Favourite footnotes: 10

This article was amended on 12 January 2016: in the picture caption, Matthew Collings was initially misidentified as William Boyd; the painting by Stephen Finer was wrongly attributed by the provider to David Bowie

- The Guardian (but of course), in a William Boyd article about an artist he and Bowie had made up

Authorial remembrance

When I was writing my Bowie book, as I was writing the final chapters, I went to‎ visit my father in Cheltenham (this turned out to be the last time I saw him before he died). He asked me what I was working on, and I told him that was writing a book about Bowie’s extraordinary performance on TOTP, and how he influenced an entire generation of music and fashion obsessives. When he asked me why I reeled off the various elements of his performance that had been so challenging, so inspiring, and so transgressive. I described the way in which Bowie had toyed sexually with his guitarist Mick Ronson, the way in which he had dressed like a pansexual spaceman, the way in which he looked, the way in which he sashayed across the screen like a 1920s film star, and, saliently, the way in which his flame-red hair, his dayglo jumpsuit and the general glam colour fest had almost colonised the programme. I explained that this was the moment when the 1970s finally outgrew the 1960s, when the monochrome world of boring, boring south-east England had exploded in a fiesta of colour.

My father looked at the floor, took a moment, and then said, very quietly: “You know we had a black and white television, don’t you?”

- Dylan Jones, in The Independent