"People still get into knots about the ‘mystery’ of Bowie’s serial life-swapping in the 1970s, but he’d been pulling the same trick for years on the perimeter of Tin Pan Alley before he applied it to rock. A bit of sci-fi, a bit of up-in-the-air sexuality, a bit of scarves-in-the-air sing-along, a bit of an ‘Oh no he isn’t!’ panto vibe, and a lot of power chords. Surely one of the main reasons we project other, more fancy motivations onto the blank screen of Bowie’s waiting face is precisely because of its breathtaking and deeply odd beauty. If he’d looked more like John Bonham we might not be having this conversation."If you only read one thing this week, make it Wham Bang, Teatime, a fabulous article by Ian Penman in the London Review of Books.