Forbes also fixated on the issue of “the Door,” (much like Steve Rubell and Studio 54 in NYC.) which he thought was the demise of many discos, unwelcome patrons gaining entry. He was quoted saying “Studio One was planned, designed and conceived for gay people, gay male people” (LA Times, 1976). The owner, Scott Forbes, was dubbed “Disco King” by the Los Angeles Times in a 1976 feature. T he secret to Studio One was its specificity and excellent execution. In the 1979 edition of the Bob Damron guidebook, during the height of the disco years, Studio One was characterized by its young crowd and entertainment, which included cabaret performances. The labyrinthine establishment, one of the biggest of its kind (it has four bars, a dinner theater, a jewelry concession, and a game room), quickly establishes itself as L.A.’s premier gay nightclub, the disco to end all disco. On May 1, 1974: “Studio One” (formerly The Factory) opens in West Hollywood.