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Only in LA: 10 Architecturally Interesting Homes with Classic West Coast Style
Most every city gets certain types of housing stock associated with them, such as New York with brownstones and high rises or Chicago with coach houses and bungalows, to name just a few. Los Angeles is no execption and we have good examples of many of them right here in our House Tours. Enjoy this mini-architectural tour and click through on any for more of the residents' LA style!
Shown above:
- Photos 1 & 2: A 1300 square foot industrial loft in the Downtown Arts District: Kimmy & Nathan's Art Driven Loft
- Photos 3 & 4: A 1400 square foot Mid-Century post and beam multi-level home in Silver Lake: Carol's Architectural Home in the Hills
- Photos 5 & 6: A 2100 square foot eco-friendly Amy & Corey's Sunia Home In Echo Park
- Photos 7 & 8: A 1000 square foot space in the historic "home to the stars" Los Altos apartment complex in Windsor Square: Jennifer's Touch of Hollywood Glamour
- Photos 9 & 10: A 2700 square foot 1912 Craftsman in Hancock Park: Kathleen & Matt's California Craftsman
- Photos 11 & 12: A 3000 square foot Barbara Bestor-designed home in Topanga Canyon: Lisa & Scott's Barbara Bestor Home in Topanga
- Photos 13 & 14: A 2000 square foot LEED-remodeled cottage in Venice that made the list of Top 10 Green Homes in California: Isabelle's Greenest House in Venice
- Photos 15 & 16: A 1600 square foot Spanish-style bungalow in Mar Vista: Adir & Marcello's Worldy Retreat
- Photos 17 & 18: A 1100 square foot apartment in the 1930's Art Streamline Modern building that once was home to JFK: Samer's 1930's Streamline Moderne Apartment
- Photos 19 & 20: A 3000 square foot contemporary glass-fronted home perched in the Hollywood Hills: Alexis' Modern Glass House
(Images: as credited in linked original tours)


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Summary and Keywords
In the modern use, "bisexuality" refers to sexual object choice, whereas "androgyny" refers to sexual identity. In ancient Greece and Rome, however, these terms sometimes refer to human beings born with characteristics of both sexes, and more frequently to an adult male who plays the role of a woman, or to a woman who has the appearance of a man, both physically and morally. In mythology, having both sexes simultaneously or successively characterises, on the one hand, the first human beings, animals, or even plants from which arose male and female, and on the other, mediators between human beings and gods, the living and the dead, men and women, past and future, and human generations. Thus androgyny and bisexuality were used as a tools to cope with one's biological, social, and even fictitious environment.
Keywords: androgyny, bisexuality, hermaphroditism, homosexuality, monster, myth
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subset: commoncrawl


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Manu coach says tour successful
Manu Samoa Head coach, Stephen Betham has hailed the Northern Hemisphere Tour (NHT) a success.The endorsement was given during a press conference at Ululoloa yesterday where Betham and Manu Samoa Manager, Namulauulu Sami Leota spoke about the tour during which the Manu defeated Canada, Wales but narrowly lost to France. "The tour itself was very successful in that we had achieved," said Betham, who added that their goal was to improve Samoa's ranking so we could get an easier draw for the 2015 Rugby World Cup in London."That was what we wanted and although we did not win against France, we did achieve a shift in rankings which was our ultimate goal."Betham said the improved ranking would mean many things."Being in the top eight will mean our RWC campaign will be easier than last year," he said. "It will also mean more funding from the IRB which will be a great help with our preparations for the World Cup."Being eighth means that we will have teams who are ranked below us in our pool and that is always a good sign. It will also mean that the turn around times for our games is much longer so we have more recovery time."Namulauulu said the tour was a great learning curve. More importantly, it was an opportunity to expose players to top-level international rugby."Ultimately we want the best for these boys and their future and I can confidently say that at the end of the NHT, our players had many offers for contracts and that is a good thing for them," he said."We want them to develop as much as they can for themselves and also for their families. And as much as we want to hang onto to them, we cannot match the offers they get from overseas clubs."Betham stressed to the team however that their commitment to Manu Samoa must be clear if they wish to be a part of the 2015 RWC squad."As we mentioned before, commitment must be made clear because to do well in the RWC the work must be put in now, we must build now."The Manu Samoa squad for the NHT, according to Betham, was more of a "family than a squad.""We all seemed to connect as brothers during this tour and spending so much time together really gave everyone the chance to get to know each other better, which is what we need in the team.""A lot was said about last years' campaign and I did not want to bring any ill feelings from the past to hinder our going forward as a new team, the past is the past.


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October 13, 2012
GABF 2012 winners announced
This morning, the annual Great American Beer Festival (GABF) competition awarded 254 medals in what is the largest commercial beer competition in the world. One hundred and eighty-five judges awarded gold, silver and bronze medals in 84 categories; this year's festival matched its largest field of entries to date with 4,338 beer entries from 666 breweries hailing from 48 states, Washington, D.C. and Guam.
Since 2001, the most-entered category has been American-Style IPA, which saw 203 entries in 2012; Tap It Brewing of California won its first medal ever by scoring gold in the category. Rounding out the top five most-entered categories were imperial IPAs, herb and spice beers, American pale ales and American strong pale ales. In the Fresh Hop Ale category–brand-new to the festival this year–Sierra Nevada won for its Estate Homegrown Ale.
Brewery and Brewer of the year awards were also announced: Colorado's Funkwerks won the Small Brewing Company category; Pennsylvania's Tröegs Brewing Company claimed the Mid-Size category; and Pabst topped the Large category. Devils Backbone, The Church Brew Works and Great Dane Pub & Brewing Company won in the brewpub categories.
Wyoming was the winningest state by number of entries, with 17.4 percent of the state's 46 entries earning medals.


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Title brought to you by one of my favorite Nine Inch Nails songs from the album The Fragile. I listened to this song on repeat after Mom died. Well, the whole album, really.
My little sister had her first kickboxing match on Saturday. I'm so proud of her, and holy shit does she have a strong right hook. Even if the other girl plays a little dirty about a minute into this first round. Way to go, Krista! (She's in the pink and black shorts.)
Story idea of the day? Singularity. When it's not explained. I've had that on the brain for a few weeks now after reading this very clever story that danced around the idea without tapping too much into the science of it, and I loved it. Maybe something will come of that in my own writing.
Story to read for the day? "Substitution," by my terrific friend Brooke Wonders, possibly one of the most ridiculously brainy people I've ever met. (The ONLY thing I can possibly out-knowledge her in is short story markets and maybe classical music, if I'm lucky.) This gorgeous tale came out in Daily Science Fiction this month, and is mixed with equal parts lyricism, intelligence, and that uncomfortable emotive note at the end that left me still thinking about it two weeks after my first read. I cannot wait for the day when I can get my hands on Brooke's first short story collection; the creepy and surreal resonance of her writing is exactly the sort of thing I look for.
I finally finished the beast of a revision of "North like a Star," my first-week story at Clarion. Cleaned up the drama, but it still needs a good hack and slash, says my first non-Clarion reader, of which I agree. Too many conflicts have overtaken the main inciting incident, so if I can narrow out 3 or so of those and figure out a new reason for why Bellis gets to the factory, the problem might be solved. And, keep the draft under 5k – right now its pushing 6,500 words. The downside is that I despise the story (after two months of trying to get through this revision), so maybe if I put it away for awhile, some of that will take care of itself? Which means its time to pull out Harvester the novel (again – it seems to fluctuate) or write something new; I think I've burnt out my revision momentum for awhile.
What I'd really like is to write a flash. Something brief and sweet or sharp, and clever. A palette-wetting read. A palette-wetting write, so I'm up to tackle longer things again, instead if feeling burnt out.
Article of the day? I avoid politics on Facebook and Twitter as much as I can, simply because while I believe as strongly as the next person, there's no way to convince anyone to change their point of view in a medium like that, especially when I grew up in a state like South Dakota and now live in Oklahoma – I am the minority amidst my peers in both states. But here's a link to the article more than worth reading; not to pit one political party above another (which the author gets a little dramatic about – I think his point is made without needing to be so excessive?) but because of the truth in it, not the least being our troops are out of Iraq, health care reform has begun (I haven't yet met one person opposing this who has been personally affected by it or lack of it – of which now John and I can relate), gay rights in the military, and a push to fix the economy, all done against opposition and hate, despite proclaiming to have the same religious beliefs (which honestly baffles me). Anyway, I found the article very encouraging, and lately, I've felt hopeful about the state of our country.
What I'd really like for Christmas is a Caribbean vacation. Instead, we're staying home, and John's family is coming over for mimosas and brunch. Then, we'll likely join the rest of the city at the movie theater? We'll see – happy Holidays to all!


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Know CPUs were made of sand? Yes, but I like your video.
Subject: Editorial, General Tech, Processors | May 30, 2012 - 06:42 PM | Scott Michaud
Tagged: Intel, fab
Intel has released an animated video and supplementary PDF document to explain how Intel CPUs are manufactured. The video is more "cute" than anything else although the document is surprisingly really well explained for the average interested person. If you have ever wanted to know how a processor was physically produced then I highly recommend taking about a half of an hour to watch the video and read the text.
If you have ever wondered how CPUs came to be from raw sand -- prepare to get learned.
Intel has published a video and accompanied information document which explains their process almost step by step. The video itself will not teach you too much as it was designed to illustrate the information in the online pamphlet.
Not shown is the poor sandy bridges that got smelted for your enjoyment.
Rest in got
My background in education is a large part of the reason why I am excited by this video. The accompanied document is really well explained, goes into just the right amount of detail, and does so very honestly. The authors did not shy away from declaring that they do not produce their own wafers nor did they sugarcoat that each die even on the same wafer could perform differently or possibly not at all.
You should do yourself a favor and check it out.
Video News
Did that video really have to be so Disney?
However the pdf was a good read, thank you. : )
Now show the bean counters at Intel ordering the cheep thermal compound! Perhaps a cartoon droopy at an old hand cranked adding machine would be apropo!
that was just cool
would have been good to see areal one been made but hay still cool


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Be a Firefighter >> Browse Articles >> Ten Steps to Becoming a Firefighter - For Military Service Members
10 Steps to Becoming a Firefighter - For Military Service Members
FireLink and Military.com
Candidates who have served our country in the Armed Forces have a huge advantage over those who have not. It is generally believed that while military veterans may not have as many certificates and fire science units as the other candidates (they were busy serving our country), they offer so much more. The personal growth and professional experience a military service member experiences is second to none.
The fire service is a para-military organization and in being so, words like code, honor, commitment and integrity are as important to the fire service as they are to the military.
FireLink and Military.com have joined forces to provide our members – both active duty and veterans alike – with this exclusive, comprehensive guide to prepare you for a transition from your military background to your new and exciting career as a civilian firefighter.
Become a Firefighter... With Help from FireLink!
Let FireLink help you get the job you've always dreamed of....
5 Step Guide to Becoming a Firefighter
Quiz: Could You Be a Smokejumper?
Get Advice: Ask a Firefighter Forum
Step 1: Choosing the Right Fire & Rescue Path >>
Introduction by Battalion Chief Paul Lepore. To read his full article on "Military Experience," click here.
To begin, click on the links below or just hit "next" at the bottom of the page.
• Step 2: Transition Made Easy – Timeline & Checklist
• Step 3: GI Bill, Education, & Certifications
• Step 4: Picking a Department
• Step 5: Applying for the Job
• Step 6: CPAT & Written Exams
• Step 7: Background Check
• Step 8: Fitness
• Step 9: Things You Can Do Today
• Step 10: Common Hurdles Faced by Veterans


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Oklahoma City Barons secure playoff spot
While the season for the Edmonton Oilers was not a pretty one, it is great to see the farm team manage to slip into the playoffs despite the vast number of big call ups the Oilers had to make this year. What a great way to kick off a franchise. These guys really should be proud, and it's a good sign for the future of the big club.
The Barons should get some reinforcements by the time the playoffs start. They get a few players back who are currently with the Oilers. I think they should be able to make a good run in the playoffs.
The only thing left to be seen now is where they finish in the season. At worst, they will cross over into the North Division. At best, they could finish 3rd in the West division.
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3.5 stars (out of 4)
It's official. On his latest album, "Tempest" (Columbia), Bob Dylan has become Tommy Lee Jones in "No Country for Old Men."
Like Jones in the Coen brothers' 2007 film adaptation of Cormac McCarthy's novel, the 71-year-old Dylan of "Tempest" is surrounded by violence and sudden death. This is no place for tears or sentimentality. He is resigned to how the world is, lawless and degrading. But he does what must be done.
In "No Country for Old Men," Jones – as the laconic, weathered Texas sheriff – comes to a stark realization: "I always thought when I got older God would sort of come into my life in some way. He didn't. I don't blame him. If I was him I'd have the same opinion about me that he does."
It's not that the sheriff is necessarily a bad man. It's just that he's seen the absolute worst of the world, and he questions if God just got fed up with it one day and left without even a word.
"Tempest" surveys the wreckage. It's a long, craggy album that drags at the end with two slow-moving dirges. But most of it is an inspired mix of blood and bawdiness.
As with each of the four studio albums he has released since the turn of the century, Dylan self-produces with his excellent band. They're in roadhouse-after-closing-time mode, situated somewhere along the Mississippi in the early '50s, steeped in the blues, country, early rock 'n' roll and gospel, the string bands and small jazz combos of the 78-rpm era.
"Duquesne Whistle" pushes the gin joint's inebriated occupants onto the dancefloor for one last fling, a vaudeville-style tune with upright bass and brushed drums. Dylan's lyrics dance too, flirting with loaded images. The train whistle "blowing like the sky is going to blow apart" euphemistically refers to lovemaking so wicked it could drive the narrator to his grave.
Cut to the countryish stroll "Soon After Midnight," in which the narrator walks home alone, humming a wistful tune about the woman he had for a moment but couldn't keep. "I'm not afraid of the fury," he mutters with quiet resolve, "I've faced stronger walls than yours."
"Narrow Way" rides a nagging blues riff and a galloping beat until the breaking point – a road story that works as sexual metaphor and political commentary. "This is hard country to stay alive in," the irascible narrator growls. "I'm armed to the hilt … you won't get out of here unscarred."
He brings the hammer down in the murderous "Pay in Blood" over a guitar riff that Keith Richards might want to cop, and then re-appropriates Muddy Waters' "Mannish Boy" for the savage "Early Roman Kings." He indicts gangsters in sharkskin suits "wearing fancy gold rings," the new ruling class of financiers and robber barons. "Ding-dong daddy, you're coming up short," Dylan sneers, "gonna put you on trial in a Sicilian court."
More chaos: "Tin Angel" creeps through nine minutes of mayhem to finish with a triple murder-suicide. The coldhearted storyteller expands the tale to global proportion on the epic, nearly 14-minute title song. Nothing less than a narrative about the Titanic's sinking, "Tempest" can be read as something of a state-of-the-disunion fable. Dylan's voice toggles between agitated rasp and measured narrative, the images meld the horrific into the mundane and back again. The stately fiddle-accented dirge becomes a backdrop for stories of bravery, treachery, desperation, until all disappear beneath the black, icy ocean. But the song never develops momentum – verse after verse without a chorus.
The slow-moving monument is followed by another – the seven-minute ode to John Lennon, "Roll on John." It scales the album back down to a few words between old friends. "There is no more joy," Dylan mutters.
Not that he was ever a soothing vocalist, but Dylan's voice has been in ruins during many of his recent concerts, somewhere between Howlin' Wolf's growl and a tubercular wheeze. It's hard to imagine what newcomers to Dylan's music might think as they hear that ancient rasp, but it somehow suits the subject matter of these songs. Despite a range that spans a handful of notes on a good day, Dylan is masterful storyteller, by turns murderous, mischievous and tender, sometimes all at once – never more so than in the rueful "Long and Wasted Years," an engaging melody built on a descending guitar riff. He ruminates on a lost love, and the damage he tries to shake off.
"I think when my back was turned/The whole world behind me burned," he sings, a beaten-down sheriff in a country he no longer recognizes.


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Doc Loco
Joined: 31 Dec 2003
Posts: 7
Location: Out for lunch
Posted: Tue Feb 24, 2004 1:56 pm
Post subject: PEARL Les Paul
I'm considering a PEARL Les Paul copy from the early seventies, MIJ . Does anybody knows about those guitars?
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Guitar God
Joined: 22 Dec 2003
Posts: 525
Location: Left of centre
Posted: Thu Feb 26, 2004 8:08 am
Post subject:
I think Pearl guitars came out the Ibanez factory. Is it a bolt neck or fixed?
If you see an old 'Pearl' 2x12 valve amp going cheap BUY IT!. With a few tweeks they can be turned into real screamers!
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Joined: 22 Mar 2005
Posts: 2
Location: Western Canada
Posted: Tue Apr 12, 2005 9:21 pm
Post subject:
Many years ago I picked up a Pearl SG copy. Excellent, all mahogany, fixed neck constructiion. The only major flaws were crappy machine heads, and terrible pups. Replaced the pups with DiMarzio PAFs, and installed some Gotohs, and the guitar was a a highly gigable instrument.
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Guitar God
Joined: 15 Sep 2001
Posts: 2380
Location: Spain
Posted: Thu Apr 14, 2005 7:10 am
Post subject:
Pearl was making guitars alongside Drums until some years ago.They made G&L Tribute series until were to Korea.Really good guitars.
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Joined: 23 Dec 2007
Posts: 1
Posted: Wed Dec 26, 2007 9:47 am
Post subject:
My Pearl LP - body and neck are made of white mahohany, fretboard is rosewood, set neck (1977-79):
My Pearl SG - neck is one pieco maple, fretboard rosewood, body ???, set neck (1977-79):
I believe that these guitar made in Matsumoku. Great sound, great sustain, great look !
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Guitar God
Joined: 13 May 2006
Posts: 2076
Posted: Thu Dec 27, 2007 12:12 pm
Post subject:
The jury's out as to whether Pearl was made by Matsumoku.
Nobody seems 100% sure.
Also..there does seem to be an Ibanez connection at some point but it may have just been for distribution.
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Guitar God
Joined: 23 Sep 2006
Posts: 879
Posted: Sun Jan 06, 2008 9:00 am
Post subject:
I found out some more info about Pearl guitars.
The Pearl guitars come from the Pearl Drum company and the Pearl guitar production was managed by Jack Westheimer from Cor-Tek (Cort).
There are Epiphone Genesis models that Jack Westheimer continued to make with the Pearl brand in Taiwan after Epiphone dropped them.
So the early Pearls are probably made by Matsumoku and the later Pearls after say the early 80s could have been made in Korea and maybe Taiwan.
Also the Pearl guitars have the same inlays as the Jack Westheimer Cortez guitars so the Pearl guitars are really the same as Cortez guitars.
Cortez was Jack Westheimer brand before he set up Cort in Korea.
You can read about Jack Westheimer and Pearl and Cortez here
"If I were a betting man...I'd go with February of 1980...and most of the Genesis guitars were made in Taiwan in the same factory that made Pearl drums....In fact, there are even some Genesis models with "Pearl" on the headstock that were made after Epiphone ceased production in early 1981... A VERY, VERY few at the beginning MAY have been made in Japan but most of the production took place in Taiwan.
I read the post from the guy who claimed to have designed it but I've never heard of any Jim Walker. I have heard of Jack Westheimer who was responsible for about fifty zillion different Japanese/Asian brands such as "Teisco", "Kingston" and "CORTez". Westheimer was the guy who had Pearl continue to build the Genesis with the "pearl" name on it after Epiphone gave up on it. The guitar was heavy and pricey for what it was and didn't sell real well in the era of the original Tokai "Les Paul Reborn". I don't know what role Westheimer played if any, in the design of the Genesis but I know he continued to try to sell them."
The Pearl Les Pauls were made by Matsumoku and the Pearl Acoustics were made by Hayashi Gakki.
Cortez were made by Matsumoku and some have the same headstock inlays as the Pearls.
The Cortez name comes from Jack Westheimer who founded Cort in Korea.
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Guitar God
Joined: 23 Sep 2006
Posts: 879
Posted: Mon Jan 07, 2008 12:07 am
Post subject:
This is a good example of the Asian musical instrument business with a lot of known/unknown importers/exporters and Asian companies involved.
Hoshino/Ibanez was just one of them, another one was Jack Westheimer who later founded Cort.
Jack Westheimer is behind the Cortez/Pearl guitars.
Jack Westheimer??Pioneer of Global Guitarmaking??By Michael Wright??Today we pretty much take it for granted that if you want an inexpensive guitar, you're going to buy one made in Korea, Taiwan, Mexico, Indonesia, China, maybe even India. And you have to admit that, for the price, what we get is pretty darned good. In fact, these days, where a product is made is almost irrelevant to the consumer. We're in a global economy; McLuhan's global village instantaneously connected with e-mail. ??Now, youngsters, take note.
This wasn't always the case. Indeed, from the middle of the 19th Century until the 1960s, inexpensive guitars were the province of American mass manufacturers with names such as Haynes, Lyon & Healy, Regal, Stewart, Oscar Schmidt, Harmony, Stromberg-Voisinet, Kay, Valco, and the United Guitar Company. How did we arrive at our current state of affairs, and who is responsible? ??"How" is a long, interesting discussion that covers most of the last century or two and that we'll have some other time. "Who" is a little easier. While there may have been a handful of intrepid pioneers who began developing international guitar manufacturing, it's no exaggeration to say that no one has had a bigger impact on the globalization of guitars than Mr. Jack Westheimer - one of the pioneers of global guitarmaking. Among the brands associated with his activities are Kingston, Teisco, Teisco Del Rey, Silvertone, Emperador, Cortez, and Cort, not to mention a host of other monikers that have graced guitars coming from the Cort factory.
Even if you haven't played one of these guitars, there's a good chance that if you've ever played a decent-quality beginner import, you've played a guitar associated with Westheimer. ??In fact, Westheimer was one of the earliest (and most influential) importers to cultivate Japanese manufacturing in the years surrounding 1960. And it was Westheimer who, along with folks like Jerry Freed and Tommy Moore, brought Korea to the point where today more than half of all guitars made in the world come from that Asian peninsula. ??VG recently had the pleasure of a number of long conversations with Westheimer, and we'd like to share some of what we learned, and use the opportunity to document the brand he's currently most associated with - Cort.
Some of what you are about to read will correct previous misinformation that has been perpetuated here and by other sources. ??Lucky Accident?Westheimer didn't set out to get into the music business. It was kind of an accident. He went to college in the early 1950s and upon graduation went to work for World Wide Sporting Goods, Chicago, a company involved in the import/export trade. Shortly thereafter, Uncle Sam came knocking, and Westheimer was drafted into the Navy, where he served from 1955 to '57. Following his hitch, he returned to the gig at World Wide. However, this career path was not to be. In 1958 the firm was sold to Lionel, the electric train outfit, and Jack was given his walking papers. ??About a month and a half later, his old boss, Bill Barnet, was also given the boot, and he contacted Jack about going into business. That sounded fine to Jack, and they became partners in what would soon become Westheimer Sales Company.
The only problem was they hadn't really figured out what business to go into. It was about that time that Harry Belafonte and Caribbean music were coming on strong, so in a way you can say that Belafonte was indirectly responsible for the avalanche of Japanese guitars that was about to begin... Belafonte, whose most memorable tune was probably "Day-O," was tangentially associated with the burgeoning folk revival gaining an audience in the late '50s. The popularity of Belafonte, coupled, no doubt, with the somewhat related "beatnik" craze (poetry, dark sunglasses, coffee houses, and guitars), caused a surge in demand for bongo drums. Jack and his former boss decided to start a business importing hand-tunable bongos made by Pearl in Japan. ??Into Guitars?The budding bongo boom quickly expanded into importing drum kits made by Pearl. This, of course, put Jack in the right place at the right time. It became immediately apparent that a guitar boom was looming, and he had excellent connections in Japan.
The problem was that Japanese guitars were fairly primitive at the time (remember Aria?). Recall that Shiro Arai brought over some higher-quality Japanese acoustics in the early '60s, only to have them explode when subjected to winter heating systems due to inadequate seasoning of the timbers. ??In any case, around 1959 Westheimer began to see enough improvement in Japanese guitar quality he thought the time right to begin importing. To assure quality, he took an approach that would later be used successfully by some other importers. He offered the guitarmakers more money if they'd improve the quality. Westheimer imposed what's known as the 80/80 quality test, a litmus test based on Sears-Roebuck quality standards. This meant that guitars had to survive 80 percent humidity at 80o Farenheit for three to four days. Westheimer introduced the concept of a truss rod to Japanese guitarmakers. And ca. 1959, Westheimer Sales began importing Kingston acoustic guitars (made by the Terada Trading Company) from Japan. ??Westheimer was not the first to import guitars from Japan, but was certainly the first significant player in this new enterprise. Westheimer recalls that some of the earliest Japanese guitars were imported by a Mr. Rose, who specialized in selling to pawn shops.
Also, the St. George brand had begun before his Kingston brand. Marco Polo is another brand that got going at about this same time, certainly importing Japanese-made guitars by 1960, if not earlier. Buegeleisen and Jacobson, the big New York distributor had opened its Kent subsidiary in early 1960, but at first its focus was on microphones and guitar accessories, coming to guitars a year or so later. ??Most early Kingston acoustics were humble beginner guitars, which was their intent. Few reference materials are currently available regarding these early Kingstons, so no detailed accounting is possible at this time. Westheimer recalls that they were very similar to Harmony's Stella line, with which, of course, they were competing. ??A sneak peek is provided by an undated (probably '64) Imperial catalog. Imperial was a Chicago-area accordion manufacturer that got into guitars in ca. '63, first selling Italian-made guitars, but quickly adding Japanese models to its rather eclectic line. Shown in this catalog (along with a Galanti Grand Prix, an Italian guitar imported by Frank Galanti, another Chicago accordion manufacturer) was a Teisco SD-4L (Imperial SW4), obtained from Westheimer, plus a guitar, mandolin, and two ukes with the Kingston brand. The guitar was the 3/4-sized Model S503 Student Guitar, clearly inspired by a Stella.
This had a mahogany-shaded finish with fake flame "graining," white pickguard, simple adjustable bridge, and stamped trapeze tailipiece. The mandolin was a flat-backed pear shape. The Model No. 16 Ukulele was made of hardwood, stained brown (with the fake flame), and a plastic fingerboard. The Model B6 Baritone Uke actually bore the Exotica brand name, but was also a Kingston and was similar to the No. 16. ??One innovation Westheimer introduced to his Japanese makers was the use of a steel T-bar for reinforcing necks. In the past there was a lingering perception that many Japanese acoustics from the '60s had bolt-on necks. In reality, most had glued-in necks. It was, as far as we know, the American Kay company that began employing bolt-on necks for some of its acoustic models in the early 1960s (so did Valco, but they were never a major factor in acoustics). In any case, the Kingstons were successful from the beginning, fuelling the growing demand for acoustic guitars as the folk revival gained steam amongst maturing babyboomers. ??Westheimer and the SG?One of the more amusing anecdotes Westheimer relates is his connection to the Gibson SG. As he tells the story, there was a Gibson employee named Walter DeMarr who retired in around 1960, at age 70 or so, and moved from Kalamazoo to Chicago.
Westheimer met DeMarr and hired him to do some consulting work. Westheimer was looking for a new shape for electric guitars. DeMarr, as it turns out, was in possession of a prototype for a new Gibson guitar with double cutaways, pointed horns, and a bolt-on neck. Gibson, never a bolt-neck kind of company, didn't know how to produce the guitar. DeMarr used the basic shape of the prototype to sketch out a new design for Westheimer with more rounded horns. Jack took this design to Kawai whose Hanshu plant proceeded to produce the Kingston A2 or S2 (two pickups) and A1 or S1 (one pickup) guitars and the AB1 shortscale bass which were introduced in 1960. These were produced in both a three-and-three or a six-in-line headstock versions. They had mahogany bodies and a metal pickguard that held the pickups under the strings. Pickups were the chunky chrome-covered single-coil kind with angled corners. There was an adjustable bridge (not compensated) and a covered stop-tailpiece. The Kingston S1 was featured in the previously mentioned Imperial catalog, as was a three-pickup version of same. ??In very late 1960, Gibson's first SG-shaped Les Pauls were introduced, glued neck versions of the DeMarr prototype. So in a funny kind of way, the SG was more or less simultaneously launched in both Gibson and Kingston versions! ??Teisco Electrics?In late '59 or early '60, Westheimer also began to import Teisco electric guitars made by Teisco in Japan.
These earliest Teiscos were plain Teisco-brand (not Teisco del Rey). Teisco was founded in '46 by Hawaiian and Spanish guitarist Atswo Kaneko and electrical engineer Doryu Matsuda. Teisco was the brand name put on domestic instruments and the company was called Aoi Onpa Kenkyujo (roughly translated: Hollyhock Soundwave or Electricity Laboratories). Early Teiscos included Spanish guitars, lapsteels, and amps, the guitars frequently reflecting the influence of Gibson. In '56, the company changed its name to Nippon Onpa Kogyo Co., Ltd., although instruments continued to be called Teisco. ??By the end of the '50s Teisco had clearly become interested in exporting guitars to the U.S. They apparently sold some to the aforementioned Mr. Rose. In any case, through his connections with Pearl and the Japanese music industry Westheimer hooked up with them and began to bring in Teiscos.
By this time Teisco had begun to make the transition from its Gibson influences to a more Fender-esque styling, approaching the Jazzmaster shape. Westheimer's Teisco imports also met with success, and were soon outstripping acoustics in sales. ??Westheimer Sales invested a lot of engineering expertise into the development of Teisco guitars and by the mid '60s their quality had grown by leaps and bounds. A number of key events converged in '64. For one thing, the company that made Teiscos changed its name again to Teisco Co., Ltd. Also, Westheimer changed the name of the Teisco guitars he was importing to Teisco del Rey, the brand most commonly seen. And finally, the Beatles arrived and the mad rush from acoustic guitars to solidbody electrics got underway.
Thus began the golden age of Teisco de Rey guitars. But not necessarily for Jack Westheimer... ??Weiss Musical Instruments (W.M.I.)?The primary area of confusion surrounding the Teisco story and Jack Westheimer comes at this point and involves the complication of W.M.I., best known as the importer of Teisco del Rey guitars. The confusion is easy to understand because you have guitars coming from the Teisco factory carrying both the Teisco and Teisco de Rey brand names, and because the two importing companies involved are Westheimer Sales and W.M.I., which many of us have assumed stood for "Westheimer Musical Instruments." Not so. Let's sort this thing out, once and for all. ??As we've discussed, Westheimer Sales did, indeed, pioneer the importing of Teisco guitars made by the Teisco factory in Japan. And Westheimer did, indeed, coin the Teisco del Rey name ca. '64. However, in '65 events transpired that separated Westheimer from the Teisco connection. ??First of all, the success of Beatlemania and the British Invasion, plus the American folk rock response, collided with the first babyboomers pouring into their teen years to create a huge demand for guitars.
All sorts of companies saw gold in them thar' hills, and started snarfing up guitar-related companies. CBS bought Fender. Baldwin bought Burns, then Gretsch. Seeburg bought Kay, then Valco bought Kay. Norlin bought Gibson. Even Westheimer's new competitor, Strum & Drum, was begun by the Sackheim family, which had cashed out of a nuts-and-bolts business and went into guitars. ??In fact, even Westheimer Sales was caught in the acquisition web. Barnet, Westheimer's partner, was interested in leaving the Chicago area for his hometown down near St. Louis and an opportunity arose for him to purchase a Volkswagen agency. As Westheimer recalls, Volkswagen franchises were goldmines in those days, requiring a minimal sales force because people were putting down deposits and waiting for their cars to arrive. Westheimer Sales had caught the eye of one of the big trading stamp companies, King Korn. This was that long-lost era when you got trading stamps at the grocery store or when you bought gas, you pasted them into little books, and when the books were full you could redeem them for stupid merchandise (S&H Green Stamps was probably best-known).
Anyhow, King Korn purchased Westheimer Sales, with Westheimer installed as president and Barnet off to southern Illinois to sell VW bugs. ??Another pair of fellows who also set their sights on selling guitars at this time were Sil Weindling and Barry Hornstein. Both had been involved with Hornstein Photo, a large Chicago-area multi-location wholesale and retail photography business owned by Hornstein's father, Al. In any case, Hornstein Photo was purchased by another company and Weindling and Barry Hornstein found themselves flush with cash and looking for a new business venture. Weindling and Hornstein hooked up with an employee of Jack Westheimer's named Sid Weiss. Weiss' specialty was importing cellos from Germany, but he convinced Weindling and Hornstein that he had the Japanese connections to mount a guitar-importing operation. He was recruited as the front man, and in '65, Weiss Musical Instruments (W.M.I.) was born. ??Immediately thereafter, W.M.I. began importing Teisco del Rey guitars purchased from Teisco.
Westheimer could have objected to the use of his brand name, but the advent of W.M.I. coincided with increasing supply problems with Teisco; i.e., Teisco was unable to supply sufficient quantities for Westheimer's needs. Westheimer basically let the Teisco del Rey brand name go, allowing W.M.I. to market them. ??According to Westheimer in an interview conducted with Dan Forte (a.k.a. Teisco Del Rey, just to keep you on your toes) in Guitar Player magazine, Westheimer and company's concern were working on improving the quality of the instruments. The forte of W.M.I. was flash design and marketing. The fancier Teiscos with the striped metal pickguards and colorful finishes generally date from the later 1960s and were done in conjunction with W.M.I., not Westheimer. ??Back at W.M.I. it quickly became apparent to Weindling and Hornstein that Weiss' expertise was, alas, in German cellos, not Japanese electric guitars, and he was in over his head. Not long after W.M.I. was formed, Weiss left the company, leaving Weindling and Hornstein in control of the business until they sold it in 1980. ??Weindling and Hornstein continued to import and market Teisco del Rey guitars until around '72. But in '68 the guitar boom came crashing down, and demand was finally satisfied.
A number of Japanese companies went out of business. In the U.S., Valco-Kay went belly up, marking the end of America's dominance of budget guitar manufacturing. In August '69, the Valco/Kay assets were auctioned off and W.M.I. purchased the rights to the Kay brand name. W.M.I. began to slowly transition Teisco del Rey guitars to the Kay brand name, which gave them greater credibility with dealers. This change was completed by around '73 and the Teisco del Rey name then disappeared. This explains why you will occasionally see a Teisco guitar with a Kay logo. ??Be that as it may, this should now clear up the confusion that has hitherto surrounded Westheimer Sales Corporation, W.M.I., and the Teisco and Teisco del Rey brand names. ??Several years ago Westheimer regained the rights to the Teisco del Rey name, though it is currently not in use. ??Kingston?After the handoff of the Teisco del Rey brand to W.M.I., Westheimer refocused his energies on the Kingston brand name, which he began to apply to acoustics and electrics in '65.
Again, few reference materials are available, so any detailed accounting of Kingston guitars is impossible, but the majority of the electric Kingstons were probably sourced from Kawai, a piano company that began making guitars around '56, getting into solidbody electrics in the early '60s, like everyone else. ??By '65, when Westheimer began working with them and not Teisco, Kawai was using distinctive, fairly large, chunky single-coil pickups on its electrics. Some early units were chrome-covered with angled corners. Others had chrome sides, a black plastic insert, and round, flat polepieces. The Kingston logo came in a number of forms, including as stenciled block letters, a small oval decal parallel to the nut, in a molded plastic piece of script, and sometimes molded plastic script superimposed over a kind of crown-and-shield design. Not enough is known to draw any dating conclusions from these logos. ??It's not known how much of the Kawai electric line came here as Kingstons, but both small-bodied Jazzmaster-style and inwardly pointing Burns-style double-cutaway solidbodies have been sighted.
All were Kawais. ??The small Fender-style guitars had an extended upper horn with the lower cutaway sloping backward, sort of like a Fender Jazzmaster. This was probably a version of the Kawai S-160. All we sighted had the sort of truncated Strat-style headstock featured on Kawais (and Kingstons) at the time. The fingerboards were bound with dot inlays. Several Kawai configurations exist, including versions with chrome control housings above and below the strings and with a matte-finished aluminum pickguard, both with a pair the chrome pickups with angled corners. One Kingston version, probably from around '65, had on/off rocker switches and a covered stop-tailpiece. Another has been seen with sliding on/off switches on the treble side and a typical Japanese Jazzmaster-style vibrato. Kawai also made three and four-pickup models; you may find Kingston versions of these, as well. ??Other Burns-style Kingston models have been seen, also with direct Kawai analogs. These were basically Kawai's SD series, with inward-turning pointed offset double cutaways, bolt-on necks, bound fingerboards, plastic mini-block (really elongated oval) inlays, and covered vibratos. One Kingston model was a version of a '65 Kawai SD-4W with four of the chrome-with-angles pickups mounted on a matte aluminum pickguard. On/off switches were paired rockers above the strings. The headstock was a deeply hooked Fender-style with a little scalloped piece of metal under the tuner collars.
A little chrome plate sat under the strings. Controls were four volumes and a master tone. Two other models have been seen, these probably from slightly later, with the truncated headstock design, tortoise pickguards and sliding on/off switches (versus rockers). One model had three pickups, evenly spaced, like a Kawai SD-3W, while another featured one at the bridge and two side-by-side up near the neck. Many of these were in a black-to-red two-tone sunburst, but others have been seen in white, and other colors were undoubtedly employed. ??Kingston thinline hollowbodies from the '60s have also been sighted, also clearly the same as sold by Kawai, with the same chunky chrome-and-black single-coils. Westheimer does not recall that hollowbodies were actually made by Kawai, although they had a small factory that may have produced hollowbodies; otherwise they were probably sourced from the same Japanese factory that supplied Kawai. One model had equal pointed double cutaways, two f-holes, elevated pickguard, adjustable bridge, and trapeze vibrato tailpiece. Controls were on a triangular metal plate on the lower bout, typical of both Kawai and Teisco guitars of the late '60s. ??Ca. '68, Kingston offered a violin-shaped hollowbody that was almost identical to a guitar marketed by Kawai as their model VS-180, a design borrowed from the successful Italian EKO company.
The model in hand was finished in white, with a three-and-three head with an extended point on the bass side, bound rosewood fingerboard, little plastic mini-block inlays, two of the chunky Kawai pickups, three-way select, f-holes, a pickguard that followed the edge contours of the waist, and a trapeze vibrato, all features typical of other Kawai models of the time, reinforcing the notion that Kawai was the main source for Kingston electrics. ??At least one Kingston violin bass model was available by '68, again a Kawai. This was pretty much the companion to the guitar, with the same bass-side peak to the head. Except for having a three-tone sunburst finish, a covered stop bridge/tailpiece assembly, and controls mounted on a squiggly tortoise plate on the lower bout, this was virtually the same as the guitar. ??Another Kingston violin bass has also been sighted, sticking a little closer to the H?fner original, with two H?fner-style "staple" pickups. This had a brown sunburst finish, with a bolt-on mahogany neck, a French curve on the head, and a 22-fret rosewood fingerboard with dots. This bass did not have f-holes. Controls were mounted on a rectangular plate on the lower bout, with volume, tone, and three sliding switches, function unsure.
This could be a Kawai product (Kawai was one of the few major Japanese makers to use the little sliding switches, versus either rockers or three-ways), but it also smacks of Aria. Aria was using the "staple" pickups by the late '60s, though most Arias employed three-way toggles. So who knows? ??There were also Kingston amplifiers, all typical of late-'60s Japanese solidstate amps; small and lightweight, with top-mounted controls. Some, at least, were covered in black tolex with black-and-silver grillcloths, metal Kingston logo and vinyl strap handle. These were built specifically for Westheimer by a small electronics factory in Japan. ??By the late '60s/early '70s, Kingston acoustics had come a long way from the smallbodied guitars of a decade earlier. Again, few reference materials are available, however, as can be seen by the example shown here, there were now dreadnoughts inspired by Gibson, at least. This particular guitar (called a V-4 in later versions) has a solid spruce top, glued-in neck, kind of a Gibson headstock (decal logo and design), tuners with fancy plastic buttons, gold hardware, and actually a complete finetune bridge set into a massive mustache bridge, similar to late-'60s Harmony Sovereigns. The pickguard has a groovy mockingbird design, suggesting a Dove. The rosewood fingerboard (rounded end, typical of Japanese guitars before '73) is bound with double arrowhead inlays. However, the coolest feature of this particular instrument is the body, which is a laminate of flamed maple, finished in that ugly red/orange that only came on Japanese guitars of this era. Clearly, this guitar reflects considerable, if eccentric, progress. ??Another model is a 12-string with a thick dreadnought shape, mini-block plastic inlays, trapeze tail and leopard plastic pickguard.
The plastic Kingston logo was superimposed over a shield. More traditional Martin-style dreadnoughts are seen, often with the Gibson-style adjustable metal-and-plastic saddle in the pin bridge. Presumably there was a range of acoustics in all sizes and appointments. Whether these, too, were made by Kawai is likely but unknown. ??By the late '60s, Westheimer had become one of the four largest importers of guitars from Japan, in company with other Chicago-area outfits W.M.I. and Strum & Drum (owned by Norman and Ron Sackheim, selling Norma guitars). ??The irony mentioned earlier? The irony of Westheimer's Kingstons coming from Kawai, while W.M.I. assumed control of Teisco del Reys, is that in January of '67 Kawai purchased Teisco, so even though Westheimer parted ways with Teisco in '65, he ended up doing business with the company that would consume Teisco. ??1974 Kingstons, Plus??A glimpse of Kingston products can be seen in a 1974 Harris-Teller catalog. Curiously enough, these guitars surrounded a tipped-in Terada catalog. Terada, you'll recall, was the original source of the original Kingstons 15 years earlier.
During this period Terada guitars were distributed by Westheimer. No logos are seen on many of the instruments, however, some clearly bear the Kingston logo. Definite Kingstons include the No. U17 Standard Uke (mahogany, plastic fingerboard), No. B7 Professional Baritone Ukulele (mahogany, wooden fingerboard), No. T402 Steel String Acoustic (spruce, mahogany, decal rose, dots) and No. N3 Concert Size Classic (spruce, mahogany, dots). Several other acoustics, including a hummingbird dreadnought and a pear-shaped mandolin, bear no logos but are probably also Kingstons. Several other instruments might also be Kingstons, a couple of banjos, a couple thinlines (EA 300T, EA 500T), and several short-scale Fender-style guitars and basses (A-100, A-200, EB 200, EB 400). ??As we shall discuss shortly, manufacturing in Japan became increasingly expensive as the 1970s dawned and Westheimer expanded his operations to include Korea as a source for his guitars.
Beginning in around 1975 the economy Kingston models came from Korea, whereas the better models continued to be made in Japan. ??1977 Korean Kingstons?A snapshot of the Korean Kingston line is provided in an undated catalog produced ca. '77. Shown are nine solidbody electrics, six solidbody basses, 12 acoustic steel-strings, and three classicals. Interestingly, the guitars don't have logos. Also, some model designations will be recalled when we get to documenting Cort. ??Reflecting the "copy era," which was still going full-steam at the time, all but two of the '77 Kingston solidbodies were budget copies of American guitars. All had bolt-on necks and all but one came in plywood bodies with sunburst finishes. Most came with individucal covered tuners. The LP-2YS, as you might guess, was the top of the line, a Les Paul Custom copy with an arched cherry sunburst top, open-book head, bound rosewood fingerboard, plastic blocks, and a pair of chrome-covered humbuckers. The LP-2C was a downscale brother with a slab body, no binding, dots, wrap-around bridge/tailpiece, and controls mounted on a moon-shaped piece of plastic on the lower bout. There were two Strat copies, the Stat 2 (a name that would reappear on Cort guitars) and the Stat22N. The Stat 2 came with a maple fretboard and covered vibrato.
The Stat22N was the sole solid wood guitar with a maple body finished in clearcoat. The S-250 was an SG copy, again with an open-book head, no binding, dots, adjustable bridge (no saddles), and faux-Bigsby. Pickups were controlled by two sliding switches. The S-200 was similar but with a "standard" tremolo, probably a simple Japanese-style unit. The S-100 had only one pickup and a stop-tail. ??The B-200T was the only "unique" design, with two rounded, slightly offset double cutaways, similar to many other Korean-made guitars of the '70s (Teisco, Kay, Hondo, etc.). The head was an adaptation of a Strat-style on a short-scale neck. The two pickups were, indeed, similar to the DeArmond-style used on Teiscos, sitting on a laminated tortoise guard. This had the adjustable bridge and standard vibrato. The B-100 was similar but with a single pickup and stoptail. ??Similarly, all but two of the '77 Kingston basses were modeled on the Fender design, again all plywood with sunburst finishes save two.
Fender-style basses included the JB-2, a Jazz Bass with two pickups, rosewood board and plastic block inlays. This came in a blond version with a solid maple body called the JB-21N. The PB-1 was a Precision Bass with one pickup, rosewood board, and dots. The PB-2N was the same, but again in solid maple and blond. The MB-2 and MB-1 were basically bass versions of the B-200T and B-100 guitars, with a Gibson-style two-and-two open book head, and two or one pickups, respectively. ??'77 Korean Kingston acoustics consisted of a couple folk guitars and a series of dreadnoughts based on Gibson and/or Martin models. All had Martin-style headstocks. The folk models were the F-75, a grand concert with a maple top and body, hardwood fingerboard, dots, pin bridge with adjustable saddle, and a Martin-style pickguard. The binding was painted on. The V-1 was similar except for having a laminated spruce top, nato body, celluloid body binding, and rosewood fingerboard and bridge. There were five "mini jumbo" guitars, slightly downsized dreadnoughts.
Three models came in all-maple plywood, with rosewood fingerboards and bridges (adjustable saddles), dots and painted trim (except for a celluloid rose). The #745 had bookmatched brown engraved gaudy hummingbird pickguards. The #770 had a Martin-style pickguard. The #745S had twin fancy red painted hummingbird 'guards. The V-3 mini jumbo was spruce and nato in a red-to-yellow sunburst with celluloid top binding and only one of the fancy red hummingbird pickguards. The #86 was similar to the V-3 except for having a natural finish, Martin-style guard, and triple celluloid top binding. ??Full-sized dreadnoughts included the V-4, identical to the V-3 except for having plastic block inlays, the V-2, big brother to the #86, and the V-2-12, a 12-string version of the V-2 (trapeze tail added for stability). The top of the '77 Korean Kingston line were the W-10 and W-11 dreadnoughts. The W-10 had a spruce top and curly maple plywood body, bound maple fingerboard, black dots, bound body, Martin-style guard, and blond finish.
The W-11 was similar except for having a laminated rosewood body, with a three-piece rosewood/maple/rosewood back, and a rosewood fingerboard with plastic block inlays. ??Three classicals finished the line. These all had steel-reinforced necks, by the way. The C-60 was spruce and maple plywood, with painted trim but an inlaid mosaic rose. The C-70 added a nato body, a mosaic strip on the head, and gold tuners. The C-120 added rosewood to the C-70. ??The Kingston name would continue to be used on a variety of guitars made either in Japan or Korea until around '83. It would resurface again in the very late '80s or early '90s on generic low-end Fender-style guitars of unknown Asian manufacture. One model was a slightly offset double-cutaway bass with pointed horns and an elongated four-in-line headstock, 20-fret rosewood fingerboard with dots, with one split-coil pickup, one volume and tone control, and bridge/tailpiece assembly. By '94, the Kingston was appearing on "high volume, low end, acoustic guitars," probably of Indonesian origin. These included the D40 (OM shape in natural, black, blue, or tobacco sunburst), AG10 dreadnought, and four decreasingly sized slothead folk guitars (number reflecting the length), the DT38N/S (nylon or steel strings), DT36N/S, DT34N/S and DT30N/S. ??This is a highly imperfect accounting of Kingstons, but since they do continue to come up at online auctions with considerable frequency, at least now you have a start for understanding their context. ?Cort(ez)?Teisco del Rey and Kingston were not the only brand names associated with Jack Westheimer.
Another, which would have added significance today, was Cortez. Cortez would be important because it's from that moniker that today's Cort brand derived, in abbreviated form. ??The Cortez brand name dates bact to around '60, and the beginning of our tale. The Cortez brand was given (by Westheimer) to a line of good-quality Martin-style dreadnoughts manufactured in Japan by the Hiyashi (Hayashi Gakki) factory. Westheimer dispatched some of his staff to visit the factory and work with them to develop the product, resulting in Cortez acoustic guitars. Remember, guitars were still called Spanish guitars in those days, an appellation that has fallen by the wayside; hence, the "Spanish" names like Cortez and del Rey.
According to Westheimer, Hiyashi (Hayashi Gakki) was one of the top Japanese acoustic factories, and it was responsible for many Cortez and Emperador acoustics. Hiyashi (Hayashi Gakki) was bought out by Pearl sometime in the early '70s and that marked the end of its glory days. ??Again, no reference materials are available to document Cortez guitars in detail. ??Westheimer recalls one acoustic/electric model made by Hiyashi (Hayashi Gakki) carrying his Emperador brand that was actually played by the Everly Brothers. Fewer than 180 of those guitars were imported because they just didn't catch on. One day, the Everly Brothers' manager called Westheimer to see if any more could be obtained because the Everly's guitars had run into repair problems.
Westheimer was able to locate several examples in various warehouses and got them to the crooners. He still gets requests for that guitar. ??Most Cortez guitars have fallen into a "copy" vein - Strats and Les Pauls. The latter came in both bolt-neck and set-neck versions, many made by Matsumoku, the factory responsible for many of the better Aria guitars, as well as the Electra, Westone, Univox, and Westbury brands. Matsumoku also made sewing machines, and was purchased by Singer in 1987, after which the guitarmaking operation was closed. ??There are also some Cortez copies of the Gibson ES-175 that appear to be similar to Japanese-made Venturas of the time. ??Cortez guitars were always made in Japan, never in Korea. The Cortez brand remained active at least until '86, although it may have lingered another year or two.
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Posted: Tue Jan 08, 2008 2:09 am
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According to Westheimer, Hiyashi (Hayashi Gakki) was one of the top Japanese acoustic factories, and it was responsible for many Cortez and Emperador acoustics. Hiyashi (Hayashi Gakki) was bought out by Pearl sometime in the early '70s and that marked the end of its glory days. ??Again, no reference materials are available to document Cortez guitars in detail. ??Westheimer recalls one acoustic/electric model made by Hiyashi (Hayashi Gakki) carrying his Emperador brand that was actually played by the Everly Brothers. Fewer than 180 of those guitars were imported because they just didn't catch on. One day, the Everly Brothers' manager called Westheimer to see if any more could be obtained because the Everly's guitars had run into repair problems
I had...and still have several Emperador Strat copies from the '70's.
Plywood monstrosities but they DID teach me how to strip/build guitars.
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Posted: Tue Jan 08, 2008 5:32 am
Post subject:
japanstrat - you should write a book!
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Guitar God
Joined: 29 Aug 2001
Posts: 1163
Location: Austin, TX
Posted: Tue Jan 08, 2008 7:52 am
Post subject:
Can we make that an article for the main site.
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Guitar God
Joined: 02 Mar 2007
Posts: 4176
Location: Leicester UK
Posted: Tue Jan 08, 2008 10:13 am
Post subject:
japanstrat wrote:
This is a good example of the Asian musical instrument business .................
Amazing post
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Guitar God
Joined: 02 Mar 2007
Posts: 4176
Location: Leicester UK
Posted: Tue Jan 08, 2008 10:13 am
Post subject:
stratman323 wrote:
japanstrat - you should write a book!
He just about did!!
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Guitar God
Joined: 23 Sep 2006
Posts: 879
Posted: Wed Jan 09, 2008 12:22 am
Post subject:
I wish I could take credit for it but it was written by Michael Wright.
I think it would make a great article for the main site.
There is a bit more I found about Korea and Cort
As the ?70s got underway, Westheimer recalls the winds of change. The writing on the wall was writ by President Nixon in ?72, when he decided to stop tying conversion of the dollar to gold. This allowed currencies to float in a free market, and the value of the Yen, which had been steadily increasing, jumped way up against the dollar. This had devastating effects on beginner-grade guitars. Basically, they were becoming increasingly expensive to import and still be sold at the price-point customers expected.
Another change that occured involved the King Korn Stamp Company. The stamp redeeming business suffered a downturn and the company fell on hard times. Ca. ?73 Jack Westheimer and several other executives purchased Westheimer Sales back from King Korn, and the Westheimer Corporation was born.
Then, in ?73, Jack Westheimer crossed the Gulf of Tonkin and expanded his operations from Japan into the Korean market. He founded a company called Yoo-Ah (roughly translated ?you-and-I?) with a partner named Yung H. Park and they built a Korean factory to build inexpensive electric guitars. Initial output included many guitars, branded and unbranded, for a variety of wholesalers, adding, as mentioned, the Kingston brand in ?75. Indeed, most people are surprised to learn that by ?76, according to figures published in The Music Trades magazine, Korean imports actually surpassed those from Japan! Quality slowly but steadily continued to improve.
Over the years, the main output of the Cort factory has been devoted to producing entry-level lines for established brand-name manufacturers, so you may see many Cort-made guitars which are not identified as such. Some early ?80s D?Agostinos were Cort Products. A lot of the early Cort-built guitars can be spotted by their fairly narrow bound rosewood fingerboards with rounded ends and brass position markers. Many also featured humbuckers with cream bobbins and surrounds that have a distinctive coloration. By ?85-?86 Cort was producing lines for Kramer (the Striker series) and B.C. Rich (the Platinum series). For reasons hard to understand, larger manufacturers frequently do not like to identify the factories where their budget lines are made.
Except for the higher-end Kingstons and the Cortez brand made in Japan, the Westheimer story pretty much shifts to Korea and beyond from this point on. Jack estimates that his legacy from the ?60s was bringing in as many as 200,000 guitars from Japan, ?...many of which ended up under Christmas trees tied in a bow.? While many went straight to the closet, many more were the first guitars babyboomers cut their teeth on before graduating to more expensive instruments.
In many ways, Westheimer?s work in pioneering global guitarmaking with the Teisco, Kingston, and Cortez brands was the prelude of what would become his greatest achievement ? Cort guitars. Again, the Cort name derived as an abbreviation of the Cortez, primarily used on electrics because it was felt that a Spanish-sounding name was appropriate on an acoustic, but not on an electric. Some Japanese-made electrics may have appeared bearing the Cort logo in the ?60s, but the name would not really get wide circulation until the end of the ?70s.
Here?s a short summary of the brands with which Jack Westheimer has been involved, either as an importer/distributor or manufacturer:
Ca. 1959-?64, Teisco (electrics)
1964-?65, Teisco del Rey (electrics)*
Ca. 1959-?65, Kingston (acoustics)
1965-?83, Kingston (acoustics and electrics)
Ca. 1990?, Kingston (acoustics and electrics)
Ca. 1960?ca. ?88, Cortez (acoustics and electrics)
Ca. 1978 (a few electrics in the ?60s)?Present, Cort (acoustics and electrics)
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Guitar God
Joined: 23 Sep 2006
Posts: 879
Posted: Thu Jan 10, 2008 8:54 am
Post subject:
Here is a Pearl
Here is a Cortez
Both are basically the same guitars (check out the headstock inlays) and have nothing to do with Ibanez (all of the strange brand names have nothing to do with Hoshino/Ibanez). Cortez and Pearl come from Jack Westheimer who founded Cort.
Jack Westheimer had the Cortez and Pearl electrics built by Matsumoku in Japan.
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A Buttercream Yellow Nursery in Boston
Name: Baby Girl
Location: Boston, Massachusetts
We changed our guest room/office space into a nursery for our little baby girl. We still needed it to be a guest room, as we have a small condo. It holds a lot for a small, calm space. The colors and art were inspired by the existing yellow rug, my childhood nostalgia, and our terrier-mix, Smokey.
There has been so much hard work put into this room. My husband David stripped all the woodwork and repainted the whole room. Good friends made the artwork, the rocking chair is from David's childhood bedroom, and many pieces were repurposed from other parts of the house.
Thanks, Sarah! Readers, see more of this space and say hi to Sarah at Cafe + Dish.


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Jump Gym needed a new logo design and created a contest on 99designs.
A winner was selected from 112 designs submitted by 28 freelance designers.
Inflatable boucers, moonwalks, slides. Jum Gym will include over 6,000 square feet of inflatable bouncers and slides. This will be a place for children to play and have birthday parties. We will need this design for t-shirts, waiver form, cups etc as well!!!!
Jump Gym
We want a design that is kid friendly. Bright colors a plus Our building is part of a strip mall setting so we need something unique but classy.
- Item 1...I like blue and lime green combo
- Fun -maybe have childrens' shadow image of them jumping
- I want it to be obvious that its for kids-not a "workout gym"
- Cute but I want it to look great on a pocket tshirt and I don't feel too childish
- Item 1...No balloons
- no rainbows
- Love to see a few without bubble letters.
Find out how a design contest works or learn more about our logo design services.


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June/ July 2014, Volume 6, Issue 5
Check Your Calendars!!
Audiobook Month
June 2014
ALA Annual Conference
June 26-July 1, 2014
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June 26–July 1, 2014
Immersion Program – Teacher and Program Tracks
July 20–25, 2014
Teen Blogging Contest
Deadline: August 1, 2014
Library Card Sign-up Month
September 2014
Featured e-Resources of the Month
New e-resources' features made available
Welcome to the Cornerstone Archives. Find the current newsletter at sdslcornertsone.blogspot.com.
In this month's issue
Library Headlines
Summer Reading Challenge promotes reading 20 minutes a day
SD Titles To Go libraries add Teen eReading room to site
Easy and free patron survey helps you gain insight on your library's technology services
Continuing Education Opportunities
SLJ's Be The Change webcast series
Children's and YA Services
Reading in the summertime and all the time
Featured E-resources of the Month
New e-resources features made available
Grant Opportunities
American Honda Foundation grants
Wish You Well Foundation grants
Board Talk
The life cycle of a consortium
By Daria Bossman, State Librarian
Library Development
Time to say good-bye: Jean Peterson retires
How to automate a library one step at a time: planning, selecting, implementing
School Libraries
Getting students college ready?
Prairie Bud and Pasque nominations provide quality booklists for the library and classroom
Find a Book is a tool you need in your reader's advisory toolkit
School library blogs to add to your summer reading list
Why Didn't I Think of That?
Reading and Recipes program a success
South Park fifth graders help break a Guinness World Record
next: Library Headlines
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|Carmel, Ind.
|High School:
Sebastian was a consolation and bonus finalist at the 2007 EISL Championships. He placed 19th in the 1000 yard freestyle, 21st in the 500 yard freestyle, and 14th in the 200 yard freestyle. He looks forward to swimming middle-distance freestyle events while representing the Yale Bulldogs in the 2007-2008 season. Sebastian started swimming at age six with the Smokey Row Swim Team. He swam for the Carmel Swim Club for eight years and represented the Carmel High School Greyhounds as a varsity swimmer for four seasons. Sebastian earned a perfect 100 points at the Indiana Age Groups State Championships both at age twelve and age fourteen. As a junior at Carmel High School in 2004, Sebastian helped his team win a fourth consecutive Indiana High School State title with victories in the 500 yard freestyle, 200 yard freestyle relay, and a third place finish in the 200 yard freestyle. The Greyhounds went on to place first nationally in all three relays and win the National Mythical Title that year for public and private schools. As a senior at Carmel High School, Sebastian placed third in the 500 yard freestyle and sixth in the 200 yard freestyle at the Indiana High School State Championships. In addition, Sebastian placed third in the 400 yard individual medley at the Indiana Senior State Championships held that year. In the summer of 2006, Sebastian competed at the Speedo Junior National Championships in Irvine, California. At Carmel High School, Sebastian was a member of the National Honor Society and a National Merit Finalist. He was a co-founder and co-president of the Buffet Club, Carmel's first club dedicated to eating.


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Globesherpa Design needed a new logo design and created a contest on 99designs.
A winner was selected from 44 designs submitted by 29 freelance designers.
GlobeSherpa lets you see and listen to what people think about places near you. Share your recommendations about bars, restaurants, and cool activities in your neighborhood in your own voice, your eyes (pictures and video).
We are looking for a logo that works well with all of our marketing efforts(web, business cards, presentations…).
We had a couple of initial thoughts in mind for this design. First,for the colors we want colors that symbolize the earth (blue, green, and/orbrowns).
As for the logo itself, we would like to see some designs with a compass anda image of the earth beneath the compass needle.
We are open to other creative ideas - show us what you can do!
- Logo and colors that work well for web and print
- Logo should look good when reduced in size
- Accepted file formats (.jpeg, vector fonts and psd files with layers)
Find out how a design contest works or learn more about our logo design services.


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ReleasesBack to
Joe Lovano
Guitarist John Scofield contributed all nine originals on this album and teams up with up-and-coming tenor saxophonist Joe Lovano, bassist Dennis Irwin and drummer Bill Stewart for a set of consistently stimulating music. The interesting blend between Scofield and Lovano, the consistently inventive solos, and the unpredictable material -- which falls loosely into the post-bop area but is really unclassifiable -- make this a CD worth listening to several times. ~ Scott Yanow