This RCA Records advertisement promotes David Bowie's newly released Scary Monsters album. Using the album artwork as its central image, the advert presents the record in a striking visual format and highlights its availability through a minimalist design built around Bowie's latest release. Publication: New Musical Express (NME) Date: September 27, 1980 Country: United Kingdom This full-page RCA Records advertisement is devoted entirely to David Bowie's album Scary Monsters.

The advertisement features a stylised monochrome illustration of Bowie’s face and upper torso, drawn with expressive linework and signed “Bowie” in the lower corner. The headline reads “Scary Monsters tamed at Boots £3.99,” linking Bowie’s latest release to the retailer’s monthly promotion. The text explains that Boots selects one top‑selling album each month and offers it at a reduced price, highlighting Bowie’s new record and its hit single “Ashes to Ashes.” The design comb

A landmark NME cover story and in-depth interview with David Bowie, coinciding with his acclaimed stage role in The Elephant Man and the release of Scary Monsters (and Super Creeps).

The upper section, titled “Picking Up the Pieces,” discusses experimental art and cooperative creativity, referencing Brixton Drawing and alternative workshops. The tone is playful and intellectual, reflecting NME’s engagement with fringe artistic movements. The lower section, “Two Men and Their Hunches,” shifts to a satirical look at spiritualism, ectoplasm, and séance culture.

Another One Bites The Dust was released on 22 August 1980 in the UK, backed with Dragon Attack. Written by bassist John Deacon, the track appeared on Queen’s eighth studio album The Game and quickly became one of the band’s most significant commercial achievements. The single became a global phenomenon, reaching number one on the US Billboard Hot 100 for three consecutive weeks between 4 October and 18 October 1980. It remained in the US top ten for 15 weeks — the longest top

This Sounds feature from August 1980 reviews David Bowie’s album Scary Monsters (And Super Creeps), capturing his transformation into a darker, more introspective figure. The article explores Bowie’s unsettling theatricality and the album’s fusion of art‑rock, paranoia, and pop brilliance. Publication: Sounds Date: August 16 1980 Country: United Kingdom Under the headline “The Fright of Your Life,” the article opens with Bowie’s latest reinvention — a return to form after h

The 2 August 1980 issue of New Musical Express carries a full-page advertisement for David Bowie’s single “Ashes to Ashes.” Publication: New Musical Express Date: August 2, 1980 Country: United Kingdom The advert features the handwritten title “Ashes to ashes.” across the centre of the page. At the top is a sheet of twelve postage-stamp-style images of Bowie in various costumes. Below are three larger sequential photographs of Bowie in a Pierrot-style outfit holding a telepho

This advertisement exemplifies how Bowie’s visual persona transcended music, influencing graphic design and magazine marketing. The Pierrot image became one of the most recognisable motifs of his career, appearing across press, posters, and album art. Its inclusion in NME’s subscription campaign underscores Bowie’s role as a cultural touchstone bridging art and commerce.

SOURCE DETAILS Publication: Melody Maker Date: July 19 1980 Country: United Kingdom Section / Pages: News Feature Title: ‘Scary Monsters’ Is Bowie’s Newie This Melody Maker article announces David Bowie’s forthcoming album Scary Monsters (and Super Creeps) and his new phase as both musician and actor. The piece highlights Bowie’s dual focus: the release of his next LP and his American stage debut in The Elephant Man. The article details that Scary Monsters was produced by B

Publication: Bridgeport Telegram  Date: Friday, July 11 1980 Country: United States Section / Pages: Concert Review Title: Sound System Foils Hunter Author: Andrew Povinelli – Guest Critic This review covers Ian Hunter’s live performance at Toad’s Place, New Haven, Connecticut,  supported by Iron City Houserockers. The critic describes the opening band’s Springsteen‑style energy and hard‑driving solos, which warmed up the crowd for Hunter’s arrival. When Hunter and Mick Ronso