Fearless Money Management

 

The late Captain of Craps, the legendary Atlantic City player I have written about in many of my books, once explained to me his theory on how much a person should bet at whatever game he wishes to play in order to experience a high degree of thrill with a low chance of having a heart attack and an even lower chance of being totally bored.

Casino gambling for the recreational player should be a “manageable thrill.” The Captain stated that a typical casino blackjack player playing for matchsticks or pennies would get bored rather quickly, since no hand really meant that much to him – losing had no sting; winning had no adrenaline jolt. But, if he bet $500 a hand, he might find himself sweating profusely as he saw his rent money or food money going out the window on a sustained series of losses. He might, quite literally, drop dead from anxiety. In the case of the $500 better, the emotions would range from dread at losing to relief at not losing. Where’s the fun in that?

The Captain’s theory of a “manageable thrill” came down to a simple formula: The bets you make have to be large enough to make it worth wanting to win, but small enough to make losing them not cause you to think of all the things you could have bought had you not lost. That was your “thrill zone” – the range of betting that had meaning, win or lose, but was not really hurtful to your emotional or economic life.

Often players will bet a certain amount when they first start a game, but gradually increase their bets until they hit the “sweat zone” as the Captain called it. The sweat zone is the place where the bet becomes uncomfortable to think about. Many craps players hit the sweat zone after several presses of their bets. Worse, a controlled shooter who is having a good roll will sometimes start to think more about the money at risk than about shooting the dice in a relaxed and careful manner. This makes shooting the dice no longer a thrilling exercise for the player but an agony. What if I roll a seven? What if I lose? Look at all that money!

There’s no doubt the average casino player is a thrill seeker. Going up against Lady Luck is a roller coaster ride where your money and your emotions go up and down, up and down. For many people, going on roller coasters is a delight – but it isn’t a delight if you’ve had a big meal and become sick to your stomach. Betting too much at a casino game is the equivalent of going on a roller coaster with a full gurgling belly. It could become a sickening experience for you and for others watching you. Then again, going on the kiddie boats that go around and around, with those little kids ringing the bells, might not be thrilling enough for you.

Interestingly enough, I have also noticed similar phenomena among some card counters. They may start their betting at $25 but when the count calls for it, they have to move that bet up, sometimes by a lot. At a certain point, and even with that edge over the casino to boot, these card counters will begin to sweat their action.

The escalation of their bets has gotten their hearts pounding and they are now entering the sweat zone. Losing such large amounts, amounts actually measured in emotions and not cash, has made what up to that point had been a pleasant pastime into an emotionally wrenching moment.

Gaming writers love to talk about strategies, house edges, and bankroll requirements but rarely do we discuss the emotional bankroll that a person must have to bet at this or that level. A red chip player might wish he could play at the green level, might even be able to objectively afford to, but he just can’t bring himself to do it. His hands start to tremble as he pushes out the chips. If this happens to you at a certain betting level, don’t make the bet! If you know this fact then be content to bet within your thrill zone and don’t attempt to push the envelope. It isn’t worth the consternation, second-guessing, and self-flagellation such an action would cause you.

The Captain had, from years of experience, learned that some bets just aren’t worth making, even bets where you might have an edge, if the fear of loss becomes so overwhelming that the act of making the bet becomes an act of anguish.

Some philosophers have speculated that man is composed of three parts: mind, body and spirit. To enjoy casino gambling, all three of those components should be utilized. Your mind should tell you which are the best bets to make; your spirit should enjoy the contest; and your body will let you know when you’ve gone overboard because it will start sweating!

All the best in and out of the casinos!

Visit Frank’s web site at www.frankscoblete.com. Frank’s books are available at smile.Amazon.com, Barnes and Noble, kindle, e-books and at bookstores.

The Captain Invented Modern Dice Control

The Captain of Craps, the Atlantic City legend, was responsible for discovering how to beat the modern casino game of craps with controlled shooting – which he used to call “rhythmic rolling” as well as “controlling the dice.” He applied this technique to beat the casinos from the late 1970s through 2007 – almost 30 years of constant play. Yes, he won millions.

Since 1998, some writers have tried to take away the dice control laurels from the Captain and assign them to other people who merely tried to build (sometimes incorrectly) on what the Captain had created. These pretenders to the throne are many, of course, since a good idea is always worth pilfering.

In 1993, my book The Captain’s Craps Revolution! was published and in it the Captain addressed the issue of controlled shooting – long before any of the pretenders came out of the woodwork to try to take credit for this brilliant technique and his brilliant ideas. Here is an excerpt from the above referenced book:

The Captain: “I don’t need to guess. I know that some people have trained themselves privately or at the tables to control the fall of the dice. ‘The Arm’ has had remarkable success fixing [setting] and controlling the dice. ‘The Arm” consistently has major rolls. Recently at the Sands casino in Atlantic City, during a Sinatra weekend, with the place packed with free-wheeling high rollers, and then several days later at the Claridge right across the street, ‘The Arm’ had monster rolls of positively legendary proportions. This isn’t coincidence or merely fluctuations in randomness. ‘The Arm’ controls the dice! [Bold lettering mine]

“Does it mean that every time ‘The Arm’ picks up those cubes, a big one is coming? Of course not. There are times when she isn’t at the right spot on the table or the throw is a little off. Having played with ‘The Arm’ for years, I can recognize the signs of an off night. So can she. But if the groove isn’t there, just like a pitcher, ‘The Arm’ leaves the game and does not roll.

“When we talk about fixing and controlling the dice, we aren’t looking for perfection. Pitchers don’t pitch perfect games every time out. In fact, each separate roll of the dice to a player who can control them is like a pitch in a game. The good pitchers will consistently throw strikes and have good games, not every time out, but enough that you can say this isn’t just randomness or luck. Also, you have to define what you mean by a good roll. My definition is simple: a good roll is one where the seven doesn’t show long enough to make me money or one where I can make a good profit because there is a rapid succession of repeating numbers. Fixing and controlling the dice has more to do with certain numbers being repeated than it does with monster rolls. You don’t have to have monster rolls to win. I’ve seen rolls by ‘The Arm’ where the four will come up four or five times in a row, followed by some other numbers, then another string of fours before sevening out. It’s a wonderful feeling to be up on only one number after the 5-Count and have that number hit repeatedly in rapid succession. People who can control the dice will tend to have certain faces of the dice appear more often than these faces would otherwise by chance.”

In the book, the Captain then continued about how one should practice to actually get control over the dice; how many rolls one should do to see if such control was actually there. He mentioned that he sometimes had control but other times he didn’t, but he denied he was very good at it. He thought of himself more as a rhythmic roller which is, I guess, the equivalent to “control light.” I also guess that assessment of himself was his humility talking because in my over dozen years of steadily playing with him (and ‘The Arm’) in the late 1980s and 1990s, he was damn good and had the prototypical roll that works best for most controllers. He was aware that using the word “control” meant a high degree of accuracy with the dice – so he considered himself more of an influencer. This coming from a man who rolled 100 times in 2004 and 147 times in 2005 before sevening out – the only player I know of who has had two hands of over 100 rolls!

To me the use of words such as dice control, rhythmic rolling and dice influence all mean the same thing. The shooter has the capability to get an edge over the casinos.

Unlike today when you can find controlled shooters in greater numbers, in the Captain’s early days they were few and far between. But they were there and the greatest of them was ‘The Arm’ and the most brilliant of them was the Captain.

The Captain was the first to fully understand dice control and its ramifications, and no amount of taking his words out of context or trying to give the laurels to someone else can take these achievements away from him. All the current vocabulary of dice control; all the analogies to baseball or golf or other sports; all the talk about being at the right spot on the table; all of our understanding of when to leave the table; the knowledge that repeating numbers can also be the way to win money even without monster rolls – yes, all the modern parlance of the dice control world come from him.

The Captain was the MAN then; he is the MAN now; and he will remain the MAN forever.

[Read more about the Captain in my book I Am a Dice Controller: Inside the World of Advantage-Play Craps.]