A vibrant, high‑energy snapshot of Bowie at the height of his Let’s Dance breakthrough — captured through the bold, colourful lens of French rock press at its most exuberant. Publication: BEST Magazine Date: May 1983 Country: France Section / Page: Cover Format: Cover Feature / Photo Portrait What the Clipping Shows A striking close‑up portrait of David Bowie with voluminous blonde hair, wearing a light blue striped shirt beneath a grey jacket. The bright red masthead BEST do

Publication: The Face Magazine Date: May 1983 Country: United Kingdom Format: Cover Feature / Photo Portrait What the Clipping Shows A Tony McGee portrait of Bowie in a grey check suit, white shirt, and turquoise‑striped tie. The masthead THE FACE runs vertically down the left, with the headline “COOL, CALM + COLLECTABLE” and bold yellow type announcing DAVID BOWIE. The Story Behind It This cover marked The Face’s third anniversary — a statement of style and cultural author

In March 1983, EMI America unveiled “Let’s Dance” with a silhouette, a pulse, and a promise — Bowie was about to conquer the world.

Released: May 28, 1982 (UK) Label: Decca Records Catalogue Number: F 13807 Format: 7" Vinyl Single A surprise early‑’80s chart‑revival reissue of Bowie’s 1967 novelty single — backed with The Gospel According to Tony Day. Issued by Decca to capitalise on Bowie’s rising mainstream profile, the single returned to the UK charts fifteen years after its original release. 🔘 Overview Originally released in April 1967, The Laughing Gnome was one of Bowie’s pre‑fame Deram‑era singles

Brecht’s shadow stretches across decades of pop culture — and in Baal, Bowie steps directly into it, embracing the grit, cruelty, and theatrical precision that defined Brecht’s world.

Bowie’s Baal is a vision of what he could be — a complete artist, a complete actor, a complete man — if he could ever stop being Bowie.

Radio Times devotes a two‑page feature and a one‑page scrapbook to David Bowie’s starring role in the BBC1 production of Baal, capturing his shift back into theatrical performance and the cultural moment surrounding the broadcast.

A secondary excerpt highlighting Bowie’s fascination with Brecht’s early modernism and the stark, uncompromising nature of his performance — a reminder that Bowie’s artistry extended far beyond music.

David Bowie appears on the cover of Radio Times to mark his performance in the BBC’s adaptation of Bertolt Brecht’s Baal, coinciding with the release of his Baal EP and signalling a striking return to theatrical performance.

Record Mirror’s March 28, 1981 feature frames Bowie as both icon and apparition — “very cool, very weird,” suspended in a moment where his image was mutating faster than the industry could track. The page reads like a visual manifesto, a reminder that Bowie’s power often lived in the spaces between eras.