TeenSet, Teen Fan Magazines and Rock Journalism: A Book Review

 

I often pick up a book and think I know what it is going to be about, just to be disappointed that it was something different.  For some reason, the main part of this book was a biography about Judith Sims, the editor of TeenSet magazine in the 1960s, and the story of how it and other Teen magazines came to be.  And while it does tell that story and includes some biographical information about Sims and delves into the creation of Teen fan magazines in the 1960s, I am happy to say that it was so much more than that.  I was not disappointed that I was wrong about TeenSet, Teen Fan Magazines, and Rock Journalism by Allison Bumsted because it was much more than I ever could have expected. 

In this book, Bumsted argues that Teen magazine, especially TeenSet, is a vital part of rock journalism and they are just as crucial to the history of rock music as Rolling Stone and Creem.  And after reading this book,  I am a believer.  Judith Sims, along with the photographers Jim Marshall and Bob Bonis, wrote thought-provoking articles and pushed the boundaries in TeenSet.  They conducted some of the most notable interviews with rock stars, including Jimi Hendrix and Janis Joplin.  The photographs of Jim Morrison and Grace Slick, along with the coverage of the Monterey Pop Festival, are not found elsewhere.   And yet TeenSet is not considered to be a serious archive of music history because it was labeled with the name "Teen" and therefore thought of as "less-than" the other music magazines on the scene. 

Much of the book discusses the Beatles and Sims' time with the band.  She toured with the Beatles during the 1966 North American tour, and her coverage is what I personally use when researching that tour, as she provides a thorough account of what happened along the way, alongside photographs that are not found anywhere else.   Judith was also in the studio when the Beatles were recording Sgt. Pepper (see photos), making her part of the Beatles' history.  

This book explores the women who wrote the articles, as well as the music scenes in Los Angeles, San Francisco, London, and elsewhere.  It is an academic book (I can envision it being required reading in a college class), so before you begin, you need to put yourself in that frame of mind.  It isn't a quick summer beach read, as it tackles a heavy topic and raises many thought-provoking issues. 

Having said that, I do feel that it is a must-read for anyone who is interested in the history of rock music journalism and the impact women had on the rock scene in the 1960s.  The research Bumsted conducted is outstanding.  You will not be disappointed. 

 If you would like to purchase this book, please consider using the Amazon Affiliate link for your purchase.  It does not cost you any additional money, and I will receive a tiny percentage of the purchase, which I use to cover the annual fees for keeping this site running. 

Flying home

I found this about the flight from San Francisco to LA from Judith Sims.  I think what Paul had to say about touring in 1967 was interesting.   They were throwing out a few hints that they weren't going to ever tour again, without coming out and saying it.    A year later the Beatles would prove how they were a good recording band when Sgt. Pepper was released.

On the plane heading for L.A., The Beatles faced another hazard of their particular profession – lack of privacy.  They were forced to change from their stage suits to regular clothes in front of just about everyone, but they handled it discreetly.  They’re past masters at handling lack of privacy with aplomb.

Since I hadn’t had time to speak with Paul in San Francisco, he sat down next to me on the plane, and we talked all the way back to L.A.  We discussed the possibility and probability of a 1967 tour, and he talked in great lengths about tentative plans.  All four Beatles want to cut down on their performing time so they can concentrate more on recording, which they feel is their best way of expressing their creativity.  “We’re not very good performers, actually,” he said.  “We’re better in a recording studio where we can control things and work on it until it’s right.  With performing there’s so much that can go wrong, and you can’t go back over it and do it right.”