David Bowie (October 29, 1972) – “All That Glitters... Is David Bowie And His Audiences” Feature - The Record
This substantial three-page Sunday Record feature by Rick Atkinson examines David Bowie during the rapid American breakthrough of Ziggy Stardust. Combining a detailed account of Bowie's recent Carnegie Hall appearance with a retrospective look at his career, the article traces the development from his early folk beginnings and Space Oddity through Hunky Dory to The Rise And Fall Of Ziggy Stardust And The Spiders From Mars.
Publication: The Record / Sunday Record
Date: October 29, 1972
Country: United States
THE STORY
Published under the headline “All That Glitters... Is David Bowie And His Audiences”, Rick Atkinson opens by describing the dramatic transformation in Bowie's fortunes. The article recalls that in 1969 Bowie was still, in the writer's words, a minor figure in the music industry, whereas by late 1972 he had become an international attraction capable of selling out concerts in advance.
Bowie's recent Carnegie Hall appearance provides the feature's contemporary focus. Rather than concentrating solely on Bowie, Atkinson describes the audience itself as part of the spectacle. Glitter, unusual clothes, elaborate face decoration and brightly coloured hair are all presented as signs of the rapidly developing Ziggy Stardust phenomenon in America.
The concert began after delays caused by technical problems. Atkinson records the audience becoming increasingly impatient before the sound system finally came to life with Walter Carlos's synthesised interpretation of Beethoven's Ninth Symphony. As the music reached its climax, coloured lights began moving around the stage before Bowie and the band appeared.
BOWIE AND THE SPIDERS FROM MARS
The feature introduces The Spiders From Mars, identifying Mick Ronson on guitar, Trevor Bolder on bass and Mick Woodmansey on drums.
Atkinson describes the contrasting appearance of the musicians, paying particular attention to Bowie's distinctive Ziggy-era costume and styling. The band's collective image is treated as an essential part of the performance rather than something separate from the music.
The concert opened with material from The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. “Hang On To Yourself” is specifically identified as the opening number.
The performance then moved through material associated with Ziggy Stardust before Bowie briefly left the stage, allowing the Spiders to continue without him.
When Bowie returned, the arrangement changed dramatically. The electric instruments were replaced by acoustic guitars, and Bowie performed with Ronson in a quieter section before returning to the full-band presentation.
The audience response eventually became intense, with Atkinson describing cheers turning into screams as the concert progressed.
FROM DAVID JONES TO ZIGGY STARDUST
The feature then moves backwards through Bowie's career.
Atkinson recalls Bowie's early identity as David Jones and discusses the adoption of the Bowie name. Early groups and recordings are mentioned before the article turns to “Space Oddity”, described as Bowie's first major success.
The review traces Bowie's development through The Man Who Sold The World and Hunky Dory. Atkinson describes Hunky Dory as an important transitional album and notes its role in moving Bowie towards the musical and conceptual approach that eventually produced Ziggy Stardust.
The article also discusses Bowie's relationship with RCA and the growing promotional campaign surrounding him. Atkinson notes that American audiences initially had relatively little awareness of Bowie despite his growing reputation in Britain.
That changed dramatically with The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. The feature describes the album as the release through which RCA began to see significant results from its promotional efforts.
ZIGGY STARDUST IN AMERICA
The article discusses the contrasting response Bowie received on either side of the Atlantic.
While British audiences were already embracing Bowie and Ziggy Stardust, America initially appeared more difficult. Atkinson explains that Bowie's first substantial American tour was intended to change that situation.
Early reviews concentrated heavily on Bowie's appearance and image, while critics gradually began responding to the music itself. The feature suggests that America was beginning to understand Ziggy Stardust as more than simply theatre and visual presentation.
Atkinson characterises Bowie as both the leader of the band and the central figure within the Ziggy Stardust concept, with Mick Ronson playing a particularly important musical role.
The article also references Bowie's single “John, I'm Only Dancing” and “Starman”, the latter presented as another key element of the developing Ziggy Stardust story.
The feature concludes by suggesting that Bowie's American breakthrough was now well underway, with the audiences leaving his concerts already anticipating his return.
PHOTOGRAPHY
The extensive three-page layout contains several contrasting photographs of Bowie.
The opening page includes three images showing Bowie in different settings: performing with an acoustic guitar, captured during an energetic stage movement and pictured with a twelve-string guitar.
The central spread features a large group photograph of Bowie with The Spiders From Mars, accompanied by a separate full-length portrait.
A further live photograph shows part of the stage performance, helping the layout document both Bowie's theatrical presentation and the musicians surrounding him.
CONTEXT AND NOTES
Published during Bowie's first major American breakthrough, the feature provides both contemporary concert reportage and an extensive career retrospective.
The Carnegie Hall material is particularly useful because Atkinson devotes significant attention to the relationship between performer and audience. The glitter, clothing and theatrical presentation of the crowd demonstrate how quickly the Ziggy Stardust aesthetic was beginning to spread beyond Bowie himself.
Rather than treating theatricality as separate from the music, the article presents image, performance, songs and audience participation as interconnected parts of the emerging Bowie phenomenon.
FEATURE HIGHLIGHTS
Event: Three-page David Bowie feature incorporating Carnegie Hall concert coverage and a career retrospective
Era: 1972 Ziggy Stardust era
Tone: Analytical, biographical and performance-focused
Photography: Multiple live, acoustic, portrait and Spiders From Mars photographs across three pages
WHAT THE CLIPPING SHOWS
• Three-page Rick Atkinson feature on David Bowie's American breakthrough
• Detailed observations from Bowie's Carnegie Hall appearance
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