📰 Rock Dreams at Biba’s – 1 Page: Mar. 1974
- glamslam72

- Mar 16, 1974
- 3 min read
Writer: Melody Maker / Raver’s Hot Licks
Date: March 16, 1974
Length: 5 min read
A glitter‑drenched dispatch from the heart of London’s pop‑art elite, where Bowie, Peellaert, and Cohn collided under Biba’s mirrored ceiling for a champagne‑soaked celebration of Rock Dreams.
Pop mythology meets fashion surrealism in a night of portraits, posing, and playful snark.
📰 Excerpt
Melody Maker’s Raver’s Hot Licks column captured the chaotic glamour of the Rock Dreams reception at Biba’s — a gathering of pop royalty, art provocateurs, and champagne‑flooded commentary. David and Angie Bowie made a spectral appearance, Nik Cohn guided TV crews through Peellaert’s paintings, and the room buzzed with glitter, gossip, and gallery‑grade attitude.
📰 Key Highlights
• Gala reception for Rock Dreams at Biba’s
• David and Angie Bowie attend in full eccentric regalia
• Nik Cohn leads Granada TV through Peellaert’s artwork
• Dougie Fielding spotted with a blue‑rinsed top‑knot
• Paintings priced at £300 — Bowie reportedly bought several
📰 Overview
Rock Dreams, the savage and surreal portrait book by Guy Peellaert and Nik Cohn, was already a cult object by early 1974 — a visual mythology of pop stars rendered in cinematic, dreamlike tableaux. Its London reception, held at Biba’s, was less a book launch and more a glam‑era summit.
Melody Maker’s Raver’s Hot Licks column chronicled the event with biting wit and vivid detail. The Bowies arrived in signature style: David skeletal and rumpled in emerald green, Angie radiant but root‑revealing. The crowd included artists, models, and media figures, all orbiting the paintings and champagne trays like characters in a Peellaert spread.
Nik Cohn, co‑author and pop critic legend, played host to Granada TV, guiding cameras through the exhibition while dressed in a sharp brown suit and rimless glasses. Though Peellaert himself was absent, his work dominated the room — priced at £300 apiece, with Bowie reportedly purchasing several.
📰 Source Details
Publication / Venue: Melody Maker
Date: March 16, 1974
Format: Column / Cultural Feature
Provenance Notes: Original print clipping from Raver’s Hot Licks page; verified by publication date and event details.
📰 The Story
The reception for Rock Dreams was held at Biba’s — the only venue that could match the book’s theatrical excess. The crowd was a mix of pop aristocracy and art‑scene eccentrics. Dougie Fielding’s blue‑rinsed top‑knot made an impression, while a “personable Negress” served champagne with unapologetic flair.
David and Angie Bowie spent much of the evening tucked behind one of the bars, speaking in monotone. The column’s writer noted Bowie’s unwashed hair and skeletal frame, speculating cheekily about Angie’s nutritional support. Angie, meanwhile, was praised for her evolving style, though a society insider remarked her blonde roots needed attention.
Nik Cohn, ever the pop intellectual, stood out from the “bibulous throng,” guiding Granada TV through Peellaert’s original paintings. His presence anchored the event’s cultural weight, reminding readers that Pop From the Beginning remained one of rock’s essential texts.
The article ends with a missed opportunity — the writer intended to ask Bowie about Barry Bethel’s sudden departure from Mainman after Ronson’s Rainbow concert, but Bowie had already vanished down a side exit.
📰 Visual Archive

📰 Related Material
• Rock Dreams by Guy Peellaert & Nik Cohn (1973)
• Bowie’s visual evolution, 1973–74
• Barry Bethel’s exit from Mainman
📰 Closing Notes
This column is a time capsule of glam‑era London — where pop stars, painters, and provocateurs blurred the lines between art and persona. The Rock Dreams reception wasn’t just a party; it was a living tableau of the very mythology Peellaert and Cohn had illustrated.
📰 Sources
• Melody Maker, March 16, 1974
• Rock Dreams (1973)
• Granada TV archival notes
📝 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.





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