April Kae plays a Player II Series Precision Bass®.
The World’s Best-Selling Guitar Series Just Got Better: Player II Boasts Premium Specs and Never-Released Vintage Car-Inspired Colorways
HOLLYWOOD, Calif. /PRNewswire/ — Fender Musical Instruments Corporation (FMIC) today announces the arrival of the Player II Series – an update to Fender’s long-standing best-selling electric series, the Player Series – designed for musicians ready to take the next step in their creative journey.
Introducing the All New Player II Series. Vital versions of our most iconic models with modern upgrades for a new kind of player: modern “C” necks with smooth rolled edges, the return of rosewood fingerboards and new vintage colors unearthed from the vaults.
Since its inception in 2018, the Player Series has shown nearly 30% consecutive year-over-year growth globally and holds rank as Fender’s best-selling range of electric guitars of all time due to its accessible features that both capture the imagination of new players and satisfy the demands of more experienced guitarists alike. Available now, the Player II Series takes the best of its predecessor’s features and improves them with upgraded specs like rosewood fingerboards, modern “C” necks with rolled edges, and new vintage colors from the vaults exemplifying the innovation, culture, community, and lifestyle synonymous with Fender® Electrics.
At a time when data1 shows the global music industry is booming, with revenue at its highest since 1999 – the Player II series continues to inspire the next generation of musicians, ushering in a new kind of guitar player that takes creativity to a new level. The just-released lineup of models up the ante on the previous range with numerous innovative details and specs, new options for chambered ash and chambered mahogany bodies and never-released vintage colorways – Coral Red, Aquatone Blue, Hialeah Yellow and Birch Green – ’50s and ’60s vintage car colors pulled from the archives.
The 2024 campaign for the Player II Series, “The All New Player II” marks one of Fender’s most significant debuts yet. It begins with an electrifying hero film blending four distinctive renditions of The Kinks’ timeless hit, “All Day & All of the Night,” set in unique environments. For the film, All Day and All of the Night: The All New Player II Series | Fender®, Fender has partnered with acclaimed artists Julien Baker, singer-songwriter from Memphis and 1/3 of boygenius, DIIV, influential indie rock band, content creator and touring bassist (Fever 333) April Kae and alternative rock trio Wallows. The campaign includes four product marketing vignettes with the same artists and environments, skillfully highlighting key features of the Player II Series.
In addition to the hero film and ten product demo videos, Exploring the Player II Series, the multi-pronged campaign debuts various content pieces:
Player II Sessions, featuring performances and interviews with the four campaign artists, Julien Baker, DIIV, Wallows and April Kae, each showcasing an original performance. Watch the first Fender Session, featuring interview and performance by Wallows: Wallows Sessions | The Player II Series | Fender
New Fender series featuring Fender Next artists – Militarie Gun (Los Angeles), Joy Oladokun (Nashville), English Teacher (Leeds), Vacations (Australia), and additional content with artists based in Japan and China. Each docu-style episode will capture a “day in the life” of being a Player with the artists as they prepare for a show.
The Modern Creator, campaign series features stories through the eyes of four content creators, Monica Valli, Mary Spender, Gabriel Takei and Dovydas, as they share their unique musical journeys.
Player I vs. Player II Side By Sides, engaging select channels, such as Andy Ferris, for side-by-side comparisons highlighting the improvements from Player to Player II guitars and bases.
“The Player II Series represents our continued evolution in design and functionality,” said Justin Norvell, EVP of Product, FMIC. “We listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the ‘original Fender recipe’ and will no doubt be a fan favorite – but we didn’t want to stop there. We’ve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it’s a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.”
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range. Series includes:
Player II Stratocaster®
Player II HSS Stratocaster®
Player II Telecaster®
Player II Jazzmaster®
Player II Jaguar®
Player II Mustang®
Player II LH Stratocaster®
Player II HH Telecaster®
Player II LH Telecaster®
Player II Precision Bass®
Player II Jazz Bass®
Player II Mustang Bass®
“Music is about a multisensory experience and the P-Bass provides that. It feels great to wear, it sounds great and it looks incredible. It’s classic but always feels current. It always feels relevant and that’s not something that can be said about any product let alone a guitar.” April Kae.
“This guitar feels like a magic guitar that fell into my hands and it’s perfect. I feel like I’m constantly chasing that one guitar and this is just perfect.” Zachary Cole Smith, DIIV
“The Player II Series Stratocaster feels like a great guitar and I was impressed by how it played very easy and simple. The tones are great. I think people are going to enjoy it.” Braeden Lemasters, Wallows
High-resolution artist, lifestyle, and product images can be found HERE.
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For technical specs, additional information on new Fender products and to find a retail partner near you, visit www.fender.com.Join the conversation on social media by following @Fender.
1Billboard states the music industry’s total revenue in 2024 is $28.6 billion, which is the highest it’s been since 1999, not accounting for inflation.
PLAYER II SERIES MODELS:
Player II Stratocaster® ($799.99 – $899.99 USD, £739.00 – £809.00 GBP, €869.00 – €949.00 EUR, $1,299.00 – $1,449.00 AUD, ¥104,500 – ¥121,000 JPY) The Player II Stratocaster® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. Choose from alder, chambered ash or chambered mahogany bodies available in both classic Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Strat® pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 5-way blade switch lets you dial in everything from glassy neck pickup cleans to rowdy bridge pickup snarl and all points in between, while a 2-point tremolo and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities. Available in LH model. Offered in Chambered Ash and Chambered Mahogany bodies.
Player II HSS Stratocaster® ($829.99 – $929.99 USD, £759.00 – £829.00 GBP, €889.00 – €969.00 EUR, $1,349.00 – $1,499.00 AUD, ¥108,900 -126,500 JPY ) The Player II Stratocaster® HSS radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. Choose from alder, chambered ash or chambered mahogany bodies available in both classic Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Strat® pickups and a Player Series Alnico II humbucker offer crystalline highs, musical mids and tight lows that elevate any genre. The 5-way blade switch lets you dial in everything from glassy neck pickup chime to rowdy bridge pickup roar and all points in between, while a 2-point tremolo and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Telecaster® ($799.99 – $899.99 USD, £739.00 – £809.00 GBP, €869.00 – €949.00 EUR, $1,299.00 – $1,449.00 AUD, ¥104,500 – ¥121,000 JPY) The Player II Telecaster® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. Choose from alder, chambered ash or chambered mahogany bodies available in both classic Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Tele® pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 3-way blade switch lets you dial in everything from smooth neck pickup chime to cutting bridge pickup twang and all points in between, while a 6-saddle bridge, block steel saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities. Available in LH model. Offered in Chambered Ash and Chambered Mahogany bodies.
Player II HH Telecaster® ($829.99 USD, £769.00 GBP, €899.00 EUR, $1,349.00 AUD, ¥108,900 JPY) The Player II Telecaster® HH radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico II humbuckers offer articulate highs, muscular mids and chunky lows that elevate any genre. The 3-way blade switch lets you dial in everything from creamy neck pickup warmth to rowdy bridge pickup roar and all points in between, while a 6-saddle bridge, bent steel saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Jaguar® ($829.99 USD, £759.00 GBP, €889.00 EUR, $1,349.00 AUD, ¥108,900 JPY) The Player II Jaguar® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood fingerboard with smooth rolled edges and 22 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V (Bridge) and Alnico II (Neck) Single-Coil Jaguar® pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 3-way blade switch lets you easily dial in everything from glassy neck pickup chime to cutting bridge pickup bite and all points in between, while a 6-saddle Jaguar bridge with Floating Tremolo, upgraded Mustang® saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Jazzmaster® ($829.99 USD, £759.00 GBP, €889.00 EUR, $1,349.00 AUD, ¥108,900 JPY) The Player II Jazzmaster® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood fingerboard with smooth rolled edges and 22 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Jazzmaster pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 3-way toggle switch lets you easily dial in everything from glassy neck pickup chime to cutting bridge pickup bite and all points in between, while a 6-saddle Jazzmaster bridge with Floating Tremolo, upgraded Mustang® saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Mustang® ($799.99 USD, £619.00 GBP, €729.00 EUR, $1,299.00 AUD, ¥104,500 JPY) The Player II Mustang® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Mustang® pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 3-way toggle switch lets you easily dial in everything from glassy neck pickup chime to cutting bridge pickup snarl and all points in between, while a 6-saddle hardtail bridge, bent steel saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
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Player II Precision Bass® ($799.99 USD, £839.00 GBP, €979.00 EUR, $1,299.00 AUD, ¥104,500 JPY) The Player II Precision Bass® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 20 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Split-Coil P Bass® pickups offer sweet highs, musical mids and seismic lows that elevate any genre. An adjustable 4-saddle bridge, single-groove steel saddles and open-gear tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Jazz Bass® ($799.99 USD, £839.00 GBP, €979.00 EUR, $1,299.00 AUD, ¥104,500 JPY) The Player II Jazz Bass® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 20 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil J Bass® pickups offer sweet highs, growling mids and seismic lows that elevate any genre. An adjustable 4-saddle bridge, single-groove steel saddles and open-gear tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Mustang® Bass ($799.99 USD, £679.00 GBP, €799.00 EUR, $1,299.00 AUD, ¥104,500 JPY) The Player II Mustang® Bass PJ radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 20 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Split-Coil P Bass® and Single-Coil J Bass® pickups offer sweet highs, growling mids and seismic lows that elevate any genre. The 3-way toggle switch lets you easily dial in everything this versatile pickup set has to offer, while an adjustable 4-saddle bridge, single-groove steel saddles and open-gear tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
ABOUT FENDER MUSICAL INSTRUMENTS CORPORATION: Since 1946, Fender has revolutionized music and culture as one of the world’s leading musical instrument manufacturers, marketers and distributors. Fender Musical Instruments Corporation (FMIC)–whose portfolio of owned and licensed brands includes Fender®, Squier®, Gretsch® guitars, Jackson®, EVH®, Charvel®, Bigsby® and PreSonus® – follows a player-centric approach to crafting the highest-quality instruments and digital experiences across genres. Since 2015, Fender’s digital arm has introduced a new ecosystem of products and interactive experiences to accompany players at every stage of their musical journey. This includes innovative apps and learning platforms designed to complement Fender guitars, amplifiers, effects pedals, accessories and pro-audio gear, and inspire players through an immersive musical experience. FMIC is dedicated to unlocking the power of musical expression for all players, from beginners to history-making legends. In 2021, Fender celebrated 75 years of giving artists “wings to fly,” carrying on the vision of its founder, Leo Fender, and connecting players through a shared love of music.
Fender (standard and stylized), Stratocaster, Strat, Telecaster, Tele, Jazzmaster, Jaguar, Mustang, Precision Bass, P Bass, Jazz Bass, J Bass are trademarks of Fender Musical Instruments Corporation and/or its affiliates, registered in the U.S. and other countries. ClassicGear is a trademark of Fender Musical Instruments Corporation and/or its affiliates.
All other product and company names may be trademarks of their respective owners and may be used herein under license. Use of them does not imply any affiliation with or endorsement by or of the respective owners.
SOURCE Fender Musical Instruments Corp.
Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at [insert website URL] and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/
Fifty years ago, Steven Spielberg’s blockbuster film – along with its spooky score composed by John Williams – convinced generations of swimmers to think twice before going in the water.
As a scholar of media history and popular culture, I decided to take a deeper dive into the staying power of these two notes and learned about how they’re influenced by 19th-century classical music, Mickey Mouse and Alfred Hitchcock.
After hearing the story, freelance journalist Peter Benchley began pitching a novel based on three men’s attempt to capture a man-eating shark, basing the character of Quint off of Mundus. Doubleday commissioned Benchley to write the novel, and in 1973, Universal Studios producers Richard D. Zanuck and David Brown purchased the film rights to the novel before it was published. The 26-year-old Spielberg was signed on to be the director.
Tapping into both mythical and real fears regarding great white sharks – including an infamous set of shark attacks along the Jersey Shore in 1916 – Benchley’s 1974 novel became a bestseller. The book was a key part of Universal’s marketing campaign, which began several months before the film’s release.
Starting in the fall of 1974, Zanuck, Brown and Benchley appeared on a number of radio and television programs to simultaneously promote the release of the paperback edition of the novel and the upcoming film. The marketing also included a national television advertising campaign that featured emerging composer Williams’ two-note theme. The plan was for a summer release, which, at the time, was reserved for films with less than stellar reviews.
TV ads promoting the film featured John Williams’ two-note theme.
Films at the time typically were released market by market, preceded by local reviews. However, Universal’s decision to release the film in hundreds of theaters across the country on June 20, 1975, led to huge up-front profits, sparking a 14-week run as the No. 1 film in the U.S.
But Williams had been inspired by 19th and 20th century composers, including Claude Debussy, Igor Stravinsky and especially Antonin Dvorak’s Symphony No. 9, “From the New World.” In the “Jaws” theme, you can hear echoes of the end of Dvorak’s symphony, as well as the sounds of another character-driven musical piece, Sergei Prokofiev’s “Peter and the Wolf.”
“Peter and the Wolf” and the score from “Jaws” are both prime examples of leitmotifs, or a musical piece that represents a place or character.
The varying pace of the ostinato – a musical motif that repeats itself – elicits intensifying degrees of emotion and fear. This became more integral as Spielberg and the technical team struggled with the malfunctioning pneumatic sharks that they’d nicknamed “Bruce,” after Spielberg’s lawyer.
Mechanical issues with ‘Bruce,’ the mechanical shark, during filming forced Steven Spielberg to rely more on mood and atmosphere. Screen Archives/Moviepix via Getty Images
Sounds to manipulate emotions
Williams also has Disney to thank for revolutionizing character-driven music in film.
The two don’t just share a brimming trophy case. They also understood how music can heighten emotion and magnify action for audiences.
Although his career started in the silent film era, Disney became a titan of film, and later media, by leveraging sound to establish one of the greatest stars in media history, Mickey Mouse.
On Nov. 18, 1928, “Steamboat Willie” premiered at Universal’s Colony Theater in New York City as Disney’s first animated film to incorporate synchronized sound.
Unlike previous attempts to bring sound to film by having record players concurrently play or deploying live musicians to perform in the theater, Disney used technology that recorded sound directly on the film reel.
It wasn’t the first animated film with synchronized sound, but it was a technical improvement to previous attempts at it, and “Steamboat Willie” became an international hit, launching Mickey’s – and Disney’s – career.
The use of music or sound to match the rhythm of the characters on screen became known as “Mickey Mousing.”
“King Kong” in 1933 would deftly deploy Mickey Mousing in a live action film, with music mimicking the giant gorilla’s movements. For example, in one scene, Kong carries away Ann Darrow, who’s played by actress Fay Wray. Composer Max Steiner uses lighter tones to convey Kong’s curiosity as he holds Ann, followed by ominous, faster, tones as Ann escapes and Kong chases after her. In doing so, Steiner encourages viewers to both fear and connect with the beast throughout the film, helping them suspend disbelief and enter a world of fantasy.
In spite of this criticism, the technique was still used to score some iconic scenes, like the playing of violins in the shower as Marion Crane is stabbed in Alfred Hitchcock’s “Psycho.”
Spielberg idolized Hitchcock. A young Spielberg was even kicked off the Universal lot after sneaking on to watch the production of Hitchcock’s 1966 film “Torn Curtain.”
Although Hitchcock and Spielberg never met, “Jaws” clearly exhibits the influence of Hitchcock, the “Master of Suspense.” And maybe that’s why Spielberg initially overcame his doubts about using something so simple to represent tension in the thriller.
Steven Spielberg was just 26 years old when he signed on to direct ‘Jaws.’ Universal/Getty Images
The use of the two-note motif helped overcome the production issues Spielberg faced directing the first feature length movie to be filmed on the ocean. The malfunctioning animatronic shark forced Spielberg to leverage Williams’ minimalist theme to represent the shark’s ominous presence in spite of the limited appearances by the eponymous predatory star.
As Williams continued his legendary career, he would deploy a similar sonic motif for certain “Star Wars” characters. Each time Darth Vader appeared, the “Imperial March” was played to set the tone for the leader of the dark side.
As movie budgets creep closer to a half-billion dollars, the “Jaws” theme – and the way those two notes manipulate tension – is a reminder that in film, sometimes less can be more.
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For millions of Southern Californians, a visit to Six Flags Magic Mountain meant more than just riding roller coasters. It was a rite of passage—a place where families spent summer vacations, teenagers celebrated graduations, and thrill seekers chased ever-faster rides.
Now, one of the last remaining reminders of the park’s opening days is preparing to disappear.
According to KTLA, Los Angeles County has approved demolition permits for the former Laughing Dragon Restaurant, an iconic structure perched atop Samurai Summit that has overlooked Magic Mountain for more than five decades.
Although the building has been vacant since 2008, its demolition marks the end of another chapter in one of California’s most famous amusement parks.
A Restaurant with Deep Roots
When Magic Mountain welcomed its first guests in 1971, the building opened as the elegant Four Winds Steakhouse.
Unlike the quick-service restaurants common in today’s theme parks, Four Winds offered guests a sit-down dining experience high above the park, complete with sweeping views of the surrounding Santa Clarita Valley.
In 1988, after the opening of the park’s suspended roller coaster Ninja, the restaurant was renamed The Laughing Dragon, embracing the area’s Asian-inspired theme.
For years, it became a familiar landmark for guests making the climb to Samurai Summit.
Eventually, changing guest habits and the park’s evolving dining strategy led to the steakhouse’s closure in 2006. The building briefly operated as a Papa John’s Pizza location before closing permanently in 2008.
Since then, it has quietly watched generations of visitors pass by.
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More Than an Empty Building
To younger guests, the vacant structure may have seemed like little more than an abandoned restaurant.
To longtime visitors, however, it represented something much larger.
Magic Mountain has transformed dramatically since its opening more than 50 years ago. Wooden roller coasters gave way to towering steel giants. New technology replaced classic attractions. Entire themed areas evolved with each generation.
Yet the former Laughing Dragon remained—a silent reminder of what the park looked like during its earliest years.
For many fans, it was one of those familiar landmarks that helped connect today’s park with its past.
Samurai Summit Continues to Change
The demolition comes during a period of significant change for the Samurai Summit section of the park.
Nearby, Superman: Escape from Krypton closed in 2024 after decades of launching riders nearly 400 feet into the air. Meanwhile, Tatsu continues to dominate the skyline with one of the world’s most celebrated flying roller coasters.
Construction is also underway on Magic Mountain’s newest attraction—a Vekoma Thrill Glider Roller Coaster, expected to debut in 2027. While the park has not announced what will replace the Laughing Dragon site, many enthusiasts believe the area could become part of future expansion plans.
The Challenge of Preserving Theme Park History
Unlike museums or historic landmarks, amusement parks are constantly reinventing themselves.
Older attractions are removed to make room for larger, faster, and more technologically advanced experiences. Restaurants close as guest preferences change. Buildings that once bustled with activity can quickly become obsolete.
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From a business standpoint, redevelopment makes sense.
But every demolition also removes another tangible connection to the park’s history.
Many Disney attractions have been preserved through photographs, documentaries, and archives. Regional parks like Magic Mountain often receive far less historical attention, making the loss of original structures even more significant for longtime fans.
Looking Ahead
Magic Mountain has not revealed what, if anything, will replace the Laughing Dragon building.
Whether the site becomes part of a new attraction, additional guest amenities, or another expansion remains to be seen.
What is certain is that another piece of the park’s 1971 identity is about to disappear.
For those who grew up visiting Magic Mountain, it’s another reminder that while roller coasters continue to evolve, nostalgia often rides alongside progress.
Did You Know?
🎢 Magic Mountain opened on May 29, 1971.
🥩 The building originally housed the Four Winds Steakhouse.
🐉 It became The Laughing Dragon after Ninja opened in 1988.
🍕 It briefly served as a Papa John’s before closing permanently in 2008.
🏗️ The building sat vacant for nearly 18 years before demolition plans were approved.
STM Daily News Perspective
As someone who grew up in Southern California, I know that Magic Mountain wasn’t just another amusement park—it was part of the Southern California experience. While the biggest headlines usually focus on new roller coasters, it’s often the quieter stories, like the loss of a familiar restaurant overlooking the park, that resonate most with longtime visitors. Places like the Laughing Dragon became part of family traditions, first dates, school trips, and summer vacations. Its demolition is a reminder that every park evolves, but each change also closes another chapter of its history.
Join the Conversation
Have you ever eaten at the Four Winds or the Laughing Dragon? Do you have memories of visiting Magic Mountain in the 1970s, ’80s, ’90s, or early 2000s?
Share your favorite Magic Mountain memories in the comments below, and subscribe to the STM Daily News newsletter for more stories celebrating Southern California history, attractions, and the places that shaped our communities.
Toy Story 5’s ‘Lilypad’ is an indictment of the world that birthed the ‘iPad Kid’
Toy Story 5 introduces “Lilypad,” a kid-friendly tablet that sidelines Woody and Buzz—and spotlights how the “iPad kid” debate is less about bad parenting and more about work, childcare costs, and a broken social safety net.
In the trailer for “Toy Story 5,” a little girl named Bonnie is playing with her toys when a package arrives in the mail.
She opens it to find Lilypad, a tablet for children.
The iconic toys from the series – Woody, Buzz Lightyear, the Potato Heads, Forky and Slinky Dog – then watch in dismay as Bonnie casts them all aside in favor of the bright tablet screen. Rex the dinosaur exclaims, “What? Extinction? Not again!”
The film zeros in on a uniquely 21st-century phenomenon: the “iPad kid,” a term used – often disparagingly – to describe a generation of children who grew up enchanted by screens.
As a scholar of the attention economy – and also as a mom to a 4-year-old – I’ve noticed a disconnect between the resources U.S. society offers parents versus what’s expected of them in the digital age.
’ Woody, Buzz and the gang must prove that traditional toys still matter when Bonnie becomes captivated by a high-tech tablet named Lilypad.
And even when moms do earn a paycheck, working moms experience what sociologists call the “motherhood penalty” – career disadvantages, such as lower wages and promotion barriers, due to childbirth – even as U.S. parental leave policies remain weak.
The lockdown that started in March 2020 following the outbreak of the pandemic led to closures of schools and many workplaces. Many parents either worked from home or provided critical work in grocery stores and hospitals. Kids stayed home and schools transitioned to remote-learning models.
It’s important to remember that many institutions with social legitimacy and authority encouraged the use of tablets during the COVID-19 pandemic lockdowns.
The adverse impacts of excessive screen time in general has been well documented for decades. But scholars have only recently unpacked the specific harms of interactive tablet use among young children.
And while schools hand out tablets, most of them fail to provide students and families with a comprehensive education on the adverse impacts of excessive screen time.
In other words, this isn’t a Generation Alpha problem. Most people – adults included, with or without children – aren’t properly educated and informed about their choices around technology use. Yet adults continue to be shamed if they hand their kid a tablet. All the while, parents navigate the added burdens of challenging the educational status quo around tablets.
Frankenstein’s village
When work is the only sturdy pillar in a society where government benefits for low-income people, family ties and community institutions have eroded, tablets replace the metaphorical village – the web of social support that helps families thrive.
Big Tech takes advantage of this crisis with a “solution” that ultimately treats children as products, manipulating their emotions and mining their data. As I argue in my book, “Attention and Alienation,” children’s dependency on screens is a key component of the attention economy.
The earlier a life is monetized, the longer it is profitable.
“Toy Story 5” and its critical take on the tablet may be helpful. But it will take more than a blockbuster movie to protect small kids from the harms of too much screen time. Instead, I think it will require strong parental leave policies, expansive and affordable childcare access, fair wages and shared household labor.
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