Publication: The Ann Arbor News (Ann Arbor, Michigan) Date: Thursday, November 23, 1972 Page: 88 Author: David Sterritt (Christian Science Monitor Service) A detailed and affectionate profile of Marc Bolan during the peak of T.Rex-mania in late 1972. The article presents Bolan as a Peter Pan-like figure in rock — a popstar who retains a childlike wonder, fragility, and playful spirit even as he commands massive audiences and commercial success “Popstar T. Rex Stays A Child” Singer-Entertainer Marc Bolan Key Content Notable Mentions The piece opens with a vivid description of Bolan’s delicate, almost feminine features on the The Slider album jacket, noting how his face seems ready to “crack” or break at any moment. It explores his charismatic yet mysterious personality, his hotel suite interviews filled with smiles, and his refusal to conform to typical rock star expectations. Bolan discusses his evolution from Tyrannosaurus Rex to T.Rex, his songwriting process, and his desire to stay connected to his inner child. He reflects on fame, creativity, and performing, describing himself as an “Electric Warrior.” The article also touches on his earlier whimsical imagery (“Dragon’s Earl,” “First Heart Mighty Dawn Dart”) and his current hits. Bolan is portrayed as both a glamorous rock idol and an eternal child — joyful, imaginative, and slightly elusive. The feature emphasizes his love for performing, his playful approach to interviews, and his belief in keeping a sense of mystery and wonder in rock ‘n’ roll. It captures the magic and cultural phenomenon of T.Rex at the height of their early 1970s success. 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.

This entertainment listings clipping promotes a T. Rex concert at The Warehouse in New Orleans, highlighting Marc Bolan and his group as England's hottest rock 'n' roll band. The brief notice advertises the appearance alongside The Doobie Brothers and predicts an enthusiastic audience response. Publication: Vieux Carre Courier Date: September 22, 1972 Country: United States THE STORY The clipping appears within an entertainment events listing and announces a concert taking place at The Warehouse, located at 1820 Tchoupitoulas Street in New Orleans. Scheduled for 9 p.m. on September 22, the event features T. Rex together with The Doobie Brothers. Contact information for the venue is also provided as part of the listing. The notice specifically draws attention to Marc Bolan, identifying him as the driving force behind T. Rex. The brief promotional text describes T. Rex as England's hottest rock 'n' roll band and emphasises the group's strong reputation and popularity. The wording is designed to encourage attendance and build anticipation for the performance. The item concludes by stating that "Pandemonium should be expected," suggesting a lively audience reaction to the band's appearance. Ticket information is included, with admission priced at $5 at the door. Although concise, the clipping serves as a promotional snapshot of T. Rex during their American touring activities in 1972. CONTEXT AND NOTES This clipping is a straightforward concert advertisement rather than a review or feature article. Its purpose is to inform readers about an upcoming live appearance and to promote the event through a short but enthusiastic description of the group. The notice reflects the strong promotional language often used for major touring acts of the period. Marc Bolan is singled out by name, while T. Rex is presented as a leading British rock attraction. The clipping provides a contemporary record of the band's live schedule and how they were being marketed to American audiences at the time. FEATURE HIGHLIGHTS Event: T. Rex and The Doobie Brothers concert at The Warehouse, New Orleans Era: 1972 glam rock era Tone: Promotional and enthusiastic Photography: No photographs included in the clipping WHAT THE CLIPPING SHOWS • Concert listing for T. Rex and The Doobie Brothers at The Warehouse • Marc Bolan described as bringing England's hottest rock 'n' roll band to town • Ticket price and event details accompanied by a prediction of "Pandemonium" 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.

This issue of Record Mirror places Marc Bolan on the front cover during the height of T. Rex's popularity. Alongside a large cover photograph, the magazine promotes a feature titled "Cool Time In The Hot City", while also highlighting major articles on David Cassidy, Pete Townshend and Slade's Jim Lea Publication: Record Mirror Date: September 23, 1972 Country: United Kingdom The cover is dominated by a large colour photograph of Marc Bolan, presented as the magazine's principal visual attraction. Positioned above the photograph is a boxed feature headed "Cool Time In The Hot City", accompanied by a smaller image of Bolan wearing dark glasses. The feature text introduces a story centred on Bolan and his activities, giving the T. Rex leader prominent placement on one of Britain's leading music weeklies. The left-hand side of the cover contains a contents panel advertising major features inside the issue. Readers are directed to articles on David Cassidy and the hazards of superstardom, Pete Townshend's views on audience relationships, and an interview with Slade's Jim Lea discussing the group's success. A note also advertises an additional free fact section for Jackson 5 fans. The lower section of the cover contains a large advertisement for Johnny Nash and his single "There Are More Questions Than Answers". Despite these additional elements, the overall design is centred on Marc Bolan, whose image occupies most of the page and reinforces his position as one of the era's leading pop stars. CONTEXT AND NOTES Published during the peak of the glam rock era, this cover reflects Marc Bolan's continuing prominence in the British music press. His image was frequently used by major music publications to attract readers, and Record Mirror gives him the leading position on this issue. The cover combines celebrity appeal with music journalism, drawing attention to both Bolan and several other major artists of the period. As a result, it provides a useful snapshot of the performers and personalities dominating the British music scene during September 1972. FEATURE HIGHLIGHTS Event: Marc Bolan featured on the cover of Record Mirror Era: 1972 glam rock era Tone: Promotional and music-focused Photography: Large colour cover portrait of Marc Bolan with an additional inset photograph WHAT THE CLIPPING SHOWS • Marc Bolan featured as the cover star of Record Mirror • Promotion for the feature "Cool Time In The Hot City" • Contents references to David Cassidy, Pete Townshend and Slade's Jim Lea dominates the page, showing Marc Bolan performing on stage with a fellow band member visible in the background. The image reinforces the band's powerful stage presence and highlights the visual style that had become closely associated with T. Rex during the glam rock era. The article appears as a substantial feature covering the band's progress in America and reflects the excitement surrounding their attempts to translate British success into a lasting presence in the United States. The combination of detailed reporting and performance photography presents T. Rex as one of the most talked-about British rock acts of 1972. 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.

This concert review by Jane Scott covers T. Rex's appearance at the Allen Theatre in Cleveland during the band's 1972 American tour. Despite a smaller-than-expected audience, the article praises Marc Bolan's stage presence and the group's energetic performance, highlighting both the band's musicianship and Bolan's charisma. Publication: The Plain Dealer Date: September 29, 1972 Country: United States Reviewing T. Rex's appearance at the Allen Theatre, Jane Scott describes Marc Bolan arriving on stage in a striking red outfit, complete with glittering stars beneath his eyes and his trademark curls. Bolan immediately became the focal point of the evening, generating excitement despite the modest attendance. The article notes that approximately 1,500 fans attended the concert, a number smaller than expected but enthusiastic in their support. Bolan reportedly addressed the situation directly, explaining that there had been some uncertainty about whether the band would perform due to the limited turnout, but that previous experiences had convinced them the audience would be worthwhile. The review highlights performances of "Spaceball Ricochet" and "Cosmic Dancer", with the latter receiving particular attention for Bolan's vocal delivery. Throughout the concert, T. Rex maintained the hard-driving rock sound that had become the band's trademark. The article also singles out Mickey Finn during a duet segment and notes the contributions of the other musicians in the line-up. Scott concludes that Bolan demonstrated the power and confidence expected of a major rock performer. While the audience may have been smaller than anticipated, the review suggests that T. Rex delivered a full-scale performance that fully justified the appearance. CONTEXT AND NOTES The article captures T. Rex during an important phase of the band's efforts to establish themselves in the United States following the American success of "Bang A Gong (Get It On)". Rather than focusing on record sales or chart positions, the review concentrates on the live experience and the reaction generated by Bolan's appearance. The piece is notable for emphasising Bolan's professionalism in the face of a relatively small audience. Rather than reducing the effort given, the review suggests that T. Rex approached the performance with the same intensity and commitment that had made the group one of the leading acts of the glam rock era. FEATURE HIGHLIGHTS Event: T. Rex concert at the Allen Theatre, Cleveland Era: 1972 American tour era Tone: Positive and performance-focused Photography: Portrait photograph of Marc Bolan accompanying the review WHAT THE CLIPPING SHOWS • Review of T. Rex's Cleveland appearance at the Allen Theatre • Discussion of Marc Bolan's stage presence and audience interaction • References to performances of "Spaceball Ricochet" and "Cosmic Dancer" 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.

Marc Bolan appears on the cover of the October 1972 issue of Beat Instrumental and contributes a feature discussing his music, future ambitions and attitudes toward success. The interview presents Bolan in a candid mood, reflecting on media attention, creativity, films and public perceptions while offering insights into his outlook during the height of T. Rex's success. Publication: Beat Instrumental Date: October 1972 Country: United Kingdom The cover story, titled "My Music, Film & Future", features Marc Bolan discussing a wide variety of subjects ranging from touring and publicity to films and personal ambitions. Conducted in a London restaurant owned by friends of Bolan, the interview captures him speaking openly about the intense attention surrounding his career and the way journalists often interpreted his comments. Bolan admits that he rarely reads articles written about him in detail and expresses amusement at some of the stories that appear in the press. He reflects on public perceptions and explains that many comments become exaggerated once they appear in print. Throughout the feature he appears determined to maintain a sense of humour about celebrity and the mythology that often surrounds successful performers. The conversation moves to subjects including wealth, status and public image. Bolan dismisses suggestions that material possessions define success and argues that everybody has the opportunity to pursue their own interests and talents. He also discusses reactions to stories involving luxury hotels and Rolls-Royces, suggesting that many such stories attract attention because they fit public expectations rather than because they are especially important. Towards the end of the interview Bolan turns to film projects and future plans. He describes an interest in combining concerts, visual ideas and performance into a film format, while making it clear that he does not see a deeper message or theme in everything he creates. Instead, he suggests that many of his creative ideas exist simply because he enjoys them and wants to explore them. CONTEXT AND NOTES Published at the height of Bolanmania, the interview captures Marc Bolan during one of the most commercially successful periods of his career. Rather than focusing on chart positions or specific records, the feature allows him to discuss broader topics including fame, creativity and future ambitions. The cover photograph reinforces Bolan's position as one of Britain's leading rock stars in 1972, while the interview highlights a thoughtful and often humorous perspective on celebrity. The feature serves as a valuable snapshot of how Bolan viewed himself and his work during the peak of T. Rex's popularity. FEATURE HIGHLIGHTS Event: Marc Bolan discusses music, films and future plans Era: 1972 T. Rex era Tone: Reflective and conversational Photography: Full-colour cover photograph of Marc Bolan with guitar, accompanied by illustrated portrait artwork within the feature WHAT THE CLIPPING SHOWS • Cover feature titled "My Music, Film & Future" • Marc Bolan discussing fame, publicity and creative ambitions • Reflections on films, media attention and future projects 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.

This issue of Look-in places Marc Bolan on the cover and prominently promotes a free four-page pop extra devoted to the T. Rex star. Featuring a large colour photograph of Bolan with his guitar, the cover presents him as the main attraction of the issue and highlights a special pull-out double-page colour pin-up. Publication: Look-in Date: September 23, 1972 Country: United Kingdom The cover is dominated by a full-colour image of Marc Bolan holding a red guitar and dressed in a glittering stage outfit. Across the top of the magazine appears the announcement "Free 4-Page Pop Extra ★ Marc Bolan", signalling that the issue contains a special feature dedicated to the performer. The presentation makes Bolan the clear focal point of the publication. The cover text promotes a "pull-out double-page colour pin-up of Marc!" and describes the feature as being "bigger and better". The issue's emphasis on visual content reflects Bolan's popularity with younger readers and his status as one of Britain's leading pop stars during 1972. The large photograph presents his distinctive image and stage style in a format designed to appeal to fans. Additional cover promotions advertise a competition offering remote control racing cars and cine projectors as prizes, alongside a colour feature on Black Beauty. Despite these additional attractions, the magazine's visual design centres overwhelmingly on Marc Bolan, whose image occupies most of the front cover. CONTEXT AND NOTES The cover reflects Marc Bolan's immense popularity during the height of the glam rock era. Children's and family-oriented publications frequently featured leading pop stars, and Bolan's appearance on the front of Look-in demonstrates his widespread appeal beyond the traditional music press The promise of a dedicated pop extra and a colour pin-up highlights the strong demand for Bolan-related content in 1972. The cover serves as a period example of how his image was marketed to a younger audience and illustrates the level of recognition he enjoyed at the peak of T. Rex's success. FEATURE HIGHLIGHTS Event: Marc Bolan featured on the cover with a free four-page pop extra Era: 1972 glam rock era Tone: Promotional and fan-focused Photography: Full-colour cover photograph of Marc Bolan holding a guitar WHAT THE CLIPPING SHOWS • Cover promotion for a free four-page Marc Bolan pop extra • Announcement of a pull-out double-page colour pin-up of Marc Bolan • Large full-colour cover photograph of Marc Bolan with his guitar 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.

This newspaper report covers events surrounding a T. Rex concert at the Bayfront Center in St. Petersburg, Florida. The article explains how promoters responded to concerns over possible gate crashers by allowing approximately 200 people free admission, while additional police presence at the venue resulted in several arrests on various charges during the evening.. Publication: St. Petersburg Times Date: September 22, 1972 Country: United States The article reports on a T. Rex concert held at the Bayfront Center on a Wednesday evening. According to the report, concert promoters sought to avoid potential problems involving an estimated 200 possible gate crashers by granting free admission to a group gathered around the venue lobby after the concert had begun. The article states that promoters for T. Rex, identified as Marc Bolan's English rock group, waived the $5.50 admission charge for those individuals. The report notes that increased police security was present around the hall and that plainclothes and private police officers made a number of arrests during the evening. Various charges mentioned in the article include breaking into automobiles, possession of narcotics paraphernalia, possession of marijuana, carrying a prohibited knife, and offences involving juveniles. The focus of the report is not on the concert performance itself, but on crowd management and law enforcement activity associated with the event. T. Rex is referenced as the attraction whose appearance brought the large gathering to the Bayfront Center. CONTEXT AND NOTES The clipping provides a local news perspective on the organisation and security surrounding a T. Rex concert during the band's 1972 American tour period. Rather than discussing the music or performance, the article concentrates on events occurring outside and around the venue. The report illustrates the level of public interest generated by T. Rex at the time, with enough people gathering at the Bayfront Center to prompt promoters to take unusual measures to prevent disturbances. The story serves as a snapshot of the logistical and security challenges that could accompany major rock concerts during the early 1970s. FEATURE HIGHLIGHTS Event: T. Rex concert at the Bayfront Center in St. Petersburg, Florida Era: 1972 T. Rex American tour period Tone: Straightforward local news reporting Photography: No photograph shown in the clipping WHAT THE CLIPPING SHOWS • Report that approximately 200 people were admitted free to avoid possible gate-crashing problems • Reference to T. Rex as Marc Bolan's English rock group performing at the Bayfront Center • Details of arrests and increased police security surrounding the concert venue 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.

This NME feature examines T. Rex's growing impact in the United States during the band's 1972 tour. Written by Mitch Cohen from New York, the article looks at audience reactions, the group's expanding popularity and the efforts being made to establish T. Rex as a major force in the American music market. Publication: New Musical Express (NME)Date: September 23, 1972Country: United Kingdom The article, headlined "T. Rex Is America", is presented as a report from New York by Mitch Cohen. The feature focuses on T. Rex's activities in the United States and explores how the band was being received during a crucial stage of its American breakthrough. The report discusses the group's performances, growing fan support and the attention being generated around Marc Bolan and T. Rex. A large live performance photograph dominates the page, showing Marc Bolan performing on stage with a fellow band member visible in the background. The image reinforces the band's powerful stage presence and highlights the visual style that had become closely associated with T. Rex during the glam rock era. The article appears as a substantial feature covering the band's progress in America and reflects the excitement surrounding their attempts to translate British success into a lasting presence in the United States. The combination of detailed reporting and performance photography presents T. Rex as one of the most talked-about British rock acts of 1972. CONTEXT AND NOTES This clipping captures T. Rex during a period when the group was actively pursuing greater recognition in the American market. By September 1972, the band had already become one of Britain's biggest attractions, and coverage such as this reflects the importance placed on expanding that success overseas. The feature highlights the interest that American audiences and music journalists had in Marc Bolan and demonstrates the significance of the band's U.S. appearances during the height of the glam rock movement. The prominent placement of the article and photograph indicates NME's ongoing attention to T. Rex's international progress. FEATURE HIGHLIGHTS Event: T. Rex's growing presence in the American music market Era: 1972 T. Rex American tour era Tone: Observational, enthusiastic and reportorial Photography: Large live performance photograph of Marc Bolan on stage with another band member visible in the background WHAT THE CLIPPING SHOWS • Feature titled "T. Rex Is America" by Mitch Cohen from New York • Coverage of T. Rex's activities and reception in the United States • Large concert photograph highlighting the band's live performance image 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.

This feature profiles Marc Bolan during T. Rex's first major American breakthrough, presenting him as both a rock star and a dreamer whose imagination shaped the band's distinctive musical identity. Through extensive quotations, Bolan discusses creativity, performance, fame and the childlike outlook that informed his songwriting. Publication: Waukesha Freeman Date: September 29, 1972 Country: United States Written by David Sterritt of CSM News Service, the article introduces Marc Bolan as the driving force behind T. Rex and contrasts his delicate appearance with the energy and excitement generated by the band's music. The feature describes the fascination audiences have with Bolan's image and explores how that image connects with his songs and performances. During the interview, Bolan discusses the origins of his lyrical ideas and explains that the imagery found in songs such as "Dragon's Ear", "Ballrooms Of Mars", "First Heart Mighty Dawn Dart", "The Wizard" and "Summer Deep" comes from imagination rather than personal experience. He admits that he does not always know the precise distinction between reality and imagination, suggesting that creativity is often more important than explanation. The article also examines Bolan's relationship with his audience. He describes himself as a "warrior" and explains that performing is increasingly about communication. When discussing personal philosophy, Bolan talks about childhood, memory and imagination. He reflects on experiences from his youth and explains why ideas of wonder remain important to him. The interview also covers The Slider, his latest album at the time, and concludes that the key to understanding his work is not mystery but playfulness. Rather than presenting hidden meanings, Bolan suggests that his songs are expressions of imagination and delight. If a song fails to connect with listeners, he says he wants to understand why. The piece presents Bolan as an artist searching for ways to reach people through music while maintaining the mystery and fantasy that define his work CONTEXT AND NOTES Published during T. Rex's American touring period, the article provides one of the most detailed contemporary portraits of Marc Bolan's personality. Rather than concentrating on chart positions or celebrity, the feature focuses on his creative philosophy and the ideas that inspired his lyrics. The interview is notable because it presents Bolan explaining his work in his own words. Throughout the article he rejects straightforward interpretation, preferring imagination, spontaneity and emotional response. The result is a revealing snapshot of how Bolan viewed himself and his music during the height of the glam rock era. FEATURE HIGHLIGHTS Event: Marc Bolan discusses imagination, songwriting and communication through music Era: 1972 The Slider era Tone: Reflective and conversational Photography: Portrait photograph of Marc Bolan accompanying the interview WHAT THE CLIPPING SHOWS • Marc Bolan discussing the imaginative origins of his songs • Reflections on fame, performance and audience communication • Discussion of The Slider and the childlike outlook behind his music 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.

This newspaper report covers events surrounding a T. Rex concert at the Bayfront Center in St. Petersburg, Florida. According to the article, concert promoters allowed approximately 200 people free admission in an effort to prevent potential disruption from individuals gathered outside the venue, while police activity during the evening resulted in several arrests. Publication: St. Petersburg Times Date: September 21, 1972 Country: United States The article reports on security and crowd-control measures taken during a T. Rex concert at the Bayfront Center. Promoters of the event, featuring Marc Bolan's English rock group, reportedly faced concerns about a large number of potential "gate crashers" congregating around the venue after the concert had begun. To avoid possible trouble, the organisers decided to waive the $5.50 admission charge for approximately 200 individuals who were gathered in the lobby area. The report states that increased police security was deployed around the hall during the evening. Plainclothes officers and private police personnel were present at the event, and several arrests were made before the night concluded. The newspaper details a number of charges brought against individuals, including allegations relating to vehicle break-ins, possession of narcotics paraphernalia, possession of marijuana and the carrying of a prohibited knife. In addition to those arrested at the venue, the article notes that three people under the age of seventeen were taken to the Juvenile Detention Center. The story presents the concert as an event that required significant law-enforcement attention due to incidents occurring both inside and around the Bayfront Center during the performance. CONTEXT AND NOTES Rather than reviewing the concert itself, this clipping focuses entirely on crowd management and security issues connected with the appearance of T. Rex in Florida. The article provides a snapshot of the logistical challenges that could accompany major rock concerts during the early 1970s, particularly when popular touring acts attracted large groups of young fans. The report demonstrates the level of public interest surrounding T. Rex during the group's American tour period. The newspaper's emphasis is placed on venue operations, police activity and public safety rather than the music, making the clipping a useful record of the wider circumstances surrounding a Marc Bolan concert appearance in the United States. FEATURE HIGHLIGHTS Event: Crowd-control measures and police activity during a T. Rex concert at Bayfront Center Era: 1972 American touring period Tone: Factual and news-oriented Photography: No concert photography visible within the clipping provided WHAT THE CLIPPING SHOWS • Report that approximately 200 people were admitted free to the concert to avoid possible disturbances • Reference to T. Rex as Marc Bolan's English rock group performing at the Bayfront Center • Details of arrests and police activity associated with the event All newspaper 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.

This edition of Melody Maker showcases the week's leading singles chart, with T. Rex holding the number one position through "Children Of The Revolution". Accompanied by a photograph of Marc Bolan and a short editorial note, the page highlights the continuing dominance of T. Rex during one of the group's most successful periods. Publication: Melody Maker Date: September 30, 1972 Country: United Kingdom THE STORY The Melody Maker Pop Singles chart places T. Rex at number one with "Children Of The Revolution", maintaining the top position from the previous week. The chart confirms the record's continued popularity and reinforces Marc Bolan's status as one of the most successful artists in Britain. An accompanying editorial note beside a photograph of Marc Bolan comments on the ongoing success of the single and the remarkable chart performance achieved by T. Rex. The article highlights the strength of "Children Of The Revolution" and notes the significant impact Bolan continued to have on the British music scene. Below T. Rex are several major chart rivals including Slade with "Mama Weer All Crazee Now", David Cassidy with "How Can I Be Sure", and Faron Young with "It's Four In The Morning". Other chart entries include records by Roxy Music, Rod Stewart, Donny Osmond, Sweet, Michael Jackson and Lynsey De Paul, illustrating the variety of artists competing for chart positions. The page also contains publisher and composer information together with an America's Top 10 section. However, the primary focus remains the continued chart success of T. Rex and Marc Bolan's ability to remain ahead of an increasingly competitive field. CONTEXT AND NOTES By September 1972, T. Rex had become one of Britain's defining pop acts. The chart success of "Children Of The Revolution" followed a remarkable run of hit singles and confirmed that Bolan remained at the forefront of the glam rock movement. The inclusion of a photograph and editorial commentary alongside the chart listing demonstrates the significance attached to Bolan's success. Rather than appearing simply as another chart entry, T. Rex was presented as the act setting the pace for the rest of the field. FEATURE HIGHLIGHTS Event: T. Rex remains number one in the Melody Maker singles chart Era: 1972 glam rock era Tone: Informative and chart-focused Photography: Portrait photograph of Marc Bolan accompanying the chart feature WHAT THE CLIPPING SHOWS • T. Rex at number one with "Children Of The Revolution" • Photograph and editorial note relating to Marc Bolan • Complete Melody Maker Pop Singles chart • Contemporary chart competition from Slade, David Cassidy, Roxy Music and Rod Stewart 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.

This Disc feature examines Marc Bolan's views on the growing media rivalry between himself and David Bowie. Through interview comments and analysis, the article explores Bolan's reaction to comparisons with Bowie while reflecting on the changing landscape of British glam rock during 1972. Publication: Disc Date: September 30, 1972 Country: United Kingdom Written by Barbara Drillisma, the feature focuses on Marc Bolan at a moment when the British music press was increasingly presenting him and David Bowie as rivals. The article examines the so-called "Bowie war" and asks Bolan to respond to the comparisons being drawn between the two performers. Bolan dismisses the idea of a personal conflict and instead discusses the differences between their artistic approaches. The article notes that both artists had achieved major recognition during 1972, with each developing a distinctive image and attracting devoted followings. Rather than encouraging competition, Bolan appears more interested in explaining his own creative direction and the individuality of T. Rex. The feature also touches on Bolan's continuing popularity and the pressures generated by fame. As one of Britain's biggest stars, he reflects on success, public expectations and the attention devoted to glam rock performers. Throughout the interview he remains confident, humorous and determined to be judged on his own achievements rather than through constant comparisons with others. Dominating the page is a large live performance photograph of Marc Bolan playing guitar on stage. The image reinforces the article's focus on him as a performer and captures the visual style that had become synonymous with T. Rex during the height of Bolanmania. CONTEXT AND NOTES Published during one of the most significant years in British glam rock, the article captures the intense media interest surrounding both Marc Bolan and David Bowie. By late 1972, journalists were frequently framing stories around competition between major performers, particularly those operating within similar musical territory. The feature is notable because it gives Bolan the opportunity to address those comparisons directly. Rather than presenting a feud, the article reveals his desire to retain his own identity and artistic independence while continuing to lead T. Rex through one of its most successful periods. FEATURE HIGHLIGHTS Event: Marc Bolan discusses media comparisons with David Bowie Era: 1972 glam rock era Tone: Reflective and interview-focused Photography: Large live performance photograph of Marc Bolan playing guitar on stage WHAT THE CLIPPING SHOWS • Feature examining the supposed rivalry between Marc Bolan and David Bowie • Marc Bolan discussing fame, success and artistic identity • Large concert photograph of Bolan performing live 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.

This concert report follows Marc Bolan and T. Rex during the Canadian leg of their 1972 North American tour. Focusing on a performance in Toronto, the article documents the band's efforts to win over a largely unfamiliar audience and records the enthusiastic response that eventually greeted one of glam rock's biggest stars. Publication: Unknown Publication Date: September 30, 1972 Country: Canada Written by Marco Livingstone, the article examines T. Rex's appearance in Toronto during the group's six-week North American tour. While Marc Bolan had already achieved enormous success in Britain, the report notes that Canada and T. Rex were still becoming acquainted, making the performance an important test of the band's appeal outside the United Kingdom. The concert took place at Toronto's Massey Hall, where attendance reportedly fell short of capacity. Nevertheless, T. Rex succeeded in generating considerable excitement among those present. Bolan took the stage wearing a striking metallic green jumpsuit and immediately launched into a set that included "Jeepster", "Baby Strange" and "Telegram Sam". Although the audience initially appeared reserved, the group continued to build momentum. A section featuring "Spaceball Ricochet", "Cosmic Dancer" and "Honey Don't" briefly reduced the pace before Bolan returned to more familiar material. The article recalls that "Hot Love" finally persuaded the audience to respond enthusiastically, with cheers and recognition becoming increasingly evident throughout the hall. The excitement continued through "Chariot Choogle" and a lengthy rendition of "Bang A Gong (Get It On)", described as the band's biggest hit to date in Canada. Bolan encouraged audience participation by throwing tambourines into the crowd and playing up his stage image to maximum effect. By the conclusion of the set, much of the audience had risen to its feet, applauding and dancing in the aisles. The report concludes that although it had taken effort to win over the crowd, T. Rex ultimately succeeded, turning a cautious audience into an enthusiastic one through persistence, energy and performance. CONTEXT AND NOTES Published during T. Rex's 1972 North American tour, the article captures the group during their attempts to establish a broader international audience. While Bolanmania was already firmly established in Britain, success overseas was not guaranteed, making each concert an important opportunity to build support. The report is particularly notable because it documents the contrast between the audience's initially cautious reaction and the enthusiasm that developed as the concert progressed. It provides a vivid account of T. Rex's live appeal and Marc Bolan's ability to engage an audience even when familiarity with the band was still developing. FEATURE HIGHLIGHTS Event: T. Rex concert at Massey Hall, Toronto Era: 1972 North American tour era Tone: Enthusiastic and performance-focused Photography: Large live performance photograph of Marc Bolan on stage with guitar WHAT THE CLIPPING SHOWS • Report on T. Rex's Toronto concert during the 1972 North American tour • Performances of "Jeepster", "Baby Strange", "Telegram Sam", "Hot Love", "Chariot Choogle" and "Bang A Gong (Get It On)" • Description of Marc Bolan's stage presence and audience interaction • Account of the crowd eventually dancing in the aisles and responding enthusiastically 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.

The Best Of T. Rex is a compilation album issued by Karussell in 1972 as part of the label's Gold-Serie collection. The album focuses on material from the Tyrannosaurus Rex period and compiles a selection of Marc Bolan compositions recorded prior to the commercial breakthrough of T. Rex's glam-rock era. Released in Scandinavia, the compilation presents recordings originally produced by Cube Records and showcases the group's psychedelic folk and early acoustic sound. The tracks included on the compilation were composed by Marc Bolan and originated from earlier Tyrannosaurus Rex recordings. The compilation was issued under licence from Cube Records. Lacquers for the Scandinavian pressing were cut at Rosenborg Studio. The album was pressed by Musikkindustri A/S. Photography reproduced on the release was credited to C. Hudalla and M. Hudalla of Berlin. STYLE & THEMES The compilation highlights the acoustic, mystical and psychedelic characteristics of the early Tyrannosaurus Rex catalogue. The recordings blend Bolan's imaginative lyrics with acoustic guitar, poetic imagery and fantasy-inspired themes. Unlike later T. Rex compilations focused on chart singles, this collection concentrates on the band's pre-glam period and documents the foundations of Marc Bolan's songwriting style. TRACK-BY-TRACK NOTES • Debora — One of the best-known compositions from the early Tyrannosaurus Rex period. • Child Star — Acoustic folk-rock recording. • Cat Black — Drawn from the group's psychedelic repertoire. • Conesuela — Characteristic Bolan fantasy composition. • Strange Orchestras — One of the band's most celebrated early recordings. • Find A Little Wood — Short acoustic piece. • Once Upon The Seas Of Abyssinia — Fantasy-inspired recording. • One Inch Rock — Early Tyrannosaurus Rex favourite. • Salamanda Palaganda — Representative of Bolan's surreal lyrical style. • Lofty Skies — Psychedelic folk recording. • Stacey Grove — Acoustic-era catalogue selection. • King Of The Rumbling Spires — Fantasy-themed composition. • Blessed Wild Apple Girl — Characteristic early Bolan recording. • Elemental Child — Extended closing track and one of the compilation's longest recordings. RELEASE HISTORY Released in Scandinavia in 1972 by Karussell. Issued as part of the Gold-Serie budget compilation line. A related cassette edition was later released by Karussell in Germany under catalogue number 3147 030. PERSONNEL Marc Bolan — composer C. Hudalla — photography M. Hudalla — photography PRODUCTION Cube Records Production Lacquer Cut By F Photography by C. Hudalla Photography by M. Hudalla Label: Karussell Series: Gold-Serie Catalogue Number: 2345 021 / 2345.021 Recorded At: Original Cube Records NOTES • Released in 1972. • Scandinavian compilation album issued by Karussell. • Part of the Karussell Gold-Serie collection. • Catalogue numbers 2345 021 and 2345.021. • Issued in stereo format. • Manufactured from Cube Records source material. • Focuses entirely on recordings from the Tyrannosaurus Rex era. • Compiles early Marc Bolan compositions recorded before the major commercial success of T. Rex. • Represents the acoustic and psychedelic side of the group's catalogue. • Includes several key early recordings including Debora, One Inch Rock, Strange Orchestras and Elemental Child. • All songs credited to Marc Bolan. RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format T. Rex The Best Of T. Rex Karussell Scandinavia 2345 021 / 2345.021 1972 LP, Compilation, Stereo T. Rex The Best Of T.Rex Karussell Germany 3147 030 1972 Cassette, Compilation TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting LP 2345 021 / 2345.021 SIDE ONE: • Debora • Child Star • Cat Black • Conesuela • Strange Orchestras • Find A Little Wood • Once Upon The Seas Of Abyssinia SIDE TWO: • One Inch Rock • Salamanda Palaganda • Lofty Skies • Stacey Grove • King Of The Rumbling Spires • Blessed Wild Apple Girl • Elemental Child Cassette 3147 030 TRACK LISTING: • Debora • Child Star • Cat Black • Conesuela • Strange Orchestras • Find A Little Wood • Once Upon The Seas Of Abyssinia • One Inch Rock • Salamanda Palaganda • Lofty Skies • Stacey Grove • King Of The Rumbling Spires • Blessed Wild Apple Girl • Elemental Child SOURCES ES Discogs, 45 Worlds, Wikipedia, BBC Official Charts, Demon Records, Official Marc Bolan archives All album artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

Publication: Various / Unknown Date: Unknown Country: United Kingdom PHOTOGRAPH A two-page scrapbook collage containing several collected colour and black-and-white photographs. The page combines close-up portrait photographs, live guitar images and a photograph showing two people together. A small cutting carries the handwritten caption “Marc in France.” One of the larger cuttings on the right carries the printed headline: “The cats who taught him to boogie” Two typed extracts containing verse are also pasted across the bottom of the pages, one credited “M. Bolan.” The scrapbook arrangement mixes photographs of different sizes and sources into a single handmade two-page display. 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.

A three-page feature examines the extraordinary level of attention surrounding Marc Bolan and T. Rex at the height of their popularity. The article focuses on the pressures of fame, the intense reaction of fans, and the dramatic scenes that accompanied the group's public appearances. Publication: Weekend Date: October 4, 1972 Country: UK The feature opens with vivid scenes of excitement surrounding a public appearance by Marc Bolan. Large crowds gather wherever the singer is expected to appear, with many fans waiting for hours in the hope of catching a glimpse of him. The article describes how routine activities become major events as admirers follow his movements and attempt to get as close as possible. Attention is given to the way Bolan's popularity has transformed everyday life. Public appearances require careful organisation and security measures, while fans regularly surround vehicles and venues associated with the star. The article presents these situations as examples of the intense devotion that had developed around T. Rex during the peak years of the glam rock phenomenon. Several photographs accompany the feature, contrasting earlier images of Bolan with more recent publicity shots. The article reflects on how his appearance and public image changed over the years while maintaining a fascination that continued to attract large numbers of followers. The piece portrays a performer who has become a national celebrity while also highlighting the personal and professional pressures created by that level of fame. CONTEXT AND NOTES Published during the height of T. Rex's commercial success, this feature captures the scale of public interest surrounding Marc Bolan in 1972. Rather than concentrating solely on music, the article focuses on celebrity culture and the reality of living under constant public attention. The feature presents Bolan as both a major pop idol and a figure struggling with the demands of widespread fame. By combining contemporary photographs with earlier images, the article illustrates the contrast between his beginnings and his position as one of Britain's most recognisable music stars. The emphasis throughout is on fan devotion, public fascination, and the extraordinary circumstances created by the success of T. Rex. FEATURE HIGHLIGHTS Event: Three-page feature on Marc Bolan and the phenomenon of "T. Rextasy"Era: 1972 glam rock peak periodTone: Excited, dramatic and observationalPhotography: Contemporary photographs of Marc Bolan, fan scenes, and images comparing earlier and later stages of his career WHAT THE CLIPPING SHOWS • Large "T. REXTASY!" headline dominating the opening page• Photographs of Marc Bolan alongside images from earlier in his career• Coverage of fan reactions, public appearances and the pressures of pop stardom 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.

As Bolanmania continued to sweep Britain, the Western Daily Press reported that Marc Bolan had purchased a substantial country property in Herefordshire. The article captures the period when T. Rex's success had elevated Bolan from underground performer to one of Britain's most recognisable pop stars. Publication: Western Daily Press and Times and Mirror Publication Date: October 14, 1972 Country: United Kingdom Event Date: October 1972 Written by Neill Graham, this news report reveals that Marc Bolan had acquired a £67,000 country retreat near Ross‑on‑Wye in Herefordshire. The property, described as a ten‑bedroom former rectory in Weston‑under‑Penyard, had been sold at auction on behalf of the Bishop of Hereford. According to the report, local auctioneers were initially unaware that Bolan was the purchaser, although they suspected the successful bidder was acting on behalf of a well‑known individual. The article notes the extraordinary popularity T. Rex enjoyed at the time, stating that fan reaction to the group was approaching Beatlemania levels. With Marc Bolan touring America as the story appeared, the purchase reflected the financial rewards generated by T. Rex's remarkable commercial success. Local residents interviewed by the newspaper reacted positively to the prospect of Bolan moving into the area. Several expressed hopes that he would become an active member of the village community and a good neighbour. The report also describes the property itself as a secluded rural residence situated on several acres of land and located a short distance from the Ross‑Gloucester Road. CONTEXT AND NOTES Published during the height of Bolanmania and while T. Rex were touring the United States, the article provides a fascinating glimpse into Marc Bolan's life away from the stage. By October 1972, T. Rex had become one of Britain's most successful acts, with a succession of hit singles and albums turning Bolan into one of the country's biggest pop stars. Newspaper stories concerning his lifestyle, homes and personal life were increasingly common as public interest continued to grow. The purchase of the Herefordshire property illustrates how dramatically Bolan's circumstances had c FEATURE HIGHLIGHTS Event: Purchase of Weston‑under‑Penyard country property Era: 1972 – The Slider era Tone: Local news report Photography: None WHAT THE CLIPPING SHOWS Headline: “£67,000 Hideaway For Pop Idol Bolan” Report by Neill Graham Purchase of a former rectory near Ross‑on‑Wye Property located in Weston‑under‑Penyard, Herefordshire Contemporary references to Bolanmania Local reaction to Marc Bolan becoming a village resident Marc Bolan reported as touring America at the time of publication All newspaper 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.

This German singles review highlights T. Rex's latest release "Children Of The Revolution", presenting the record as another strong example of Marc Bolan's ability to create infectious rock music. Accompanied by a live photograph of Bolan on stage, the feature predicts continued success for the group in Germany. Publication: Bravo Disco 41 Date: October 5, 1972 Country: Germany Appearing in the "Singles – Frisch Aus Der Presse" section, the review focuses on T. Rex's new single "Children Of The Revolution", released in Germany on Ariola 12 325. The writer notes that Marc Bolan and Mickey Finn are enjoying increasing success with the release and describes the record as a strong indication of where the band is heading musically. The review suggests that if future material maintains the same standard, audiences can look forward to an impressive musical future from T. Rex. A prominent concert photograph of Marc Bolan accompanies the review. The image captures him performing live with guitar, reinforcing the group's energetic stage reputation during the height of Bolanmania. The column also mentions forthcoming German appearances by David Bowie, illustrating the growing influence of British glam rock artists across Europe during late 1972. However, the focus remains firmly on T. Rex and the continuing popularity of "Children Of The Revolution." CONTEXT AND NOTES Published while "Children Of The Revolution" was becoming one of T. Rex's major European hits, the review reflects the enthusiasm German music magazines had for Marc Bolan and the glam rock movement. The feature is particularly notable because it demonstrates how strongly T. Rex's success was being followed outside the United Kingdom. By late 1972, Bolan had become one of the most recognisable figures in youth music culture throughout Europe. FEATURE HIGHLIGHTS Event: German review of "Children Of The Revolution" Era: 1972 Bolanmania era Tone: Positive and enthusiastic Photography: Live performance photograph of Marc Bolan with guitar WHAT THE CLIPPING SHOWS • Review of "Children Of The Revolution" • Praise for T. Rex's continuing success • Live photograph of Marc Bolan on stage • Commentary on the group's future prospects in Europe 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.

Appearing ahead of a major Southern California concert appearance, this Los Angeles Herald Examiner feature introduces Marc Bolan to American readers, tracing his journey from London street performer to one of Europe's biggest rock stars. Published during T. Rex's first serious push into the United States, the article captures Bolan at the height of Bolanmania. Publication: Los Angeles Herald Examiner Publication Date: October 14, 1972 Country: USA Event Date: October 14, 1972 Published under the headline “Bolan: From Street Singer To Star”, the article was written by Frank H. Lieberman and appeared on the day T. Rex were scheduled to perform at the Santa Monica Civic Auditorium. The feature introduces American audiences to Marc Bolan's remarkable rise from performing on London's streets during the 1960s to becoming one of Britain's most successful recording artists. Bolan reflects on his early years, recalling life before fame and explaining how determination, opportunity and a growing local following helped him establish a career in music. Throughout the article, Bolan discusses the changing nature of his success and the impact it has had on his life. Despite his enormous popularity in Britain, he presents himself as someone more interested in creativity than celebrity, emphasising songwriting and artistic growth over commercial considerations. The interview explores his writing process, his fascination with imagination and fantasy, and his desire to continue evolving as an artist. Bolan explains that many of his songs begin with images or ideas rather than structured concepts, allowing his creativity to develop naturally. The article also touches on the pressures of fame and the intense public attention surrounding T. Rex, while revealing a thoughtful musician determined to continue moving forward rather than repeating past successes. FEATURE HIGHLIGHTS Event: Santa Monica Civic Auditorium appearance Era: 1972 – The Slider era Tone: Reflective, biographical and appreciative Photography: Large black‑and‑white portrait photograph of Marc Bolan accompanying the interview WHAT THE CLIPPING SHOWS Headline: “Bolan: From Street Singer To Star” Feature by Frank H. Lieberman Marc Bolan discussing his rise to fame Reflections on songwriting and creativity Discussion of T. Rex's growing American profile Coverage tied to the Santa Monica Civic Auditorium appearance Large portrait photograph of Marc Bolan Contemporary American newspaper introduction to Bolanmania CONTEXT AND NOTES This feature appeared during T. Rex's October 1972 American tour, a period when the band were attempting to establish a lasting foothold in the United States. The article was published on the same day as T. Rex's appearance at the Santa Monica Civic Auditorium, making it one of the earliest substantial American newspaper profiles designed to introduce Marc Bolan to a wider U.S. audience. Particularly interesting is Bolan's discussion of songwriting and artistic independence. While many American reports focused on his appearance and the phenomenon of Bolanmania, this feature instead presents him as a serious songwriter and creative thinker. The article offers a valuable snapshot of how Bolan wished to be perceived during his first major American breakthrough period. All newspaper 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.

This collectible item features a Marc Bolan Supershow cover promoting a "Giant Poster!" special. The cover displays a close-up image of Marc Bolan with glitter beneath his eyes and was originally sold for 15p. Accompanying the cover is a large fold-out poster that has been personally signed and dedicated by Bolan. Publication: Giant Poster / Marc Bolan Supershow Date: Unknown Country: United Kingdom The memorabilia consists of two related items. The first is a large fold-out poster featuring a full-length promotional photograph of Marc Bolan. The poster includes a handwritten dedication and signature reading "Love Marc T. Rex x" and was clearly displayed at some point, with visible pinholes, folds, creases and tears evident throughout. Also included is the Marc Bolan Supershow cover, printed in vivid purple and yellow colours and headed with the bold wording "Giant Poster!". The cover features a close-up portrait of Bolan and prominently advertises the giant fold-out poster contained within. Priced at 15p, the publication was produced as a fan-focused item celebrating one of glam rock's biggest stars. Together, the signed poster and accompanying cover create an attractive surviving example of period T. Rex memorabilia, combining promotional publishing and autograph collecting in a single display piece. CONTEXT AND NOTES This item represents the type of fan merchandise produced during Marc Bolan's peak popularity. The surviving signed poster adds significant collector interest, while the accompanying Marc Bolan Supershow cover helps preserve the original presentation of the giant poster feature. Both items show age-related wear consistent with their vintage nature and original use. FEATURE HIGHLIGHTS Event: Signed Marc Bolan memorabilia item featuring giant poster and accompanying cover Era: Glam rock period collectible Tone: Promotional and fan-focused Photography: Full-length portrait poster and close-up cover portrait of Marc Bolan WHAT THE CLIPPING SHOWS • Signed full-length Marc Bolan fold-out poster • Marc Bolan Supershow "Giant Poster!" cover priced at 15p • Handwritten dedication signed "Marc T. Rex x" 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.