George Balabushka

George Balabushka was born in Russia on December 9, 1912 and immigrated to the United States in 1924 at 12 years of age.[1] His family, parents Anton and Natalie and younger sister Mary, settled in New York City.[1] Although originally named Gregori, according to Balabushka he was given a new first name, George, by immigration officials when he was processed through Ellis Island.[1]

Balabushka's first job was as a wooden toy designer and maker,[1] working for the Educational Equipment Company,[2] then located at 71 West 23rd St., in Manhattan,[3] which made building blocks for nurseries and schools.[2] Thereafter he built children's furniture for the Playtime Woodworking Company located on Greenwich Village's Jane Street.[2] While on the job, Balabushka lost his middle finger to a band saw.[2] Using a wooden mold, he made himself a replacement plastic finger of such craftsmanship that even his friends did not realize his loss until long after the incident.[1][4] As Balabushka's carpentry skills deepened he began building accordions and other detailed carpentry pieces on his own time.[5] In 1949, Balabushka applied for patent on a folding leg bracket mechanism he invented, which was granted in 1951.[6]

While working at Playtime Woodworking he met a woman named Josephine, his future wife, who then lived directly across the street from the toy company.[2] They were married in 1941, and bought a home in Brooklyn several years later. Josephine and George had two sons, Gregory and George, both named after their father.[1]

Josephine was not just a source of love and stability but was the rock that allowed Balabushka the ability to hone his craft. According to the writers of The Billiard Encyclopedia, "Josephine's limitless patience and strong sense of independence would afford George the time and solitude necessary that a great artist needs in order to perfect his craft."[2]

Balabushka was an avid billiards player, especially of the game of straight pool, taking part in competitions and spending time with well-known practitioners of the sport.[1] In 1959, he purchased a Brooklyn-based pool hall with partner, Frank McGown, which was located at 50th Street and 5th Avenue.[1] While running the room, he began repairing cues as a hobby, and soon the idea was sparked to design and manufacture his own line of pool cues.[1]

By the end of 1959, Balabushka had made a number of cues, most of which were given to friends as Christmas gifts.[1] As this practice went on, he began receiving orders for his cues.[1] His first cues were conversions of the popular Brunswick-Balke-Collender Company manufactured "Titlist" cues,[1] which were one-piece cues; that is, they had no joint in the middle that would allow a player to break down the cue into two sections for ease of transport.[7] At the time he started, there were very few private cuemakers, the industry being dominated by large manufacturers.[1]

Between 1959 and 1962, Balabushka handcrafted between 20 and 30 cues per year on a part-time basis.[1] Because of the relative dearth of private cuemakers and the excellence of his product, Balabushka's name quickly became known amongst professional players.[1] By the end of 1962, Balabushka was receiving more orders for cues than he could fill given his time constraints.[1] Balabushka accordingly sold his interest in the pool room, converted his garage into a carpentry shop, and by 1964 was building cues full-time, while continuing to hone his cuemaking abilities.[1]

Unlike many of the large manufacturers of the day, Balabushka's emphasis was on playing ability and fine craftsmanship, reflecting the values he had held during his years in the woodworking business.[1] He was an innovator in cue construction, cue finishes and cue design.[1] Balabushka's cues were not the elaborately decorated attempts at building art that became a mainstay of the cue market starting in the 1980s and onward.[1] Rather, most Balabushka cues are relatively plain and without grand ornamentation flourishes.[4] Many of his trademark construction techniques have become standard in the industry, such as the use of Irish linen for wrap material and block style checkered-pattern ringwork above a cue's wrap, commonly employing alternating ebony and ivory, pieces which are eponymously named "Bushka rings."[1][5]

George Balabushka died in 1975 at the age of 62. He was posthumously honored as the first inductee into the American Cuemakers Association Hall of Fame in February, 1993.[8] In 2004, he was inducted into the Meritorious Service category of the Billiard Congress of America's Hall of Fame.[9]

A pool cue and its major parts.

When Balabushka first started repairing cues while working at his pool room, he started converting house cues into custom cues.[5] Many of these house cues were made by Brunswick.[5] When he started building his own cues in 1959, he used blanks purchased from Brunswick for their "Titlist" cue line; the same used in the construction of the house cues he had been converting.[5] Many of the fine cuemakers working during the same era as Balabushka did likewise, including Frank Paradise (Paradise cues), Eugene Balner (Palmer cues, named after Arnold Palmer) and Ernie Gutierrez (Ginacue), all following in the footsteps of earlier master cuemaker, Herman Rambow.[5]

Building a full spliced blank from scratch was an expensive and painstaking process, and the large manufacturing facilities of Brunswick turned out good quality blanks, with beautiful points, veneers and sound construction.[2][5] In Balabushka's case, his entire workshop consisted of a single lathe and other woodworking equipment in the confines of his modest garage, and building his own full-splice butts would have been prohibitively difficult and expensive for him.[5]

Balabushka used Titlist blanks until 1966 when he was contacted by Chicagoan Burton Spain.[5] Spain had recently begun making handmade spliced blanks and was supplying them to Balabushka's closest rival, Frank Paradise.[5] Spain had become fascinated by splicing technology when he came upon a Titlist cue split down the middle in 1965 and set out to perfect and even improve on the Titlist splice.[5] Spain's original intent was to be predominantly a cuemaker in his own right using his proprietary spliced blanks. However, by 1966 Spain's superior blanks were in high demand and he instead turned to making blanks for other cuemakers full-time, which he continued until 1970.[5]

Balabushka took Spain up on his offer after seeing the quality of his splices.[5] Buying from Spain also had the advantage that he was able to have Spain customize the blanks to his specifications.[5] During this period Balabushka began incorporating more elaborate details into his cues, including the eponymous Bushka rings innovation.[5] Many later cuemakers would install Bushka rings both above the wrap and on the butt sleeve below the wrap.[5] Balabushka used them only above the wrap, which is believed to have aided him in keeping the balance point higher on the cue.[5] In 1970, Spain sold his cue business to tool and die maker John Davis, who had been assisting Spain for a number of years.[5] Balabushka continued buying blanks from Davis until 1971.[5]

In 1971, Balabushka met Penndel, Pennsylvania, native Gus Szamboti at a tournament.[2][5] Szamboti had been working for RCA as a draftsman and designer, but RCA layoffs were common at the time, and he had started designing and selling pool cues as a more stable job path.[2] Though he too started production with Titlist blanks as well as blanks manufactured by WICO of Chicago, Szamboti later began making his own.[2] Balabushka was very impressed with Szamboti's blanks and, in addition to the two men becoming fast friends, he became Szamboti's first customer, buying blanks from him for $18 apiece.[2]

Balabushka cues from the Gus Szamboti era are typified by straight grained maple forearms bearing four ebony points, with four veneers included, normally colored black, green, white and mahogany, or sometimes with an orange veneer in place of mahogany.[5] Balabushka cues from this era, spanning the last five years of his life, are considered the finest of his career as a class.[5] There have been unconfirmed rumors that some few cues made during this period included splices made by Balabushka himself.[5]