PAGE 19: A half-pager on Omikron, including two striking photos from the game, one of Bowie's character (caption: "David Bowie as Boz in Omnikron: The Nomad Soul. Yes, it is silly, isn't it.") and one of Iman's (caption: "Iman: actually Iwoman"):
"A COUPLE OF KOOKS!
David Bowie and Iman are up to all sorts.
David Bowie appears as a new character, "Boz", in a computer game, Omikron: The Nomad Soul. His wife Iman also features as a bodyguard for hire and game players are able to take control of her at various points in the adventure. Bizarrely, Bowie is rumoured to be considering dumping his Bowie persona in the game and continuing his recording career as David Jones. The CD-ROM will come out in October with incidental music written by Bowie and several new songs, some of which are described as "Hunky Dory-ish ballads". These tracks will be compiled as an accompanying album, due to be released two weeks before Omnikron: The Nomad Soul hits the stores."
PAGE 64: On the Q&A page:
"Is it true that the BBC once refused to let David Bowie appear on TV because they thought his Ziggy Stardust haircut would corrupt the nation's youth? Carl Newhaus, Peterlee
The incident happened when David Bowie was still David Jones, lead singer of the Manish Boys, rather than his Ziggy Stardust alter ego. In March 1965, the group were booked to appear on the BBC pop show Gadzooks! It's All Happening, performing their debut single, I Pity The Fool, but the programme's producer balked at the length of Jones's coiffure and demanded he cut it. Jones refused stating, "I wouldn't have my hair cut for the prime minister, let alone the BBC." The Manish Boys quickly recruited fans to demonstrate outside the television theatre waving banners declaring "Be Fair To Long Hair".
The BBC relented and Bowie agreed to a barely discernible trim before being allowed to perform. Yet despite the publicity, the Manish Boys' I Pity The Fool flopped miserably on release."
PAGE 88: Bowie is one of many rock stars placed Forrest Gump-like into historical 20th century pics, as part of a promo for "The 100 Greatest Music Stars Of The 20th Century" in next month's Q.
PAGE 132: A 4-star (meaning "Excellent. Definitely worth investigation") review of Aladdinsane:
EMI 499 4631
Heavy vinyl re-release of 1973 classic. His first British Number 1. A masterstroke in EMI's Millenium Vinyl Collection, not just for the original analogue sound in all its raw, metallic majesty, but also for the sleeve artwork, sporting Bowie's classic glam image complete with zig-zag stripe and burnished orange hair. It's most notable for the title track, where Bowie's ghostly, otherworldly vocals echo Mike Garson's ferociously inspired piano improvisation. Along with other tracks like the achingly cinematic Drive In Saturday, the psychotic swagger of Cracked Actor, and the strung-out charge of Jean Genie, this album took Broadway musical theatre by the neck and throttled it with rock 'n' roll. The lyrics seem pretentious and histrionic today, but set alongside the baroque beauty of the music, Bowie's skewed take on 70s celebrity still stands up. Lucy O'Brien".
PAGE 144: A 2-star ("Average. Caution advised")
review of Gary Numan's "The Radio One Recordings":
"Numan is the most mocked individual in recent music history (aeroplanes, Thatcherism,puppy fat) and as each year passes it gets harder to credit the fact that he was once huge with the mainstream crowd. Swiping from Kraftwerk, drugs-period Bowie and the detached sci-fi of J.G.Ballard, his music became the self-parodic archetype of clammy droid-pop, and recent attempts to rebrand him as the Godfather Of Techno met with scepticism. This set from 1979 compiles two fair-enough John Peel Sessions and a truly surreal three songs live at Wembley Arena, complete with point-proving audience roar. The analogue synthesizer noises and live drums have worn inexplicably well. The strangulated whine and blank Dalek poetry were no good in the first place".
Also, a review of Lou Reed's "The Very Best Of" suggests that Reed was influenced by Bowie's "Aladdin Sane" and was an influence on John Cale's "Walking On Locusts".
PAGE 186: This month's "Famous Last Words" features Def Leppard lead singer Joe Elliot:
"What music would you have played at your funeral?
Rest In Peace and All The Young Dudes by Mott The Hoople, and Eric Idle's Always Look On The Bright Side Of Life.
Where are you off to now?
We're off to LA to shoot a video for the new single. Then we're going to finish off some B-sides. We're doing some classics like The Faces' Stay With Me, Bowie's Rebel Rebel and Who Do You Love off Ian Hunter's first solo album."