📰 Angie Bowie’s Taking Names – March 1974

A sharp, provocative NME profile capturing Angie Bowie’s confrontational charisma at the height of the Bowie phenomenon.

A fiery one‑page NME feature in which Angie Bowie speaks with unfiltered candour about fame, fights, journalists, and life inside the Bowie orbit.

📰 Key Highlights

• One‑page article in New Musical Express, March 2, 1974

• Written by Charles Shaar Murray

• Features candid quotes about violence, notoriety, and media clashes

• Includes photos of Angie with David and baby Zowie in Switzerland

• Frames Angie as a volatile, magnetic force within the Bowie mythology

📰 Overview

Published at a moment when David Bowie’s fame was accelerating into global territory, “Angie Bowie’s Taking Names” presents Angie as a figure of volatility, glamour, and unapologetic force. The article blends humour, confrontation, and personal anecdote, offering a rare snapshot of the Bowie household from the perspective of its most outspoken member.

📰 Source Details

Publication / Venue: New Musical Express

Date: March 2, 1974

Issue / Format: One‑page article

Provenance Notes: Sourced from the original print scan circulated in Bowie archival collections.

📰 The Story

Charles Shaar Murray’s profile of Angie Bowie is written with a mix of admiration, fear, and comic self‑preservation. He opens by joking that he is “hiding out in the Hebrides until the situation blows over,” setting the tone for an article that treats Angie as both a cultural force and a personal threat.

Angie recounts stories of physical confrontations — “I got pulled out of a ballroom by five policemen for beating a guy up” — and her infamous clashes with music journalists, including the line: “Nick Kent? I wanted to kill him.” These quotes are presented not as shock value but as part of Angie’s self‑mythology: a woman who refuses to be controlled, edited, or softened.

The article also includes quieter moments: a photograph of Angie with David and their three‑week‑old son Zowie in the garden of their Swiss home. This juxtaposition — domestic calm against explosive personality — reinforces the contradictions that made Angie such a compelling figure in the Bowie universe.

Murray’s writing frames her as a disruptive, magnetic presence whose influence on Bowie’s early career was both undeniable and unpredictable. The piece captures the chaotic glamour of the Bowie household in 1974, a world where fame, art, and volatility collided daily.

📰 Visual Archive

Angie Bowie profiled in New Musical Express, March 2, 1974 — a candid, confrontational portrait by Charles Shaar Murray.

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📰 Closing Notes

“Angie Bowie’s Taking Names” remains one of the most vivid portraits of Angie during the height of Bowie’s early fame — a reminder of her influence, her volatility, and her refusal to be anything less than fully herself.

#AngieBowie #DavidBowie #NME1974 #CharlesShaarMurray #BowieArchive

📰 Sources

• New Musical Express, March 2, 1974

• Contemporary Bowie press archives

• Secondary commentary from Bowie biographical literature

📝 Copyright Notice

All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.