General Cue Description-

Mike Sigel was arguably one of the best pool players in the history of the sport. Late in his pool-playing career he decided to take his playing knowledge and experience to cue making. This example is a clear departure from the traditional cue stick formula. The base wood is Cocobolo, which on the butt is inlaid with ivory points and solid gold dots. In a traditional cue stick, the short ivory points in the butt would be complimented by long ivory points in the forearm. Sigel ignored this tradition and placed even shorter ivory points in the forearm above the wrap, also inlaid with gold dots. Sigel did however play on the long-and-short point theme, but by reversing them so that they emanate from the joint. At first glance, it may appear that the Cocobolo is oddly spliced with strange long points. The illusion is supported by Sigel’s choice of wood for the reversed points. Curly Satinwood is similar to curly maple, which is sometimes used as a forearm wood. Each point is also inlaid with a small ivory point.

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	Dick Abbott This cue is somewhat a departure from the majority of Mike’s cues and I like it. The one design element prevalent in most cues ever made is the “point”. How can you create another cue with points that is easily identifiable from the multitude of others? Look at the photos, Mr. Sigel has succeeded. Nice cue but not a monster. Icicles
	Fred Agnir If this cue plays well, I think many players would be happy to own it. There are a few artistic ideas that Sigel attempted that I find interesting. The reverse points at the collar and the butt sleeve are fairly unique, while the shorter forearm ivory points are a nice twist. However, it seems like what is happening at the collar end of the forearm is an after thought of the rest of the cue. It’s a cue full of inlaid points that is missing other technique and design elements (like rings). If this was Sigel’s first cue, it might receive higher ratings. But, there isn’t much here to consider it a Monster.
	Deno Andrews I really appreciate where Sigel was going with this cue. At the time it was designed, it was a serious departure from the norm. From a design standpoint, I believe the risk paid off. The cue is fresh, interesting, and thought-provoking. Sigel’s choice of materials (and the color scheme) works for my tastes. The rings don’t match the cue well and a brown leather wrap might look better. Finally, a tighter radius on the inlays would have finished the cue for me. Not a Monster, but close for me.
	JimBo I think Captain Hook along with Efren are the 2 greatest players of my lifetime, they have both had a huge impact on my pool playing career. That being said I don’t believe it translates into cues. I don’t believe all cues on this site needs to be super high end, but I just don’t see anything in this cue that warrants it’s appearance here. Bad choice of woods, rounded points, and the wrap just doesn’t fit the cue. I’d rather have Mike’s autograph on a Q-ball not even close to Monster.
	Jim Stadum Mike Sigel was one of the greatest pool players that ever lived. Being a great pool player does not make one a great cuemaker. It does however help with sales and marketing. The design is different and I do appreciate that. I do not think the cue has a good overall flow. The rings don’t match the design. The Ivory inlays above the wrap seem to be too short and fat and are disproportionate with the inlays in the butt. A different wrap choice might have helped the look of the cue. I personally would rather watch Mike run racks than look at this cue.

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General Cue Description-

The stark black-and-white color palette highlights the mastery of the point work. Ebony and ivory are the primary materials, with silver decorative rings throughout.

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

	Dick Abbott Mr. Bender’s concept of a ‘tuxedo’ cue is a handsome example of the white and black theme. The symmetry and simplicity of design featured in this cue works very well, more complexity would detract from the overall appearance. The high quality of point execution is readily apparent and certainly raises the cue’s status but not quite to the level of monster.
	Fred Agnir This is an inspiring study on point work. I love the idea that there isn’t a single inlay while only using the Bender signature ring work to make the distinction between forearm, handle, and butt. Its unique design is an example that even with only points and ring work, not everything has been done before. Master machining and execution combined with a truly unique design concept using the most basic cue elements I think make this cue a sleeper. I don’t think it’s a monster, but it’s very close.
	Deno Andrews A limited color palette does not always appeal to me. I appreciate how this cue uses the lack of color to frame the precision point work. I also like how the points reverse and move into the handle section. For me, this creates a singular design that moves away from the “forearm-handle-butt” formula. The rings are well done; it’s genius how Bender used larger shapes to fill the ebony voids and little shapes between the ivory elements. I love the cue and think it just misses being a Monster.
	JimBo For some reason the blacks seems blacker and the whites seem whiter on this cue, it’s a stunner and yet true to my word I still don’t care for E&I cues and I have STILL had enough of them. I did enjoy looking at this cue using the white as a frame for the ebony, when you look at it that way it give a really cool look to the wrap area. Mike does some of the best point work today and this cue really showcases it, and of course his signature rosary rings are very cool and unique to his cues. No Monster but a Stunner.
	Jim Stadum There are many Ebony and Ivory cues with different variations of v points. Although they have become very common I still appreciate the v points and Mike does them as well as anyone out there. I have always liked Mike’s ring work and they go nice with this cue. This is a gorgeous black and white cue and had it been made in the late 80′s or early 90′s it probably would have been a monster. The bar has been raised and by today’s standards it misses the monster status.

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General Cue Description-

Two cue set from Richard Black includes an ivory & ebony version of Richard’s ‘Taka’ and a four point ivory into ebony break cue. The ‘Taka’ has eight points of ivory connected with a continuing border of black & white veneers. The long points are capped with a unique ‘see-through’ spearhead shape, the see-through feature allows the beholder to appreciate Richard’s craftsmanship and ability to control the length of these structural inlaid ivory points. The all ivory area behind the black leather wrap is inlaid with ebony rectangular windows bordered with mitered veneers and a triple diamond inlay. Fancy ivory, ebony and silver decor rings at abcde finish off this masterpiece of cue art. The ‘break’ cue has four points of ivory with ebony diamonds into an ebony forearm. An ebony butt sleeve inlaid with ivory windows bordered with mitered veneers. Fancy ivory, silver and black decor rings at abd.

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	Dick Abbott Richard’s concept of a fairly basic cue design (veneered points in the forearm and veneered windows in the butt sleeve) is a testament to his artistic talent. The use of natural wood veneers add a nice subtle touch of color that breaks up the white and black that often becomes monotonous in ebony and ivory cues. The break cue is a compliment to the playing cue, the four ivory points, veneered windows and monopoly house décor rings are the basis for both cues. The break cue pales by comparison but is a pretty sporty cue in its own right. As a set the cues comprise a monster.
	Fred Agnir This is a gorgeous non-artistic theme E/I cue. I especially like that the ivory point ends are shown while the spear head is inlaid just above it. That is, the spear head isn’t used to hide any imperfection. It looks like Black highlighted this idea even more by using a see-through spear point on the high points. The ring inlays (sun and monument?) look out of place and remind me of 35mm cameras. Presenting the cues as a set doesn’t help this cue as the secondary cue is a distraction. Overall, a really spectacular primary cue. This one is tough, but other E/I cues we’ve had keep this as no monster for me.
	Deno Andrews The break cue is bold and unrefined, like an 80s Meucci (sorry Dick). On the other hand, the fancy cue is spectacular and references the break cue’s boxes perfectly. Great use of ivory on the fancy cue, and I appreciate the bridged points. I like how the natural wood veneers compliment the otherwise black-and-white cue. Black’s ring work is a nice departure from the norm. The height ratio between the long points and the short points is perfect. Finally, Black juggles a multitude of geometric shapes, which is always dangerous, but he nails it with style here. Monster pair from a true artist!
	JimBo I know it’s because a large group out there love it, but I am so over the ebony and ivory look I can’t stress it enough. This is a nice solid cue on the fancy side with ivory added for value, but for me the thick ivory bands above, & below the wrap and above the butt make it look a bit clunky. I am not sure what I’d like to see in the space, I just know that isn’t it. I do like the little houses with the dots in them and how that ring is reversed and carried into the shafts, and of course the bridged veneers look great. But those features aren’t enough to carry the cue, No Monster.
	Jim Stadum This cue has a nice combination of traditional design elements and modern design elements. The overall flow and balance are very nice and make for a clean looking cue. I especially like the rings, they are unique and go with the overall design. The amount of Ivory used makes this cue quite valuable and collectable. Not every cuemaker is capable of building a monster cue. Although Richard Black certainly is, this one just doesn’t happen to be one of them.

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General Cue Description-

Bill made this one of a kind cue c. 1976 for the man who owned the pool room he played in when he lived in Tulsa. The cue has four ivory points with black, double red, black veneers into stained bird’s eye maple forearm. The stained bird’s eye maple butt sleeve is decorated with eight large ivory diamonds between ivory rings. The joint is stainless steel and it is piloted.

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	Dick Abbott A true classic made when Billy still produced pointy points. Four prong four veneer cues were common in the mid 1970s but V-bottom ivory points were very rare at the time. The large ivory diamonds in the butt sleeve are also a couple of years ahead of that time. Mother of pearl notched diamonds was still very much in vogue. The black, double red and black veneers both frame and accent the ivory points. They make you sit up and take notice. Although not generally a fan of stained maple, on this cue it works. In 1975 this was a monster; today it is a great collectible.
	Fred Agnir This is a good example of a fine player’s cue from one of the all-time greatest cue makers and cue building pioneers. If a player wanted a Josswest with ivory and four points, this is what he’d get. The elements aren’t working for me from a monster cue point of view. The larger ivory diamonds don’t necessarily compliment the red-veneered ivory points. And the steel joint and checked rings don’t flow with the stained forearm and ivory-laden butt. It’s still a very nice cue that anyone would be proud to own, but it doesn’t make monster status.
	Deno Andrews In 1976, this cue was a wild departure from the norm. The bold ivory inlays in the butt and the sharp points both scream early Joss West. Of course, Bill’s cues progressed to be some of the most elegantly designed cues. Today, so much is wrong about this cue, including the stained maple, less than perfect inlay work, unrefined proportions, and I love it all. Cues like these prove that great artists like Bill have put in tens of thousands of hours of research and development. This cue isn’t a Monster, but it is important.
	JimBo The double red veneers really make the points pop on this cue and for sure Ivory points back in 76 make it a big cue for the period. But the basic design while pleasing to my eye is just not complex enough to bring this cue anywhere near Monster status. I am sure with Bill coming to the end of his HOF career this cue has some added value, it’s just not Monster material.
	Jim Stadum This was a kick ass cue in 1976. I’m sure only a few cue makers were putting ivory points in their cues at that time. The red veneers and the stained maple were a great look in that era. I am impressed with the condition this cue is in assuming that it has not been refinished. 1976 – monster. 2010 – not a monster, but very collectable.

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General Cue Description-

South West Cue, Pin # 303-01. This fancy one-of-a-kind South West Cue is owned by Robert Simpson (father of Blue Book of Pool Cues author Brad Simpson). Ordered in 1994, it was received in 2001 and is played with regularly. It features ebony, snakewood and ivory with maple veneers. South West Cues with this much ivory are rare. Additionally at Robert’s request, SW’s Mickey Bunker had the famous South West Cactus engraved into ivory inlays below the wrap. Normally, the Cactus only appears on the joint pin. This is the only South West Cue with the actual logo appearing on the cue in this fashion. The cue is finished with a black lizard wrap. This cue is pictured in the Blue Book of Pool Cues III as well as the Billiard Encyclopedia III.

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	Dick Abbott South West cues, well known for their simplistic six point design, have taken this cue over the top. Ivory and/or snakewood are rarely used in South West cues making this beauty one their most desirable collectibles to date. Although I’m generally not a fan of floating points, this cue appeals to me and I like the wood combination enhanced by the ivory. The butt sleeve pattern works better than does the forearm design. Super collectible by a world class cuemaker but short of being a monster.
	Fred Agnir This is one of the most collectible for South West fans. Knowing that this is a player’s cue adds a level of respectability. I don’t know how many snakewood South West Cues I’ve seen and as the description says there are no other South West Cues with their logo engraved into the butt. The design elements are nicely carried throughout the cue. However, I think the slotted rings should line up rather than alternate their alignment. Because of the similar look of other fancy SW Cues plus the large non-intricate inlays, I think the rare items that make this collectible are not enough to make this a monster.
	Deno Andrews Of the few inlaid cues South West has produced, I like this one the most. I appreciate that despite its fanciness and rarity, it still retains the look and feel of a South West, which was likely not an accident. This particular cue would grace any cue collection and would raise more money than many fancier cues on the market today. Despite these attributes, this cue lacks a certain Je ne sais quoi needed to call it a Monster.
	JimBo Once again we have a rare fancy Southwest cue, I am sure like all SW cues this one makes for a great playing cue. My playing cue is a SW and I love the solid hit you get from the SW taper and set up. Sadly I don’t think the SW shop is concerned with building fancy inlaid cues and I know they just don’t put enough effort into designs to create a monster> I love the whole crew at Southwest and the stuff they build, but they just don’t fit the bill for what we are looking for here. Great cue, just not a Monster, and I hope that never changes.
	Jim Stadum I like the overall look of this cue and everything balances nicely. At the time this cue was ordered in 1994 it was considered quite fancy. However, by today’s standards it is more average than fancy. This cue stands on the name and reputation of the maker and the fact that it is one of a kind makes it close to monster status, but doesn’t quite make it for me.

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General Cue Description-

Mike Bender expertly built fifteen spliced points in ebony forearm. Five high points of purpleheart into holly with ivory dagger inlays. Five low points of ivory are nestled between the long points. The ebony butt sleeve’s ‘Santa Fe’ inlay pattern features ivory bordered purpleheart windows with silver & ebony dot and ivory mirror daggers. Purpleheart and silver ‘Rosary’ rings appear in five places. The cue has an ivory joint and an Irish linen wrap.

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

	Dick Abbott Mike Bender cues display a distinctive style and this cue typifies that style. Ebony and purpleheart accented with holly and ivory creates an eye pleasing, balanced appearance. The ‘Santa Fe’ windows with mirrored daggers in the butt sleeve are tasteful and not overdone although by today’s standards they could be more refined. Mr. Bender’s proprietary ‘rosary’ rings are a nice addition framing the cue. The run-of-the-mill, black with white speck Irish linen wrap has to go. Very nice cue but not a monster.
	Fred Agnir This is a very typical cue coming from Mike Bender and Tracy Dunham. The five pointer is a signature look as is the Sante Fe inlay. Tracy’s attention to detail always results in beautiful and aesthetically balanced cues. Mike’s technical execution has been some of the best in the business for decades. And there is a tremendous amount of technical execution in this cue. I’d like to have seen the leather wrap to kick it up a notch. Also, because this really is a signature look for them, it’s far from the monster cues that Mike and Tracy are capable of creating. It’s lovely cue, but not a monster.
	Deno Andrews I have always had a special appreciation of Bender’s work. Besides making notoriously well-built cues, I think his real strength is in his design work. This cue is elegant, well proportioned, and uses a very pleasing color palette. Inlay patterns on the butt are nicely scaled and spaced. The long and short points in the forearm are sharp and contrast nicely against each other. Everything about the cue is just great. I would have liked a leather wrap on this cue. The cue just misses the Monster mark, but it is really an outstanding piece.
	JimBo This is just a great cue, the point work is perfect, the inlay execution is flawless, the design is balanced and woods chosen work really well together. Inlays into any wood other then ebony is refreshing, the ring work is unique and flashy. But the cue just misses that something extra needed to make it a Monster, I own almost the exact cue so I wish I could change my vote, but it’s just not there. Mike & Tracy make some great cues and this is one, but No Monster.
	Jim Stadum This is a very good looking Bender cue. The points are sharp and very even. The overall design has a nice flow and is pleasing to the eye. Great choice of materials. Ebony, ivory, purpleheart, and silver almost always look good together. The silver ring work appears to be executed perfectly and compliments the cue. The only thing I would change is the wrap. An exotic black leather wrap would look good. Again, a very nice elegant cue, but not quite Monster for me.

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General Cue Description-

Butterfly cues have long been exotic and rare in the pool world, though the norm for billiards players. Paul Fanelli is one the leaders in bringing the butterfly splice to pool cues and his work is well received in this realm. Framed in Purple Heart and ebony woods, butterfly splices go up and down the cue. Additional work includes sharp points on the forearm, and elliptical ring work on the butt.

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	Dick Abbott Paul Fanelli produces fantastic butterfly/pointed cues, I have one on order. Vibrant, contrasting and complimenting colors make you take notice of this gorgeous cue. The bridged points are a nice touch and the burgundy leather wrap is an excellent choice. The butt sleeve leaves something to be desired; too much purpleheart and the Celtic knot could be finer. Super nice cue but not quite a monster.
	Fred Agnir Fanelli continues to be the leader of the modern butterfly cue pushing the concept very high. This cue is ground-breaking and awe-inspiring. To keep all the various splices and veneers aligned is amazing. The bridged points would already garner high praise but to include the base of the butterfly in the bridge work is stunning. The ellipses in the butt add a nice technical addition, but aesthetically they don’t work. What keeps this from being a monster for me is that the level of butt sleeve work doesn’t compare to the innovative splice work in the forearm. No monster, but really impressive.
	Deno Andrews Fanelli is producing magnificent works, this one included. I appreciate the bridged points/butterflies in the forearm. The elliptical work in the butt is especially impressive. Basically, I love the cue. However, two things disqualify this cue for me. If the points and butterflies are bridged on the forearm, the butterflies should have been bridged in the butt. The sharp points are too long in the forearm and take away the balance between the butt and the forearm. I do love it though.
	JimBo The woods and veneer colors chosen to make this cue are stunning. The work that goes into gluing this up is mind boggling to me, I’d love to see a picture of this before it was turned down. Butterfly cues are a lost art that a few guys are bringing back, Paul along with Dave Barenbrugge are doing the cleanest work today. I love the way the points as well as the butterflies are boxed off above the wrap and I wish that carried into the butt, I Love the Celtic twist in the butt, it adds to a butt I feel is slightly un balanced when compared to the front. I love this cue and need to own it, but it just misses Monster for me.
	Jim Stadum I love a great butterfly cue and this certainly is one. The execution appears to be excellent. Everything lines up perfect and that is always the challenge when making a butterfly design. That is why Paul is one of the leaders in butterfly cues. I would have liked to see the lower end of the butt sleeve made of ebony to match the top. This cue is very beautiful, but just a little out of balance to make monster status.

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General Cue Description-

A member of the ICA’s Hall of Fame, Bert Schrager is one of the earliest cuemakers to focus on high-end fancy cues. Known for his artistry in collaboration with his wife Pat, Schrager was also one of the first builders to really break into the Japanese cue buying market. The Tiger Cue is a vast departure from Schager’s usual offering. At its base the Tiger Cue is an ebony cue with a segmented ivory handle as well as ivory collar, butt cap and inlays. The cue is brought to life with with a decorative tiger theme done by a local California stippling artist.

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	Dick Abbott Stippled artwork is a different approach to cue decoration, on this cue it reaches out and draws your eyes to it. Beyond the artwork, the cue is just another ivory into ebony cue with an ivory handle. The inlaid floating points and butt sleeve inlays are unimaginative and simply filling blank space. Different and eye catching but not a monster.
	Fred Agnir There are very few cues that have true stippling artwork. This is a good example of the possibilities. The Tiger Cue is bold and colorful and really is unlike, say, a similar cue with color scrimshaw. I think the cue could have done a better job highlighting the stippling by abandoning the typical Schrager inlay work. But, I understand that Pat’s signature style makes this a Schrager Cue. That this is a unique offering from the Hall of Famer and the elder statesman of the industry should increase its status and collectability. I vote Monster.
	Deno Andrews I appreciate the fact that this is a departure from the traditional Schrager cue. I like the layout and execution of the handle and the flowing decorative elements elements on the butt cap. However, I feel like there is too much of a disconnect between the inlay work, and the scrimshaw. Since this cue is such a departure for Bert, and excellently executed, it is a valuable collectible. However, it is not a Monster.
	JimBo Ebony and Ivory grace us once again, as well as gratuitous consumption of extra ivory just to have an ivory handled cue. I enjoyed the stippling as a departure from the normal scrimshaw we see and the techniques gives us a different look that I find interesting, the fact that it’s not done in house of course detracts from the cue a bit in my mind. I would like to see the Tiger theme carried out in other places on the cue and I find the cue a bit unbalanced, it just needs more in the forearm. All these things and the rounded inlays in the butt causes me to vote No Monster this week.
	Jim Stadum I do not know much about stippling, so if this is considered good stippling than I am not impressed. The green in the rings is a distraction. The ivory inlays in the forearm and butt sleeve have absolutely nothing to do with the tiger theme. The fact that it is a one of a kind and was made by an ICA HOF cuemaker make this cue collectable and perhaps valuable, but for me no monster.

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General Cue Description-

Bacote, ebony, and maple make up the primary palette of this cue stick. Samsara Cues designed this eight-point butt using a single veneer of ebony on the forearm and butt sleeve. Samsara’s signature triple diamond ring design repeats in five places. The wrapless handle features an intarsia ‘swirl’ pattern comprised of 344 individual pieces. There are 537 total pieces in entire cue.

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	Dick Abbott This cue certainly catches your eye and is unmistakably Samsara. The combination of bocote, ebony and holly is very striking, especially in the 344 piece handle section. I am a big fan of Samsara’s triple diamond rings. They compliment and enrich the cue and, like the intarsia, are distinctively Samsara. In this day and age distinguishing one cuemaker’s work from another is difficult, not so with Dave and Jim’s creations. This is another outstanding CueZilla entrant that borders on monsterdom but just misses the cut.
	Fred Agnir There are other Samsara designs with more aesthetic brilliance, but this one is really catching my eye. The Samsara Swirl is one of their well-known signature designs, but placing it as the wrap-less handle is an immensely difficult and daring spin on the wrap-less theme. There is so much going on with the zillion points up and down and the numerous tiny diamonds to make the rings. Yet with the proper balance, the earth-tones and the use of Bacote of all things, they have come up with a very eye appealing look overall. Although this is from a “limited standard line,” I am calling this cue a MONSTER.
	Deno Andrews Jim and Dave are crazy. Why would they assemble hundreds of pieces, pioneer a modern “twist” on the Intarsia tecnique, and engineer an absolute masterpiece of a cue? Because they can! In my opinion, the true “engineered” cues are often unattractive. This cue has it all in its great looks. It’s dazzling and perplexing. I wish I could find something I don’t like about this cue. I can’t. Absolute Monster.
	JimBo This cue has the signature Samsara twist for a wrap and great ringwork, and I bring that up because I believe more cuemakers should take a page from the Samsara book. Rather then copy the same old inlays and designs Samsara did their own thing and created a look that is without a doubt their own. It’s not the easy way out but it needs to be pointed out and commended. This cue has many complex aspects to it the guys at Samsara execute them so flawlessly that you would think they are easy to do, they are not. All that said I like to see more contrast in the woods used in this cue, for me it’s no Monster.
	Jim Stadum The triple diamond rings and the “swirl” have proven to be monster designs for us over the years. However, I do not consider this cue to be a monster in itself. I do consider it to be a classic Samsara cue with our trademark look.

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General Cue Description-

Bob Manzino created this look with ebony, abalone, silver veneers & décor rings. All white on the cue is ivory, and the wrap is black lizard. Built in 2005, this clean execution features a solid ivory half joint, a black G2 pin, and matching ivory, ebony and silver joint protectors.

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	Dick Abbott A beautiful cue that flows, nothing is overdone, each component compliments the other. The abalone inlays are perfectly executed and the silver veneers outlining the points and windows are a very nice enhancement. I especially like the rings in the middle of the forearm, nice touch without being gaudy. The cue is tasteful and elegant but falls just short of monster status.
	Fred Agnir This is another great cue from Manzino. The execution looks flawless. In other words, this is they type of work that we can always expect out of this great cuemaker. His abalone work into ivory is simply amazing. That being said, I think I’d rather see fewer dots in the ring work or losing them altogether. Close-up, they’re a bit distracting. Also, although I find the added ring in the middle of the forearm unique and interesting, it seems to provide a touch of imbalance to the overall look. It’s still a beautiful cue with or without that ring. The cue is not a monster for me, but the work is outstanding.
	Deno Andrews Manzino offers so many fantastic attributes in this cue: beautiful silver-framed windows, silver-framed points, and an ivory faux-ring in the forearm that tricks the eye nicely. As expected from Manzino, the inlay work is clean and elegant. Everything is properly scaled and proportioned, although my opinion is that the Abalone gets lost in the stark black-and-white theme of the cue. Simply put, the cue is absolutely beautiful and just short of Monster status.
	JimBo Basic and elegant this cue is a stunner, the inlays in the ivory are executed flawlessly and much harder then anyone knows. Bob’s work is some of the best in the business there are no shortage of Monsters coming out of his shop, yet this design and the fact that the cue is Ebony and Ivory hurts it in my opinion. Bob works silver and abalone into the designs perfectly and those materials all mesh great. This cue is sweet but not a Monster.
	Jim Stadum Bob Manzino’s silver work is some of the best executed in the business and this cue is no exception. I like how he trimmed around the ivory inlays in between the points with silver. The overall design is simple yet elegant. Ebony, ivory, abalone, and silver all go together very nicely and make this cue look expensive. Beautiful cue but not quite a Monster.

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General Cue Description-

This cue is a South West Custom Cue made in 1997. The cue is featured in the first Blue Book of Pool Cues. Most South West cues are not inlaid, making this example a very rare collectible.

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

	Dick Abbott Inlaid South West cues are rare and command high prices. An appealing cue, the combination of purpleheart, ebony and ivory is attractive but the cue is not a monster.
	Fred Agnir South West Cues have always been known for their playability and their simple design. Their fancier cues inlaid by Jerry’s brother were unique and helped define the inlaid South West look. This cue incorporates both the South West look as well as other design elements that are not normally seen in South West Cues. Additionally, in 1997, beautiful purple heart-on-ebony forearms were not as common, further making this cue stand out. The simplicity of the design will make this cue very desirable for playing fans. However, there are no elements overall that would make this a monster.
	Deno Andrews I appreciate the impact South West Cues have had on the industry. I very much like this design and find that even though it is inlaid (rare for South West), it still looks like a South West. I do find the inlaid elements to be slightly large and believe that if they did more inlay work that the design would have been refined. Great choice of materials giving it a nice color palette. Beautiful, very rare, highly collectible, but not quite a Monster.
	JimBo Southwest cues has one of the largest wait lists in the industry and it’s based mostly due to the love of the *hit* of their cues, this cue was inlaid by Jerry’s brother who left the company to pursue other ventures. There have been very few fancy SW cues made since his departure. That along with the fact that it was featured in the first bluebook make it a very rare and certainly valuable, but the design is for the most part basic and diamonds are a bit to large and clunky stopping me from voting Monster on this cue. But I still LOVE it.
	Jim Stadum This is a nice Southwest cue. Relatively rare because there are not many inlaid Southwest cues out there. Collectable, but no Monster.

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General Cue Description-

This hand made custom pool cue was made by Skip Weston in 2003. There are eight points with four being high and four being low. The long points are re-cut, which is a technique to make the points look veneered, but without the seem that typically goes through the center of the points. The short points are purple heart with no veneers. The forearm is a piece of highly figured birds-eye maple. The wrap is textured leather and the joint is flat faced.

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

	Dick Abbott Very nice eight point players cue. The recut points create a clean appearance and the short purpleheart points sans veneers add just enough to the forearm with over doing it. In a players cue I prefer the butt sleeve not inlaid, simpler is better. The short butt plate is also one of my preferences. Not a monster.
	Fred Agnir I really like Skip Weston’s work. This cue is a good example of his re-cuts, point work, and top notch execution. For players who want a lot of points in the forearm, this one’s for you. Skip’s execution certainly adds value to this cue. However, this design today is a dime a dozen. I think the design is weighted too heavily in the forearm and is need of balance on the butt sleeve. Skip has a tremendous portfolio of work that far exceeds this piece. Nice cue, but nowhere near monster status.
	Deno Andrews I think this cue is about as pretty as a plain cue can be. Skip’s “re-cut” points are refreshing and offer a clean look on a very old tradition. I appreciate the execution and the use of some beautiful woods. If this site were about the playability of a cue a the measure for Monster status, I believe this cue would easily make the cut. However, when considering the big picture, this beautiful “player” cue is not a Monster.
	JimBo Although Skip Weston does some of the best point work today this cue is a basic model, and without the aid of some design and inlay work it can never make Monster status. This cue however does have Purpleheart in it and that’s always a plus, the woods work well together and I am sure many people would be proud to have this as their everyday player it’s just not a serious contender for any type of Monster status in my eyes. It’s nice to see a cue that we can all afford up on the site for a change.
	Jim Stadum This looks like a very nice 8 point cue. I am not familiar with the playability of Skip Weston’s cues but this is typical of a cue that was made for a pool player and not a collector. Nice cue…….No Monster.

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General Cue Description-

Frank Coster circa late 1984 ‘Gambler’ theme pool stick made for Jeff ‘Birdman’ Boyer, who reports that it is Mr. Coster’s first inlaid cue. The rosewood, mother of pearl inlays, wood inlays and veneers are from the Martin Guitar Company. Jeff Boyer and Frank Coster were friends, Frank’s favorite food was meatloaf, Mrs. Boyer had Frank for dinner on meatloaf nights, in appreciation of meatloaf dinners the cue was made as a surprise gift for Mr. Boyer. The woman slaves all day over a hot stove and the man gets the pool stick – go figure. Mr. Boyer operated an exotic bird business, hence the ‘Birdman’ moniker. Ivory ferrules, rare on a Coster, who made only 127 to 132 cues in total. Very few of his cues are inlaid. This particular cue is in all original condition and exhibits the expected battle scars. Bill Schick has advocated for Frank Coster’s induction into the cuemakers hall of fame. This cue resides in the collection of fellow CueZillist Dick Abbott.

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	Dick Abbott Frank Coster’s first inlay work in one of his excellent playing cues is best described as American folk art. The three piece forearm on this 26 year old cue is perfectly straight and that all the pieces are flush is a testament to Mr. Coster’s precision machining ability. Aesthetically the cue is not on par with today’s four axis, perfectly executed monsters but as a collectible it is a monster. As I believe there is more than one criterion to rate custom and collectible billiard instruments as a monster, I consider the cue a monster based solely on its uniqueness and collectability.
	Fred Agnir Any Coster cue is considered highly collectible, especially by Old-Schoolers. This cue is quite unique for Coster stretching way beyond his normal work as most of his inlay work consisted of basic dots and bars. Although understandably the inlays were executed with rudimentary hand tools, my feelings are that he wasn’t pleased with the results and would rather have tried again or not do it at all. Compare this cue to other cues like Ginacue built in the same timeframe. Not a Monster for me.
	Deno Andrews Birds, Birdman, Meatloaf…sounds more like the basis for a horror flick than a cue. Coster made so few cues, he’s not even on the radar of many collectors. Several astute collectors like him and I am a fan of his work. This cue is a disaster and I’d expect nothing less from Coster’s first attempt at an inlaid cue. I appreciate the sectioned forearm, the crude execution of pre-fab inlay shapes, and the choice of woods. However, despite the giant collector value, this cue fails to meet my criteria for Monster status. Meatloaf is sounding good right now.
	JimBo This cue is just not for me, poor design, poorer execution (crooked inlays). Although I love the meatloaf story as I am a man who enjoys a good meal it’s just not enough to sway me here, maybe if I had some of the meat loaf as I looked at the pics I’d be distracted enough to change my vote. I do understand it’s significance in the history of cues if it was the first cue Frank inlaid, I also understand it may have extra value, just not enough to make this one a Monster. I do agree with Bill that he should be on the cup, but not for this cue. NO Monster for me.
	Jim Stadum This cue is very rare and collectable and has an interesting story to go with it. The overall look is folksy and I am sure it meant more to the original owner than it will to anyone else. Considering that Frank made very few cues with inlays and this cue was the first one adds even more to the value. The sectioned forearm is interesting and I am curious about the construction. Maybe if the word “Meatloaf” had been inlaid opposite “Birdman” it would have added to the provenance. However, when compared to other cues in the same era this cue falls short of Monster status.

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General Cue Description-

At the time of Art Cantando’s recent death, there were five unfinished cues. These two cues were two of those last five unfinished cues. Long time friend and colleague Barry Szamboti stepped in and offered to complete the cues, which needed shafts, wraps, and finishes. The rosewood-on-rosewood cue features eight points. The low points are ivory and the high points are rosewood with ivory veneers. There are also eight points below the wrap in the same configuration. 96 inlays of gold, silver, and ivory adorn the cue, along with a brown lizard wrap. The ebony-on-ebony cue also features eight points in both directions, with inlay detail at the tips of each points, which are referenced with similar reversed shapes at the bottom of the points. The cues are in The Robert Feldman Collection.

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	Dick Abbott A pair of very nice cues that complement each other with similar inlay designs but different woods. There are quite a few inlays in each cue but not so many as to go over the top. The decorative rings are tasteful and I like that their motif is used in the other inlays. If I were to choose, the rosewood cue appeals to me more so than the ebony cue. Elegant pair of cues but not monsters.
	Fred Agnir These are fine examples of the excellence from Barry’s late Protégé, Art Cantando. Although these constitute a set, the cues differ enough to make each stand on its own. The cues are balanced with plenty of fine inlay work. The reverse spear points on the Ebony cue are visually superb. For the Rosewood Cue, I would have like to see less ivory to really make a contrasting look compared to its set mate. History will determine whether these cues from his last batch and finished by his mentor will result in monster status. Today, they are beautiful cues with great lineage, but short of monster status for me.
	Deno Andrews These two cues are masterfully designed and created. Elegant inlay work in the right scale, using fine materials and a nice palette, makes for two of the prettier cues I have ever seen. The pair, however, does not work for me. They are too much the same and too different at the same time to match. Finally, my appreciation goes out to Mr. Szamboti for what he did. As a collector, in this instance, I would have preferred them unfinished, like Beethoven’s 10th. Beautiful cues, just not Monsters.
	JimBo These two cues have two of the things I never like in cues, ebony and ivory, up and down points, and if you were to grade them based solely on design they are NOT monsters. But when you grade the cues based on the criteria I do, They are huge Monsters. 2 of the fanciest cues made by a guy who probably hasn’t made 125 cues total, a true artist who passed away while working on them. The value and historic significance makes these cues Monsters. I considered Art a friend and I’ll miss him RIP buddy.
	Jim Stadum Here we go again. This is a gorgeous set of matching cues. The execution appears to be top shelf. The choice of materials is very good and everything matches nicely. The overall cues have a very nice flow. I consider these cues to be very fancy traditional designs and I would love to own them. All of the appropriate documents, and the fact that these were among the last cues that Art made add to the value. The gold inlays are a nice touch and also add to the value. Once again, highly collectible, sought after, and valuable, but no Monster.

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*Please note that you can click on the video at any time to freeze the frame. You can also grab the slider below the video to move back and forth.

General Cue Description-

Master cue maker Tim Scruggs designed and built this cue in 2008. Faced with the task of creating a cue with classic styling, but with a modern touch, Scruggs used ebony and ivory make up the majority of the palette. Inlaid into ebony are classic shapes and a configuration that reminds the viewer of cue design history. To modernize the design, Scruggs built an eight-point veneered forearm with natural, blue, and natural veneer colors. Classic shapes are also inlaid in both the high and the low points. Other modern touches include ivory bow-tie inlaid ring work, a radial pin joint screw, and joint protectors. An ivory joint, and butt cap frame a textured leather wrap.

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	Dick Abbott Tim Scruggs and Mike Cochran, rest his soul, have created many fine examples of traditional billiard instruments. This eye -catching eight prong ebony on ebony cue certainly fills the bill and then some. Classic ivory inlay designs executed to perfection and color combinations of ebony with the blue and natural veneers make for a very appealing cue. The bowtie ring decorative rings are a nice elegant touch. Extremely nice cue but not a monster.
	Fred Agnir Simple and sleek, this cue showcases Tim Scruggs’ cue elegance. I like that he has successfully mixed traditional inlay patterns into a more modern looking cue. The bow-ties look especially challenging for such tiny inlays. The bright blue veneers on the eight points sets this cue apart such that what would be yet another ebony and ivory cue is transformed into a truly unique and gorgeous look. The cue falls well short of monster status for me, but I can’t stress enough how elegant this cue is.
	Deno Andrews Traditional cues typically bore me, but this cue certainly makes it interesting. The veneered points, and the choice of color to split the black-on-black palette was perfect. Precision inlay work elevates a cue’s status in my book. Finishing high-end touches like ivory everywhere, and a nice leather wrap put this cue in the upper categories of style and distinction. Everything is the right size and scale and the cue is just aboslutely beautiful in every way. I believe Scruggs nailed the design perfectly as planned, but that the design itself isn’t quite Monster-sized.
	JimBo This is a classic cue made by a cuemaking legend and class act. Sharp points and sharp inlay work the way it’s supposed to be done. The blue veneers really make the cue pop. The design is simple and elegant and despite the fact that it’s no Monster it’s a cue anyone would be proud to play pool with. This is what a *CUE* should look like.
	Jim Stadum Tim Scruggs cues are known for their traditional designs, excellent playability and perfect execution. This cue appears to be no exception. I really like the choice of veneers, they are very clean looking and not too busy. The rings and Ivory inlays fit the traditional design perfectly. A very nice example of a Tim Scruggs cue that most everyone would be proud to own, however not a Monster IMO. I would also like to add that not only was Mike Cochran one of the nicest people I have ever met but he was a major part of Tim’s cues and he will be missed by everyone.

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General Cue Description-

Cue #150 from Ron Haley is a 6 point cue with 3 long purpleheart points and 3 short ivory points with 3 veneers and 4 of Ron’s signature paper veneers into an ebony forearm and a purpleheart butt with 3 mitered boxes with ivory centers. The cue is a true hoppe butt with an ivory butt plug in place of a bumper. This cue is a rare collaboration cue where Ron worked hand in hand with HOF cuemaker Bill Schick, Ron built the cue and Bill did all the scrim work in all the ivory right down to the skull head on the butt plug. this is the first and only time that Bill has ever done work on another cuemakers cue. The cue also features 6 barbells made with ivory spearheads, an Ivory joint and a black leather wrap.

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	Dick Abbott Ron Haley is an up and coming cuemaker who has made a name for himself with excellent execution and attention to detail. This cue is eye catching with its vibrant colored veneers over purpleheart and ivory prongs into ebony. The veneer work on the prongs and around the windows appears perfectly executed. The silver décor rings are understated and tasteful and the ‘Hoppe’ butt plate with the scrimshawed ivory butt plug is very cool. The scrimshaw theme is not to my liking and the barbells in the forearm and butt sleeve seem to be an afterthought to fill space. Not a monster.
	Fred Agnir Every cue Ron Haley makes borders on perfection. The collaboration with HOFer Schick makes this cue possibly his best cue to date. The Purple Heart twist on the Flame Cue, especially with purposefully short points as “little flames” on which Schick is able to continue the scrimshaw in the forearm works for me. The theme is nicely carried and balanced from the bumper-less butt cap to joint protectors. The double spear point barbells however look a bit like an add-in. I’m not ready to call this a monster because there is no doubt that Haley will build cues that will greatly overshadow this one.
	Deno Andrews Haley’s execution and Schick’s collaboration make this a really valuable and collectible cue. I love the mitered boxes and the unique scrim work. However, many cue makers don’t get the aesthetic awkwardness of framing short points with the same thickness as the long points. Basically, it’s completely wrong and looks bad. Short points inside long points should almost always have thinner framing. This mistake disqualifies the cue in my opinion. Not a monster.
	JimBo Ron Haley’s execution is flawless and it’s great to see inlays into purpleheart rather then hidden in ebony as we see so many times. His veneer work and boxes are exceptional. The joint protectors and ivory plug are fantastic. I feel this cue falls a little short in it’s design. The fact that a HOF (Bill Schick) cuemaker did the scrim work adds to it for me where as I normally deduct points when someone else does that work on a cue. For me that collaboration alone makes this a Monster.
	Jim Stadum Ron Haley’s work is impeccable as usual. I am not sure I like the color scheme in the overall cue and Bill’s scrimshaw is on the morbid side, but considering that this cue was ordered by Jimbo I think he nailed the assignment. In a strange way I am really starting to like this cue. The Ivory butt plug is very unique and adds a new twist. I like the idea of two cuemakers collaborating on a cue especially when one of them is a member of the HOF. This cue is a perfect fit for Jimbo and if I were him I would consider it a Monster. For me it is very close but just shy of Monster status.

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General Cue Description-

Late in 1939 Brunswick started to market the Titlist cue, which was a one-piece, full-splice, four-point cue with veneers. Brunswick offered this cue as the company’s best house cue for commercial and home use. The cues were generally produced as high-quality cues, using Ebony, Purple Heart, Brazilian Rosewood, and other exotic hardwoods. Billiard rooms and retailers across the United States and abroad quickly purchased Titlists. Concurrently, the trend towards having a personal custom-made cue stick was on the rise thanks to such cue makers like Herman Rambow and his contemporaries. The introduction of the one-piece Titlist cue stick paved the way for cue makers to purchase the cues (blanks), cut them in half, insert a joint, wrap, butt plate, and deliver them as their own creations. For example, nearly all Rambow cues after 1940 were produced using the Titlist blank. From the 1940s through the 1960s, almost every top cue maker produced some cues using the Brunswick Titlist as a blank, including Rambow, Paradise, Balabushka, Ginacue, Palmer, Doc Fry, and Gus Szamboti. Just like any other product, the Titlist Cue had a product lifespan. As the cue progressed throughout its four-decade life, the quality began to diminish. As a result, cue makers like Spain and Szamboti began producing their own high quality blanks, which they sold to other cue makers and also used for their own cues. In 1964, Brunswick outsourced their cue production. By the early 1970s the product was virtually dead. In the history of cue making, no other cue or blank has enjoyed more influence and widespread use than the Brunswick Titlist. Although there were pointed and veneered cues before the Titlist, many argue that the Titlist is the true starting point for the four-point, four-veneer “look” that is still being used by a majority of top cue makers today. In fact, there are still cue makers today who use the antique Titlists as blanks! This week at CueZilla.com is unlike any other week because we are analyzing the Titlist Cue as a whole, or a concept, rather than a single example of a cue. To celebrate the 70th anniversary of the Titlist Cue, the panel is challenged with looking at the Titlist cue in terms of history, quality, influence, design, and what it meant and continues to mean to the industry of cue making.

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	Dick Abbott ‘Titlist’ is without a doubt the single most known word in the world of collectible cues. It would be easier to compile a list of cuemakers who haven’t converted a Titlist than a list of those who have. George Balabushka and Gus Szamboti both started their legendary careers using the Titlist as the foundation for their earliest masterpieces. I am a ‘Titlist connoisseur’ having owned in excess of 200, from unfinished original one piece cues to conversions by most notable cuemakers who have converted them. In its purest form, the Titlist is not a monster but many have become monsters in the hands of monster cuemakers.
	Fred Agnir I look at the Titlist as the Balabushka of spliced cues: the foundation all others copy. That today’s cue makers covet them for collections and conversions is a testament to their construction and design. Considering the era they were built makes them even more outstanding. Though there are fancier cues in that timeframe, I consider the Titlist the monster of its era.
	Deno Andrews Titlists certainly qualify as one of the single most important items in the history of cue making. Considering their widespread use by so many famous cue makers, and the numerous champions who played with cues made from Titlists, Monster status is almost a no-brainer. However, it was the cue makers listed in the description who really made the Titlist cue as famous as it is, by what they made out of the blanks. Titlists alone are Mortals, but many of them were (and still are) turned into Monsters.
	JimBo I am not sure if the titlist was something thrown together on a whim or if much thought went into it’s design. Was there a meeting to discus colors or amount of veneers? I don’t know the history or how to find out the behind the scenes engineering, what I do know is that they nailed it, 4 veneers, not 5 or 3. It’s been the canvas on which many legends displayed their art, yet in itself it’s not a Monster.
	Jim Stadum I believe Herman Rambow was responsible for the development of the Titlist blank while he worked at Brunswick. Almost all of the HOF cuemakers used these blanks at one time or another and many modern day cuemakers still do. The Titlist cue defiantly set the stage for the 4 point 4 veneer “look” that has now evolved into 6, 8, and 10 point cues with veneers. The Titlist Cue is clearly a Monster design because it has touched every cuemaker in some way since its conception and continues to do so 70 years later. I think the creation of the Titlist cue is as important to cue making as the leather tip, even though the original design came from France.

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General Cue Description-

Chris Nitti is known for his traditional cues and his flawless execution. This departure from his regular offering shows a depth of talent by this veteran cuemaker. This beautiful ivory-handled Tuxedo Cue built for the 2008 ICCS features bowtie inlays in the butt sleeve and the forearm. The cue also has silver-accented ivory “buttons” set into the ebony sleeve and forearm as well as silver-accented ebony buttons set into the ivory rings. The ebony forearm also includes ebony and ivory points. The ebony points are veneered with holly as a coattails motif. Matching ebony joint protectors complete this true tuxedo cue. This cue submitted courtesy of William Grassley.

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	Dick Abbott Chris Nitti’s execution is always exceptional and this cue is a fine example of his precision workmanship. I like the bowtie inlays. They appear almost three dimensional and add class but the framework surrounding them in the butt sleeve is distracting. The cue is overdone with ivory and the abundance of dots detracts from the overall design elements of the cue. Nice cue, clean workmanship but not a monster.
	Fred Agnir This cue really showcases Nitti’s often under-rated talent. At first glance, it looks like just another ebony and ivory offering. However, it is a Tuxedo Cue with a unique twist using tuxedo motifs. The bowties are simple and stylish while execution of the silver-lined ebony and ivory dots as buttons adds to the elegance. The outline pattern in the butt sleeve is a little overpowering, but the holly outline in the ebony points does a decent job balancing it out. I’m close, but I can’t call this a monster due to other ebony and ivory cues with more wow factor, but this is still a spectacular cue.
	Deno Andrews I am truly impressed by the crafstmanship of this cue. I also appreciate the use of fine materials throughout and the daring blend of old-school with new-school. However, when I look at this cue I see competing artistic styles. The bowties scream art-deco, an elegant style, but are overshadowed by the angular framing and ubiquitous dots. The cue is striking and executed flawlessly, but needs some refinement (mitered boxing, fewer dots, etc.) in its design to be a Monster.
	JimBo Chris Nitti is one of the great Florida guys who has brought his game up a lot over the past few years, his execution is near flawless. Having held this cue I can tell you it’s no exception. As previously stated I am not a fan of the EI (Ebony & Ivory)combo, and although the cue is very elegant I feel the design is un balanced and a bit lacking up front. Not a Monster but very clean and classy with some great silver work.
	Jim Stadum Nice clean execution that everyone has come to expect from Chris. I know Chris likes to stick to the traditional look, but I think there are too many “buttons” or dots in this cue. I like the Bowtie inlay but it is too large in the points. The Ivory border work around the bowtie inlays in the butt sleeve is too thick and a bit clunky looking. Maybe if it were thinner and mitered at the corners instead of covered with the Ivory/Silver circles it would flow better. All in all a nice traditional looking cue with lots of Ivory and Silver, making it valuable and collectable, but not a Monster.

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