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Hollywood Studio Magazine (February 1971)

Page scan 00012 from Hollywood Studio Magazine

Record Details:

Title:
Hollywood Studio Magazine
Date:
February 1971
Publisher:
San Fernando Valley Pub. Co.
Volume:
Hollywood Studio Magazine (February 1971)
Leaf #:
00012
Language:
English
Subjects:
Motion Pictures, Recorded Sound",Vaudeville,Theatre,Broadcastin
Collection:
Hollywood Studio System and Fan Magazines
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Hollywood Studio Magazine was published out of the San Fernando Valley in various iterations (and various titles) from 1966 until 1992. What started as a local organ aimed at the workers of Hollywood ended as a nostalgic fan magazine about Hollywood Then and Now. The various title changes and revisions to its mission reflect not just the economic realities of magazine publishing, but a changing relationship to Hollywood and the industry itself. The earliest issues of Studio Magazine read like a house organ of a steady, entrenched industry documenting the comings and goings and notable events of the San Fernando Valley, with special emphasis on Universal. Fandom first became part of the discourse of the magazine through collecting. The Collectors’ Column page beginning in the early 1970s allowed memorabilia collectors to advertise their wares to each other. In 1983, the founder of the magazine, Dorothy Denny gave over the reins to Ralph Benner, the founder of Tiger Beat. This marks the clear separation between the original publication and its focus on Hollywood production culture and the move toward a publication centered on star narratives and fan culture. In covering the two and a half decades from the collapse of the system to the point where classical movie stars were phantoms instead of living people, the magazine offers insight into the transformation of old Hollywood from a lived reality to a memory to a myth.
-- Luci Marzola
Date Added:
September 29, 2022
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DISCourse by John R. Packer & Mellette I t's been 6 months since Elton John captured the attention of L.A. rock fans with his debut performance at the Troubadour. Rock critics were unanimous in their praise of this phenomenal new group from England. Thus far, all predictions have been surpassed. John's first official U.S. tour in December followed the enormous success of his first American L.P., "Elton John." His new album "Tumbleweed Connection," released last month, has already set sales records across the country. While in Los Angeles we talked to Elton, lyricist Bernie Taupin and John's two tour musicians Dee Murray and Nigel Olsson. The following are some highlights from their first press conference held at Universal Studios. Q. Do you have a favorite in rock? E.J. "I suppose I started off with Elvis, Bill Haley and Little Richard. I haven't any one favorite artist at all . . . yet my idol is Leon Russell — that's the person I look up to most. I enjoy playing with Leon any time. I'd like to play with him 356 nights a year." Q. Do you think 1970 has been a "bomb" musically? E.J. "No! Rubbish! When you've got people like James Taylor, Leon Russell and Mad Dogs and Englishmen going on tour . . . Listen, there are so many good things going on musically, it's just that there's a lull, and the only reason there's a lull is because there are no new young musicians. The only people making it are 25 and 30. What we need are young musicians 17 and 18 playing their guitars and causing a bit of excitement. Where are they?" Q. Who's your favorite contemporary pianist? E.J. "Leon Russell" Q. What is your song writing process? EJ. "He (Bernie Taupin) writes the lyrics and gives them to me and I put them on the piano. Then when I feel like writing a song I sort through them. We don't collaberate." Q. Have you been asked to score any movies? E.J. "Yes, Bernie and I recently completed our first motion picture score, "Friends," a Paramount picture." Q. How did you come to team up with bassist Dee Murray and drummer Nigel Olsson? E.J. "I've known Dee and Nigel for a long time and they were associated with the same office as mine in London. They weren't doing anything at the time and I was really being badgered into getting a group together. So the first people I thought of were Dee and Nigel. I didn't want four people in the group, I only wanted three and it's really worked out. We're a very happy group." Q. How did you come to decide on your crazy style of dress for performances? E.J. "Oh, I see, why I wear a cape as opposed to dirty denims and a T-shirt? Well, that's part of the fun. I'm always hunting around for something outrageous to wear. I came on stage one night at the Troubadour with Mickey Mouse ears and sang "Your Song." They couldn't believe it. The thing is you can't take yourself too seriously. Just be natural and have a laugh." "But some of our songs are very happy"