This *Sounds* piece captures Bowie not through biography or discography, but through emotional impact. It’s a fan’s philosophical reckoning with what Bowie represents — a shift from sound to spectacle, from music to myth.

This *NME* profile offers a rare glimpse into the world behind Bowie’s glam‑rock façade, spotlighting one of the people who helped keep the machine running. Stuart George emerges as a charismatic, capable figure — a reminder that even the most theatrical stars rely on real‑world support.

Slade soften the glitter glare with a chart‑bound ballad. (March 29, 1974)

A glam‑rock ghost signal: Bolan’s “Buik Mackane” slipped onto British TV in 1974, turning an Osmonds special into an unexpected moment of electric glam.

A guitarist once defined by Ziggy’s spotlight steps into his own — twelve dates, a full band, and a management machine determined to prove Mick Ronson could blaze just as brightly on his own stage.

A pair of heartfelt letters remind readers that even guitar heroes need room to grow — and that Ronson’s first steps as a solo artist deserved encouragement, not condemnation.

A young reader sees Bowie not as a musician first, but as a mythmaker — a figure whose imagery and language lead a generation searching for escape, identity, and something larger than life.

A surreal night at Biba’s — Bowie in emerald green, Angie glowing, Nik Cohn guiding cameras, and Peellaert’s pop hallucinations hanging like sacred relics. Rock Dreams came to life, one champagne‑soaked moment at a time.

The single that finally gave Cockney Rebel their UK breakthrough — a glam‑era classic built on hooks, swagger, and Harley’s theatrical charm.

A band that once shocked the world now faces a quieter moment — but the stage remains their proving ground, and Europe waits for the next strike.