Ebay guitars

Witham musician gets 27 bids for guitar on eBay sold as “Absolutely Dreadful Guitar - You’d Be Insane To Buy It”

A guitar described by its Witham eBay seller as “Absolutely Dreadful” gained more than 100,000 views and 27 bids this week.

www.ebay.co.uk/itm/Absolutely-Dreadful-Guitar-/272591654524?nma=true&si=AFpnqDkVn5K%252FY%252FfmzuLFJiTY744%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557

Metalhead-1976 described the Professional Product Group guitar as “Absolutely Dreadful Guitar – You’d Be Insane To Buy It”.

He slammed the instrument as “quite the worst guitar I have ever owned. The reserve is nothing, which is significantly more than it is worth.”

The unusual description added the guitar’s “super sharp frets ensure your fingers will be destroyed immediately,” and that it “goes out of tune the second you look at it”.

The electric guitar advertised on eBay as 'Absolutely Dreadful Guitar - You'd Be Insane To Buy It'. Picture: metalhead-1976- Credit: Archant

Despite the frank description, the guitar still fetched £62 after a remarkable 27 bids, with a final total of 108,000 views when it sold on Thursday after 10 days.


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Metalhead-1976, who has 100% positive feedback on the site, said: “I thought it would be fun to just be brutally honest about it.

“Folks always do their utmost on eBay to make the most ordinary of items looks so desirable and I just didn’t have the heart to try to convince anyone that the thing was anything more than some badly painted kindling.

“I honestly didn’t expect it to sell at all.

“I had countless mails from people asking if I’d smash it up and film it for YouTube if they won.

“As it happens the actual winner wants it and is collecting it this week.”

The description added: “No warranty beyond the cast iron guarantee of regret.

“Collection only from my home in Witham, Essex, or I can smash it into bits and post it in a shoe box, choice is yours.”

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Sours: https://www.eadt.co.uk/news/witham-musician-gets-27-bids-for-guitar-on-ebay-sold-2323868

Celebrity-Autographed Guitars Auctioned on eBay to Support National Latino Early Literacy Program

NEW YORK - Three guitars autographed by Latino celebrities are being auctioned on eBay to raise money for a national Hispanic literacy initiative.

John Leguizamo, Johnny Pacheco, Mana and others autographed the guitars at the 7th Annual Latin GRAMMY® Awards at Madison Square Garden earlier this month.  The guitars will be listed on eBay through Saturday, Dec. 2. The proceeds from the sale will support Lee y Seras® (Read and You Will Be), a national, research-based initiative that helps parents and communities build early literacy skills among Latino children.

Other artists and celebrities who autographed the guitars are: RBD, Luis Fonsi, Wison y Yandel, Belén Arjona, Fania All Stars (Gilberto Santa Rosa/Willie Colon), Andy Montañez, Lena Pérez, Rene Lavan, Tonny Tun Tun, Alejandra Barros, Alexa Damian, Anais Martinez, Catalina Sandino Moreno, Former Miss Universe Barbara Palacios, Galilea Montijo, Marisol and Vicky from Horoscopos de Durango, Ivy Queen, Millie Quezada, Paloma San Basilio and Looney Tun-Tunes.

The three autographed Gibson guitars available on eBay are:

  • ES 137 Custom Beal Street Blue Gibson; eBay auction No. 200050819737.
  • X-Plorer Classic White Gibson; eBay auction No. 200050822780.
  • LC1 Sonoma Acoustic Gibson; eBay auction No. 200050821764.

According to the U.S. Census Bureau, Latinos represent almost 20 percent of the U.S. population under the age of 18 -- the largest minority segment of the nation's student population.  Currently, Hispanic achievement rates at all levels of education remain low.  Only 14 percent of Latino fourth-graders and 9 percent of eighth-graders can read at or above basic or advanced skill levels. 

Verizon has been a longtime supporter of the Hispanic community and most recently joined the National Council of La Raza and Scholastic Inc. to launch Lee y Serás,  a Latino early literacy initiative that engages parents and communities in the literacy development of their children and offers a rich variety of culturally sensitive resources on the Web for volunteers as well as parents.  More information about the organization is available at www.leeyseras.net.

"Basic literacy is a principal concern of the Verizon Foundation due to literacy's enormous impact on education, health, economic development and the success in the digital age," said Patrick Gaston, Verizon Foundation president. "We're honored to have this amazing group of legends and stars support Lee y seras, which is committed to empowering communities across the country to advance literacy among Latinos." 

As a sponsor of the 7th Annual Latin GRAMMY Awards, Verizon is raising literacy awareness on the national stage so that communities can champion this issue to help shape a stronger, more empowered Hispanic community.

For more information about Verizon in Spanish, visit www.verizon.com/noticias or visit www.verizon.com/espanol. For assistance in Spanish, customers can call 800-743-2483 (West); 800-430-2222 (New England); 800-479-0305 (Pennsylvania and Delaware); 800-560-4652 (New Jersey); 212/718-890-2005 (New York); and (local area code) +954-6250 (Maryland and West Virginia).

Verizon Communications Inc. (NYSE:VZ), a New York-based Dow 30 company, is a leader in delivering broadband and other wireline and wireless communication innovations to mass market, business, government and wholesale customers.  Verizon Wireless operates America's most reliable wireless network, serving nearly 57 million customers nationwide.  Verizon Business operates one of the most expansive wholly-owned global IP networks.  Verizon Telecom is deploying the nation's most advanced fiber-optic network to deliver the benefits of converged communications, information and entertainment services to customers.  For more information, visit www.verizon.com.

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Sours: https://www.verizon.com/about/news/press-releases/celebrityautographed-guitars-auctioned-ebay-support-national-latino-early-literacy-program
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And then there was Clapton. Initially taken aback by the intensity of Johnson’s work, he writes in his autobiography that, after letting the record get under his skin, “I realized that, on some level, I had found the master, and that following this man’s example would be my life’s work.” In 1966, with John Mayall & the Bluesbreakers, he recorded Johnson’s “Ramblin’ on My Mind,” and then, in 1968, with the band Cream, he worked up an electrified and modified take on Johnson’s “Cross Road Blues” called “Crossroads” that became one of his signature hits. But only after recording his 2004 homage to the blues musician, Me and Mr. Johnson, and filming a companion DVD, Sessions for Robert J, was Clapton left with the sense that “my debt to Robert was paid.”

As interest in Johnson’s music was rekindled, curiosity about the man grew. When King of the Delta Blues Singers was released, in 1961, Johnson’s life was almost a complete mystery, save for the lurid bit of information included in the album’s liner notes that he had been murdered, “poisoned by a jealous woman.” But as Columbia’s Johnson release helped spark new interest in the blues artists of the 20s and 30s, field researchers and journalists began to comb the South in search of clues to the lives musicians led. Johnson “was the toughest case to crack,” says blues researcher Gayle Dean Wardlow, author of Chasin’ That Devil Music and the first person to track down an actual document pertaining to the blues musician: Johnson’s death certificate, which Wardlow found in 1968. The record indicated that Johnson died at the age of 26 on August 16, 1938—the same month and day that would claim Elvis Presley in 1977—although it is believed today that Johnson was actually 27. The document lists no cause of death, but years later someone checked the back of Johnson’s death certificate and discovered notes that suggest the owner of the plantation where Johnson died believed syphilis was the cause. It is one of the niggling details that fly in the face of what has become the generally accepted story of Johnson’s death: that he was somehow slipped poisoned whiskey after a juke-joint owner who had hired Johnson to play at his establishment discovered that the blues musician was keeping time with the owner’s wife. Some researchers suspect that Johnson may have survived the poisoning, only to succumb to pneumonia that attacked his weakened immune system.

But one aspect of Johnson’s life remained stubbornly concealed. In 1971, Columbia released a second volume of King of the Delta Blues Singers, and its cover featured an artist’s rendering of Johnson at his first recording session, playing his guitar while facing the corner of a room. As on the first album, the features of his face were barely discernible for good reason: no one yet knew what Johnson looked like. But that was about to change. And with it would begin a new and disputed chapter in Johnson’s story.

In 1972 a Smithsonian field researcher named Robert “Mack” McCormick, who had been on the blues musician’s trail for more than a decade, located Johnson’s two half-sisters and came away with not only photos of Johnson and members of his family but, reportedly, first publication rights as well. McCormick, who had a reputation as an inspired researcher and an excellent writer, had gone as far as to travel to Mississippi on the Rolling Store, a bus that had been converted into a canteen for sharecroppers—and, in a 1976 Rolling Stone piece, he told writer Peter Guralnick that he had even tracked down and interviewed Johnson’s killer.

McCormick intended to write about this and other revelations in a book about Johnson that he had tentatively titled Biography of a Phantom. Presumably, it was where the first published picture of Johnson would appear as well. But Guralnick’s Rolling Stone piece reported on another man on Johnson’s trail who had come up with his own trove of historical gold and would use it to steal McCormick’s thunder and essentially take control of Robert Johnson’s image and music. A year or so after McCormick had located Johnson’s kin, a record collector and researcher named Steve LaVere, the son of the late jazz pianist and vocalist Charles LaVere, tracked down one of the half-sisters, Carrie Thompson, in Maryland, and hit the jackpot. (Thompson and Johnson were both the children of Julia Dodds but by different fathers.) Since McCormick had come and gone, Thompson had found two more photos of Johnson, the Hooks Bros. photo and the photo-booth self-portrait, and in 1974 she permitted LaVere to make copies of them. Under the assumption that she was Johnson’s next of kin—the second half-sister had reportedly died by then, though Johnson’s mother and other half-siblings were still alive—she also signed an agreement that transferred to LaVere “her right, title and interest, including all common law and statutory copyrights” to the two photographs, as well as a handwritten note Johnson had purportedly composed on his deathbed and, most important, all musical works and recordings of Robert Johnson.

The deal also gave LaVere first right of refusal for any subsequent Johnson-related photos or documents that might be found, and, more crucially, appointed him as Thompson’s agent “for the purpose of collecting royalties in connection with any and all works of Robert L. Johnson” and authorized him “to use whatever means at his disposal to make such collections.” In return, he would split any royalties generated 50-50 with Thompson.

Contract in hand, LaVere went to Columbia Records with an idea to produce an anthology of Robert Johnson’s complete recordings. According to a 1991 piece by Robert Gordon in L.A. Weekly, Frank Driggs, the producer who had worked on both of the King of the Delta Blues Singers releases, was already planning just such a project for Columbia, but John Hammond père added Steve LaVere as a co-producer. In addition, Gordon reported, Hammond, a friend of Charles LaVere’s, signed away the copyrights to Johnson’s music, which Columbia Records may not have even owned. (If Johnson ever signed a contract with American Record Corporation, it has yet to be located, but chances are that, by the 70s, the copyrights to his recordings had expired and his music had entered the public domain.) Driggs told Gordon, “LaVere got a deal such as nobody I’ve ever heard of getting in the history of the business.”

It appeared that all rights to the blues artist who had possessed the Hammonds, Clapton, Jagger, Richards, Plant, Page, and Dylan were now in the possession of Steve LaVere.

When Mack McCormick heard about LaVere’s deal, he contacted Columbia and notified the label that his agreement with Johnson’s half-sisters preceded LaVere’s. Columbia put the anthology on hold for 15 years, during which time vinyl LPs gave way to plastic CDs. In 1990, Robert Johnson: The Complete Recordings was finally released. LaVere was listed as a producer, and the biographical essay published in the boxed set’s accompanying booklet carried his byline. Mack McCormick was not involved at all. The Complete Recordings went gold, rekindling interest in Johnson yet again. It put a nice chunk of change in LaVere’s pocket, and it also cemented his status as the gatekeeper to all things Robert Johnson. In that role he soon became known for litigious ways. He sued or threatened to sue bands and artists, and their representatives—including, successfully, ABKO Music, former record label of the Rolling Stones—who had covered Robert Johnson songs and, he alleged, not paid proper royalties. When the cartoonist Robert Crumb drew a vivid homage to Johnson, based on the photo-booth self-portrait, and then had it reproduced on T-shirts and, later, silkscreen prints, LaVere threatened legal action. Initially, Crumb says, “I wrote back a letter that said, ‘Fuck you. It’s my drawing and I’ll do what I want with it.’ ” But faced with the prospect of an expensive legal battle, he eventually settled with LaVere. “If I ever want to use that drawing commercially again,” Crumb says, “he gets part of the action.”

In the late 90s, LaVere also sued McCormick—unsuccessfully—in an attempt to gain possession of the photographs that the Texas researcher had been given by Carrie Thompson. One of the images is of Johnson. It is believed to be another shot taken during the Hooks Bros. studio session, but has yet to be seen by the public. One of the few people who have seen it is Guralnick, who wrote about it in his 1989 book, Searching for Robert Johnson. In the photo, Johnson is joined by a man in a sailor’s uniform—his nephew, who was in the navy (and, according to a comment attributed to Carrie Thompson, was the owner of the pin-striped suit Johnson is wearing). The whereabouts of this photo are currently unknown, and McCormick’s Biography of a Phantom was never published. McCormick did not respond to my requests for an interview, but in a 2002 profile by Michael Hall in Texas Monthly, McCormick revealed that he suffers from crippling “manic-depressive illness,” and that he had abandoned his Johnson book. “It ain’t happening anymore,” he told Hall. “I lost interest.” But a source who has had contact with Mack McCormick in the last two years told me, “One of the reasons McCormick’s Johnson book has never seen the light of day, I think, is that he seems scared of litigation from a notoriously litigious guy like Steve LaVere.”

Dealing with the legacy of Robert Johnson had become a particularly brutal game of cuttin’ heads, and Steve LaVere seemed to be the man holding the sharpest scythe.

Younger than His Years

When I first encounter Zeke Schein, almost two years have passed since he purchased the photo. I hear about him through a friend, a lawyer who has represented me in business dealings. Schein is also a client, and, one afternoon when he is on break, we meet outside Matt Umanov and head to an Italian espresso joint a few storefronts away. After telling me that his legal name is Steven, but that “no one” ever calls him that, Schein places an 8-by-10 blowup of the photo on the table in front of me. The first thing I notice is the repeating pattern of warning bars that have been superimposed horizontally across the image. One reads, this image is copyrighted. The other, unauthorized use is prohibited by law. The next is that the faces peering back at me beneath wide-brim hats appear remarkably young, but the figure holding the guitar does resemble Johnson, and his fingers are long. I remember a description of the blues artist as looking younger than his years.

Sours: https://www.vanityfair.com/culture/2008/11/johnson200811

Lawsuit guitars are high-quality copies of popular American brand name guitars (like Fender and Gibson) produced by Japanese companies in the 1970s. These Japanese lawsuit guitars are of legendary quality and are highly sought after. There are still gems to be found, on eBay or Reverb for example, and a lot of these auctions are genuine, but some of these lawsuit guitars for sale are not lawsuit guitars at all. If you are interested in buying a lawsuit guitar, make sure you read through this article first and then do more research before you buy or start bidding on a guitar.

Anyone who’s looking for vintage guitars on eBay or Reverb comes across the word “lawsuit”.

The word is abused a lot though because it drives the price of a guitar up. What exactly is a lawsuit guitar and why are they so popular?

The popularity of lawsuit guitars is easy to explain:

  • They look identical to the originals.
  • They are equal in quality and sometimes even better than the originals.
  • They are cheaper than the originals.
  • They are vintage.

So it sounds like a good idea to search for these lawsuit guitars in order to get a great sounding vintage guitar at a good price.

Be mindful of scams though, some sellers claim to be selling a Japanese lawsuit guitar, while they are not. Inform yourself, starting here…

The History and Background of Japanese Lawsuit Guitars

In the late 1970s, there was a general dip in the quality of the production ethic of most mainstream American guitar companies.

Household names, such as Fender and Gibson Guitars, were not cranking out the quality workmanship which they were known for in the past. This lead to the emergence of copy guitars from Asia which used arguably better parts and craftsmanship.

The company that started importing these quality copy guitars was Elger Guitars.

The founder of Elger Guitars, Harry Rosenbloom, was the first American to import Japanese-made guitars.

He imported guitars from the Hoshino Gakki company, who made guitars under the brand name Ibanez. In 1971 Hoshino bought Elger Guitars, which became Hoshino USA.

Their logos and production styles were similar enough to where American guitar companies felt that the consumer was being confused into buying guitars which they believed were from them.

A lawsuit between the parent corporation behind Gibson Guitars and Ibanez Japan/Elger Guitars lead to a precedent that stunted the production of these low-cost, high-quality guitars.

The Lawsuit

The actual lawsuit had place in 1977 and was between the Norlin Corporation (Gibson’s parent company) and Hoshino USA.

Gibson accused Ibanez of copying their headstock design.

The issue was settled out of court. In 1978 Ibanez abandoned the idea of copying popular American guitar models and started manufacturing guitars from their own designs.

Here’s a detail of the Gibson headstock that Ibanez copied:

Gibson headstock

Here’s a post-lawsuit Ibanez headstock, without the “moustache”:

Ibanez headstock

Later on, a lot of these copy guitar companies were shut down. Gibson and Fender went on to take advantage of the production capacities by purchasing Japanese factories to make their own lower cost copies.

There were other lawsuits as well. Greco and Tokai, for example, were sued because their logos looked like those of Gibson or Fender.

This might trick buyers in thinking they were buying the real deal.

Lawsuit Guitar Companies

Although there were many guitar companies making these copy guitars, Ibanez was the only company that actually got sued by Gibson.

Here’s an overview of the best known “lawsuit guitar companies”:

Tokai

Tokai is known for their Gibson Les Paul replicas called “Les Paul REBORN” and the “Love Rock”, which are perfect copies of 1958 vintage Les Pauls.

They also made Martin Acoustic replicas.

Tokai still makes guitars today.

Tokai guitars

Greco

Greco made Fender, Gibson, Rickenbacker, Gretsch, and other replicas.

Their logo looks a lot like Gibson’s logo.

Greco Les Paul model

Fernandes

Fernandes is known for its Fender replicas. They are still making guitars today.

Burny

Burny is the same company as Fernandes, but instead of Fenders, Burny made Gibson replicas.

Burny guitars are considered to be the best Gibson copies. Burny lawsuit guitars are extremely difficult to find and very expensive.

They are hard to distinguish from Korean Burny models as well. Burny is still active today.

Their Les Paul model is called “Super Grade”, and the words were modeled to look like “Les Paul” (it actually looks like “Luper Grade”).

Burny guitars

Other “lawsuit guitar companies” include Ibanez, Takamine, Matumoku, Aria, Westone, and Electra.

Buying Lawsuit Guitars

In the past, these original copy guitars from Asia were much more difficult to find.

You would have to keep a close eye on the different collectors in order to find Japanese lawsuit guitars for sale.

This included days spent scouring pawn shops or traveling to different cities. The online world has made securing sophisticated collector’s items like these a lot easier and it can be fun an addictive looking for vintage guitars on eBay.

When shopping for lawsuit guitars on eBay or other marketplaces, it is important that you carefully examine all of the information presented in the auction.

Here are some tips and things to look out for when buying lawsuit guitars:

●  Take a close look at the logos and headstock configuration. Lawsuit guitars have a headstock that is known as an “open book” headstock, copied from Gibson. After the lawsuit, copy guitar manufacturers had to change their headstock design. Does the headstock resemble that of a Gibson Les Paul?

Gibson headstock

●  A true lawsuit guitar should have the design and logo style of a more expensive brand from the same era. For example, a Takamine lawsuit guitar might have a logo which is easily confusable for a Martin acoustic. Does the logo look the same like the Gibson or Fender logo?

Here’s the Greco logo as an example (looks a lot like the Gibson logo):

Greco headstock

●  Where was the guitar made? Lawsuit guitars are made in Japan, not in Korea or anywhere else. Of course, not all Japanese vintage guitars are lawsuit guitars.

●  Most Lotus guitars are not lawsuit guitars.

●  Most Lyle guitars are lawsuit guitars.

●  Most Ibanez lawsuit guitars don’t have a serial number (some of the most recent do though).

●  The more actual photographs and specs the eBay seller is willing to demonstrate, the better.

●  It might be a good idea to buy a vintage guitar price guide, there’s a good one published by Vintage Guitar Magazine. Knowing the market value of vintage guitars can help you a lot.

It is important to investigate the specific guitar in question to make sure that it is truly authentic.

Lawsuit guitars for sale on eBay or Reverb will be easily verifiable through research on various guitar forums.

You don’t want to buy a guitar without doing your homework; an authentic Japanese lawsuit guitar will have a lot of verifiable feedback on the web.

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Sours: https://www.jazzguitar.be/blog/lawsuit-guitars/

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