Iggy Pop: (Glam Animal)

Iggy Pop (born James Newell Osterberg Jr., April 13, 1947) is an American singer, songwriter, musician, and actor. Known for his wild, unpredictable stage presence, shirtless performances, and raw, aggressive music, he is widely regarded as one of the most influential figures in rock history — the ultimate proto-punk icon who helped pave the way for punk, alternative, and modern rock. THE STOOGES ERA (1967–1974, reunions later) Iggy formed The Stooges in Ann Arbor, Michigan.

RELEASE INFORMATION Released July 6, 1979 7" Vinyl Single Reference: UK: ARIST 274 A. Five Foot One (Iggy Pop) B. Pretty Flamingo (Iggy Pop) Notes "Five Foot One" b/w "Pretty Flamingo" (non-album track) UK VARIANTS: • Commercial injection moulded solid centre (blue) • Commercial injection moulded solid centre (yellow) • Picture disc CHART PERFORMANCE None INTERNATIONAL VARIANTS: • Australia - Arista - 1979 SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts. All a

Iggy Pop released the single “I’m Bored” on Arista Records (5C 006-62705) in the Netherlands. A-side: “I’m Bored” (written by Iggy Pop, produced by James Williamson) B-side: “African Man” (written by Iggy Pop, produced by James Williamson)

A full‑page RCA Records advertisement from New Musical Express dated May 13 1978 promoting Iggy Pop’s live album TV Eye 1977 Live. The minimalist design features four circular motifs reading “TV,” “eye,” “1977 Live,” and “Iggy Pop,” arranged vertically beside a stylised television silhouette. The typography is bold and modernist, reflecting RCA’s late‑1970s graphic style

This New Musical Express review from August 27 1977 examines Iggy Pop’s Lust For Life album, produced in collaboration with David Bowie. Written by Max Bell, the piece captures the manic energy and creative synergy between the two artists during their Berlin period, portraying the record as a high‑voltage burst of rock vitality. Publication: New Musical Express Date: August 27 1977 Country: United Kingdom Under the Albums section, Max Bell reviews Lust For Life (RCA), noting

This Melody Maker review from August 27 1977 critiques Iggy Pop’s Lust For Life album, produced by David Bowie. The piece, titled “No Lust for Iggy,” offers a sharp and skeptical take on Pop’s second RCA release, questioning whether the record’s energy matches the intensity of his earlier work. Publication: Melody Maker Date: August 27 1977 Country: United Kingdom Written by one of Melody Maker’s regular reviewers, the article opens with a detailed credit list — Iggy Pop on v

This Melody Maker issue from August 1977 announces Iggy Pop’s upcoming British tour dates and highlights his close collaboration with David Bowie. The feature captures Iggy’s renewed creative energy following the release of The Idiot and Lust for Life, albums that defined his late‑1970s resurgence. Publication: Melody Maker Date: August 13 1977 Country: United Kingdom Under the bold headline “IGGY DATES,” the article describes Iggy Pop as the “grandfather of punk and close

A two-page feature from Circus magazine dated May 26, 1977, focusing on Iggy Pop’s return with his album The Idiot and his collaboration with David Bowie. SOURCE DETAILS Publication: Circus Magazine Date: May 26, 1977 Country: United States Section / Pages: Two-page feature Writer: Wesley Strick THE STORY The article explores Iggy Pop’s comeback after years of personal struggles, detailing the making of The Idiot in collaboration with David Bowie. It covers Iggy’s renewed foc

Iggy Pop - May 20, 1977 Release day for Iggy Pop’s single “China Girl” on RCA Victor (PB 9093). Co-written with David Bowie and produced by him during their Berlin period, this was one of the key tracks from the sessions that also produced the album The Idiot. The B-side was “Baby”. The single failed to make an impression on the UK Singles Chart A significant moment in Iggy’s artistic rebirth, with Bowie’s influence clearly shaping the sound and direction. Written by David B

This feature marks Rolling Stone’s shift toward more personal artist profiles in the late 1970s. Young’s writing balances journalistic observation with emotional depth, showing Iggy Pop as both performer and father. The article became a key reference in documenting his post‑Stooges revival and the emergence of punk’s second wave.