Publication: Bravo Magazine Date: June 7 1973 Country: Germany Section / Page: Two‑Page Feature Format: Report / Opinion Column / Stage‑Act Analysis Overview A vivid Bravo report examining Alice Cooper’s infamous “game with death” during the Billion Dollar Babies tour. The article blends eyewitness description, moral debate, and youth‑press commentary, framing Cooper’s guillotine routine as both thrilling theatre and a cultural flashpoint. Bravo positions the act not merely a

Publication: Bravo Magazine Date: May 24 1973 Country: Germany Section / Page: Feature / pp. 4–6 Format: Three‑Page Tour Feature / Photo Spread Overview A vivid Bravo feature chronicling Alice Cooper’s escalating theatricality during his 1973 tour. The article, titled “So läuft Alice Coopers lebensgefährliche Show” (“This is how Alice Cooper’s life‑threatening show runs”), captures the German press’s fascination with Cooper’s blend of horror, humour, and rock spectacle. It pr

Publication: Circus Magazine Date: May 1 1973 Country: United States Section / Page: Feature / pp. 64–66 Format: Three‑Page Tour Feature  / Band Profile Overview A three‑page Circus feature examining the scale and spectacle of Alice Cooper’s 1973 touring production — a theatrical rock extravaganza that blurred the line between concert and stage show. The article captures the group’s transformation into a full‑blown arena phenomenon, detailing props, illusions, and the band’s

A white‑clad tableau of decadence and danger — Billion Dollar Babies arrives not as a record, but as a theatrical declaration of rock‑and‑roll excess.

The Billion Dollar Babies tour began twice — once on paper, once on stage — and the surviving adverts tell the story. Between the planned March 1 launch and the verified March 3–5 performances lies the true scale of the production: too large for a single narrative, too ambitious for a single date.

On a single March day in 1973, Alice Cooper bridged two worlds: the academic halls of Eastman and the roaring spectacle of the Billion Dollar Babies tour. The announcement alone captures the era’s fascination with Cooper as both provocateur and cultural figure.