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Marc Bolan & T.Rex’s Two-Page MARC Feature, a two-page feature in Look In Magazine, August 23, 1980.

T.Rex’s "Marc Bolan to Release New T.Rex Single" , a one-page article in New Musical Express , 1973.

Steve Took’s "From Bolan Boogie to Gutter Rock" , a two-page feature in New Musical Express , October 14, 1972.

Marc Bolan’s "Bopper Hero", a two-page retrospective article in Circus Magazine, August 7, 1979.

T.Rex’s "T.Rex in Munich- Studio Report", a studio report with original and English translation in POP Magazine, 1973.

Marc Bolan’s Marc Bolan 1947-1977, a cover and three-page feature in New Musical Express, September 24, 1977.

Tony Visconti’s "Bolan Paved the Way for People Like Bowie" , a one-page article in Melody Maker , April 7, 1973.

Marc Bolan’s "Consumers Guide Part One", a three-page feature in New Musical Express, September 20, 1980.

Marc Bolan & Mickey Finn’s T.Rex’s "Fairytale Princes of the Pop Scene", a three-page feature in Bravo Magazine, August 24, 1978. Heavily made up and in velvet and silk: Marc (1st) and Mickey set the tone from 1971 to 1973 They were they fairytale princes of the pop scene: Marc Bolan and Mickey Finn BRAVO series: These groups changed the rock world With T.REX it began to glitter, Ten kilometers outside Bristol in Wales, on May 24, 1971. Marc Bolan is sleeping in the back seat of the comfortable coach, his wife June Child is making coffee, drummer Bill Legend and bassist Steve Currie are playing skat. No one suspects anything bad when the driver suddenly stops and pulls over to the side of the road. A police patrol has waved the bus over to the right. An officer speaks briefly with the driver, then they continue on – led by the patrol car and an officer on a motorcycle. The small convoy has barely passed the town sign when the blue lights and sirens are switched on switches gears. They continue at 90 km/h, through the city. Red lights are of no interest; the convoy drives through to Colston Hall. The police escort T. Rex to the hall because they were afraid that enthusiastic teenagers at the traffic lights might have stopped the bus and caused chaos. This is where T. Rex are performing on this day. A dozen police officers are already waiting, as are a few hundred fans. Only a small alley in front of the stage entrance is still free. Marc, Mickey, June, Bill, and Steve run through it into the hall. Inside, the roadies have already the system is set up. In the dressing room there is a cold buffet, but only with salads. Marc Bolan is a vegetarian and disdains any meat dish. Three hours later, all hell breaks loose in the hall. Like a fairytale prince, Marc stands on stage, his brown, curly hair teased, his face lightly made up, a touch of glitter on his face. His wardrobe is also reminiscent of a prince: with black, tight-fitting velvet trousers with sewn-on silver stars, with black patent leather shoes, with a shiny silver wearing a wide blouse and a fringed vest, he kneels at the edge of the stage, his guitar between his legs. He dominates the entire space, jumping around, dancing, and hopping. To his left is Mickey Finn on the bongos, his hands wrapped in adhesive tape. Nevertheless, they soon bleed from drumming so hard on the skins The hall is bubbling like boiling water. During the very first song, the fans are standing on their seats, screaming, tearing their hair, crying, fainting. Marc's gentle, then again rousing voice sends shivers down their spines. In these months, England's pop fans are living with T. Rex fever. Nothing like that has happened since the Beatles. And Marc Bolan, too, was pretty much unrivaled back then. Other successful bands like Ten Years After, Deep Purple, Led Zeppelin, Pink Floyd, and Fleetwood Mac played heavy rock or blues rock, appeared in jeans, and usually played at festivals or in super venues. Marc Bolan, on the other hand, did something for his fans. He also played in the provinces, in smaller venues, and was particularly careful to keep ticket prices reasonable. At that time, promoters were allowed to charge a maximum of four marks for his concerts. That's unimaginable today. But Marc wanted even younger fans to be able to afford a concert ticket. His songs were accordingly. Simple melodies that everyone could immediately sing along to, lyrics in which he sang about elves, witches, wizards, and princes. Almost all of the songs were little fairy tales. Indeed, Marc Bolan seemed to have come from another planet. He was born on September 30, 1947, as Marc Feld in the London borough of Hackney. Barely 15 years old, he left Hill Croft School in Wimbledon. His father was a caretaker in an apartment building and didn't earn much money. But Marc had ambitious plans, and above all, many dreams He was a typical representative of the East End and, like the Who, the Kinks, or Rod Stewart, loved expensive, good clothes. Because he couldn't afford them, he initially took a job in a boutique. "I didn't want people to see how poor I was. That's why I stocked up on clothes; as a boutique employee, I got them cheaper," he once said. To supplement his meager salary, he worked after work as a temporary waiter at the Wimpy fast-food restaurant. At that time, he was a typical representative of the Mods, those youth cliques who were in constant feud with the rockers That earned him a story in London's Town magazine—even with a cover photo. That's how he was discovered. Initially, he got a better-paying job as a cloakroom attendant in a discotheque; he worked as a model and landed a role in the English children's television series "Orlando." In 1964, he moved to Paris, where he lived with a magician for five months and helped him with his performances. In 1965, he returned to England and adopted his first stage name: As Toby Tyler, he performed in small clubs as a folk singer. In November, he signed his first record contract and recorded his first single, "Wizard," as Marc Bowland. But he didn't have much luck with it. It wasn't until 1967 that he managed to become somewhat more well-known as a singer. The English radio disc jockey John Peel heard his record, "Hippy Gumbo," and played it on almost every one of his shows. John Peel also took on the task of helping Marc. Marc joined the group "John's Children," composed "Desdemona" for them, and enjoyed some success, especially in Germany. The band performed in long, white, flowing robes or suits, playing folk rock. But Marc didn't stay with the band for long. There, in 1967, he met a wild boy named Steve Took. He wrote poems and painted. The two joined forces, lived in a small, modest room, and survived on what they received from passersby as street singers. Both called themselves Tyrannosaurus Rex. On April 19, 1968, the duo's first single, "Deborah," was released in England. It sold so well that an LP was allowed to be recorded. Performances with David Bowie followed. Tyrannosaurus Rex also frequently appeared at festivals in Germany. During this time, Marc played acoustic guitar, and Steve Took drummed on small bongos. By September 1969, they were so well known that they were able to embark on their first US tour But for Marc Bolan, all of this is too slow. In October 1969, Steve and Marc split up. Mickey Finn joins as their new partner. The two hole up on a lonely farm in Wales and write songs. In February 1970, Marc marries his girlfriend June Child and goes on tour in America again in May. At this time, he also gets his first electric guitar; his music becomes rockier. His melodies also become simpler, no longer as convoluted as before. The experiment pays off. In October 1970, "Ride a White Swan" is released in England. At the same time, Marc shortens the group name to T. Rex. In December 1970, he tops the English charts, throws away his jeans, and starts dressing in glittery clothes. Almost overnight, the street singer becomes a superstar, being chauffeured through the streets of London in a rickshaw He hired bassist Steve Currie for gigs, and later, in April 1971, drummer Bill Legend. For two years, the world seemed to be at his feet. He had three hits in 1971: "Hot Love," "Get It On," and "Jeepster," and five in 1972: "Telegram Sam," "Debora," "Metal Guru," "Children of the Revolution," and "Solid Gold Easy Action." He founded his own record label and music publishing company, began producing his own music, and also took over his own management. He trusted no one anymore, believing he had to do everything alone. He had a falling out with Mickey Finn. Marc broke up with him. He becomes impatient, nervous, with consequences: Marc decides to stop giving concerts in England, as it is too dangerous for him and the fans. He stops giving interviews and only makes one more film. The director is Ringo Starr. For him, Marc Bolan is the only true successor to the Beatles. The film is called "Born to Boogie." Musically, too, Marc becomes more demanding again. He no longer wants to be a teenage star. Groups like Sweet or the Bay City Rollers step into this gap. With glitter and simple pop songs, they pick up where Marc Bolan left off. As quickly as he rose to the top, he disappeared again. Marc made headlines again: On September 16, 1977, he had a fatal accident in West London with his Mini 1275 GT. His girlfriend, Gloria Jones, with whom he had a son, had crashed the car into a tree on a slippery road at night. Gloria survived. Marc died at the scene. His dream of a career as a film star remained unfulfilled. But something else seemed to be working out: his comeback as a singer. He had just completed a successful tour of England, championing punk bands. He had also just finished filming the first episodes of his own TV show. His sudden death put an end to his plans. Gloria Jones now lives in Los Angeles. Marc Bolan's records are unforgettable. In the year since his accident, LPs were released with his greatest hits or recordings from his early days, including songs that no one has released to this day. He was one of the last great teen stars. And so he will live on in the memories of his fans.

Marc Bolan’s "Marc Bolan’s Legacy" , a one-page retrospective article in Bravo Magazine , August 7, 1981. Marc Bolan: He lives on in his hits "As a fan of T. Rex, I thought it was great that BRAVO also reported on Marc Bolan and his group in its 'Rock Giants' series. Are there any unreleased songs by T. Rex?" asks Axel W. from Nuremberg. Yes, although superstar Marc Bolan has been dead for almost four years, a new LP by him and T. Rex has been released. The live album is simply called "T. Rex in Concert" and contains songs from the "Electric Warrior Tour," which the band did in 1971. Many of Marc | Marc Bolan, Superstar of the 70s Bolan's biggest hits, such as "Hot Love," "Get it on," and "Metal Guru," can be heard on the LP. A second album with recordings from the then

Marc Bolan’s "Marc Bolan's Consumers Guide Part 2" , a three-page feature in New Musical Express , September 27, 1980.

T.Rex’s "Is Marc Bolan Crazy?" , a one-page article, 1972. Marc Bolan... Continued A lot of fuss about Marc Bolan. Here he answers his enemies. Judge for yourself whether his critics Is Marc Bolan crazy? T-Rex star Marc Bolan has many faces. Sometimes he presents himself as a sorcerer, sometimes as a romantic hero, pop star, or poet. Only a few know what he's really like. But many are dazzled by his peacock-like appearance, cheering him or insulting him. What do his enemies have against Marc Bolan? His answers speak for themselves... Accusation No. 1: Marc Bolan is a sex monkey and groupie hunter! Marc Bolan on this: "I'm a sex symbol. I seem sexier than Tarzan or Robin Hood. I wonder how a guy like Tarzan can even seduce a girl. I love to drive people into ecstasies. The girls climb the stage and try to undress me. I find this atmosphere neither vulgar nor obscene. I want to make one thing clear: I love my role as a sex idol very much. But I'm not a sex monkey. I don't intend to abuse my charisma to make babies of all the groupies who throw themselves at me. I'm not a green boy. I had my first girl when I was ten. But I'm not a pig!" Accusation No. 2: Marc Bolan is too effeminate! Marc Bolan on this: "My wife June receives letters asking her if she doesn't finally want to divorce me. They say it's impossible to live with a homosexual. Others say I'm having an affair with Mickey Finn. Just because I love my fur coats, satin trousers, makeup, and wild curls, they accuse me of that. Just because I have narrow hips and no hair on my chest. Causing a stir and wearing crazy clothes - that's part of my job. If I were a civil servant, I'd probably act differently. I can only assure you that I'm completely normal." Accusation No. 3: Marc Bolan is a show-off! Marc Bolan on this: "It's wonderful to satisfy one's whims with money. At Harrod's, the exclusive London department store where you can find absolutely everything T. Rex Boss has his rights! I once wanted to order a young rhinoceros. I thought that maybe the sight of it would inspire me with some good songs. And at some point I bought myself a white Rolls-Royce, even though I don't have a driver's license. The Rolls is a kind of work of art to me. Maybe that's showing off. Well, please. It's my business, because I still don't charge my fans more than 75 pence (about 6.50 marks) for tickets Accusation No. 4: Marc Bolan is egocentric Marc Bolan says: "I was once a dishwasher and a model, then an actor. Now I'm somebody. I'm Marc Bolan, the boss of T. Rex. Why is it only me and Mickey Finn who are in the spotlight with T. Rex? That's enough, isn't it? I don't want interviews with Bill Legend or Steve Currie just because they're musicians with T. Rex. T. Rex are mainly a means to an end to emphasize my lyrics. I need Mickey on stage. He's important. There's no discussion about that order. I know who I am and what I can do. Does that make me egocentric? Now I've said it all—now judge me for yourself!"

T. Rex’s Bolan A Weird Kid, a cover inset and two-page feature in New Musical Express, February 12, 1972. I was a bit hung-up with my records being produced, at the start. I just wanted to go into the studio and sing my songs and then leave. I was very much into my own little world in those days. I'm not a very social person. I was basically a romantic, but the songs I'm writing now are exactly the songs I wrote when I lived with my parents. Like if you listen to the words of "Desdemona", I could have written it now. But there were those two or three years in the middle where I suppose I was a poet with a capital 'P'. Which turned a lot of people off, but it also turned a lot of people on. It was very appropriate for the time. If you listen to the songs on the first album, they're much less poetic than the songs on "Unicorn". For me now, a straightforward "I love you baby and you love me" is much more poetic than "The craggy seas of the wild moon on the beach of the swan". I was very insular. I didn't boogie with people very much. Drugs didn't influence my style much. I used to smoke occasionally when I was sixteen, but I never got into drugs at all. Certainly not acid. I took acid about three times, long before T. Rex, and all I found was that nothing happened to me, man. I just spent more time on things. But there were no revelations, because all that was revealed to me was that what I knew already was right. I got no hallucinations or problems of any sort. All that happened was: The noise that I naturally excluded from my brain (like car noise, or people talking in a room that I don't want to be in) became very loud. Do you understand? It took down the barriers which were my defense. And it just made me aware that since five years old, I'd been constructing an inner sanctum which is probably like the acid experience. I'm very fortunate like that. I was a weird kid, very messed up as a kid. Emotionally I went through a lot of experiences. It was still a solid family.

T. Rex’s "Bolan on the Bowie War" , a one-page article in Disc Music Newspaper , September 30, 1972.

T.Rex’s "Bolan on Love, Hate and the Press" , a one-page article in New Musical Express , August 19, 1972.

Marc Bolan’s "Bolan Puts Punk in the Picture" , a one-page article in Scrapbook , August 1, 1977.

T.Rex’s "Bolan is no Slider" , a one-page article in Disc , February 17, 1973.

Marc Bolan’s Bolan Cover , a cover and one-page article in Music Scene Magazine , December 1, 1972.

Marc Bolan’s "Bolan Part Two" , a one-page feature in New Musical Express , October 7, 1972.

Marc Bolan’s "Marc Bolan" , a one-page article in Circus Magazine , February 1, 1973.

In a twist of fate, a last-minute addition to the inaugural Glastonbury Festival in 1970 brought an unexpected performance, as Tyrannosaurus Rex electrified the crowd and set the stage for a legendary event. On September 19, 1970, a muddy field in Somerset’s Worthy Farm became the unlikely birthplace of a cultural juggernaut: the Glastonbury Festival, then called the Pilton Pop, Blues & Folk Festival. Among the eclectic lineup of folk and rock acts, one band stole the show and etched their name into music history—Tyrannosaurus Rex, led by the enigmatic Marc Bolan. Their late-night performance was a shimmering, psychedelic milestone that helped launch what would become the world’s most iconic music festival. The Scene: A Hippie Haven in Pilton Picture this: 1,500 free-spirited souls—hippies, locals, and even a few farm animals (including five dogs and a goat)—gathered on Michael Eavis’s 900-acre dairy farm in Pilton, Somerset. Tickets cost just £1, including free milk and camping. The festival, inspired by the 1970 Bath Festival, was a modest affair with a basic stage, 24 toilets, and a dreamlike atmosphere fueled by the counterculture of the era. The event coincided with the somber news of Jimi Hendrix’s death the day before, prompting a minute’s silence that added emotional weight to the night. Originally, The Kinks and Wayne Fontana & the Mindbenders were slated to headline, but both canceled last-minute (The Kinks reportedly bristled at the event being dubbed a “mini-festival” in the press). Stepping into the spotlight was Tyrannosaurus Rex, a band on the cusp of transformation, ready to enchant the small but enthusiastic crowd. Tyrannosaurus Rex: The Cosmic Duo In 1970, Tyrannosaurus Rex was still a duo, known for their psychedelic folk sound, the band blended Bolan’s poetic, Tolkien-inspired lyrics with acoustic grooves and bongo-driven rhythms. They were darlings of the underground, championed by BBC DJ John Peel, and were transitioning toward the electric, glam-rock sound that would soon make T. Rex global stars. Bolan, with his curly hair and bohemian charisma, arrived at Worthy Farm in a velvet-covered Buick, a fittingly flamboyant entrance for a man destined to become the “Godfather of Glam.” Their set, performed after midnight, was a cosmic journey that captivated the crowd, bridging the festival’s folk roots with the electric energy of rock’s future. The Performance: A Magical Midnight Moment While exact setlists from the night are scarce (no official recordings exist), Tyrannosaurus Rex likely played tracks from their early albums, such as My People Were Fair and Had Sky in Their Hair... (1968) and A Beard of Stars (1970). Fan favorites like “Debora,” “Hot Rod Mama,” and “By the Light of a Magical Moon” probably echoed across the Vale of Avalon, with Bolan’s warbling voice and mystical lyrics perfectly matching the festival’s ethereal vibe. The duo’s acoustic guitars and bongos created an intimate yet electrifying atmosphere, resonating with the hippie crowd under the Somerset stars. Eyewitness accounts describe the performance as a highlight, with Bolan’s stage presence—part poet, part rock star—igniting the small audience. The set came at a pivotal moment for the band, as they were just months away from releasing “Ride a White Swan” (October 1970), the single that would catapult them into mainstream success as T. Rex. Their Glastonbury appearance was a last hurrah for their folk era, a magical bridge to their glam-rock explosion. Why It Mattered Tyrannosaurus Rex’s performance wasn’t just a gig—it was a cornerstone of Glastonbury’s origin story. The festival, attended by a mere 1,500 people, laid the groundwork for an event that now draws over 200,000 annually. Bolan’s star power helped elevate the fledgling festival’s credibility, proving that even a “mini-festival” could attract major talent. Michael Eavis, who paid Bolan £100 in milk-profit installments over five months, later credited the event’s success to its authentic, community-driven spirit, with Tyrannosaurus Rex as its beating heart. For fans, the performance symbolized a fleeting moment when the underground met the mainstream. Within a year, Bolan would trade acoustic strums for electric riffs, sparking “T. Rextasy” with hits like “Get It On” and “Jeepster.” But on that September night in 1970, Tyrannosaurus Rex was still a psychedelic gem, casting a spell over Worthy Farm that lingers in Glastonbury lore. Fun Facts: Festival Quirks: Attendees got free milk from Eavis’s dairy cows, and the crowd included a goat and a few dogs, adding to the hippie charm. Bolan’s Payment Plan: Eavis, short on cash, paid Bolan’s fee in installments from milk sales, a testament to the festival’s grassroots beginnings. Other Acts: The lineup included Stackridge (the openers), Quintessence, Steamhammer, Al Stewart, Keith Christmas, and Sam Apple Pie, making it a diverse showcase of the era’s underground scene. No Big Drama: Unlike modern festivals, the 1970 event was peaceful, with no major incidents, just pure music and vibes. Other Artists at the 1970 Pilton Pop, Blues & Folk Festival (First Glastonbury) The inaugural Pilton Pop, Blues & Folk Festival on September 19, 1970, featured a diverse lineup of underground and emerging acts from the UK’s psychedelic, folk, and blues scenes. With Tyrannosaurus Rex stepping in as the surprise headliner after The Kinks and Wayne Fontana & the Mindbenders pulled out, the bill showcased the era’s counterculture spirit—intimate, eclectic, and far from the massive productions of today. The full lineup, drawn from festival posters, eyewitness accounts, and official histories, included around 10-12 acts, many of whom were local or on the cusp of breakthroughs. Below is a table summarizing the key performers (excluding Tyrannosaurus Rex), including their performance style, notable contributions to the day, and brief bios with legacy highlights. Set times were loose and unrecorded, but the event kicked off with Stackridge in the morning and ran into the early hours. Attendance was just 1,500, creating a cozy, communal vibe amid the Somerset countryside. Other Bands at the 1970 Pilton Pop, Blues & Folk Festival Here’s a rundown of the key acts (excluding headliners Tyrannosaurus Rex) that performed at the inaugural Glastonbury Festival on September 19, 1970, at Worthy Farm. Each brought a unique flavor to the 1,500-strong hippie crowd, setting the stage for a legendary legacy. Stackridge Genre: Progressive/Prog Rock Role/Notable Moment: Kicked off the festival with a quirky, whimsical set, setting a playful tone. Bio & Legacy: Bristol’s eccentric rockers, formed in 1969, blended literate lyrics with prog flair. Their 1971 debut album, Stackridge, followed this gig. Known for influencing later acts like Big Big Train, they’ve reformed multiple times and remain a cult favorite. Quintessence Genre: Psychedelic Rock/Eastern Folk Role/Notable Moment: Delivered spiritual, sitar-infused grooves in the mid-afternoon, perfectly matching the hippie vibe. Bio & Legacy: A London collective (1969–1987) fusing Indian classical music with psych-rock. Albums like In Blissful Company (1970) defined their mystical sound. They’re still revered in psych circles for their genre-blending innovation. Steamhammer Genre: Blues Rock Role/Notable Moment: Evening set of raw, guitar-driven blues, honoring the festival’s “Blues” billing. Bio & Legacy: Worthing band (1968–1973), fronted by Martin Quittenton (later Rod Stewart’s collaborator). Signed to Island Records, their 1969 debut album showcased gritty blues. Reformed sporadically; influenced pub rock. Al Stewart Genre: Folk Rock Role/Notable Moment: Performed an intimate acoustic set, captivating folk fans with storytelling songs. Bio & Legacy: Scottish singer-songwriter (b. 1945), then in his early folk phase before hits like “Year of the Cat” (1976). A ‘70s festival regular, he’s released 30+ albums and remains a folk-rock staple. Keith Christmas Genre: Acoustic Folk Role/Notable Moment: Solo set with poetic lyrics, resonating in Pilton’s mystical Vale of Avalon setting. Bio & Legacy: Devon folk artist (b. 1946), known for intricate guitar work. His 1970 album Pigmy followed this gig. Collaborated with Fairport Convention; still tours as a folk veteran. Sam Apple Pie Genre: Blues Rock/Acid Folk Role/Notable Moment: High-energy set brought East London’s raw edge to the bill. Bio & Legacy: London band (1968–1974), fronted by “Mad” Daddy Longlegs. Their 1968 debut, The Decline and Fall of the Whole Damned World, had a gritty, unpolished sound that shaped pub rock. Duster Bennett Genre: Blues/One-Man Band Role/Notable Moment: Solo blues harp and guitar with a foot-drum setup, a highlight for purists. Bio & Legacy: Solo artist (1946–1976), a pioneering one-man blues act. Albums like Smokin’ (1971) showcased his talent. Tragically died young in a crash; influenced harmonica players like Paul Jones. Pink Fairies Genre: Psychedelic Rock/Space Rock Role/Notable Moment: Late-evening chaotic psych set, bridging to T. Rex’s headlining slot. Bio & Legacy: London underground band (1969–1976) with a biker-hippie vibe. Their 1971 debut, Never Never Land, leaned proto-punk, influencing Hawkwind and The Damned.

Simple Minds’ "The Surprising Origin of Simple Minds' Name", inspired by David Bowie’s The Jean Genie lyric, an article. Simple Minds’ "The Surprising Origin of Simple Minds' Name", inspired by David Bowie’s The Jean Genie lyric. “The Jean Genie” is a song by David Bowie, released as a single in November 1972 and included on his 1973 album Aladdin Sane. Written by Bowie and produced by Ken Scott, it was inspired by a riff from The Yardbirds’ cover of “I’m a Man” and lyrically influenced by Bowie’s friend Iggy Pop, with references to Pop’s raw, rebellious persona and the beatnik vibe of New York City’s underground scene. The title is a playful pun on the French writer Jean Genet, whose provocative works like Our Lady of the Flowers resonated with Bowie’s fascination with outsider culture. The lyric “He’s so simple-minded, he can’t drive his module” from the song directly inspired the name of the Scottish band Simple Minds, as confirmed by frontman Jim Kerr in interviews. Recorded at RCA Studios in New York, the track features Mick Ronson’s iconic guitar work and a driving glam-rock groove, blending gritty blues with Bowie’s theatrical flair. The single reached No. 2 on the UK Singles Chart, becoming one of Bowie’s biggest hits at the time, and its raw energy made it a staple of his live performances during the Ziggy Stardust era. It was accompanied by a Mick Rock-directed promotional film, one of the earliest music videos, featuring Bowie and Cyrinda Foxe, which captured the song’s sleazy, urban vibe. “The Jean Genie” not only influenced Simple Minds but also cemented Bowie’s reputation as a glam-rock innovator, bridging punk’s edge with pop accessibility. Its cultural impact extended to covers by artists like The Sisters of Mercy and its use in various films and TV shows, underscoring its lasting legacy. Simple Minds formed in Glasgow in 1977, the Scottish rock band became the most commercially successful Scottish band of the 1980s. Simple Minds originated from the short-lived punk band Johnny & The Self-Abusers, established in early 1977 on Glasgow's South Side. Like many early punk bands, the members adopted stage names; Jim Kerr became "Pripton Weird" and Charlie Burchill was "Charlie Argue." Kerr and Burchill, who had been friends since they were eight years old, joined Johnny & The Self-Abusers and later recruited two school friends, Brian McGee on drums and Tony Donald on bass. The quartet had previously played together in the school band Biba-Rom! Abandoning their stage names and punk image, the remaining members regrouped as Simple Minds, a name inspired by a lyric from David Bowie's song "The Jean Genie." "So simple-minded, he can't drive his module He bites on the neon and sleeps in a capsule Loves to be loved, loves to be loved"

David Bowie’s "Bowie & Slade: Starkers In August" , a one-page advert in New Musical Express , August 5, 1972.

David Bowie’s "Hemel Hempstead Plus Lee Riders" , a one-page advert, May 7, 1972.

David Bowie’s "Extermination Society" , a one-page article in Record Mirror , September 2, 1972.

David Bowie’s "Hardrock - Pricing Itself Out?" , a one-page review, September 30, 1972.

David Bowie’s "Top Rank Proudly Present" , a one-page advert in Scrapbook , September 1, 1972.

David Bowie’s "Is Ziggy Stardust Live at the Rainbow" , a one-page advert in Melody Maker , August 19, 1972.

David Bowie’s "Starman - Fascinating Lyrics" , a one-page review in Scrapbook , April 28, 1972.

David Bowie’s "A Mixture of Dali, 2001 & The Bee Gees" , a one-page article in Melody Maker , October 11, 1969

David Bowie’s "Hunky Dory - A Few More Well Chosen Words" , a one-page advert in Rolling Stone , February 17, 1972.

David Bowie’s "Another Sensational Special" , a one-page advert in Record Mirror , September 2, 1972.

David Bowie’s "Stars On Sunday" , a one-page article in Melody Maker , August 26, 1972.

David Bowie’s "Ziggy Outshines Bolan" , a two-page article in New Musical Express , October 7, 1972.

David Bowie’s "The Rise and Fall of Ziggy Stardust and the Spiders from Mars - Find True Happiness" , a one-page advert in Record Mirror , June 17, 1972.

David Bowie’s "Disc - Action Gallery Series" , a two-page poster in Disc , August 19, 1972.

David Bowie’s "Royal Festival Hall - Friends of the Earth" , a one-page advert in New Musical Express , June 10, 1972.

David Bowie’s "on the QE2 Voyage" , a one-page article in Scrapbook , September 23, 1972.

David Bowie’s "The Rise and Fall of Ziggy Stardust and the Spiders from Mars - Incredible Changes" , a one-page advert in New Musical Express , June 10, 1972.

David Bowie’s "Extra Dates" , a one-page article in Scrapbook , August 26, 1972.

David Bowie’s "Fame - King of Excess" , a one-page review in Scrapbook , July 19, 1975

David Bowie’s "Rainbow Spectacular" , a one-page Rainbow concert review in New Musical Express , August 26, 1972.

David Bowie’s "On Tour - First American Performances" , a one-page advert in Rolling Stone , September 28, 1972.

Mott The Hoople’s "Under the Guidance of David Bowie" , a four-page feature in Beetle Magazine , October 1, 1973.

Mott, Bowie’s "Festival Hall" , a one-page article in New Musical Express , June 10, 1972.

David Bowie + Roxy Music’s "Fox at Greyhound (June 25, 1972)" , a one-page concert advert in Melody Maker , June 24, 1972.

Mott The Hoople’s "Where Bowie Leads" , a Liverpool Stadium gig review, September 30, 1972.

David Bowie’s "Why Does He Like Dressing Up In Ladies Clothes?" , a one-page article in Melody Maker , April 17, 1971.

David Bowie’s "Hunky Dory - The Most Intellectually Brilliant Man" , a one-page advert in Melody Maker , January 8, 1972.