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I'm hosting a home tournament tonight. ten of us will compete for a total of , 000 -- 0 for first and 0 for second. i'm cooking a spicy chili and loading up the frige with high alcohol content beer for the game. hey, since i'm hosting i might as well try and get everyone else drunk so i'll have some kind of an advantage, no? each of the guys coming has a different style of play and i know them all. i know how each of them plays, having played with them many times before. this knowledge goes both ways, however, as they know my playing style too. even the players who aren't very observant would type me as a tight aggressive player. and the best players probably also know what types of hands i'm more likely to be bluffing with. there may even be someone who has picked up on some mannerism or another that betrays the true strength of my hand aware of things that even i'm not fully aware of. i hope not. but that's one of the risks of playing with the same group of guys over a long period of time. they learn how you play. i mention this because it clarifies for me why an optimum casino playing strategy is often so different from the strategies we employ at home. many players, otherwise solid good players, confuse the two to their own detriment. i'd like to explore that for the remainder of this column. have you ever heard an experienced player say that he never plays the same hand the same way twice in a row or words to that effect? i have. the notion that good players need to mix up their play in a casino to throw people off is a common one. and, from my experience, especially at the lower and mid level stud games that i've been in, it is usually a mistake. it is, simply, a survival from the home game scene that generally doesn't belong in a public play omaha poker room. you have as7c ; ad in a home game. if you always raise with it on third street then, eventually, even the dense guys you play with will know, with certainty, that if you don't raise you don't have a pair of aces. they'll know that you're either drawing for a flush or holding a small pair with an ace kicker. similarly, if you never raise with any hands like 6h9h ; ah or 5c5d ; as or qskh ; as then your poker playing pals will know that if you do raise you have the pair of aces and they should fold. in short, among players who have a long history of playing against you, if your game is completely straightforward and therefore transparent then you will hardly get any action when you have a solid hand. you might as well play with your cards exposed. but public card rooms are generally so different from your home game experiences that a very different strategy is called for. in a public card room, many players who'll sit down with you have never seen you play. others have seen you play a dozen times but they play against so many people that they're unlikely to remember anything about you. and another group of likely opponents are so bad that even though they have played against you dozens of times and may remember that you are generally tight, they will not have the discipline or the clarity of action to take the necessary counter measures against you. they may "know" that you have the goods but they'll call you anyway. so my advice in the typical low and medium stud game in a public cardroom, with few exceptions is not to play your hand a different way every time. generally play your hand the same way every time betting for value when it is called for, folding when you think you're beat on the early streets, drawing a card if you have the right odds to do so, and making those bluffs that make sense based on your expectation of winning the hand or improving to a winning hand on later streets. don't waste bets that aren't justified by the cards you have and the cards you think your opponents have. don't worry about your image. and don't worry about throwing people off with deceptive plays. generally speaking, they'll fail to observe and remember sufficiently to catch on to what you're doing anyway. ashley adams is the author of winning 7-card stud, kensington press 2003 ; . he has been playing 7-card stud for 40 years--and profitably in casinos for the past 10 years. he has played in casinos all over the world, including england, denmark, sweden, austria, hungary, canada and the united states, but plays most frequently at at foxwoods resort casino in ledyard connecticut. professionally, he is a union organizer and an agent for broadcasters. he can be reached at: asha34 aol. 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"joe, it's 10 o'clock. i'm meeting jack for breakfast. see you there." they had finished by the time i arrived. hobby looked his normally chipper self. jack didn't look any the worse for wear either. "jeez, how come i feel like crap and you guys look so fit?" "sign of aging, joe." "oh bullshit. it's probably for all the heavy thinking i do for you birds." "actually, " jack began, "i've been doing some thinking myself. soon as we bank the money, i'm taking the next flight to sidney. hobby said he'd look after my boat, so there's no point in me hanging around." "we'll miss you, jack. it's been fun, " i said. "you won't miss me for and play poker against.

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As it stands, fulltiltpoker 's gaming software does not meet the integrity requirements outlined in the previous article about choosing an online card room. 85 hitchcock, john t. 1967. a nepalese shamanism and the classic inner asian tradition. history of religions 7, 2: 149-158. hitchcock, john t. 1976. aspects of bhujel shamanism. in: john t. hitchcock and rex l. jones eds. ; , spirit possession in the nepal himalayas, pp. 165-196. warminster: aris & phillips. hitchcock, john t. 1977. buying time: population, trees, liebig's 'law' and two himalayan adaptive strategies. in: himalaya: cologie - ethnologie. colloques internationaux du c.n.r.s., no. 268, svres-paris, 7-10 dcembre 1976, pp. 443-451. paris: c.n.r.s. hitchcock, john t. 1978. an additional perspective on the nepali caste system. in: james f. fisher ed. ; , himalayan anthropology: the indo-tibetan interface, pp. 111-120. hitchcock, john t. 1980. a mountain village in nepal. new york: holt, rinehart and winston. hitchcock, john t. and rex l. jones eds. ; . 1976. spirit possession in the nepal himalayas. new delhi etc.: vikas publishing house. hmg, central bureau of statistics. 2002. population census 2001: national report. kathmandu: central bureau of statistics. hmg, central bureau of statistics. n.d. a compendium of environmental statistics 1998, nepal. kathmandu: central bureau of statistics. hmg, ministry of industry, foreign investment promotion division. 1985. nepal for foreign investors: brief information on incentives, facilities and procedures and full text of industrial policy, 1981. kathmandu: ministry of industry. hmg, central bureau of statistics, publ. ; . 2002. statistical pocket book nepal 2002. kathmandu: central bureau of statistics. hmg, national conservation strategy implementation project. 1994. national environmental impact assessment guidelines 1993. kathmandu: national planning commission. hodgson, brian houghton. 1834. on the law and legal practice of nepal, as regards familiar intercourse between hindu and outcaste. journal of the royal asiatic society 1: 45-56. hodgson, brian houghton. 1847. on the aborigines of the sub-himalayas. journal of the asiatic society of bengal 16: 1235-1244. hodgson, brian houghton. 1858. comparative vocabulary of the broken tribes of nepal. journal of the asiatic society of bengal 26, 5: 317-349, hodgson, brian houghton. 1880. miscellaneous essays relating to indian subjects. 2 vols. london: trubner. hodgson, brian houghton. 1958. on the voyu tribe of the central himalaya. journal of the asiatic society of bengal 27, 5: ??? hodgson, brian houghton. 1972 1874 ; . essays on the languages, literature and religion of nepal and tibet. new delhi: manjusri publishing house. hoek, bert van den. 1990. does divinity protect the king? ritual and politics in nepal. contributions to nepalese studies 17, 2: 145-155. hoek, bert van den. 1994. the death of the divine dancers: the conclusion of the bhadrakali pyakham in kathmandu. in: michael allen ed. ; , anthropology of nepal: peoples, problems and processes, pp. 374-404. kathmandu: mandala book point. hoek, bert van den. 1996. gender and caste in the perfect buddhist gift: the samyak mahadana in kathmandu, nepal. contributions to nepalese studies 23, 1: 195-211. hoerburger, felix. 1975. studien zur musik in nepal. regensburger beitrge zur musikalischen volksund vlkerkunde, band 2. regensburg: gustav bosse verlag. hfer, andrs. 1969. preliminary report on a field research among a western tamang group, nepal. bulletin of the international committee for urgent anthropological and ethnological research 11: 1731. hfer, andrs. 1971. some non-buddhist elements in tamang religion. vasudha 14, 3: ??? hfer, andrs. 1972. eine siedlung und werkstatt der dorfschmiede kami ; in nepal. archiv fr vlkerkunde 26: 29-57. hfer, andrs. 1975. urgyen pe: ma and tusur [recte: dusur] bon: eine padmasambhava-legende der tamang, nepal. in: hermann berger ed. ; , mndliche berlieferungen in sdasien. fnf beitrge, pp. 1-7. wiesbaden: franz steiner. hfer, andrs. 1976. a settlement and smithy of the blacksmiths kami ; in nepal. kailash 4, 349-396.
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