Glam principles become ascendant in pop culture during periods when politics moves to the right

Musically, too, glam often seems to hark backward and step forward at the same time. It can't be coincidental that glam principles become ascendant in pop culture during periods when politics moves to the right - the early seventies of Nixon and Heath, the eighties of Reagan and Thatcher, and, most recently, during the first decade of the twenty-first century.

S. Reynolds, Shock and awe: Glam rock and its legacy (2016), 10-11

This is a problematic book, and this a problematic statement (I do not believe we can call the early 21st century glam-influenced in any meaningful degree), but I do like it.

Had a voice like John Lennon screaming down the chimney of the QE2

They became the most beloved group in the country. Dickensian singer Noddy Holder had a voice like John Lennon screaming down the chimney of the QE2; rosy-cheeked bassist Jim Lea looked as if he lived with his mum and bred homing pigeons; Dave Hill on guitar had the most rabbity face in the world; while Don Powell chewed gum and stared into space - even after he'd been in a horrific car crash and lost most of his memory, he looked exactly the same. ... [they] thought, sod this, let's get pissed and have a really, really good time.

B. Stanley, Yeah yeah yeah: the story of modern pop (2013), 342

Short on custard pies, high on Genet references

The Bowie/Roxy glam axis - short on custard pies, high on Genet references - fitted the seventies rock critic's post-Sgt Pepper world more comfortably than Sweet or Mud, whose It's better than working album title didn't suggest much familiarity with Lorca.

B. Stanley, Yeah yeah yeah: the story of modern pop (2013), 341

Looked just like a coke fiend from an F. Scott Fitzgerald novella

[Bryan Ferry] looked just like a coke fiend from an F. Scott Fitzgerald novella, which was entirely the idea.
Eno's full name was Brian Peter George St John le Baptiste de la Salle Eno*

*This it should be noted, is a name he gave himself, not the one he was given at birth. His dad worked for the Post Office.

B. Stanley, Yeah yeah yeah: the story of modern pop (2013), 337 and footnote

Rewrote them with an abundance of exclamation marks

The hippie counterculture was politically committed to the present tense and largely mistrusted theatrics. ... Glam - garish, ultra-commercial and colourful as a Dulux paint chart - was its worst nightmare ... the likes of Mud, Wizzard, Suzi Quatro, Gary Glitter, Slade and Sweet picked up on certain lines of Bowie and Bolan's glam manifesto - the Bo Diddley riffs, the glittering artifice, the outrageous make-up, the tremendous sense of fun - and rewrote them with an abundance of exclamation marks.

B. Stanley, Yeah yeah yeah: the story of modern pop (2013), 335

With one crushing stomp of its platform soles

As Electric Warrior and Ziggy Stardust, Bolan and Bowie were far more effective Pied Pipers than Donovan, transporting their young listeners from immersion in a speculative, mythological past, and repositioning pop music in a future of plastic, glitter and tin ... With one crushing stomp of its platform soles, glam wiped out the market value of British rock's Arcadian dreams.

R. Young, Electric Eden: unearthing Britain's visionary music (2010), 474