Why is Tascarella the Bushka expert?

I tried the Champions but wasn't satisfied with the results.

Not to doubt you, but the quality of Champion tips varied by the era. The best ones were from the 60s and 70s, in either the silver or white box with the red label. The white box had staples on the corners. Not sure what you had. The later ones made by "Chandivert" marketed as Champion were garbage. Maybe that's what you tried? Not sure.

There is a reason that George Balabushka and Gus Szamboti put Champion tips on their cues. They were the best around, at the time, or maybe any time, for a single layer tip. No accident.

All the best,
WW
 
Thanks to all those contributing (positively) to this thread, a lot of fun for me to read as a Tasc and Bushka fan.

On a separate note - I have never known pool players to be the most number-savvy bunch, but some people for real need to work on their arithmetic.
 
Thanks to all those contributing (positively) to this thread, a lot of fun for me to read as a Tasc and Bushka fan.

On a separate note - I have never known pool players to be the most number-savvy bunch, but some people for real need to work on their arithmetic.

Don't be shy now
 
Not to doubt you, but the quality of Champion tips varied by the era. The best ones were from the 60s and 70s, in either the silver or white box with the red label. The white box had staples on the corners. Not sure what you had. The later ones made by "Chandivert" marketed as Champion were garbage. Maybe that's what you tried? Not sure.

There is a reason that George Balabushka and Gus Szamboti put Champion tips on their cues. They were the best around, at the time, or maybe any time, for a single layer tip. No accident.

All the best,
WW

Would have been around '74 I think. I played with a soft tip until then. The Chandivert were indeed garbage.
 
Makes me less self conscious that I like my LePro tips. I have a stash of them from the 1980s.


I have some Champions as well.


Recently I have had some modern layered tips put on some of my cues, but my Joss and Huebler both have old school tips on them, and I put them on myself.







.
 
Makes me less self conscious that I like my LePro tips. I have a stash of them from the 1980s.


I have some Champions as well.


Recently I have had some modern layered tips put on some of my cues, but my Joss and Huebler both have old school tips on them, and I put them on myself.
.

If I remember right, I had Champions on my pre-Joss Cues LTD Joss with ivory ferrules. Maybe my Scruggs with ivory ferrules also but I'm not sure about that one. Most of the time after that period I used LePro until some years after moving to SC I started using Mooris, then switched to Triangles which is what I use now.
 
Yes, but the parties interested in an inflated number will decry Tom's ignorance into how a cue building shop with 1 man, 1 lathe, and lots of handmade cue features could crank out 1200 cues with his eyes closed in rapid fashion.

He's not really a 1 man shop when you look at him having blanks, shafts, etc made by different people. I mean, what difference does it make if the guys are in the shop with him or across the street or across the country? It's the same thing. Just sayin
Jason
 
He's not really a 1 man shop when you look at him having blanks, shafts, etc made by different people. I mean, what difference does it make if the guys are in the shop with him or across the street or across the country? It's the same thing. Just sayin
Jason

I guess we can classify Balabuska cues as production cues. Like Schon.
 
I guess we can classify Balabuska cues as production cues. Like Schon.

Obviously not. But there is a point to be made. More or less for simple discussion.

The point just isn't as powerful as one might wish.

Once a cue maker is rolling he can make for instance splices and have them in various stages of completion. While glue is drying or they are "resting" after turns, he performs other operations on parts or cues.

Even when talking about shafts it holds true. Once a maker has some shafts in various stages, some close to finish, one need not wait years to get a shaft from him. So, whether he buys blanks near completion or makes them himself has less impact than one might think.

Making all the components would not slow an efficient cue maker down as much as some might think. Buying more of the components would not speed him up as much as others might think.


Of course that it all bench racing and it will depend on the cue maker himself. His speed will depend on many aspects of how he works. And we are talking about Balabushka here. I doubt anybody would say his cues or his production are like a Schon....


Terms are terms. Did GB produce cues? Sure. Did he assemble cues? Sure.

Heck, I have seen and heard people go apeshit over such terms for no good reason. Almost invariably they are in the wrong in going off the deep end about it.

To say that GB was not a one man shop because he bought things like splices from others is an interesting statement. No reason to go apeshit over it.


How much if any that affected his production speed is an interesting thought.


From what I understand GB made as many cues as he liked, not one more or less than that. He was not attempting to maximize production. So the answers to questions about how many he produced are not really in his methods or materials. The answers were more in the heart and head of the man. And that is a helluva lot harder to understand.

Of course, his notes and records could reveal a lot, but none of us has those.


This is a great thread. I hope it does not degrade to rolling around in the mud, the blood, and the beer.






.
 
When I discussed this thread with Rubino he mentioned to me a few things about producing cues. His opinion, with his current equipment, he could make 10 conversions a day. Split them, glue the pin in and shaft them. You can look at the blanks of today, Prather, Davis, etc.. again I have been told to make a cue once you have those pieces, and to have pre done shafts, you could be a one man production shop.
But you cannot compare him to makers of today. He wasn't married to a rich woman, not well off to begin with, not a guy who had another business and this was a hobby. He was in a high cost area even at that time, and didn't benefit from internet hype driving the price so high, that he could get 4k for a 4 point cue. In 1965 110 dollars is still only 833.00 in todays money. He has to produce to support a household.
He had limited space, and that probably helped him. If he had more machinery and made all the parts, it could be a lower total. The people who feel that 1200 is close, are a who's who of cue aficionados, dealers, other makers that studied George and his work... oh and one does have his notes.

JV


Obviously not. But there is a point to be made. More or less for simple discussion.

The point just isn't as powerful as one might wish.

Once a cue maker is rolling he can make for instance splices and have them in various stages of completion. While glue is drying or they are "resting" after turns, he performs other operations on parts or cues.

Even when talking about shafts it holds true. Once a maker has some shafts in various stages, some close to finish, one need not wait years to get a shaft from him. So, whether he buys blanks near completion or makes them himself has less impact than one might think.

Making all the components would not slow an efficient cue maker down as much as some might think. Buying more of the components would not speed him up as much as others might think.


Of course that it all bench racing and it will depend on the cue maker himself. His speed will depend on many aspects of how he works. And we are talking about Balabushka here. I doubt anybody would say his cues or his production are like a Schon....


Terms are terms. Did GB produce cues? Sure. Did he assemble cues? Sure.

Heck, I have seen and heard people go apeshit over such terms for no good reason. Almost invariably they are in the wrong in going off the deep end about it.

To say that GB was not a one man shop because he bought things like splices from others is an interesting statement. No reason to go apeshit over it.


How much if any that affected his production speed is an interesting thought.


From what I understand GB made as many cues as he liked, not one more or less than that. He was not attempting to maximize production. So the answers to questions about how many he produced are not really in his methods or materials. The answers were more in the heart and head of the man. And that is a helluva lot harder to understand.

Of course, his notes and records could reveal a lot, but none of us has those.


This is a great thread. I hope it does not degrade to rolling around in the mud, the blood, and the beer.






.
 
I have a lot of respect for Tascarella but if I decided to buy a GB cue I would need a full provenance in addition to a letter of authenticity. Way too many copies out there.
 
He's not really a 1 man shop when you look at him having blanks, shafts, etc made by different people. I mean, what difference does it make if the guys are in the shop with him or across the street or across the country? It's the same thing. Just sayin
Jason

Don't forget to give the lumberjack and sawmill credit too for cutting up the tree which provided the wood.

It's his quality control in choosing who he got the supplies from and what he did with them that makes his work stand out. A Corvette and a Yugo both have 4 tires and an engine. One is more valuable than the other.
 
When I discussed this thread with Rubino he mentioned to me a few things about producing cues. His opinion, with his current equipment, he could make 10 conversions a day. Split them, glue the pin in and shaft them. You can look at the blanks of today, Prather, Davis, etc.. again I have been told to make a cue once you have those pieces, and to have pre done shafts, you could be a one man production shop.
But you cannot compare him to makers of today. He wasn't married to a rich woman, not well off to begin with, not a guy who had another business and this was a hobby. He was in a high cost area even at that time, and didn't benefit from internet hype driving the price so high, that he could get 4k for a 4 point cue. In 1965 110 dollars is still only 833.00 in todays money. He has to produce to support a household.
He had limited space, and that probably helped him. If he had more machinery and made all the parts, it could be a lower total. The people who feel that 1200 is close, are a who's who of cue aficionados, dealers, other makers that studied George and his work... oh and one does have his notes.

JV


Joe -

I know that you have gotten frustrated at times with this thread, but I think it is has been enlightening.

The topic that hasnt been mentioned was how many survivors are out there. In this thread we have heard about so many getting damaged or destroyed, and being in an era that they werent really high dollar. Years ago, I was taking some lessons from Ray Martin and we got into a discussion of his Balabushkas, he sold one for ALOT, and he said he had bought another one in Florida either at a garage sale or pawn shop for nearly nothing.

Assuming that the 1200 number is correct, would 600 survivors be accurate? Does the notes that Tascarella got from the estate have any of that information?

Thanks,

Ken
 
Last edited:
Joe -

I know that you have gotten frustrated at times with this thread, but I think it is has been enlightening.

The topic that hasnt been mentioned was how many survivors are out there. In this thread we have heard about so many getting damaged or destroyed, and being in an era that they werent really high dollar. Years ago, I was taking some lessons from Ray Martin and we got into a discussion of his Balabushkas, he sold one for ALOT, and he said he had bought another one in Florida either at a garage sale or pawn shop for nearly nothing.

Assuming that the 1200 number is correct, would 600 survivors be accurate? Does the notes that Tascarella got from the estate have any of that information?

Thanks,

Ken

I personally knew a man, and later, his son, who took their Balabuskas with them....
....and they were real Buskas....the son knew George well.
 
I personally knew a man, and later, his son, who took their Balabuskas with them....
....and they were real Buskas....the son knew George well.

You mean they were buried with their Balabushkas?

(Please let me know which cemetery ;))

Ken
 
Back
Top