A dramatic, high-contrast black-and-white portrait of David Bowie dominates the cover of the January 1978 issue of Zigzag magazine. Captured mid-gesture with arms outstretched and an intense, commanding expression, the image perfectly embodies Bowie’s charismatic and theatrical presence during his Berlin period. As one of Britain’s leading underground music magazines, Zigzag’s choice to feature Bowie on the cover alongside acts like The Slits, The Runaways, and Captain Beefhe

Publication: Rolling Stone (USA) Date: November 3, 1977 Writer: Not credited (Random Notes column) A sharp, snapshot-style Rolling Stone dispatch catches David Bowie mid-transformation — newly settled in Berlin, newly collaborative with Brian Eno and Tony Visconti, and newly unpredictable as he drifted between recording sessions, film work, and the city’s avant-garde undercurrents. This brief but telling “Random Notes” item frames Bowie as an elusive yet ever-present figure,

Publication: Melody Maker Date: October 1, 1977 Writer: Not credited (News Desk) A concise but excited Melody Maker news brief announcing the imminent arrival of David Bowie’s new album “Heroes” — a stark, Berlin-forged statement of modernism that would soon be hailed as a major artistic leap forward. The piece captures the anticipation surrounding the record, noting its experimental origins in Berlin, the recent release of the title track, and Bowie’s upcoming appearance per

Publication: New Musical Express Date: September 24, 1977 Writer: NME Advert (RCA Records) A striking full-page New Musical Express advertisement for David Bowie’s landmark album “Heroes”, featuring the now-iconic dramatic black-and-white portrait and the powerful slogan that perfectly encapsulated the spirit of the Berlin Trilogy: “Tomorrow belongs to those who can hear it coming.” This advert marked one of the most visually and thematically bold promotional campaigns of Bow

Publication: Record Mirror Date: September 17, 1977 Writer: Not credited (news feature) A fun and slightly surreal 1977 Record Mirror report on one of the most delightfully unlikely musical pairings of the decade — David Bowie teaming up with legendary crooner Bing Crosby for a Christmas television special. The Thin White Duke meets the old master in a festive crossover that perfectly captures Bowie’s playful unpredictability during the Berlin era.

Publication: Record Mirror Date: June 25, 1977 Writer: NME Advert (RCA Records) A bold, minimalist full-page Record Mirror advertisement promoting David Bowie’s new single “Be My Wife”, the second release taken from his groundbreaking Low album. Featuring a striking black-and-white profile portrait and a massive red headline, this advert perfectly captures the stark, experimental aesthetic of Bowie’s Berlin period.

Publication: Record Mirror Date: June 18, 1977 Writer: NME Advert (RCA Records) A clean and impactful full-page Record Mirror advertisement promoting David Bowie’s new single “Be My Wife”, the second release from his groundbreaking Low album. Featuring a bold blue headline and a striking black-and-white profile portrait, this advert highlights Bowie’s continued artistic reinvention during his Berlin period.

Publication: Rolling Stone Date: April 21, 1977 Writer: John Milward A thoughtful, perceptive review in Rolling Stone that explores David Bowie’s Low as the latest chapter in his lifelong fascination with masks, personas, and constant artistic reinvention. Pairing the record with the enigmatic presence of Brian Eno, the piece positions Low as a daring departure that blends Bowie’s theatrical instincts with Eno’s avant-garde sensibility. This early review captures a pivotal mo

In March 1977, RCA reframed Bowie’s first decade as a gallery of televised identities — twelve albums, twelve personas, one artist in perpetual motion.

In March 1977, Bowie slipped into New York’s Ocean Club with Iggy Pop — a quiet, electric night where Low, Berlin, and the city’s underground collided.