A fiery fan letter calling out the Strawbs for parodying David Bowie on the B‑side of their 1972 single “Lay Down,” sparking debate over homage, humour, and glam‑era rivalry.

A concise Record Mirror update revealing Bowie’s opening night at Radio City Music Hall and confirming his taped interview for London Weekend Television’s Russell Harty Plus.

A detailed Record Mirror feature exploring Tony Visconti’s rise as one of pop’s most influential behind‑the‑scenes figures, with special focus on his creative partnership with Marc Bolan.

A one‑page Disc article revealing that David Bowie is set to star in a science‑fiction film based on Heinlein’s Stranger in a Strange Land, marking his first major screen role.

A rumour‑driven Disc article suggesting Bowie may reverse his retirement from touring and play select U.S. dates after completing his next album.

A dense, analytical two‑page NME feature exploring Bowie’s pre‑Ziggy catalogue — a “sinister odyssey through a treacherous landscape,” tracing the themes, characters, and transformations that shaped his early work.

David Bowie's One-Page Advert in Billboard Magazine, February 10, 1973.

Bowie's Unisexual Glam Explosion Cover and three-page article in Hit Parader Magazine (February 1, 1973) traced David Bowie’s dramatic transformation from a low-key folk performer to a full-glam rock sensation. It contrasted his earlier New York promo tour (with just a 12-string guitar and aversion to public appearances) with his current stage presence: unisexual, freakish haircut, gold and glitter, dyed and made up, running around to strobe effects, striking poses with guita

David Bowie’s "Bowie's Arizona Vision" , a one-page article in Circus Magazine , February 1, 1973.. West Coast by Jacob Atlas Bowie's...

Bowie's South Bank Cosmic Circus Arrival New Musical Express’s one-page article captured David Bowie and his entourage — described as the “David Bowie Travelling Cosmic Circus” — arriving at London Weekend Television’s South Bank studios for a performance or recording session. The vivid opening scene detailed the cab pulling up, the “fluffy scarlet head of hair” (Bowie’s iconic red Ziggy cut) lighting up the grey South Bank, and the “fluorescent crocodile of exotic humanity”