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Telephone: 954-245-9963 | E-Mail: [email protected] | Facebook: Geno McCabe | Company Facebook: Living the Dream Motorcycle Transport & Tours

Living the Dream Motorcycle Transport & Tours

Local & long distance transport for bikes & all power sports.

We transport Honda, Yamaha, Kawasaki, Harley, Ducati & nearly anything else you can think of.

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STURGIS? MOTORCYCLE RALLY 2023

ARE YOU READY FOR THE 83RD ANNUAL?

There is a rumble building on the horizon in anticipation of the 83RD Annual Sturgis? Motorcycle Rally August 4 – 13, 2023 has the potential to be one of the greatest and perhaps largest gathering of motorcycle enthusiasts of all time. The time is drawing near quickly that we will be right smack dab in the middle of Main Street madness, celebrating the 83rd year of the Sturgis Rally. Sturgis Motorcycle Rally Welcome

Many of you are planning to attend this epic event and will become a part of Sturgis? Motorcycle Rally™ history. Sturgis offers one of the best biker experiences in the world that is anticipated by thousands of fans months, even years in advance. The magic of the Hills is mesmerizing and the roads, well; there are few places on this good earth that offer this kind of riding.

So add us to your website Favorites list and keep checking back. Go to our Facebook page and Like Us, too! We promise to keep you posted on all the news as soon as we receive it. We’re one-stop shopping for all your Rally needs – places to stay, things to do, vendor space, photos, you name it, we’ve got information about it, and if you can’t find what you’re looking for here, email us [email protected] or call us 954-245-9963 and we’ll help in any way we can to make your Sturgis 81ST Rally experience memorable. MUCH THANKS GENO 954-245-9963

Please call us at 954-245-9963 to inquire about us transporting your motorcycle, atv, etc. if anything is not clear here. We want our customers to be able to ask us anything; because we will answer it.

Sturgis is the biggest event of the year for those of us who love motorcycles! So check out some of our pictures from previous experiences at Sturgis on the Sturgis page and below.

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About the Business

Calling all weekend warriors who aren't afraid to take the road less traveled! Living the Dream offers a true American backroad experience for motorcycle enthusiasts. All-inclusive motorcycle tours include everything you need to enjoy premium bucket list tours on a bike. We provide your choice of bike and gear, along with first-rate accommodations. Ride with groups of bikers through scenic backroads, famous roadways, and unparalleled destinations. Tours are led by knowledgeable guides who know the best uncharted backroads, sunset spots, lively dive bars, and mouth-watering restaurants you won't find on any travel guide. From the golden coast of California to the Smokey Mountains, all pre-planned itineraries put you in the best spots at just the right times. We thought of everything so you don't have to sweat a thing. There's even a support chase vehicle that follows behind with spare motorcycle. As a family owned and operated establishment, our goal is to provide you with the most authentic backroad experience possible. Are you ready to Live the Dream with us? …

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Live Oak Trees And Lowcountry Views Make Our 2024 Idea House An Entertainer's Dream

For the 2024 Southern Living Idea House, we settled on a rural stretch of the South Carolina shore, where we filled a new build with Sea Island soul.

The drive from Charleston, South Carolina, to the nearby farmland of Johns Island feels like an exhale. Within minutes, downtown's tidy streets give way to oak-shaded roads that meander past rambling fields and low-slung produce stands, eventually depositing you at the Kiawah River community. Here on a 2,000-acre parcel situated on 20 miles of pristine coastline, the Lowcountry’s natural hallmarks converge in their finest forms—an embarrassment of ecological riches, from salt marsh to maritime forest to wildflower meadows. Glimpse an osprey flying low over Abbapoola Creek, and it’s plain to see why we chose this magical hamlet as the site of our 2024 Idea House.

Southern Living

We recruited a team of South Carolina-based talents to fashion our retreat: designer Allison Elebash of Allison Elebash Interior Design , architect Kirsten Schoettelkotte of MHK Architecture , builder Tom Dillard of Dillard-Jones , and landscape architect Scott Parker of DesignWorks. Together, they created a forward-thinking home that considers the area’s roots—as well as those of the two spectacular live oaks that define the lot. “It’s a really special opportunity to be able to live in the environment of these trees, to see themas they change during the day and with the seasons, to watch how wildlife interacts with them,” says Scott. “Everything we did was first and foremost to ensure their health so that they’d continue to prosper and grow and be there for a very long time.” With a nuanced approach to coastal style and a commitment to bridging the indoors and out, our crew forged a gathering place that feels as storied and enduring as the sprawling oaks that frame it.

Pull From The Archives

Because of the site’s proximity to the neighborhood’s working farm (which is home to goats and cattle as well as bees and produce), architectural elements guided by the agricultural past felt especially appropriate. “We immediately started looking at historic farmsteads throughout the Lowcountry,” recalls Kirsten. Following those cues, she designed a main structure with three dormers and a trio of porches and then added a taller right wing and a separate carriage house to engineer the appearance of a years long evolution. James Hardie lap siding, copper accents, and a cedar-shingle roof emphasize the old-home feel.

Laurey Glenn

Roll Out The Welcome Mat

“There’s a saying in the South that you have ‘backdoor friends,’ but the way of life here also speaks to a level of graciousness,” says Scott of the decision to carve out a walkway that invites neighbors and passersby directly to the front porch. (The path is made of tabby, a type of concrete made from crushed oyster shells.) A pair of propane-fueled copper gas fixtures by Carolina Lanterns & Lighting and patinaed planters from local shop Elizabeth Stuart Design (filled with Southern Living Plant Collection picks such as ‘Diamond Spire’ gardenias and ‘Soft Caress’ mahonias) complete the hospitable impression. “I always love the glow of soft light at the door,” says Allison.

Laurey Glenn; Styling: Buffy Hargett Miller

Salute The View

The backyard marsh scene, framed by the dining room’s Marvin sliding doors, commands attention, so Allison kept the furnishings simple, selecting wavy side chairs with scalloped skirts and a 60-inch walnut table handcrafted by local woodworker Eric Brooks. “I love the feeling of a round table,” she says. “I think it’s so much better for conversation.” Overhead, Regina Andrew’s bamboo Treble Chandelier subtly nods to the coastal environs.

Use Every Inch

A freestanding white oak staircase designed in collaboration with The Heirloom Companies serves as a focal point. “You have an almost two-story expanse of windows, so as you’re going between the floors, you have this surprise view of the farm across the street,” says Tom. An installation of Murmurations (sculpted porcelain pieces) by Maine artist Christina Watka climbs the walls. “Anyone who’s from this part of the world is familiar with barnacles growing on a dock, and it kind of reminds me of that,”says Allison. Below, the designer tucked a Coley Home game table and swivel chairs, giving purpose to the pass-by corner.

Find Common Ground

A natural sisal floor covering from Fibreworks anchors the combined living and dining areas, but on the family room side, Allison topped it with a handwoven vintage rug from Zuma to emphasize the distinction between the two spaces. Delivering more dimension is a collection of art—including a painting by Paula Rubino over the fireplace, which is crafted of limestone from Alabama Stone, a division of Vetter Stone—and built-in shelves filled with books and other treasures. “Art and the layering of pieces is how you really get that feeling of home and add warmth,” says the designer, who also brought in throw pillows from Fritz PorterDesign Collective and a set of custom nesting tables.

Follow Nature's Lead

A custom mural wallcovering by Rebecca Atwood Designs draws the landscape into the entry. “When you walk down the hallway, it’s like you’re surrounded by a canopy of trees. It’s almost as if you’re getting a hug from them,” says Allison of the scene’s serene effect, which she likens to the Japanese concept of shinrinyoku (“forest bathing”).

Rely On Honest Materials

Because of the home’s wild backdrop and humble architectural origins, Allison prioritized organic finishes rather than glitzy ones.“We wanted to use a lot of unlacquered brass because it gets a beautiful patina to it as it ages,” she says of the Waterworks fixtures throughout. “That natural quality just felt right here.” Inthe kitchen, the designer underscored this commitment to earthy textures with an oversize custom plaster hood above the Monogram range and handmade zellige tile backsplash by Clé.

Reimagine the Canopy

In the primary bedroom, Rebecca Atwood Designs’ Marble Fern Wallpaper (color matched to the wainscot, which is painted Sherwin-Williams’ Soft Sage, SW 9647) wraps the ceiling, echoing the shady expanse of tree branches visible through the windows. “It feels so soothing,” says Allison, who maintained the peaceful surrounds by choosing classic white bedding from the Southern Living Home Collection Exclusively at Dillard’s . The handcrafted four-poster bed by Reid Classics and the mid-century modern-style nightstands from Chelsea Textiles provide a sturdy, streamlined contrast to the whimsical pattern above.

Celebrate Symmetry

“I always feel like in twin bedrooms or bunk rooms, you can go a little more playful, but you want it to be able to work whether the kids are 3years old or 18,” says Allison. Here, that meant incorporating charming pairs a plenty, such as Reid Classics beds with headboards upholstered in Rebecca Atwood Designs’ Gridded Ikat print, scalloped woven sconces by Regina Andrew, and Mary Maguire watercolors. Between the beds, an antique bleached-walnut commode and a vintage rug lend singular panache.

Laurey W. Glenn; Styling: Buffy Hargett Miller

Double Up On Luxury

While primary bedrooms are typically given bells and whistles that guest spaces aren’t, Allison decorated this upstairs suite with laid-back elegance in mind. “I think it creates incredible value to have a second primary, especially when you have visitors—it’s a place where you’d be happy to stay yourself,” notes the designer, who enveloped the walls and ceiling in Rebecca Atwood Designs’ Little Palm Wallpaper, repeating the print on the window treatments. “That way, you don’t get too many patterns competing,” she says.

Hatch a Cool Hideaway

With its nubby Coley Home sectional and wood-clad walls in Sherwin-Williams’ Sand Trap (SW 6066), the moody upstairs den supplies an easygoing escape. “We all love an open floor plan, but it’s nice to have spots to engage with one another privately or be alone,” says Kirsten. The undulating lines of a bouclé chair from Fritz Porter Design Collective and a leggy lamp help the room find its groove. The ottoman is wrapped in Rebecca Atwood Designs' Crescent Plaid Fabric in Blue Pink, and the brass pendant is by Regina Andrew.

Choose a Homegrown Muse

Scott and his team took a town-and-country approach to their designs for the front and back yards. “The gardens around the oak trees are very natural, meaning they are, in many ways, amplifying the type of landscape the trees would have if they were in the middle of the maritime forest,” says Scott of their use of native plants that already grow in Kiawah River. “There’s a little more formality that occurs in the gardens closer to the house, which speaks to those traditions in Charleston and the Lowcountry.”

LAUREY W. GLENN; STYLING: BUFFY HARGETT MILLER

Encourage Entertaining in All Seasons

Ensuring comfortable outdoor living year-round was a top priority, says Tom, who screened the outdoor living room to help “take care of the no-see-ums” come summertime. A pair of resin-wicker chairs and a stone-top cocktail table, along with Zuri Premium Decking in Walnut, mirror the intentional style of the interiors, but they’re hardy enough to handle the weather. The handmade rocker is by Troutman Chair Co., and the painting is an abstract interpretation of the marsh view by Charleston artist Shannon Runquist.

Channel Summer-Camp Nostalgia

Allison took a lighthearted approach in the carriage house, rooting its design in the same palette as the main home’s interiors but with an extra-beachy bent. Because the pool is steps away, she prioritized durable, practical picks downstairs, installing patterned floor tiles from Mirth Studio and wooden wall hooks from Etsy to corral hats and cover-ups. Upstairs, hand-painted stripes play up the guest quarters’ fun-loving feel, while lacquered nightstands and a modern quilt by Folk Textiles keep the look from skewing too cutesy.

Tour Our Idea House

The 2024 Southern Living Idea House is open August 9 through December 22—Thursday through Saturday from 10 a.m. to 5 p.m. and Sunday from 12 to 5 p.m. Buy tickets at dillardjones.com . A portion of the proceeds goes to Communities In Schools of South Carolina, Sea Island Habitat for Humanity, and the Mother Emanuel Memorial Foundation.

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“ Cultural Planning will help to ensure the Perm region will remain distinctive and unique” , Mr. Protasevich said. “It will mean planning ways to support and preserve our heritage, developing appealing opportunities for artists and musicians regardless of age, and generating education and employment. It will mean building a creative community with a buzz.”

“Some of the identified objectives of “Perm krai international:young journalists@school” project include facilitating greater communication and cooperation among young community and official organizations in Perm krai”, said the Vice-Minister of Perm krai.

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The international children festival of theatre arts “Long Break”

What is the international child festival of theatre arts “Long Break”? It is a real holiday for young spectators and their parents. The international child festival of theatre arts “Long Break” will be hold from the 30th of April to the 5th of May. It will be in Perm and Lysva. It will be hold under the aegis of the Ministry of Culture of the Russian Federation and the Ministry of Culture, Youth Politics and Mass Communications of Perm Krai. The program of the festival is prepared by Russian and foreign experts of child theatre. There are the most interesting for children events of the world arts. The “Long Break” familiarizes children with actual artists. It is the platform where people communicate with people using the language of modern arts which is understandable for a new generation.

The festival “The White Nights in Perm”

• The participants of the festival of land art “Ural Myths” will create art objects using natural materials. The objects will have the same mythological idea.
• During the festival of bears “MedveDay” the masters Teddy-makers will tell gripping stories about a symbol of the city. They will organize some exhibitions of teddy bears and they will give master classes.

• The exhibition “Mammoth’s track” will gather mammoths from different corners of Russia on Perm’s territory. There will be even a famous mammoth Dima.
• And at last the international festival of street arts «Open sky» will represent the various program: carnival processions, a 5-day master class «Mask Art», street shows and performances, performances of Russian and foreign street theatres.

The IX International festival “Heavenly Fair of Ural”

From the 26th to the 3rd of July the IX International festival “Heavenly Fair of Ural” takes place in Kungur. There will be a fight for the I Privolzhski Federal Disctrict Cup for aerostatics and the VII Perm Krai Open Cup for aerostatics.This year Kungur won’t hold rating competitions which results are taking into general account of the pilots. They counted on creating entertainment activities “Air battles over Kungur”. There will be the representatives of sub-units of ultralight aviation, detachment of parachute troops and water means. All the battles will take place straight over the city. And natives will take part in the festival too.According to initial data 15 aeronauts and about 50 ultralight aviation pilots expressed willingness to take part at the festival. And a dirigible pilot confirmed his participation.Ultralight aviation pilots will take part in the “Air games” within the festival. As last year a campsite of ultralight aviation will base in an area near a village Milniki.

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Rolling Stones Background Singer Chanel Haynes on Her First Tour: ‘I Was Living in My Dream’

By Andy Greene

Andy Greene

When we last spoke to singer Chanel Haynes, it was June 2022 and she was still reeling from a surprise call from the Rolling Stones that led to her joining them for “Gimme Shelter” at a show in Milan. Haynes was staring as Tina Turner in a London production of Tina , and had to jet off to Italy at the last minute to make the show. With just 30 minutes of rehearsal, she faced a soccer stadium packed with Stones fans.

“The sound they made was like trees in a jungle in a storm,” she said. “It’s primal, like a war. When that hit my body, all of those voices, all of those eyes, were shooting into my body. I had to hold and possess all of that. It was a very surreal experience … It was a magnificent gift. I’m still savoring it.”

A couple of weeks after the tour wrapped up in Ridgedale, Missouri, we hopped on a Zoom call with Haynes from her home in London to hear all about the second chapter of her saga with the Rolling Stones.

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I don’t remember when I learned for sure that it was happening, but I’ll tell you this. I knew once I experienced that stage in Milan … the feeling that went through my body was shockwaves. I knew that I was home. I felt grounded. I also felt like I was soaring in the heavens. It was just this amazing alignment that I felt, and it just became something I absolutely wanted to manifest.

It became my focus. “I must be home with my family.” It was a feeling like that, and I will say it’s what I prayed for. I have a beautiful, amazing family, and I always thought, “Well, why can’t I have that in my career as well?” And so, it became a prayer, and I found my family.

Watch the Rolling Stones Wrap Up 2024 Tour at a Remote Amphitheater in the Ozarks

The rolling stones rehearsed 60 to 70 songs for 'hackney diamonds' tour, watch the rolling stones play 'time is on my side' with irma thomas at jazz fest.

You hopped on a plane and went right into rehearsals? I went right into rehearsals. I went from performing on the stage with them that one time, and having not even a half hour rehearsal for Milan. And then I’m ushered into this room with just the Stones in a rehearsal, learning their new material and some of the old, and I did it.

I was directly in front of the stage. The feeling in that little room was unreal. It felt like it really mattered to the Stones. Everyone felt that intensity and how precious and important this moment was to them, because we were all vulnerable. It was all new material. And the most magical thing about working with them is there’s nothing stale. There’s nothing to be assumed. You show up, and you’re ready to tap in, if that makes any sense.

And we were all tapped in onstage. You’re waiting just as much as the people in the audience are waiting. We’re all waiting to find out, where are we going?

Prior to the rehearsals in Los Angeles, did you take a crash course in their catalog? I had a very unique process. For a week, all I did was study the lyrics of the songs, and wanted to know in what decade was this song written, who wrote it, what socially was happening in the world? I did a deep dive into the actual writing, the lyrics. Then, another week, I was studying every girl who’d ever sang “Gimme Shelter” with Mick to see where there was more chemistry than others, what made them tick. I was just studying their interactions.

Then, I had to figure out who I wanted to be. I watched the other people, and then I decided, “Who am I? What do I have to offer and what do I bring to the table?”

But honestly, I dreamed all of it. I saw it first, and I let my body and my heart feel it, so that when I showed up, I was living in my dream. So for example, every note, every flight on that jet, every dinner, every rehearsal, soundcheck, my dressing room, walking with security from the stage to the motorcade, I already fantasized that all these things would happen, so that when it did, I was like a kid in the candy store. I was like, “It’s really happening.”

How did you approach your job as a background singer? You obviously don’t want to overpower Mick, but you want to punch up certain parts. I’m sure Bernard helped you with that. It’s definitely a collaboration. Obviously, Bernard for over 30 years has mastered the tones and textures of everyone onstage, particularly Mick. And he was very supportive and patient with me, because I’ve never been a background singer. And my voice isn’t really a blending-in kind of voice. It’s kind of out there. And so I just listened.

There’s no space and time for ego like, “Oh, this is my thing.” No, you listen and you get the pulse and understand what is needed. I remember Mick asking me. “Do you have any questions? Is there anything that we can do to support you?” I said to him, “I want to make sure that you are OK. I want to support you. The last thing in the world I want is for you or anyone to worry about me. I’ll do my homework, but my gift is to support you wherever you need me on that stage.”

Prior to rehearsals, did you know you’d be doing the Lady Gaga parts in “Sweet Sounds of Heaven”? Yes, I did. I think the thing that still to this day blows me away is I don’t know if, ever in the history of the Stones, that someone was featured twice singing.

Nope. It’s the most prominent role they’ve ever given a background singer. When that dawned on me, I certainly was humbled by it, and knew that with that opportunity comes a great deal of responsibility. And these are singers that I’ve admired. Obviously, Gaga and the incredible Merry Clayton … it’s big shoes to fill, and I embraced it with my whole heart, and I think it was felt.

They’ve been doing “Gimme Shelter” for over 50 years. But “Sweet Sounds of Heaven” is a brand new song. That gives you a lot of space to find your place in it. Like anything, in the beginning, you’re finding it, but oh, my God, by the end, it’s one of the most beautiful things I feel I’ve ever been able to create and co-create with the kings. Not only was I so looking forward to the experience of rocking out with the kings, I wanted to know how the kingdom worked, so I just did a deep dive every chance or opportunity I got.

I am no interviewer, but I’m a very curious person: I wanted to understand how it all works. It was the entourage, the band, sound engineers, the pilot, flight attendants, lighting stage manager, stage designer, public relations, hospitality, physical therapist, choreographer, hotel coordinator, transportation, hair, makeup, management, personal assistants, catering, doctors, truck drivers, accountants, the chef, merch, ticket office, the promoter, videographers, and then my absolute favorite, security, they’re like zen warriors.

Everyone came together so beautifully. When the show is over, it’s like almost like the Hackney Diamonds glass breaking off. Everybody kinds of goes their own way, and then it all merges back together. I swear to God, it felt like that every day of the show. It was all these pieces just sort of coming together in this beautiful way. I’m like, “This is the most beautiful kingdom on planet earth.”

You can imagine the Rolling Stone fans. I’ve been singing my whole life, and I’ve had my own fans, but dude, this is otherworldly. And so sometimes when it was a little bit too much for me to process or handle, oftentimes I’d have what I call my red-room parties. And whoever was also sort of in the same mood, it was like, “Let’s just hang back.” My room is always red. I always travel with red light bulbs, and we’ll just have snacks, drink wine, hang out, and listen to music. It has just really been a blessing.

They’re all great guys. I think, for example, of the job Steve Jordan has done filling Charlie’s shoes. He’s incredible. I was really shy at first. He was in front of me at the hotel, and he’s going to get dinner and he sees me, and he sees I’m shy, by myself. And he says, “Hey, you want to have dinner with me?” I was just so touched.

View this post on Instagram A post shared by Chanel Haynes (@iamchanelhaynes)

I saw that great photo of you on the plane with Keith Richards. Did you grow close to him? Oh, my God. I can’t even go into the details of how much he’s touched my heart. I had a little routine before the shows, where we’d have a little bite of shepherd’s pie with him. He always has it, and I am sort of a foodie, so whenever I might feel a little … sometimes there’s a lot going on backstage and can be a little unsettling, but Keith is the calmest. He’s grounding, so whenever I’m around him, I just really feel so grounded. Watching him strum his guitar, while I totally devour his shepherd’s pie, is one of my favorite memories.

I did a note one night, and actually, it was rehearsal, and I was kind of just being lazy. I’m like, “No, he’s not going to notice this note.” I just did a lower note when I should have done a higher note. He totally caught it. He said, “Yeah. Next time, can you …” I was like, “Oh yeah. You’re right.” I learned, in that rehearsal, he’s going to catch every single thing, so you might as well lock it down, girl.

I really think that “Gimme Shelter” is one of the greatest rock songs ever written. Did singing it every night give you a deeper appreciation of its power? “Gimme Shelter,” in my opinion, is not even a song. It’s a war cry. It’s in a zone that is not like any other song written because, I mean, this might sound sacrilegious, but almost like the Bible. You know how they call it the living word? I’m a preacher’s daughter, so bear with me.

It’s called the living word, because every time you read it, you get something different. It’s just alive in you. Every time I sang that song, it would rip me apart. I mean, I’m shredded, shredded onstage, and as we continue, I’m slowly being put back together again. I often wore metal dresses. They felt like armor to me. It made it feel like war. And it’s bringing everyone together for this epic moment in time. That’s the kind of feelings I’m channeling, really.

One of the best moments of the show came when you first step into the spotlight and belt out, “Rape! Murder!” I could see everyone around me get chills at once. I’m channeling. It comes down from above through my head, through my heart, and then it goes out into the audience, and then they feel it, and then it goes back up, and that’s the cycle. That’s what’s happening the whole time for me, because it’s not just one component. We’re being elevated together all at once.

There’s no way to describe it. All I can tell you is we were reacting to each other, and there’s no one person in that moment. And there are the tiniest details that I would catch. It could be his hands shaking a little faster than normal. That might indicate something to me, so it really was just a delicate dance of our souls.

Did you ever get used to facing 50,000 people at once? It’s never something to take for granted. But I’ll also say that it felt like home since it becomes familiar in the most beautiful way, and there are obviously all these generations. You are seeing little children with their grandparents, and knowing what those moments mean for everyone. You really care about their experience. And you also know that tomorrow is not promised. We can plan all we want to, but the worst mistake ever is to live in the past or to plan too much, and you completely missed out on this incredible, special experience now. And I’m very much about that. I’m very present. I’d much rather be present, so I just felt like lightning struck every night.

“Sweet Sounds of Heaven” was a big moment since it kicked off the encore, and it gives you a chance to make a grand entrance. You added a real gospel flavor to it. Well, again, I wanted to understand what the song means to them. My favorite line is, “Let the old still believe that they’re young,” and then it’s, “young, young, young,” this climax. When I think about that, it’s about their stamina, their approach, and their attitude to their work and their legacy. I felt the energy of that every night in that song, because it’s such a ballsy move to have a new song as an encore.

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I hope that tour happens next year. As you said, you’re really at home on that stage. The greatest reward, truly, at the end of the show, to be in the arms of everyone else. Your arms are stretched. You can feel everybody’s vibration. When we bow and we say thank you, that’s what the bow is for, thanking everyone else, and simultaneously thanking each other for getting us here. It’s just such a beautiful reward at the end, all that hard work that we did. And we did this together.

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Nate Silver talks risk in his new book 'On the Edge'

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• Samantha Raphelson

In the 2011 film “Moneyball,” a contrarian geek working for the Oakland Athletics baseball team clashes with the traditional scouts.

Election modeler Nate Silver ’s new book, “ On The Edge: The Art of Risking Everything ,” seeks to understand these two camps on a much broader scale. Silver concludes that data nerds — the ‘quants’ (quantitative analysts) who take big risks — are winning in American society.

In the book, Silver argues there's a group of elites in society who belong to what he calls “the river” — people who take calculated, mostly quantitive risks for a living in fields such as finance.

“They combine two traits, one of which is that very ‘Moneyball’-ish analytical approach, but also being extremely competitive,” Silver says. “These are people who want to win to the point of sometimes being independent-minded to the point of contrarian, where they think they're different than the rest of society and are trying to arbitrage that for their advantage.”

Book excerpt: 'On the Edge'

By Nate Silver 

Introduction

The Seminole Hard Rock Hotel & Casino in Hollywood, Florida, features one nightclub, seven pools, fourteen restaurants, a thirty‑foot‑high indoor waterfall, dozens of pieces of bedazzled rock-and-roll memorabilia, two hundred gaming tables, 1,275 guest rooms, three thousand slot machines, and a glimmering guitar‑shaped hotel that shoots beams of neon blue light twenty thousand feet into the sky.

Like most casinos—and like most things in South Florida—the Hard Rock is designed to overwhelm your senses and undermine your inhibitions. Picture a casino in your head. If you haven’t been to a place like the Hard Rock or the Wynn in Las Vegas, you’re probably thinking of a dingy “slot barn” full of cigarette smoke and mazelike rows of chirping machines. Indeed, those can be some of the most depressing places on Earth. But at high‑end resorts like the Hard Rock, the mood at busy hours is exuberant. Few places in American life attract a broader cross section of society. There are adults of all ages, races, classes, ethnic groups, and political orientations. There are senior citizens hoping to hit a slot jackpot; groups of bros and gaggles of girls; and attendees of third‑rate trade association conferences compensating for the awkwardness of it all by overindulging in booze and blackjack. I spent a lot of time in casinos over the course of writing this book. Needless to say, even the most glamorous ones eventually become tiresome. I sometimes had the feeling of being a professional wedding photographer: everyone was having the time of their life, their very special day. But I knew all the tropes, all the recurring characters—the dude trying to hide from his buddies at the craps table that he was playing beyond his means; the BFFs from the bachelorette party jockeying for pole position when a hot bachelor walked by; the friendly couple from Nebraska having the night of their life playing blackjack before giving all their winnings back twice over.

It was April 2021. I was in Florida for the Seminole Hard Rock Poker Showdown, the first really big poker tournament in the United States since the pandemic. For better or worse, I’d been pretty careful about avoiding crowded indoor spaces until I got vaccinated for COVID‑19. I hadn’t even been on a plane since March 11, 2020, when I learned midflight that Tom Hanks had gotten COVID, that the NBA had suspended its season, that President Trump had shut down travel from Europe—and that my fellow passengers and I had landed in a riskier universe.

But it was a year later, and it was time to gamble. Judging by the crowds at the Hard Rock, a lot of other people were in the same frame of mind. Despite their reputation for risk tolerance, casinos mostly did shut down in the early days of COVID. Even the Las Vegas Strip—which I’d always assumed would continue to operate even in the event of a nuclear apocalypse—was closed for two and a half months. During this period, casino gaming revenues across the United States were down by as much as 96 percent from a year earlier.

But they rebounded with a vengeance. Somehow, between the anxiety caused by the unprecedented mass death of COVID and the boredom caused by the unprecedented lack of social interaction, Americans’ appetite for YOLO (You Only Live Once) behavior exploded, manifesting itself in everything from illegal fireworks displays to traffic accidents to cryptocurrency bubbles. (Bitcoin prices increased roughly tenfold in the year after the WHO declared COVID‑19 to be a pandemic.) And so in April 2021—even as schools remained closed in parts of the country—American casinos won a staggering $4.6 billion in gaming revenues from their patrons, 26 percent higher than in the same month two years earlier, before the pandemic.

Poker players came out in a show of force at the Hard Rock. In April 2019, the last time this particular tournament had been held before COVID, it had a respectable 1,360 entrants. The 2021 version drew almost twice as many—2,482 entrants—despite still being in the middle of a pandemic and a travel ban affecting most of the poker‑playing world. It could easily have been more: demand was so overwhelming that there were hours‑long waits to pony up $3,500 and register for a seat. Still, this was the largest‑ ever number of entrants for a tournament on the World Poker Tour, which sponsored the event. Appropriately enough, the tournament was eventually won by an ICU nurse from Grand Rapids, Michigan, named Brek Schutten, who had done his time in COVID wards.

We played through unusual conditions. There was a mask mandate, which I’d expected to be an enforcement disaster: poker players are both individualistic and irascible, not the types to quietly follow orders. But most of them were so damn happy to be playing poker again that there were relatively few complaints.* A bigger constraint was that, as a COVID half measure, the poker tables were equipped with kludgy octagonal plexiglass dividers. This made for one entertaining wrinkle: whenever a player got knocked out of the tournament, the floor staff would squeakily eulogize his departure by wiping down his section of the plexiglass, like an NBA towel boy wiping the sweat off the court after some hapless forward had just been dunked on by Giannis Antetokounmpo.

However, the plexiglass had the effect of fun‑house mirrors, making it hard to properly view your opponents. Sure, I could see the other players well enough if I concentrated. But contrary to what you might have heard, most poker tells aren’t given away by blatantly staring at an opponent and getting a “soul read.” Instead, it’s subtleties on the boundary of conscious observation: a flick of the wrist here, a quickening of the pulse there; an opponent you spy, out of the corner of your eye, looking more erect in her seat after she first peeks at her cards. (She probably has a strong hand.) Poker is mostly a mathematical game, but the edges are so thin that you’ll take whatever reads you can get.

Between the plexiglass, the masks, and being out of practice being around other people, I felt like I was playing poker underwater. My body betrayed my anxiety. Not only was I feeling my pulse when I made a big decision, but for parts of the tournament, my hands even began trembling when I bet chips, something that’s almost never happened to me before or since. When I reviewed a few hands later with my poker coach—yeah, I have a poker coach, like some people have a personal trainer—they nearly all featured me overplaying and overthinking situations as though making up for a year lost during the pandemic. The Hendon Mob Poker Database says I eventually finished in 161st place in the tournament for $7,465, but I actually lost money on the trip.

And yet, it was a great experience. After an isolating election year in 2020—isolating because I was working remotely during the pandemic, and because for reasons I’ll explain to you later, I find presidential election years to be alienating—I felt welcome in the poker world. The World Poker Tour even tweeted congratulations to me from their @WPT account, not something they’d usually do for the 161st‑place finisher.

I’m not sure I fully recognized it in the moment, but the tournament was the first taste of several realizations I’d have in the course of writing this book. One was that something important was happening, something that went beyond poker. That the tournament had drawn a record number of players—that people were so aggressively “returning to normal” in the hyperreal and obviously‑not‑COVID‑safe environment of a casino—that seemed significant. People have always had different risk tolerances, but they’re often hidden from public view. If the person standing right in front of me in the grocery line is planning to spend his evening curling up and watching Netflix, and the person right behind me is planning to go on an all‑night cocaine bender at a strip club, I don’t really have any way to know that and I really don’t care.

But COVID made those risk preferences public, worn on our proverbial sleeves and our literal faces. For a lot of folks, COVID was the Wild West, forcing them to confront risk and reward with little precedent to rely upon and expert guidance that changed constantly. My experience in writing this book is that people are becoming more bifurcated in their risk tolerance—and that this affects everything from who we hang out with to how we vote. Maybe Netflix Guy and Strip Club Guy aren’t even shopping at the same grocery store anymore; Netflix Guy moved to the country now that he doesn’t need to be in the office, and Strip Club Guy moved to Miami—and was probably playing against me in the poker tournament.

I want to be careful here. In any statistical distribution, you’ll find some people on either end of the bell curve, and this book often focuses on people on the extreme right tail of risk. But risk‑taking is an understudied personality trait, and the academic literature is divided over the extent some people are generally more risk‑taking as opposed to taking risks within specific domains. My favorite example of a domain‑specific risk‑ taker is Dr. Ezekiel Emanuel, who served on President Biden’s COVID‑19 advisory board. In a May 2022 op‑ed, Emanuel said that he was avoiding eating indoors at restaurants because he was worried about long COVID, but also bragged about riding a motorcycle. That seems like an insane pair of risk preferences to hold. (Motorcycles are about thirty times as deadly as passenger cars per mile traveled.) With that said, I can think of plenty of areas in my own life in which my risk preferences are hard to defend as being rational or consistent. People are complicated, and even among poker players, there are plenty of degens (degenerate gamblers) and plenty of nits.*

Indeed, most of us seem conflicted about how much risk we want in our lives. One of the truisms in studies of risk is that younger people take on more risk than older ones. That may be changing, however. Teenagers in the United States and other Western countries are undertaking far less risky behavior—drugs, drinking, sex—than they did a generation ago.

And yet, literal gambling is booming. In 2022, Americans lost around $60 billion betting at licensed casinos and online gambling operations—a record even after accounting for inflation. They also lost an estimated $40 billion in unlicensed, gray‑market, or black‑market gambling—and about $30 billion in state lotteries. To be clear, that’s the amount they lost, not the amount they wagered, which was roughly ten times as much. Between all forms of gambling, Americans are probably making in excess of $1 trillion in bets annually.

And here’s something that probably should keep more of us up at night: American life expectancy has stagnated. During the pandemic, in fact, it declined, to 76.4 years in 2021 from 78.8 years in 2019. Life expectancy numbers during a pandemic can be misleading—they essentially assume we’ll maintain the same number of COVID deaths going forward when we likely won’t—and the numbers have begun rebounding to some extent. Even before COVID, though, American men had lost a tenth of a year of life expectancy between 2014 (76.4 years) and 2019 (76.3).

In fact, the United States is now an outlier among highly developed countries. Based on our very high GDP, you’d expect American life expectancy to be about five years longer than it is. The reasons for the shortfall are complicated, involving a mix of cultural and political factors as well as the United States’ high inequality. But they partly reflect the United States being more risk‑taking—we have more driving at freeway speeds, more opioids, more COVID, more firearms—and less willingness to sacrifice freedom or economic growth for longer lifespans.

The other big realization I had on that flight home from Florida was that this world of poker players and poker‑playing types—this world of calculated risk-taking—was the world where I fit in.

This shouldn’t have been a huge surprise. It may even run in my blood. Neither of my parents is much into cards or casinos, but my paternal grand‑ mother, Gladys Silver, was an outstanding gin rummy and bridge player and a notoriously punitive one: if you weren’t careful about concealing your cards, she’d take full advantage of that information as a way of teaching you to be more careful next time. My great‑grandfather Jacob Silver founded an auto‑body shop in Waterbury, Connecticut, which held a poker game on payout day every second Friday—until, according to family legend, the wives of the mechanics forced him to switch payment from cash to checks because too many of their husbands were coming home with empty wallets. Another great‑grandfather, Ferdinand Thrun, was a notorious arsonist who came up with such innovative ways of committing insurance fraud that there literally weren’t laws to charge him with. Ferdinand would have run a pretty good bluff.

And I’d been a professional poker player for three years between 2004 and 2007, during the so‑called Poker Boom. The Poker Boom began be‑ cause of the increasing availability of online poker and because of Chris Moneymaker, an accountant from Nashville who won an online qualifying tournament for a seat at the $10,000 Main Event at the 2003 World Series of Poker and then parlayed that into winning the Main Event for $2.5 million. If you’d asked ChatGPT to design a person who would most increase the amount of interest in poker by winning the WSOP, it might have spat out Moneymaker. An affable, pudgy, late twenty‑something dude with a boring corporate job, he was exactly the customer the online poker sites were targeting, an archetype for every office drone who wanted to break out of his cubicle and win the big jackpot. The number of participants in the World Series of Poker Main Event exploded from 839 in Moneymaker’s 2003 to 8,773 just three years later in 2006, largely fueled by people who had won their seats online.

I was one of those people who lived the dream. I soon found myself on a nocturnal schedule. Poker games are usually best late at night, when your opponents are some combination of drunk, sleep‑deprived, or delirious from winning or losing a bunch of money. So I’d come home from my cubicle, take a nap, and then play poker online, sometimes straight through until the morning, when I’d straggle into work and struggle through the day. Needless to say, this wasn’t sustainable, and—making considerably more money as a poker player than as a consultant—I quit my corporate job within about six months to play poker and work for the baseball statistics startup Baseball Prospectus.

It was a good living for a couple of years—but like most edges in gam‑ bling, it wouldn’t last. Some of this was the natural evolution of the game: the Poker Boom sputtered into more of a poker plateau as losing players either went broke, quit, or got better, removing one sucker from the table at a time.

But it was also partly the doing of the U.S. Congress. In late 2006, the GOP‑led Congress, hungry for a victory with “moral majority” voters ahead of the midterms as Republican congressman Mark Foley resigned from office for having sent sexually explicit messages to underage male pages, passed a bill called the Unlawful Internet Gambling Enforcement Act (UIGEA). The UIGEA didn’t ban online poker per se, but it established regulations that choked off payment processors: it’s hard to play poker if you can’t exchange cash for chips. Some sites closed to U.S. players while others remained open, but between the shadow of illegality and the increased friction of getting your money in and out, inexperienced new players avoided the games, making them much tougher to beat.

There was one silver lining: the UIGEA piqued my interest in politics. The bill had been tucked into an unrelated piece of homeland security legislation and passed during the last session before Congress recessed for the midterms. It was a shifty workaround, and having essentially lost my job, I wanted the people responsible for it to lose their jobs, too. And they did: Republicans lost both the House and the Senate, including the seat of Representative Jim Leach of Iowa, the chief sponsor of the UIGEA, whose thirty‑year tenure in office ended partly because of poker players who had contributed money to his opponent.

Struggling to win money as the games were drying up, I quit poker about six months later. With my newfound interest in politics and the extra time on my hands, I wound up starting FiveThirtyEight in 2008. There’s no way to say this without bragging, but FiveThirtyEight kind of blew up, going from having a few hundred readers per day at the outset to hundreds of thousands by Election Day that year. Then before I knew it, it had tens of millions of readers; in 2016, our election forecast page was literally the most engaging piece of content on the internet according to the analytics service Chartbeat.

Excerpted from 'On the Edge' by Nate Silver. Copyright © 2024 by Nate Silver. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

This segment aired on August 22, 2024.

Scott Tong Co-Host, Here & Now Scott Tong joined Here & Now as a co-host in July 2021 after spending 16 years at Marketplace as Shanghai bureau chief and senior correspondent.

Samantha Raphelson Associate Producer, Here & Now Samantha Raphelson is an associate producer for Here & Now, based at NPR in Washington, D.C.

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