Bud hustling Lou for a loan of $50, which ends up with Lou owing Bud money, is a vintage verbal con game and Abbott fidgeting with a radiator Costello is sitting on to manipulate his weight for his physical examination is a delight. Even a craps game on their way to camp takes an unusual spin. Abbott and Costello continued to perform on stage, and in 1939 opened on Broadway in Streets of Paris. By now Hollywood began making overtures. Abbott and Costello fully expected to do one picture, One Night in the Tropics, then return to New York and continue working on radio and Broadway. Fortunately, that's not what became of Abbott. Abbott and Costello continued to perform on stage, and in 1939 opened on Broadway in Streets of Paris. By now Hollywood began making overtures. Abbott and Costello fully expected to do one picture, One Night in the Tropics, then return to New York and continue working on radio and Broadway. Fortunately, that's not what became of Abbott.
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The film was Ride ’Em,Cowboy, sixth in sequence in theAbbott and Costello boxed set at Universal and a movie of which I have extra-specialchildhood memories because my grandfather gave my mom and stepfather a coupleof reels spliced together from home-movie versions of several Universalfeatures put out by Castle Films and Official Films. Some of these wereself-contained cartoons and some were artfully re-edited sequences from classiclive-action features, including one called No Indians, Please! re-edited from three sequences in Ride ’Em,Cowboy: the one that introducesthe Indian characters (Lou Costello, playing around at a trading post, picks upa bow and arrow, shoots it into a heart adorning a tepee, is told that thismeans he has to marry the woman who lives there, a hot-looking Indian babenamed Sunbeam [Linda Brent] emerges and Lou likes the idea — until she explainsthat the tepee’s owner is her sister Moonbeam [Jody Gilbert], who looks likeOliver Hardy in drag and quite possibly was actually played by a man on screen), a chase scenein which Abbott and Costello try to escape the tribe and a final scene (thatactually occurs earlier in thefull feature than the chase) in which Costello ends up in “Dr. Ha-Ha’sSanitarium” and the head of the place turns out to be an Indian. (In thefull-length feature he’s really Bud Abbott in “Indian” drag.)
I’d got quitefamiliar with this digest version well before I saw the film “complete,” andwhen I did it turned out to have some other delights: it was Ella Fitzgerald’sfilm debut (she sings “A-Tisket, A-Tasket” on the back of the bus taking theprincipals to the Lazy S dude ranch on which most of the film takes place, andshe also adds a few choice interjections to a song called “Rockin’ and Reelin’”that purports to be a swing version of a square dance) and also the film thatfirst introduced the song “I’ll Remember April” (though an LP collection calledMusic from the Late Show releasedin the 1950’s attributed “I’ll Remember April” to the movie Phantom Lady, which actually came out two years later). Ride ’Em, Cowboy was also the fifth and last Abbott and Costellomovie directed by Arthur Lubin, who’d started in films as an actor and hadbegun directing in 1934 — he would continue well into the 1960’s, mostly on TV,and as a director he had a flair for Gothic stylistics but rarely got scriptsthat would take advantage of it. (One time he did was the 1940 Universal horror/sci-fi movie BlackFriday; he also threw somesurprisingly noir-ish scenes in the 1947jazz musical New Orleans, a treasurable film because Louis Armstrong, Billie Holiday and WoodyHerman are in it, though they’re not all that well used.) Plot-wise, Ride’Em, Cowboy is the old chestnut aboutthe hot-selling Western writer “Bronco Bob” Mitchell (Dick Foran) whoseexploits are being passed off by his publicist as autobiographical when he’snot only not a real cowboy but he barely knows which end of a horse is which —which doesn’t stop him from making an entrance in an opening scene at a rodeoriding — or at least moving on top of — a horse and belting out a nicelystentorian “Western” ballad by Don Raye and Gene De Paul called “Give Me MySaddle.”
Abbott and Costello play peanut and hot-dog (respectively) vendors whoget themselves fired and chased off the lot; they hide out in one of the chutesout of which a bull is supposed to come out for a roping contest, and the bull ridesby Bronco Bob, who panicks at the sight of it and thereby it’s able to goreAnne Shaw (Anne Gwynne) just before she was supposed to enter a trick-ridingcontest which would have won her $10,000 that her dad Sam Shaw (Samuel S.Hinds) needs to save his Lazy S dude ranch. Bronco Bob offers her a $10,000check made out to cash, she throws it back in his face, he tosses it to theground — “Did he just throw away a $10,000 check made out to cash?” anincredulous Charles asked at this point — and Lou Costello picks up the checkand tears it up, explaining to Bud Abbott, “It wasn’t even made out to me.”“Who was it made out to?” says Abbott. “Some guy named Cash,” Costello replies.The two hide out in a van with more cows and end up on a train bound for the LazyS, where Bronco Bob intends to train to learn to do the things for real he’sbeen making up in his books — and of course he wants Anne to train him, andproximity turns her hate into love. There’s also a real cowhand named “Alabam”Brewster (played by real-life Western star Johnny Mack Brown, who in the late1920’s had been under contract to MGM and had co-starred with such illustriousnames as Norma Shearer, Joan Crawford and Greta Garbo — only in 1931 MGMproduction chief Irving Thalberg reviewed the rough cut of a new Crawford/Brownmovie called Laughing Sinners, decided Brown wasn’t holding his weight in his scenes, and orderedeverything of his reshot with another actor, Clark Gable — so Gable went on tobe a superstar and Mack Brown got dropped by MGM and picked up by Universal fora “B” Western series) who’s sort of a rival for Anne’s affections, thoughwriters Edmund L. Hartmann (“original” story), Harold Shumate (“adaptation”),True Boardman and John Grant (script) mercifully don’t push that trope too hard.
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Between all the Seven Chances-ish stuff of Lou Costello being pursued by ajumbo-sized Indian drag queen and her/his whole tribe determined to make anhonest man of him, there are some spectacular chase scenes and a subplot of aband of gangsters trying to fix the final rodeo so the Lazy S loses, andMitchell agrees to take the bet against the Lazy S — only he means to win andthe $10,000 is his way of paying off the debt to Anne which he feels he owesbut she was too good to take from him directly. Ride ’Em, Cowboy is one of Abbott and Costello’s best films, with agood mix of slapstick and dialogue humor (and the slapstick is aidedimmeasurably by Universal’s excellent process work — similar sequences in thelater Laurel and Hardy comedies for Hal Roach sometimes fall relatively flatbecause the process work is so bad it’s all too clear Stan and Ollie aren’t inany real danger in that supposedly“runaway” car) and great singing by Ella Fitzgerald, who essentially is to thisfilm what the Andrews Sisters were to Buck Privates, In the Navy
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and Hold That Ghost and Martha Raye was to Keep ’Em Flying. Billed in the original trailer as a “sepiasongstress” (the horribly cutesy-poo way they had of letting the audience knowshe was Black), Ella does her star-making hit “A-Tisket, A-Tasket” (which hadhit for her with Chick Webb’s band in 1938, four years before this movie wasmade) and also interjects into “Rockin’ and Reelin’,” with a white vocal group(three men, one women) called the Merry Macs who turned up on some of JudyGarland’s Decca records at the time and get some pleasant songs here, including“Beside the Rio Tonto Shore,” used as backdrop for a romantic ride at twilightthrough the Iverson Ranch, the fabled Western location where many of the landscapesequences were shot. Ironically, Ella’sappearance and (ill) use in this movie is uncomfortably premonitory of the waythe same director, Arthur Lubin, used Billie Holiday in New Orleans five years later. He cast both Ella and Billie asthe white heroine’s maids — and both women seem horribly uncomfortable tryingto get the servile maid's dialogue out of their mouths but visibly loosen upwhen they get to sing.One wishes that Ella could have introduced “I’ll RememberApril” — it’s the sort of lightly jazz-flavored standard she sang so well lateron (in the 1950’s, when the slightly congested quality of her voice in theearly years had cleared up and her voice had become even more beautiful than itwas here) — but instead Dick Foran (who actually had quite a nice voice if youcan handle his stentorian tones and unwillingness to phrase) introduces it bysinging it to Anne Gwynne during one of those long hayrides. Between the longand inventive slapstick scenes, the nice dialogue bits (though the poker gamein which Costello gets involved is a case of having gone to the well once toooften and doesn’t have the snap of the craps sequence in Buck Privates), the generally good Raye-De Paul songs and anuninventive but at least serviceable plot (is it only a coincidence that theplot line involving “Bronco Bob” being the creation of a publicity agentpromoting his books resembles the real-life career of “Buffalo Bill” Cody?), Ride’Em, Cowboy is a quite entertainingand very funny film, a worthy one for their last film with their star-makingdirector, Arthur Lubin (and why he never worked with them again after making five of their best filmsis a mystery) and one well balanced between slapstick and dialogue comedy — andElla Fitzgerald is just frosting on the cake!
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.
Aces – Betting that the next roll will be the total sum of 2.
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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.
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, 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
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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
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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.
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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
Unit – bet size used as standard of measurement
Vigorish – or Vig. Super rich game. The casino edge or commission taken by the house.
Working – Bets that are active on any given roll
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Whirl Bet – Betting on 2, 3, 7, 11 or 12 with the same amount.
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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.
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Yo – The number 11. Also called Yo-leven