I keep reading things like "changed cuemaking" "inovator and new construction". So what did he do that cuemakers before him have not been doing? What new techniques did he add?
What did this Balabushka guy do anyway?
- Thread starter hang-the-9
- Start date
J$Cincy said:
I don't think using Szamboti blanks is called "conversions". IMHO
Kinda like Shelby GT500's and Hemi Cuda's ... The market sets the price, period !
These Cars are certainly not built nearly as well, nor nearly as safe, as today's Muscle Cars.
The same is true for Cues and Cuemakers.
However, Nostalgia overwhelms common sense and ...... well, you know the rest.
These Cars are certainly not built nearly as well, nor nearly as safe, as today's Muscle Cars.
The same is true for Cues and Cuemakers.
However, Nostalgia overwhelms common sense and ...... well, you know the rest.
Last edited:
J$Cincy said:
Yes...and it will start here...but I'll be relatively gentle.
First, in a way slanting to your side, I'll wager that half the people who own authentic bushkas couldn't tell you more than one or two "innovations" that he introduced to the craft.
However, to suggest that all he did was make conversions is WAY, WAY wrong.
He STARTED converting house cues by putting joints on them...and other modifications and then he modified quite a few Brunswick Balke Callender Titlist cues.
But soon he began building cues from scratch...around 1000-1200 until he died.
Don't go outside in any lightening storms for a while!!
(-:
Jim
hang-the-9 said:
At first, I thought you would need a flame suit but then I thought about it and realized that other than his reputation for meticulous craftsmanship, I couldn't tell you what SPECIFIC "innovations" he should be credited with.
The "Bushka Rings" of course.
Anyway, I will be interested to read what the cue gurus have to say about this myself.
Regards,
Jim
hang-the-9 said:
You have to remember that at the time, there were very few cuemakers. In everything he did, Balabushka did it with the highest degree of quality and care. Some of his contemporaries seemed to eschew quality, fit and finish and strived for looks, while Balabushka strived for solidity and repeatability.
It's easy to look at today's cues and compare it to George's stuff. But, George was the start. He was the father of modern cuemaking. Without George and his meticulous attention to detail, other cuemakers may never have followed in his path.
It should be no surprise how many champions played with his cue, even after he passed! His greatest contribution may have been the buzz ring at the A-joint.
Fred
J$Cincy said:
Just because you could care less doesn't mean you don't need a history lesson.
And he didn't make the tips either...or the bumpers I imagine...which is just as pointless as your comment about the forearms.
I don't know which car you think is the greatest in the world but...clue...the manufacturer doesn't build the MAJORITY of parts that go in it.
And get back on those pills in your avatar...you're being a jerk.
)-:
J$Cincy said:
I told you not to live so close to that water treatment plant.
Bushkas have stood the test of time. Many of George's cues have survived, when those of many of his contemporaries have disappeared (read that fallen apart). Not only did he build the highest quality cue of his time, his cues were among the best playing cues. And coveted by players for that reason alone. Only Joss, Tad and Ginacue could be mentioned in the same breath with a Balabushka back then.
I am not a cue expert by any means. I am a pool player, and I know when a cue hits good. George knew something about playability that other cue makers didn't. In fact, his cues still hit great after all these years. His "art" outlasted him.
I am not a cue expert by any means. I am a pool player, and I know when a cue hits good. George knew something about playability that other cue makers didn't. In fact, his cues still hit great after all these years. His "art" outlasted him.
Last edited:
He is the Karsten Solheim of cuemaking - most everything today is re-creation of his works. Look that up for a history lesson....
Balabushka was known for his attention to detail and capable hands using manual methods (no cnc in those days). Szamboti was a better cuemaker (imo) considering that he made the entire cue including the blank.
After a Balabushka (really a Joss) was used in The Color of Money, the demand for his cues skyrocketed while supply remained constant. This caused prices to go through the roof.
I would guess that most cuemakers today are capable of producing a cue of better quality thanks to modern equipment and techniques.
After a Balabushka (really a Joss) was used in The Color of Money, the demand for his cues skyrocketed while supply remained constant. This caused prices to go through the roof.
I would guess that most cuemakers today are capable of producing a cue of better quality thanks to modern equipment and techniques.
jay helfert said:
AMEN brother!!
Roadkill said:
Having played with a number of George's cues I would beg to differ, I find few cues that match the hit of George's old cues.
Joe
That's like saying what's the difference between Pablo Picasso and Bob Ross. Both painted stuff. Picasso is worth an infinite amount more than the afro headed guy on pbs in the 80's. Whose work was better?
And whose work can you get easier.......
They are both dead so that would limit the availability, and supply and demand wouldn't really change too much, but I think that Picasso did less well in the art department than the stoned hippy painting mountains and trees.
You might find some of Ross's stuff at a garage sale, but I don't think it's ever made the news, even with much more modern technology than Picaso...
Which would you rather have?
An original from one of the early "masters" or an original from someone who recently died?
How about Van Gogh?
Most of his work looks like a kid did it, but still people will give up their firstborn to have some of his work.
Weird..........
In my sleep deprived mind, this makes sense, if it doesn't make sense to the rest of AZ land, maybe I'll try again tomorrow-
lol
And whose work can you get easier.......
They are both dead so that would limit the availability, and supply and demand wouldn't really change too much, but I think that Picasso did less well in the art department than the stoned hippy painting mountains and trees.
You might find some of Ross's stuff at a garage sale, but I don't think it's ever made the news, even with much more modern technology than Picaso...
Which would you rather have?
An original from one of the early "masters" or an original from someone who recently died?
How about Van Gogh?
Most of his work looks like a kid did it, but still people will give up their firstborn to have some of his work.
Weird..........
In my sleep deprived mind, this makes sense, if it doesn't make sense to the rest of AZ land, maybe I'll try again tomorrow-
lol
av84fun said:
Exactly why I asked. Every description of him starts with "genius" "inovation" "groundbreaker" yet I have never seen any specifics. Did he use a new glue, age wood better, did he just use the color green for the first time in a cue?
Last edited:
In response to Cornerman, I would say that Herman Rambow qualifies as the father of modern cuemaking. Balabushka's improvement over the basic Rambow cue (both men used Titlists for blanks) was essentially to make it less "clunky" and more streamlined in design. Balabushka, however, was a player (said to run hundreds at 14.1) and Rambow was not, thus George knew considerably more about playability. He was certainly the finest cuemaker of his era, and no doubt many of his cues still play wonderfully today. But he was also quite inconsistent, his cues were frequently "noisy", and most experts today feel that Gus Szamboti was the better cuemaker by far. GF