General Cue Description-

The DRAGON CUE was commissioned by Mr. Randy Welty and designed and completed by Mike Lambros on OCT. 2003. The cue design is an extreme application of 4th axis inlay and rotary engraving, most of which had never been done in ivory prior to this cue. The cue features an ivory forearm and butt highlighted with gold and silver trim rings inlaid with Mother-of-Pearl and red coral. The ivory forearm has four abalone dragons, each inlaid at a slant to allow for their size. Red coral represents the dragon breathing fire. The dragon inlays exceed 4″in length and 1.5″ in width and are inlaid around a 160 degree arc! Each dragon faces a central silver prize guarded by a pair of silver and gold swords. This 4th axis rotary work into ivory is a seamless example of artistic interpretation as the full scene is depicted regardless of how the cue is rotated. The ivory butt sleeve is inlaid with four smaller scale abalone dragons that surround two silver stars and two gold and silver swords. The ivory joint is decorated with a pair or rotary-engraved dragons. This is also carried through to the butt cap. A set of matching engraved ivory joint caps accompanies the cue. The wrap is white and black ringtail lizard to represent dragon scales.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott I’ve had the pleasure to see this cue in person and was as impressed then as I am now looking at the photos. The choice of materials works very well together, nice contrast between the abalone, ivory and silver. The minimal use of red coral adds just enough spice for a finishing touch. The white and black lizard wrap is an excellent choice. For my taste, the engraved dragons in the butt cap and joint collar might be unnecessary as well as the sword and star inlays in the butt sleeve. Great cue, Mr. Lambros should be proud of this one, an absolute monster.
	Fred Agnir From a technical excellence standpoint, a 2003 4th axis inlaid ivory masterpiece is one thing. To inlay with stylistic dragons using intricately machined abalone with that much wrap-around is mind-boggling to me. The probability of mismatch and re-loops would seem too high to attempt. And there’s no hiding into ebony here. The engraved dragons on the ends aren’t necessary, but they don’t detract. The abalone, silver, gold inlays and red coral highlights on this cue make it shimmer. That’s the wow factor. This cue sings! And it hits like every Lambros Cue out there. This cue is a Monster.
	Deno Andrews True artists take risks. Lambros is a true artist. I appreciate that he produced a cue where had his inlay work been off at all, it would scream out at the viewer because of the difficulty to hide mistakes using these materials. The sum of all the components makes this cue special. Any fewer or any more design elements could have killed the aesthetic of movement AND balance. The choice of materials was bold, but the final product is refined and gentle. I see this Monster as a testament to Mike’s taste, engineering skills, and ability to execute; it will be a large part of his cue making legacy.
	JimBo The best part of this cue is the fact that it’s still a cue, it’s hard to find a full head to toe Ivory cue that is well balanced and light and that plays as well as this cue. I know I was lucky enough to hit some balls with it. That being said the work on this cue should not be sold short, the 4th axis inlay work and the choice of materials coral and abalone work fantastic. The execution is fantastic, I am sure inlaying indicate pieces of abalone into ivory is not easy. Kudos to Mike for not using ebony on this cue, see it can be done. Monster all the way.
	Jim Stadum The execution appears to be top notch and these are difficult materials to work with. I really like the leather wrap choice as it helps the overall flow of the cue and ties the engraving on the joint collar and butt cap together. The abalone is a bit loud for my taste but it works because I think the intention was to build a flashy cue. The red coral throughout the cue also seems to help the overall flow. I appreciate the 4th axis work and rotary engraving, although being made in 03, I am sure it is not the first cue to be made with these techniques. This cue is a definite Monster and Mike did a great job.

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General Cue Description-

WW1 cue made for Keith Walton’s military collection in 2008.
After several weeks of research Jim and Dave came to the conclusion that the best tribute to WW1 would be to incorporate some facts regarding the war. To create enough room to accommodate the info they needed 14 ivory windows which are indexed 7 times at 51.428571 degrees. The Barbed wire is made of Desert Iron wood inlaid into Black Palm. This represents the dark conditions of the trenches that the soldiers fought and lived in.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott This cue personifies Samsara’s ability for immaculate execution. The inlay work is unique and flawless. The coloring of the wood grain appears black and drab when viewed from one perspective – as does war. The wood has a certain luminescence with bright contrast when viewed from a different perspective – as does war. The choice of wood for the barbed wire inlay works in that it makes the barbed wire covert – we’re still at war here. There is enough historical data engraved in the ivory handle pieces to consider this cue a monument to the “war to end all wars”. Not a “cue to end all cues”, but certainly a monster.
	Fred Agnir This cue should highlight the different reasons to consider a cue a monster or not. Artistically, the barbwire inlays throughout the cue are unbelievable. I think that in the photo unfortunately, the detail gets lost in the wood figure. However, I believe that in person, that’s not the case. Although it seems that the cue can be described as a solid figured wood with big blocks of ivory, the need to do so is obvious to engrave the words. I like the fact that Jim and Dave did not add more inlays for inlay sake. The overall theme of this cue is entirely too powerful to ignore. I have to call this cue a Monster.
	Deno Andrews I never thought I would like barbed wire on a cue stick but Samsara nailed it. It gets a little lost in the wood grain, but I believe it was meant to be a subtle detail that does not draw the eye away from the gravity of the words in the ivory panels. There is a tremendous amount of engineering to produce this cue, but I mostly appreciate that Samsara recognized that WWI couldn’t be graphically articulated in a cue. Instead, they published facts in a bold way that reminds the viewer of the seriousness and magnitude of this forgotten war. I will add that words on a cue almost never look great. They chose the perfect font, size, and framing for their thoughts on WWI. Monster for sure.
	JimBo I love theme cues, hell I may be one of the first guys to have a theme collection, so I can appreciate Keith’s collection and the significance this cue holds in it. This is a rare piece from Samsara as you don’t see them doing inlaid cues, of course the execution is perfect like all their work. The Barbed wire is fantastically done unfortunately it is not showcased enough because of the choice of the black palm as the back ground, I am not sure why it was the choice for this cue, but IMO it hurt the over all look. This cue is a great reminder of history and is well done, but it lacks in design for me to be a Monster.
	Jim Stadum Designing the WW1 cue was a painful experience. After weeks of research Dave and I realized that we both had slept through that period of American history class. It then dawned on us to build a cue with some facts regarding the war. I really like the way the cue came out and I think it is a great fit in Mr. Walton’s collection. To me WW1 seems like the forgotten war and maybe after reading this cue it will help remind people of how devastating this war was. I am going with Monster because of the immense design process and the historical value of the cue as well as the overall look.

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General Cue Description-

The idea of creating a “Hustler Cue” commemorating the Hustler Movie staring Jackie Gleason and Paul Newman occurred as a result of conversations between Paul Drexler, cuemaker (pfd Studios) and Jim Yonge, cue collector. With Paul’s connections to The Hole in the Wall Gang Camp, located in Connecticut, which was created by Paul Newman to provide a true camping experience for kids with life threatening diseases, it is little wonder why pfd Studios welcomed the opportunity to create such a special cue. The inspiration for the “film strip” inlay was derived directly from the film concept itself – running between silver film strip sprockets are Ivory movie “frames” scaled proportioned to wrap symetrically around the taper of the cue, into which Sandra Brady executed outstanding full color scrimshaw of various key scenes from the movie. The forend features 2 gold movie premier arc lights with rays of silver depicting the light projecting into the night sky – an idea born out of conversation(s) with Ken Kerner (HIgh End Cues). Paul Newman’s signature in gold ink was added to the finished cue prior to auction at the Greenwich Connecticut Polo Club for the benefit of the Hole in the Wall Gang Camp.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott “The Hustler”, an American movie classic, is respectfully depicted on this beautiful cue. A collaboration of Paul Drexler’s artistic and high quality cuemaking and Sandra Brady’s exquisite scrimshanding talent have produced a monster. To the naysayers that feel a monster cue should be the output of only one person, this masterpiece would probably be a monster without the scrimshaw. The silver movie reel sprockets and ivory cels are proportioned to follow the taper and the execution is impeccable. The arc lights and light rays transcending the forearm is the icing on the cake.
	Fred Agnir The Hustler Cue is one of the greatest pieces ever built. The cue displays history as well as collaborative excellence. I can’t praise Jim Yonge enough for the overall idea of this cue, its design elements and its ultimate goal of the charity donation to Paul Newman’s Hole in the Wall Gang Camp. The addition of Mosconi says that this cue just isn’t about the movie. I applaud the ironic choice to go with colored scrimshaw rather than echo the black-and-white of the movie. Drexler’s execution is once again perfect while the great scrimshander Sandra Brady truly breathes life into this Monster Cue.
	Deno Andrews Very few cues in my opinion have a singular design. Sure, the scrimshaw is great, but it’s the framing of the scrim work that makes this cue a Monster. The spiraling filmstrip, that scales correctly as it moves up the cue, is elegant and appropriately themed for the cue. I think the cue pays great homage to the movie. Both the scrimshander and the cue maker exhibit genius-level work in this cue. This theme could have easily been over done, but Drexler delivered a refined design that is one of the nicest cue sticks ever made.
	JimBo This cue scores high marks for me just based on the PR and concept that Jim Younge had the vision to put into action. This cue was created for a great reason and Jim followed the course and did a great job. The cue being on the cover of the 3rd edition BB helps it’s status a great deal from a collectible standpoint. Of course as always I am on record as saying the out source of the scrim hurts it a little, but Sandra does some of the best and this cue may be her best work, the scenes chosen were perfect and expertly done. The cue design itself is very unique and executed well making this cue a Monster in my book.
	Jim Stadum I am normally not a big fan of scrimshawed cues. However, this cue is an exception for me. Sandra Brady’s scrim work is awesome as usual and the hustler theme is important to the history of the game because it inspired so many people to play pool. There is also a tremendous amount of work in the silver and ivory filmstrip inlays that proportionately wrap around the cue and the execution appears to be flawless. The collaboration with everyone involved in this cue was a complete success. This cue is Monster for all of these obvious reasons.

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General Cue Description-

The “box” cue has been one of cue making’s toughest looks to conquer. Many cue makers have attempted it and few have mastered the proportions, framing, and layout needed to make an aesthetically pleasing design. Where many cue makers have drawn the eye to the actual boxes, Manzino pulls the eye to the intricate inlay of silver/gold which frames the ivory boxes. Inside the ivory boxes are engraved patterns which reflect adjacent inlay patterns. Also engraved are decorative ivory trim rings at the joint, handle, and the butt. This masterpiece resides in the Tikkler collection.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Ivory and ebony and silver box cue, “been there done that” you say. Well, take a good close look at this fine example and you will realize Captain Bob has raised the bar of the genre. The fine silver and gold work is well executed in a very tasteful floral pattern. The engraved decorative rings are a nice addition. It is an interesting choice of design in the windows. Although there is a lot of work in the cue, it is neither overdone nor overbearing and the components complement one another. I vote monster.
	Fred Agnir What strikes me about this cue is that clearly there is an extraordinary amount of fine inlay work surrounding and highlighting the ivory, yet it never looks overdone or too busy. The matching scrim work inside the boxes succeeds in filling what would be glaring voids. Detailing the rings in the same manner ironically helps to lessen the solid white highlighting that might otherwise distract from the overall visual effect. Manzino is really showing his artistic vision by taking a now traditional look and taking it to another level. Monster cue all the way.
	Deno Andrews Tikkler (the owner of this cue) is to cue making as the Medici Family was to art in the Italian Renaissance. Manzino is producing some of the highest quality work in cue making today. This cue in my opinion is one of his master works. Every bit of inaly and engraving is perfectly proportioned, shaped, and executed. The inlay work is so well done I can’t stop looking at it. My only criticism is that I don’t think the engraving in the window is as intricate as the rest of the cue, but it’s a minor note. Incredible Monster.
	JimBo WOW! Bob Manzino has redefined the box cue. The design is beautifully unique in his own style the inlays are insanely intricate. Overlapping inlays with engraved rings and engraving in the boxes is a great new touch from Bob. It’s not easy to get the proportions right on a cue like this as we’ve seen in the past, but once again bob nails it. Of course my only knock is the use of ebony as I’d love to see this same exact cue done in a different wood. I can go on all day, but I only get 500 words. This is one of my top 2 box cues of all time and Bob made the other as well. Pure Monster!!!
	Jim Stadum Once again this is a very ornate precisely made Manzino that is executed perfectly. The overall design has a nice flow and the box inlays are proportionately correct. I am normally not a big fan of “box cues” but this cue is at whole different level than others that I have seen. The engraving adds the right amount of detail to the cue. Not too busy or gaudy, just right. The leather used on the joint protector is a very nice touch. Great job Bob. Monster! Monster!

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General Cue Description-

Harvey Martin is widely recognized as one of the fathers of custom cue making. In 1970, Martin created what is today one of the biggest collectible custom cues in the world, despite it not having a single inlay. This example has a maple forearm, segmented ivory handle, decorative rings, and an ivory joint and butt cap. The ivory handle is built using nine pieces of ivory, stacked, and without the use of rings. It is likely that the ivory segments were made from retired billiard balls (ivory was replaced by plastics in the late 1960s). None of the ivory segments are cracked, which is very rare for an ivory-handled Martin cue. Several other fine examples are plagued with cracked ivory discs and still demand well over ten thouand dollars at sale. Seven rings separate the handle from the butt sleeve and are stamped with the following: J•MC•F•, which are the initials of Jim McFarlane, who was a notable west-coast three-cushion player and the original owner of the cue. Another set of rings are stamped:10•20•70•MARTIN•CUE•L•A•CAL• indicating the date and maker of the cue. The butt cap is highly figured ivory with no visible cracks.The finish appears to be original with the appropriate patina and only very minor chipping and is in near-mint condition. The entire butt of the cue disassembles into three sections: forearm, handle, and butt section. Attributes that make this cue stand out as a collectible include near-mint condition, extreme rarity, and solid documented provenance. The daughter of the original owner sold the cue to William Picard, who has recently posted the cue on Ebay at no reserve, which is why we chose to feature this cue this week.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott A cue does not have to be an over the top work of art to attain monster status and this excellent example is one of those cues. Harvey Martin was innovating cue design and construction long before most contemporary cuemakers were born. This cue, although simple in design, is complex in construction for its time. Considering the rarity, construction and pristine condition, the cue is a monster.
	Fred Agnir This is certainly one of the most unique cues I’ve ever seen. This cue is relatively plain, but has a lot of features that spoke to Martin’s inventive and creative nature including the segmented ivory handle with no rings a well as the multi-piece butt. The Birdseye forearm adds to its rarity. However, this cue was built in 1970. The other West Coaster Ernie Gutierrez by 1970 had surpassed Martin’s cues rather in terms of design. Martin’s status as a Hall of Fame Cuemaker and one of the leaders of innovative cue design raises this cues value and collectability, but I can’t call this a monster cue.
	Deno Andrews Harvey Martin had a long career as one of the pioneers of modern cue making. While other cue makers like Rambow were going in the direction of pointed cues and extreme tapers, Martin refined the look and playability of the plain cue. This example is a masterpiece on many levels- stamped rings, nice calligraphy, ability to change handles, beautiful materials, and a simple elegance. What makes it a Monster is its rarity from one of the most prolific cue makers in history, its near-mint condition, and solid provenance.
	JimBo This is one of those cues that will push the boundaries of this site. For me this is a no brainer, sure this cue is as plain as they come. There is zero design, so it’s obvious this cue is lacking in that department, for those grading on design it can’t scratch the surface of Monsterdom (is that even a word?) But for me I love the stamped rings, I love the fact that it comes apart even though I can’t see a functional reason why. This cue for it’s time period is super rare, there may only be 1 other like it. It’s condition, along with the Maker, add up. This is a Monster all the way just based on it’s collectability.
	Jim Stadum This cue has obvious provenance and was made by a legendary HOF cuemaker. I would surmise that Mr. Martin had numerous “out of round ivory cue balls” in his shop as he was a legendary ball maker. This was a perfect way to clean his shop and make a real cool cue. The end result is a very rare “One of a Kind” collectable Harvey Martin cue, but no monster in my opinion.

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General Cue Description-

Thomas Wayne’s “Jurassic” Lizard Cue features just less than 150 inlays, some as small as 1/8” (the toenails). The eyes are gold with a blue faceted gem stones. Made in the early 1990s, the cue is one of the earliest 4th-axis cues to be made. 4th-axis technology is used for inlays that wrap around the cue. Basically, it means cutting inlay holes into a cylinder and cutting the inlay materials out of another cylinder. Notice the ivory cylinders pictured above, which provided some of the ivory inlays. This cue was submitted by Mark Griffin.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott The “Jurassic” lizard cue is an amazing piece when you consider the cue was made 17 years ago in the Jurassic age of fine art billiard instruments. Mr. Wayne was a pioneer at the time working in the fourth axis. There are almost 150 ivory inlays with no two alike and of intricate detail, the smallest measuring about 1/8”. The gold and gemstone eyes are a nice touch but the Irish linen wrap is a detriment. Monster.
	Fred Agnir The Jurassic Cue has a special place in history being one of the if not THE first 4-axis cue paving the way for others. Although Wayne has surpassed this cue many times in his creativity and execution, this cue marks an important point in the evolution of artistic cues. This makes it a monster for me.
	Deno Andrews 4th-Axis technology is so complex that very few cue makers have ever attempted it. Thomas Wayne is widely thought of as a pioneer of 4th-axis design and execution. This cue is the ultimate “look what I can do” cue. The design is clean, balanced, and ties together the entire cue. Wayne’s attention to detail on this cue is outstanding. The only mistake was putting an Irish linen wrap on the cue. In my opinion, it is too cheap for this cue. The cue is a very serious collectible and an absolute Monster.
	JimBo Now here’s a cue I can look at all day, I was at the BCA show where Thomas unveiled this cue and I almost fell over. Although the 4th axis work is not as extreme as some done today this was one of the first cues to ever showcase what could be done. The scale and spacing of these tiny inlays are all dead on and this cue is insane and the eyes just give it that extra pop. This is a cue that was ground breaking for it’s time and it still holds up today, Thomas is a master of the one of a kind theme cues. Monster, Monster, MONSTER!!!!
	Jim Stadum This cue was inspired by a tattoo that Thomas saw on a guy’s back. It was the third or fourth 4 axis design he made. To my knowledge he was the first cuemaker to utilize 4 axis technology and this cue set the bar very high. At the time Irish linen was the most popular wrap material but it would be nice to see this cue with a lizard skin wrap. Each piece of ivory is different so the programming was immense and keeping track of the 150 or so parts had to be a nightmare. The gold bezels with sapphire stones inlaid for eyes are a very nice touch. This cue was a Major Monster in 93 and it still is today, 17 years later.

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General Cue Description-

“French Renaissance” – This ivory-handled Arthur Queue by Marcus Dienst was built for the International Cue Collector Show. It features a Birdseye maple nose with large ivory points highlighted by silver veneers. A segmented ivory handle joins the forearm to an ornately decorated ebony butt sleeve. The cue is adorned throughout its length with over 1,250 intricately inlaid tiny pieces of ivory, silver, and pearl. This cue showcases why Marcus Dienst is known as Germany’s best. This cue is in the collection of William Grassley.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott A gorgeous cue exhibiting exquisite design and impeccable attention to detail and execution. A cue of this caliber should extend the finely detailed inlays into the forearm; the small oval inlays seem almost an afterthought to fill the ivory void. Possibly a more exotic forearm wood would have been an enhancement and replacing the ivory handle pieces with a highly figured exotic wood might also lend itself to a more desirable overall look. The copious use of ivory probably increases the cue’s value but leaves something to be desired aesthetically. Nonetheless it is a monster.
	Fred Agnir Dienst is truly a master artisan. The level of intricacy involved in building this cue should automatically deem it a monster. However, the heavy detail in the ebony butt sleeve seems unbalanced with the relatively undecorated maple and ivory forearm. The effort to separate this cue from other E&I cues may be its biggest detraction. A maple and ivory cue may have been a better alternative, IMO. This cue is still a monster, but I think it’s short of the potential mega monster it could have been.
	Deno Andrews The ring work and butt sleeve are amazing. I am in awe of the execution and attention to detail. With that written, my personal feeling is that the ivory handle on this cue is there simply as price/value-building because it does not work well with the composition of the cue. The masterpiece of the cue is the inlay patterns and execution, but yet, the eye is taken away from those elements to look at large blocks of solid white. The Birsdeye forearm is also a little out of place; I think ebony would have been much better. Regardless, it’s a Monster, but it just makes it for me.
	JimBo I can personally come up with 5 things that make me say No on this cue. I feel most importantly it’s just not balanced, the cue has a Black Boar influence in this way and it’s not the thing I’d borrow from Tony. Of course the same old Ebony and Ivory, and just to much Ivory for the sake of Ivory. But I love the silver veneer on the points and I really love the unique ring work. I also find something about the butt design that I like in a BB/Manzino style sort of way. I am on the fence on this cue, but there is something about it that makes me smile. I vote Monster, but just barely.
	Jim Stadum Awesome rings and I love the butt sleeve design. The Ivory sectioned handle is a bit much as it over powers the beauty of the rings and butt sleeve. I like the Ivory points with silver veneers, however the Birdseye Maple seems out of place and disrupts the overall flow. I think an Ebony forearm would have been a better choice. Regardless of these observations this cue is a Monster because the rings and butt sleeve design are very strong and the overall execution seems to be perfect. I would like to see Marcus revisit this design with different materials. Maybe exotic wood instead of Ivory handle sections.

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General Cue Description-

Named “Atlantis,” Ernie made this ebony and ivory Ginacue for the Greco Roman Collection, currently housed in the Max Hoskins’ collection. As the collection name implies, the set speaks to the classical themes and artwork of Greece and Rome. Gutierrez used ivory to form the columns with fine silverwork to give the fluted look. The design for the capitals and bases of the columns are inspired from Roman architecture. For the tiny columns inside the larger ones, Ernie used cross cut ivory which has grain to it. The cue has over 100 pieces smaller than a grain of rice. Other finishing touches include an ivory butt cap and a fine leather wrap.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Ernie Gutierrez did an excellent job of nailing the Greco-Roman theme with the basic simplicity of the columns and a ton of detail. The execution is impeccable and the design flows nicely along the cue. The many small inlays of end grain ivory create a very cool contrast of ivory inlays into ivory inlays. Intricate yet subtle monster.
	Fred Agnir This cue is another fine example of Ernie Gutierrez’ perfectionist nature. The Romanesque columns are remarkable, and appear to be a cross of Tuscan and Composite. The inlay work and the artistry are outstanding. The fine detail silver and cross-grained ivory details combined with the overall ebony and ivory pallet is visually striking. This cue is best viewed in person and up close as one can see the intricate details of the “structure” of the balusters, capitals and bases. That this is also a fairly unique offering from Ginacue makes it a monster.
	Deno Andrews Monster. However, there are design elements that I think could have been much better. The use of silver to create flutes is brilliant, but they are evenly spaced which kills any perception of depth. The columns on the forearm are a little stubby and the design ends at an awkward place, leaving too much black space. There is so much ivory, that the eye is being drawn to negative (black) space instead of the actual design elements. The first thing you see are black shapes. I love the cue and thought it was important to point out these design opinions too. Nice Monster!
	JimBo A theme cue from Ginacue, enough said! Ernie has told me how hard he finds it to come up with new designs that he feels are “perfect” and that’s why when he does he sticks with it and executes it to perfection. This cue is no exception, it’s flawless and perfect in it’s simplicity. Overlapping inlays and intricate detail work make me look past the use of ebony and ivory (over used). I love everything about this cue right down to the ring work, it fits into Max’s collection perfectly. Monster all the way.
	Jim Stadum This is a perfect example of a theme cue that was 100% nailed. It has balance, perfect execution and screams Greco Roman. This cue created some controversy when it was made because the assignment was the theme, the materials, and the price point. Some felt this cue far exceeded the given price point. I have mixed feelings about theme cues that have a price set before the cue is made. IMO the very last step in making a cue is declaring the price. When a cuemaker designs a cue they should not let the price cheat the design and Ernie certainly did not let that hinder this design. Whether one agrees with the price point or not the end result is a Monster Cue.

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General Cue Description-

This cue was created as the first cue in a series of seven – THE PLEIADES SERIES – based on the cluster of stars by the same name – commonly referred to in Greek mythology as the “Seven Sisters.” The name Morning Glory was a loose reference to “Morning becomes Electra” a play written by Eugene O’Neill – Electra being one of the seven sisters but more directly to the “Morning Glory Flowers” that surround the image of Electra on the cue. The design and layout of this cue embraces elements of vintage-era cues . The double spliced forearm features 6 veneered points going up and down with 12 matched solid Opals, set in silver bezels at the midpoint, with classic butterfly elements of Ivory, solid Malachite, and Ebony, in between each of the six points. Typically spliced cues with veneers have four points. The math and execution to build up-and-down-spliced points is impressive. The “inlaid marquetry” image of Electra was executed using a multitude of natural wood veneers (to create her flowing image), ivory, silver, and semi-precious minerals. 16 full-cut precious gem stones (ruby, emerald, sapphire, white, yellow and champagne diamonds) are used to accent the center of each of the Morning Glory flowers. The facial features were hand painted on Ivory by the cue’s maker Paul Drexler. The bottom of the cue pays homage to the classical veneered wedge of mother of pearl cut into a solid Ivory butt cap. This unique one-of-a-kind modern era cue combines the best of the classics while developing a new approach to functional art.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott 19th century cue design using 21st century technology combined with Paul Drexler’s artistic ability makes for an exciting cue. A six point splice in lieu of four points is a nice touch and testament to Paul’s thinking outside of the box. The use of fourth axis technology allows the marquetry work to wrap 360° unlike marquetry of old encompassing less than half of the circumference. The inlaid gemstones are a nice touch but the opals are a bit much. I deem it a monster.
	Fred Agnir The image of Electra carries the old-school feeling, yet clearly is light years ahead of its marquetry roots. The 6-point veneered splice with butterflies is magnificent and would carry any cue on its own. The MoP wedge beautifully finishes the “old meets new” premise. I would have liked to have no bumper, but it doesn’t detract from this piece. Finally, that Drexler draws inspiration from other forms of art (e.g. classics, theater, and music) will always be a major plus for me. Monster.
	Deno Andrews Mixing classic and modern styles can be very risky. Morninglory blends the styles perfectly on this cue. Electra is an amazing design in the round and she is adorned with high-end woods, semi-precious and precious gem stones, but in a refined and elegant manner. The spliced points in the forearm are refreshingly different than where they would normally go, and are expertly executed. There is a difference between putting art in or on a cue, and building a singular artistic expression. Morninglory is the latter. It’s one of the nicest cues I have ever seen in person, and an absolute Monster in every sense of the designation.
	JimBo I have very few rules, I thought one was a Monster cue shouldn’t have Malachite in it, this cue makes me rethink the rule. Although I am still not a fan of it’s use I am a huge fan of the way Paul used 4th axis technology to create Electra. It is fantastic to see old school ideas reworked using the modern technology. I love the use of the different gems, this cue is a colorful work of art. I wish I could see her face a little better but I’m sure that is more of a video issue. Monster for sure.
	Jim Stadum Whew…..I am sure glad that week is over!! This is a great example of combining traditional cue making design elements with today’s technology to create a piece of art. I particularly like the double spliced 6 point forearm. The veneered MOP wedge is a nice touch and the use of the many different materials in the marquetry portion of the cue is very impressive as is the different stones. Paul did an excellent job executing this cue despite the many complicated issues he had to deal with. This is a no brainer…..Monster.

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PLEASE NOTE- that the space below in the comment section is reserved for proper critiques of this cue. Any further discussion about anything relating to the cue, the cuemaker, or anything else, should go in the Forum.

General Cue Description-

Barry Szamboti created this gambler-themed cue circa 2000 for his late father’s friend Gus DeStefano. Themed gambler cues typically show imagery such as cards, dice, money, and other things illustrating the gambling lifestyle. Barry crafted this cue using ebony and ivory, and engraved card suits, dice, and dollar signs. In the rotating images, the letter tells the story of this rare step out of the traditional styles of Barry Szamboti. This cue is in the collection of Dick Abbott.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Barry Szamboti is not and does not try to be one of the few fine artists in the world of cue making. Barry continues the traditional cuemaking of his dad and does it very well, for this reason he is one of the most sought after cuemakers today. This cue is a tribute to Gus and his love for casino gambling and carries with it a great story. Compared to many of the contemporary artistic masterpieces being made today, the cue is not close to monster status. But, compared to Barry’s typical cues it is very elaborate and highly collectible. This cue makes for a tough call but I have to consider it a monster.
	Fred Agnir In person, this cue is bright, sexy, and fun. I like the use of the very simplistic money, pool, card and dice designs carried throughout the cue giving highlight to the ivory. Though the propellers are in a straight line, their curves and overall shape give some life and depth to the cue while also offsetting the rigid large ivory boxes. To cap it off, the cue has a great story and is a unique offering from one of history’s top cue makers in Barry Szamboti. This cue is a monster.
	Deno Andrews This cue proves the importance of knowing who made the cue. If it were built by a maker known for building art cues, I would say no way it’s a Monster. However, knowing that Mr. Szamboti had carried on his father’s tradition of making very classic looking cues, this design is an accomplishment for Barry. Additionally, knowing that it’s a Szamboti, I am assured that it is built to the highest standards by one of the greatest cue makers alive. Cue construction heavily influences my vote. Monster.
	JimBo As I’ve said many times I am not a fan of the ebony / ivory combo, one of the reasons is just because it’s been done to death. In that same vein the “Gambler” theme has been done to much as well. I do however think this is one of the best gambler theme cues I’ve ever seen. Barry’s execution looks to be perfect and the entire package looks great. One of the top cues Barry has made thus far. Monster for me.
	Jim Stadum I consider Barry Szamboti my friend and a very respected cuemaker. His cues are very sought after, collectable and valuable because he makes very few cues per year and obviously because of his name, but also because his execution is very clean and this cue is no exception. I am not a big fan of the gambler theme but I realize that many players and collectors are. Barry typically makes traditional cues and this one is probably one of his more elaborate ones, which makes it more collectable and valuable. From a collectors perspective it is a Monster. However, with all due respect, from my perspective it is not.

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General Cue Description-

Giza Celebration, by Prather “…many days and nights the Egyptians celebrated after completion of the great “Pyramids of Giza”, and justly so. Giza Celebration represents the physical and spiritual achievement of these “Wonders of the World”. Cocobolo dancers gaily dance around the Chechen pyramids amidst the Olivewood sand dunes. Brightly colored writings on the African Black Ebony background capture this celebration of our distant ancestors and thier magnificent triumph…” This cue was created for the Cue Art Gallery show of 1997, in New York City. As a result, Giza Celebration was then displayed at the Smithsonian Institute of Art in New York City, New York.

Giza Celebration was crafted in it’s entirety from design concept to finish spray at Prathers by Jeffrey and Daniel Prather, both sons of Dan Prather, Sr., whom founded Prather Cues in the very early 70′s. Giza Celebration is comprised of 4 double relief layers of scrolling cuts. The inner most layer is a dowel halved in two, one side being Ebony (to represent the night time celebration theme), and one side being Birdseye Maple (to represent the day time celebration theme). The next layer, from center out, is a cut of Olivewood portraying rolling sand dunes interlocking, and wrapping entirely around the inner dowel. The third layer reveals two pyramids with finely etched blocks in Chechen. The fourth, and most intricate layer, is composed of Cocobolo with four interlocking Egyptian dancers, each with fine trappings opposite the next. Above the dancers are floating clouds, and sun depicting day time. Rotating the cue 180 degrees is a quarter moon night display, with night clouds. Each individual layer is tapered, and sleeved upon the underlying layer, creating a panorama of lighting effects, and shadow. Throughout the entire length of the cue you will see brightly colored inlays depicting Egyptian hieroglyphics.

Originally, three attempts were made at crafting the butt sleeve, with each attempt revealing yet another series of mathmatical enigmas. Creating the fourth, and final sleeve we solved those enigmas by a clever usage of pin, and taper. Daniel did alot of research into Egyptian history prior to the construction of this cue, mainly to ensure the hieroglyphs were accurate. As it turns out, the forearm hieroglyphs spell “Prather”.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott The abstract design and execution of the butt sleeve makes this cue stand out from the crowd. The detail and intricacy of its four layer design and wood combinations create an effect that is something to behold. The transition from the butt sleeve to the forearm loses something in the overall flow, but the detail of the ‘liquid’ inlay hieroglyphs is exacting and eye-catching. There is nothing subtle about this cue as I’m sure the Prathers meant it to be this way. All things considered the cue is a monster.
	Fred Agnir I like the innovation and the theme of the cue. The Prathers put a good amount of study into the piece. However, there is a lot amiss overall. I see clashing artistic styles as well as an unbalanced color palette. What looks to be a great start as a relief-inspired cue sculpture finishes with simplistic-looking albeit technical execution in the forearm. The wrap color combination and loud rings do nothing to help. This cue had a lot of potential, especially if the sculpting premise was carried throughout the cue. Instead, it is a contrast of unmatched ideas. For me, it’s not a monster.
	Deno Andrews I am amazed at the engineering and execution of this cue; some techniques used on this cue were and are still revolutionary. The relief work and layering of materials are particularly unique. While the forearm is interesting, it just doesn’t quite fit in with the butt section artistically or even in terms of construction technique. The overall design could have been refined. However, the concept and superb execution make up for it and just barely push this cue into Monster status.
	JimBo I can remember seeing this cue at a show in the late 90’s, the multi layered relief carving in the butt was unreal and revolutionary in the cue world. I can’t believe that more work like this didn’t pop up, and I must assume that it’s because it must be hard to pull off at this level. When I consider the time period in which this cue was created I am tempted to vote Monster but the rest of the cue falls a bit short for me, just way to many vibrant colors clashing. The Prathers are true artist!
	Jim Stadum This cue blew me away the first time I saw it in 97 and it still does today. This is a perfect example of “pushing the envelope” and it proves that cue making is an art form. The multi layers of relief cuts in the butt sleeve were way ahead of its time. The amount of work in this cue was immense and the execution is top shelf. Whether or not one likes the Egyptian theme is irrelevant to me, this cue tells a story and is a real piece of art. The Prathers are very creative cuemakers and should be proud of this Monster cue. I would also like to congratulate the Prathers for being named Cue Maker Of The Year by the ACA.

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General Cue Description-

Inspired by and built from materials which come from the other end of the world. During a circumnavigation of the globe, a close friend of Richard’s accumulated an unusual collection of rare hardwoods from the South Pacific, New Zealand, Indonesia, Madagascar and South Africa. Hall of Fame cue maker Richard Black painstakingly used those species to create one of his most unusual and exotic designs to date. Creating patterns inspired by the motifs on a carved bamboo vase from the island of Lombok, sixteen different hardwoods were blended into this cue. Earth tones and primitive designs, the exclusive use of wood, with Cape Buffalo horn in the joints and ferrules, and the absence of other materials as embellishments, gives a primitive air to this elegant cue. Over 600 separate inlays were used in the intricate patterning of the cue. The natural beauties of the stinkwood, rewa rewa, ironwood and tamboeti are enhanced by the matte surface texture, created by the hand-rubbed oil finish.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Richard Black is one of the very few true artists in the world of cuemaking. “Antipodes” reflects this artistic talent in a way that may be seen by some as substandard in today’s cues but it is truly a work of art. The cue is subtle in some ways and striking in others. The use of 16 different exotic woods blended into asymmetrical designs, created from 600+ inlays, each hand cut and different, makes for a cue that is very atypical of what we are used to seeing. The hand rubbed oil finish adds to the subtleness. A high gloss finish would have been distracting on this cue. Cue art that equates to monster.
	Fred Agnir It’s this type of envelope pushing that sets apart the greats from the run-of-the-mill. Black took a risk by keeping with subdued earth tones. Highlights and brightness may be more desirable. In choosing inlay patterns that could be symmetrical but instead making them asymmetrical, some could mistakenly view this as a detractor. The idea is bold, daring, and magnificent. His unbelievable inlay technique on the floral patterns gives the cue astonishing life. The overall inlay design speaks to the tribal and island theme, consistent with the wood origins. For me, this cue is a monster.
	Deno Andrews Primitive styling, hand-finished inlay, asymmetry, detailed floral elements, and a hand-rubbed oil finish mean that Richard Black took a giant risk in creating “Antipodes.” Black’s inspiration, color palette, theme, amazing rings, and execution pays homage to primitive artisans, their designs, and their techniques. Building this cue during the era of CNC-inlays and automotive finishes on cues took courage and his risk certainly paid off. “Antipodes” isn’t just a great design on a cue- it is a completely original work of high-end art that happens to also be a cue. Monster!
	JimBo I can’t quite put my finger on why, but I just don’t like this cue. I think the idea of the rare woods from a trip is a cool idea, I believe Mike Bender has done a cue like this in the past as well. I don’t like the drab look of the woods and how they play off each other and I am not a big fan of the design. I believe Richard is one of the top guys when it comes to unique one of a kind designs and when you take as many chances as Richard does they can’t all be spectacular. For me no Monster.
	Jim Stadum Art is not perfect…It is not supposed to be perfect. That is what makes it art. Richard Black is a true artist and this cue proves it. When he sets out with a theme or concept he follows it through, despite the many risks that he may encounter along the way. The amount of work in this cue is immense. It is a very asymmetrical cue, with very few parts the same. I particularly like the uneven shapes of the flowers, that are obviously hand cut and inlaid, as well as the unique ring work. The use of natural materials including the oil finish give this cue a warm, almost “antique like” feeling. I am going with Monster on this 1998 beauty.

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General Cue Description-

This pool/billiard cue was made for Cal’s daughter, Linda (a striving women’s professional pool player), for a birthday present and is probably his best and most elaborate work performed on a cue. The forearm is a straight grain maple Brunswick Titlist with four rosewood points and veneers of purple, green, mahogany and maple. The points are inlaid with large mother of pearl notched diamonds and the top of each point is inlaid with a circle of black and pearlized gold. The handle of the cue is rosewood with marquetry inlays. Within the marquetry work is gun-stock checkering of the highest quality, surrounded by triple veneers of maple, ebony, maple. In the center of the checkering are two mother of pearl notched diamonds surrounded by veneers of maple and ebony. Two strips of ornamental furniture banding are inlaid the length of the handle twisting 180 degrees. At the ‘A’ joint are two black rings, two gold pearlized rings, and one white pearlized ring with gold inlays of the initials, “L.H.” in fancy Gothic style lettering. The cue is jointed at the ‘A’ joint, the forearm is cored and a 2 ¾” x 11/16” tenon with a 5/16” x 18 brass screw on the handle is threaded into a metal insert in the cored forearm. The butt sleeve features a clear window with a gold anodized aluminum ring that is inscribed. The window is in between rings of gold pearlized plastic and three black and three white pearlized rings that are comparable to Paradise or Palmer cues. The joint is piloted nickel silver with a 5/16” x 18 brass pin, the billiard shaft is double threaded like an old Viking cue. There are two shafts – one 28 3/4″ 12.5mm with a 1″ ferrule, the diameter remains 12.5mm for 9 ½” and one 28 1/4″ 12.4mm with a 1 1/4″ ferrule, the diameter remains 12.4mm for 14 ½”. Cal was known for long tapered shafts. Both shafts have joint collars of nickel silver with two black rings and one white pearlized ring with four gold pearlized dots. The billiards shaft is inlaid with a total of 36 black dots and diamonds into an 8” piece of curly maple that is attached to the straight grain maple shaft with a ring of cocobolo. The butt of the cue measures 27 3/4″ and weighs 18 ounces, total cue weight is 22.3 ounces.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott The Brunswick Titlist was the inspiration and foundation for many cuemakers, living and deceased. Being an avid Titlist connoisseur, and having owned over 200 variations by many cuemakers, I consider this one to be my piece de resistance. The amount of detail is overwhelming, albeit a bit gaudy. This cue was made by a first class machinist. Although he is a hobbyist cuemaker, his concept and execution are over the top. Highlights include gunstock checkering and spiral banding on the handle, cored and detachable forearm (most likely the first of its kind) and an inlaid spliced shaft. Certainly, a Monster!
	Fred Agnir I’m amazed that Cal Hedden isn’t a household name in the same breath as Paradise or Palmer. I love the idea that many of the fabrication techniques and design elements are not common in the cue industry. Hedden’s checkering as well as his joining methods tells us that he was an innovator and had no interest in copying any one else’s ideas. The signature and the use of his daughter’s nickname give a sense of caring and familiarity that is a breath of fresh air in our sport. I love this cue, but I can’t say that it’s a Monster. If he had made a few more and gotten his name out, I could have a change of heart.
	Deno Andrews Wow. Hedden’s example exhibits technical perfection and a level of machining typically not seen on cues of the early 1970s. With that said, it also exhibits a certain lovable ugliness. It’s the perfect example of a great technical machinist who lacks a complete artistic sense. On the other hand, the cue’s attributes include techniques that were cutting-edge for the period: the checkered handle, wrapping marquetry, symmetry & asymmetry together. Hedden chose nice colors, textures, and premium woods. I think it’s the ultimate “look what I can do” cue stick. I am on the fence and reluctantly vote monstrosity…I mean monster!
	JimBo I’ve seen lots of cues in my day and have never held another C. Hedden cue, but I have held this cue in my hands and I can say for a fact it’s not only unique but well built. You can clearly see that Cal was a very good machinist, as well as a creative guy. I love the gun stock style textured wrap area as well as the work on the shaft. I believe what worries me about the maker being known is also what puts the cue over the top. The rarity and era that this cue was made makes it a Monster for me.
	Jim Stadum Considering this cue was made in 1971, Mr. Hedden went way out on a limb. The checkering in the handle is unique, and the marquetry inlay was probably done with some type of rotary jig and seems to have been executed perfectly. The fact that this cue comes apart and appears to be at least partially cored puts it way ahead of its time. This cue blows away most cues of the era including those made by the legendary masters. It’s my understanding that J. Pechauer claims to have pioneered inlaid shafts and wrapless cues 1990s but this cue proves that to be untrue. Regardless this cue is a Major Monster for its time.

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General Cue Description-

Black Boar created this masterpiece in 2009. The butt sleeve displays an intricate inlay pattern using precious materials and precision engineering. The floral pattern and geometric medallions blend shapes, lines, and color in a delicate balance. The points are solid ivory and floral vines wrap from behind them to the front, creating depth perception rarely seen on a cue stick. The floral pattern is replicated in the cue’s ring work which frames an ivory joint. The forearm is Birdseye Maple and the wrap is lizard skin. This Black Boar Cue currently resides in the Tikkler Collection.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Wow! Inlay design, detail and execution that can be summed up in one word – exquisite. The overlay and underlay details with shadow effect above the wrap are magnificent. The combination of inlay materials works perfectly. That said, I do have a couple of points that lend to criticism. The forearm of bird’s eye maple distracts from the overall theme. I think ebony would have been a better aesthetic choice. Secondly, the ivory points cut into the ebony points leave the image of a very thick ebony veneer surrounding ivory points. That visual effect degrades the look. Regardless of my critical comments this cue is a monster.
	Fred Agnir I really love the idea that the cue starts with relatively low complexity near the joint, continues with elegant floating ivory points, brings an awesome fine inlay work at the A-joint on ebony and ivory, and then absolutely explodes with a spectacular display in the butt sleeve. One of my knocks on this type of intricate detailed inlay work is that sometimes the cue maker can go too far making the cue difficult to look at. This cue didn’t go too far. The artistry, discipline and superior technical execution makes this cue a MONSTER.
	Deno Andrews One of the finest designs & execution I have ever seen! The butt sleeve’s four distinct inlay sections combine in the eye to create a singular object (genius). Inlays weaving under and over the points are wonderful. Mistakes IMO: the wrap texture is distracting and lizard is a lower-end exotic skin, the black point frames are too blunt, and I would expect a custom butt cap unique to this cue only. Overall, I would say this is the biggest Monster to date! Simply stunning.
	JimBo My criticism of Black Boar cues has always been that the butt sections often outshine the forearm when it came to the elaborate designs, and the fronts were often plain in comparison. This cue shatters that critique. Tony has successfully tied the butt and front together perfectly on this cue, the inlay work is fantastic and execution perfect as always with a Black Boar. Inlays on top of inlays in and out of ivory, it’s great. The splash of color is just enough to set this design off. MONSTER!!!
	Jim Stadum This is one of the finest Black Boar cues I have seen. The details and the number of inlays are incredible. The design in the butt sleeve flows perfectly around the cue. The inlay work above the wrap ties everything together. The stems wrapping under the points of Ivory is a very nice touch. I would have preferred an Ebony forearm, as I don’t think the BI Maple matches the cue as well, but I respect Tony for sticking to his beliefs on playability, cue construction, and the use of materials. Therefore, I understand why he used Bi Maple. Execution is flawless as usual. Monster for me.

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General Cue Description-

Samsara built this ivory, ebony and rosewood burl intarsia butterfly/fantail masterpiece. The construction technique was a geometric nightmare, built in three sections: the ivory front with ebony to the x, the butt to the bottom x, and the center section. The handle (center) section of the cue is highlighted with four ivory ovals surrounded by 88 rosewood burl intarsia fantails that morph into butterflies, each edged by ultra thin red, yellow and orange veneers. One thing that makes this cue different from other butterfly cues is that everything is sharp and perfect. Beyond the rosewood burl fantails and butterflies, the pattern continues in 48 ebony, red, yellow, and orange fantails that progressively change angulation from fantails to butterflies. These emanate from four scalloped rosewood burl ovals, also edged with the red, yellow and orange veneers that transform from thick to very thin in a continual pattern. The front and back of the cue is elephant ivory. The joint collar and butt plate are rosewood burl and ivory joint protectors add an elegant finishing touch.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Dave Doucette and Jim Stadum are in a world of their own when creating masterpiece cues. I was privileged to have this cue for a few months, and I would take it out from time to time and marvel at it. I’ve inspected the cue with a 10X loupe. It is flawless, and the execution is surpassed only by its beauty, uniqueness and subtle complexity. Unequivocally a monster.
	Fred Agnir All of Samsara’s fancy cues are eye-popping and exhilarating. The blend of their intarsia-inspired geometry with perfect balance of natural wood and materials make their “standard look” the most unique in the industry. This cue is a reminder of all of the magnificent techniques and execution we’ve all come to know from Samsara, however this particular cue’s combination of ivory, ebony, and rosewood burl stand out with amazing harmony, elegance, and awe-inspiring beauty. This one fully deserves monster status.
	Deno Andrews The level of accuracy in the design and the precision-machining to produce this cue are achievable by very few cue makers. The ivory in the front and back nicely frame the colors, lines, and shapes featured in this cue. Using the Intarsia technique to produce otherwise traditional butterflies is simply genius. The flaring of the veneers and the crisp & clean lines are better than any “true” butterfly I have ever seen. Notice how the veneers around the oval flare in thickness, evidence of a curved-bottom inlay! The choice of woods was perfect. I wish I had more room to talk about this Monster; I’ll likely chime in below.
	JimBo If this cue has any flaws you wouldn’t find them, after gazing at it for 3 minutes it has you hypnotized. While doing this review it made me quit smoking. In a world where design theft has become an all too accepted practice Samsara should be applauded for creating a *NEW LOOK*, I don’t consider this to be a typical butterfly cue. I love the colors and the Rosewood Burl is a fantastic wood, this cue is not only refreshing to look at but a Monster as well.
	Jim Stadum First, I would like to thank the rest of the panel for selecting this cue. (Honest, I had nothing to do with it.) This is one of our favorite cues. It was a nightmare to build but the end result was well worth the aggravation. Internally this cue is as complicated as the exterior design. It is balanced perfectly and plays great. A great deal of credit goes to the other half of Samsara, Dave Doucette. He is the genius who worked out the geometry and changing angles. Thank you and congratulations to Don and Anita Owen who own this Monster Samsara.

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General Cue Description-

Circa 1971, George Balabushka made this cue for Ray “Cool Cat” Martin. The cue is comprised of a Burton Spain ebony forearm with black, mahogany, grey-blue and natural veneers. Highlights that make this cue unique are: ‘Bushka’ ring above wrap with mother of pearl dots, very unique inlay pattern of mother of pearl notched diamonds framed by gold ‘wedding band’ rings in the butt sleeve and black Dacron Cortland wrap. Pete Tascarella, one of the World’s foremost experts on Balabushka cues said this is the only one he has seen utilizing this inlay pattern in the butt sleeve. The Dacron Cortland wrap is Ray Martin’s wrap of choice, preferring it over Irish linen. He has all of his cues wrapped this way. Ray played with the cue from 1971 through 1976, winning several tournaments with it including the New Jersey 14.1 championship. The cue is in 100% original condition to include two shafts that are 13.3mm in diameter.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott As previously noted on this website by the panel of experts and comments from the public; all Balabushka cues are not monsters. This Balabushka is a monster. I base my decision of monster status on the following: it is a Balabushka, custom made for world champion and hall of famer Ray Martin, the cue was used by Ray to win tournaments, the design is unique and eye catching, the cue is 100% original and in great condition and lastly I can attest to its fine playability as I used the cue exclusively for two weeks to include playing in two tournaments with it.
	Fred Agnir This cue has Monster Status written all over it. Not only was it built by arguably the most influential cuemaker in history, the Hall of Famer George Balabushka, but it was also owned by Hall of Fame World Champion Ray Martin. The cue is unique with its inlay arrangement, a fairly unique original wrap, and is amazingly still in original condition. This is an old school collector’s dream cue and deserves to be in a shrine.
	Deno Andrews I admit that when I see a Balabushka, I usually see more of the hard work and expertise of his blank makers like Spain and Szamboti (and others). However, this cue stands out from all others I have ever seen. In my opinion, this one of the top collectible Balabushka’s ever made. Consider the unique inlay pattern and elegant ring work, Dacron wrap, its original condition, and the fact that it belonged to Ray Martin (who won events with it), and this cue is an obvious Monster.
	JimBo I am not a fan of cues made for or owned by famous players, I think most times these claims are all nonsense, most times the person got the cue based on their reputation and turned it before ever hitting a ball. But this cue was used by Ray for a few years and won some titles. I love the gold bans and am blown away by the arrangement of the notched diamonds great design for the time period. I want this cue! Monster for me.
	Jim Stadum This cue was made by a HOF cuemaker with a forearm made by another HOF cuemaker. It was custom made for a 3 time world champion HOF player. It is a one of a kind cue as far as everyone knows. The rare and unique inlay pattern and gold rings in the butt sleeve are trademark Balabushka designs. I compare this cue to a 57 Chevy that not only has one of a kind original paint and interior, but has history as well. All of these things add up to “MONSTER”.

What do you think? Submit a comment and rate the cue. Justify your rating!-

Deno Andrews
Founder, CueZilla.com

PS: don’t worry we have an awesome McWorter cue for this week’s edition of CueZilla.com! It will be posted tomorrow. Today is all about Allison & Johnny!

General Cue Description-

The main body of this cue is made from Red Amboyna wood, with the center piece made of Ivory. The weaving inlays in the center piece is Red Amboyna and .999 pure silver. Black Tahitian pearl and silver inlays were used to complete the floral design that compliments the center focal point of the cue. Bob Manzino’s signature thick silver border surrounds the ivory section, featuring a mirror-like polish. The cue also has 3 high and 3 low Ivory points, and floating Ivory Inlays. The joint caps are cut from a solid piece of Ivory leaving the raised inlay to match the cue’s design.

Here’s what the experts think- they are limited to 500 characters!

	Dick Abbott Gorgeous and intricate inlay work enhances the beauty of this cue. The use of black pearl, abalone and silver add nice contrast to the ivory and red amboyna burl wood. The solid ivory, carved joint protectors are a nice touch. All things considered the cue rates monster status.
	Fred Agnir While I appreciate the sheer number of labor hours in this highly ornate cue, it’s entirely too busy for my taste. I have a hard time looking at it for more than a few seconds. Not a monster for me.
	Deno Andrews The beauty of this cue is not completely captured in these images. The design and execution of this cue is truly first class. Manzino used precious materials as they should be used- carefully. The color balance and intricate design impresses the eye, which is guided to the central focal point of the cue. At this level however, I would have liked some sharper inlay details such as certain corners and points. It is a minor critique and certainly does not change my opinion of this cue being a monster.
	JimBo IMO Bob Manzino has quickly worked his way to the top of the food chain, if you don’t know the name you should educate yourself, his last 5-6 cues have been breathtaking. I don’t think that people understand how hard it is to do sharp inlay work directly into ivory, also the way the inlays intertwine and wrap around each other and silver work is fantastic. I feel the inlays between the points don’t fit and the base wood gives the cue the feel of an old couch at gram’s house. Bottom line, MONSTER!
	Jim Stadum This is a very beautiful cue. The design is very well balanced and the choice of materials are perfect. Also, the execution appears to be very clean and accurate. The intertwined inlay work is what makes this cue a “Monster” IMO. I first saw this type of inlay work from Thomas Wayne in the 90′s and Bob really nailed it with this cue. Good job!

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