanna Home) and even some cartoonstars like Donald Duck (in some of Disney’s funniest such as Donald Gets Drafted, The Vanishing Private, Sky Trooper, Fall Out Fall In, and The OldArmy Game), Pluto in two of the pup’s best (Private Pluto and The ArmyMascot), and M-G-M’s Barney Bear (TheRookie Bear, an admittedly lackluster cartoon that, atleast, begins andends where we wanted it to stay, in the bear’s home in the Great North Woods),life in uniform provided a fun variation of old gags, but expanded to features,even relatively short ones like BuckPrivates, the limited possibilities of army comedy become clear.
Abbott andCostello were a rising team, however, and even old gags typical of this moviesort (off-beat march and clumsy handling of weaponry) seem rejuvenated here incomparison to Laurel and Hardy’s lugubrious Great Guns,also from 1941 and sharing similarities in plot. WWI spoofs had done some goodthings for Stan and Ollie in their heyday. WithLove and Hisses, an early silent short and parody of the big parades thatsent the boys off to war, helped establish their trademarks and hokum in thebattlefield provided the first half of PackUp Your Troubles with vigorous hokum. By the time the noises of WWII becameloud in America Laurel and Hardy were all but done while Bud and Lou weremoving from radio to screen.
Fortunately,much of their material here, especially in the first half of the film, has thekind of vitality that was beginning disappear from slapstick. As obvious andlimited as many of the gags are, the boys were new enough to make them funny.
Notsurprisingly, the best moments in BuckPrivates have little to do with army life, using the camp merely as abackdrop. They could have been used in any of their films and often were. Bud hustlingLou for a loan of $50, which ends up with Lou owing Bud money, is a vintageverbal con game and Abbott fidgeting with a radiator Costello is sitting on tomanipulate his weight for his physical examination is a delight. Even a crapsgame on their way to camp takes an unusual spin. Costello gets the better ofAbbott, but not through his wits.
Even when Buck Privates makes use of life in anarmy camp as a stage, there are some jovial gags. When they do work, credit isdue to Nat Pendleton, the hulking Olympic star turned actor who here makes afine burly drill sergeant. The boys first met the sergeant when he was workingas the cop who put them on the run in the first place. The sergeant’s originalgripe was with both of the boys, but once in the camp he develops a particularanimosity toward Costello. His patience is tested to the most amusing resultsduring a routine involving the switching off and on of the tent radio, aconflict which Bud uses to amuse himself at the expense of his unwitting chum.But Pendleton brings more sense of humor to the bullying sergeant and in theend, when he cleans the boys out after a game of dice, the natural lookingsmile on his face indicates how much fun he had playing opposite the boys.
Because every comedian had to do one, there isan unbalanced boxing match. As expected, Costello enters the ring against abrute from a rival company. It’s not as fanciful as Chaplin’s in City Lights but more imaginative thanLaurel and Hardy’s in Any Old Port.There are plenty of good trick gags, but the key is in the build up. At first,Costello sees a puny fighter step up. Thinking this will be his opponent hegets a boost of confidence and brags to his comrades. Meanwhile, the realcontestant, a big hairy lug, takes over and we see this exchange beforeCostello does, anticipating not only the carnage to come but the unforgettablelook on Costello’s face.
Abbott And Costello Craps Routine
Curiously,the most memorable moment is Costello’s little song and dance about harsh armylife. It’s a jovial amusing tune featuring Shemp Howard as a crabby camp cook. InBuck Privates, this moment fits likea ruby.
Of course,the music here belongs to the Andrews Sisters, who would go on to star withAbbott and Costello in In the Navyand Hold That Ghost, both from 1941.For the most part, they jump up the soundtrack with a boogie beat and bringtheir most famous tune Boogie WoogieBugle Boy to life. Apple Blossom Timein an artsy Disney sort of way, no surprise they would sing the stories of Johnny Fedora and Alice Blue Bonnet for Make Mine Music and Little Toot for Melody Time. But the motivation behindtheir inclusion dampens the picture. Although the attack on Pearl Harbor was months away, the rumble of WWII was beginning to makeAmerican cinema quiver. Chaplin took notice the previous year and respondedwith The Great Dictator. BuckPrivates wasn’t so much a national moral booster as a salute to Roosevelt ’s 1940 peacetime draft. There is nothing intricatelywrong with songs like “You’re a Lucky Fellow Mr. Smith” and talks about thegood years in the service do, except that the propagandistic feel mars thecomedy.
Abbott And Costello Episodes Youtube
The lovestory involving two soldiers fighting for the same hostess is no worse than thesappy fluff polluting earlier comedies. It’s less simplistic to be sure. Anextra angel is present in the romantic triangle. One of the soldiers (LeeBowman) is a conceited playboy benefiting from his father’s power in Washington . He enlistsreluctantly with the hope that his father can pull some strings and get him outof his duty. His attraction to the young hostess (Jane Frazee) would have beenenough; the conflict with the dull draftee (Alan Curtis) adds nothing.
Theirrivalry takes over the ending, however, making for a joyless ending. Theromantic rivals are forced into a partnership when competing against anothercompany in a mock battle. Make no mistake, the last half of Buck Privates, which intensifies morethan a slapstick comedy ever should, belongs to the supporting cast and hasvirtually nothing to do with Abbott and Costello. Sure, there are some sightgags (Costello is blown away to the top of a tree) but, more than anything, thedismal conclusion leaves us wanting us to get past In the Navy and Buck PrivatesCome Home and into the glorious world of Abbott and Costello’s monstermashes.