Directly above the stage there are two studio spotlights. They give off a translucent blue light. You can clearly make out where the top of the set finishes. The rear of the set is made up of 4 large arched windows. It has the feel of an empty industrial warehouse or loft space. The brickwork is exposed and could be tiled.  It looks almost white in colour with what could be black render or grout in-between. A selection of antiquated signage is arbitrarily scattered around attached to the walls and columns. What looks to be a rusted steel girder intersects the two middle windows of the rear of the set.

 

On two of the four rear columns single illuminated up-lights are attached. Outside of the windows are abstracted shapes, lights and blurry colours, mostly light blues, purples and blacks. The individual panes of glass looked to be steamed up with condensation. On the far left of the stage above and behind the brass section is a circular wheel-like motif. It constitutes of a circle with an X in its centre reaching out to its circumference. Just below to its right you can clearly see a red and yellow rectangular sign. It looks like it could be an American style high school pennant with a cone shape, similar to an old-fashioned handheld loudspeaker, running across its width. You can make out the presence of text, but its illegible. To the left of the stage directly behind and adjacent to the overweight bassist is a long sign that says Blue Bird. It’s underlined and is written so that it reads top to bottom. It’s attached to a bricked or tiled column. There are two arched windows, identical to the rear of the set, running down this left side. Along the right side there is a single arched window and what could be a doorway. You can see John Belushi’s suit jacket draped over a black bar stall. The jacket obscures the seat top. Here I have to retract my original description of Joe Cocker removing his suit jacket, rolling it up and placing it on an amplifier. At this point you can clearly see it resting on the end of the aforementioned black grand piano.

 

He enters stage left. Two microphones are on their respective stands side by side on a carpet. He approaches the closest, gently touching it as he walks past. It rocks softly forward. He side steps over to the second and squeezes the neck of the stand with his right hand, as if he was questioning its stability. He is now stage right.

 

We begin with a static wide shot of Joe walking on stage. The camera traces his movements. Through a slight zoom it hovers over him in circular oscillations. It holds and zooms onto a close up of his face.

 

Joe is wearing an off-white two-piece suit. The jacket has oversized lapels and no buttons. Adorned down each sleeve are embroidered swirling floral patterns made from reflective metallic thread and appliquéd sequins.

 

Staring through and beyond the audience he tentatively orbits the microphone. His stare contributes to a stage presence. He has focus. He is constantly flexing and stretching his hands in different combinations. Random pinches between index, forefinger and thumb.

 

He motions back two or three steps, removes his suit jacket and tiptoes towards the backing band. After rolling it neatly into a ball, he rests it on an amplifier. He side shuffles, like a crab, towards the front of the carpet. He crosses one leg in front of the other, as he attempts to unravel, stumbles. He recovers and saunters back towards the microphone. His shoulders are shrugged so his neck is compressed into his upper torso. His hands are perpendicular to his waist. Palms face down. Fingers fluttering.

 

Seems I have got to have a chance here. Every night I have the strangest dream. I’m in a prison that I am cut up in. Left you on your own or so it seems.  I’ve got to leave before I start to scream. Would someone lock the door and turn the key. I’m feeling alright. I’m feeling good myself. Arrrhhh…I know you’re feeling alright. Say I am feeling good good myself. Alright. Arrrhhh… Good. Don’t get too lost, you know I say. Well every time I know that I felt that way. Said everything and now you know yesterday. I can’t get straight so I guess I’m here to stay. Till someone comes along and takes my place. A different man a different place. Feeling alright. Say, that I’m feeling good myself. I’m feeling alright, yeah. Yeah… I’m feeling good now. Arrrhhh… Feeling alright. Say you will help me. Don’t get it all wrong feeling.

 

The suit looks to be constructed from either cotton or a cotton/linen mix. I make this assumption based on the fact that a synthetic material such as polyester or nylon would be impractical for the hot studio conditions. The trousers are flared from the knee. There is no belt or braces keeping them up. They are tight around his waist and crotch, accentuating his genitals. He is wearing cherry red Cuban heeled shoes, most likely an ankle or cowboy boot. The flared trouser bottoms conceal the upper part of the shoe.

 

His upper body is compacted. Head arched left at a 45-degree angle. His neck is temporarily absent, subsumed into his body–all face and chest. He leans into every song lyric as he sings them. He’s a tall man and top heavy. His centre of gravity is located in his upper chest. Going some way towards explaining his apparent instability.

 

Singer 1 (the furthest away) is wearing a black knee length velvet dress. It has an oversized wide collar, which is turned up. She is wearing tan brown leather calf-high riding boots. She has matching diamond or diamante earrings.

 

He is consistently gurning. When he encounters a high or laboured note he squints his eyes so they close. His arms swing left to right. There is no pattern to the movement. It looks arbitrary and outside of his control. His hands flap upon his waistline, always close to his body. He doesn’t flail. I am taken to a drunken Charleston slowed down to minimal beats per minute.

 

He’s offered an opened can of beer. He nods, smiles and raises his left forearm–as in thank you, but no thank you. He lightly stumbles to the left of the stage, counterbalances and reconfigures his stance.

 

Beneath the suit jacket is a tight royal blue, most likely cotton, crew neck top. The word ‘Stuff’ is emblazoned upon its front. ‘Stuff’ is rendered in white italic script. Once the jacket is removed we are given a full view of a T-shirt. It has short sleeves cut to the mid-upper arm. The T-shirt is tucked into his trousers.

 

He crosses one leg infront of the other and stumbles. This repeated action could be a tick. The audience applauds. He makes an exaggerated side step to his right. He ignores an attempt to be embraced. His posture is hunched like a primate, arms hung low. For 2-3 seconds, he stares at the floor. Through a jolt he snaps out of his mesmerism, jerking upright with a wry smile. He claps once with both hands.

 

Singer 2 (in the middle) is wearing a black dress. It has a low-cut crew neckline. The low-cut neckline accentuates a large gold Aztec style necklace hanging resting on her bare chest. She has a large gold bangle on her left wrist.

 

To his right is a black man in his early 30’s. He’s holding a brass musical instrument, which is partially obscured by Joe Cocker’s shoulder.

 

To his right is a white man in his early 30’s sporting shoulder length brown hair, long sideburns and a bushy moustache. He’s holding a brass trombone.

 

It cuts to the side, where a trio of backing singers can be seen standing in a row. The camera is positioned stage right shooting stage left.

 

We return to a close up of Joe’s face. The camera cuts to the backing singers. At a tight angle, we look down them in a line. We cut back to Joe leaning away from the microphone. The camera mimics the lean.

 

John is wearing an off-white two-piece suit. The jacket has oversized lapels and no buttons. Adorned down each sleeve are embroidered swirling floral patterns made from reflective metallic thread and appliquéd sequins. The suit looks oversized. The jacket especially looks too big for him.

 

We return to the original wide shot. I will call this shot the ‘side by wide’ shot.

 

Singer 3 (the closest to us) is wearing an off-black, possibly dark brown, cropped suit jacket. The open collar of her blouse beneath masks the lapel. The blouse is brown, beige, yellow and black, possibly leopard print. The blouse gives off a satin sheen. She has large matching gold hoop earrings.

 

He grabs at the back of his neck pulling on a small tuft of curly hair at the base of the neckline. He strokes the same spot repeatedly. The frequency and intensity of the grabbing and stroking increase exponentially.

 

The suit looks to be constructed from either cotton or a cotton/linen mix. I make this assumption based on the fact that a synthetic material such as polyester or nylon would be impractical for the hot studio conditions. The trousers are flared from the knee. There is no belt or braces to keep them up. They are tight around his waist. He is wearing cherry red Cuban heeled shoes, most likely an ankle or cowboy boot. The flared trouser bottoms conceal the upper part of the shoe.

 

A gurn turns into grimace, finally into a scream. It lasts for 2-3 seconds. Almost maniacal bordering on unhinged.

 

To their right stands a black man between the age of 40 and 50 years old holding a light brown rhythm guitar. It could be a Fender Stratocaster. He’s wearing sunglasses with black frames and lenses. Directly between the two guitarists positioned approximately 3 metres in the distance is a black man in his mid-30’s holding a brass saxophone. Once again, he is positioned 2-3 feet higher on a raised portion of the stage.

 

The bassist wears a red, most likely cotton, crew neck short-sleeved T-shirt. The word ‘Stuff’ is emblazoned upon its front. ‘Stuff’ is rendered in white italic script. He is wearing loose cut blue stone washed denim jeans. On his head is a black leather flat cap.

 

Or should not be or be without. Even now I say that I want a ride. When I think of you I stop myself from crying. You just can’t waste my time, but what the bye. I’ve stopped believing all your lies. I’ve got way too much to do before I die. I’m feeling good myself. Arrrhhh… Too good myself. Ha ha haaa… Alright. Wooo… Arrrhhh…

 

John is now on stage. As he arrived during a close up of Joe you cannot tell for exactly how long he has been there, but through the small ripple of applause by members of the audience we’re offered an approximate idea–around 3-4 seconds.

 

Beneath the suit jacket is a tight black, most likely cotton, crew neck top. The word ‘Stuff’ is emblazoned upon its front. ‘Stuff’ is rendered in white italic script. Once the jacket is removed we are given a full view of a T-shirt. It has short sleeves cut to the mid-upper arm.  The T-shirt is tucked into his trousers. It clearly emphasises his protruding stomach.

 

Shooting stage left to stage right we cut to a close up of Joe’s face. We cut back to a close up of John’s face; gently the camera oscillates in a circular motion. We return back to the original side by wide shot of the both of them. It cuts to a side shot of John shooting stage right to stage left. Joe is in the background directly behind his right shoulder. We hold on this shot before zooming past John’s face onto a medium close up of Joe’s chest and face.

 

We return to a side by wide of the both of them. The camera hovers, follows John, hesitates, and rejoins him as he leaves the stage. It quickly cuts back to Joe. John returns to the carpet with an open can of beer held in his right hand. It zooms into him as he drinks from it. The camera re-centres back onto the both of them.

 

The saxophonist wears a red, most likely cotton, crew neck short-sleeved T-shirt. The word ‘Stuff’ is emblazoned upon its front. ‘Stuff’ is rendered in white italic script. He is wearing blue straight cut stone washed denim jeans.

 

From the floor, we look up at the brass section. Followed by a quick cut to a low angled shot skewed looking up at two drummers. The horizon line of the camera is approximately 30 degrees.

 

We cut to a medium close up of Joe shooting stage right to stage left onto a mirrored shot of John standing just behind Joe’s left shoulder. The camera positioned stage right to stage left leans back from JC onto a close up of his face. John is in the foreground. We cut to the opposite side of the stage. The camera pans and zooms out and around the front of Joe before pausing and cutting to the original side by wide shot of the both of them. It holds then cuts to a close up of John gurning quickly cutting onto a mirrored close up shot of Joe’s face. It cuts to a skewed medium shot of the both of them. It pans slowly left to right closing on a zoom of John’s face. We cut back to the original side by wide.  

 

To his right the end of what seems to be a black grand piano protrudes from behind the row of backing singers. Resting on its top is a small colour monitor playing back the footage I am watching. It’s the kind of monitor one would associate with surveillance and CCTV. You can just about make out the figure of Joe Cocker.

 

One can assume that it's a playback monitor, so that the band can keep track of the performance as its being recorded and broadcast. Left of the guitarist, by his feet, are two identical silver and black amplifiers. In front of the one furthest to the right is a black bar stall with a light brown, most likely wooden, seat.

 

The two drummers wear red, most likely cotton, crew neck short-sleeved T-shirts. They are both wearing blue stone washed denim jeans.

 

A close up of Joe screaming frenetically stroking the back of his neck is followed by the side by wide of the both of them. We cut to a tight close up, set to the side. From the floor, we look directly up at John.

 

We return to the side by wide and quickly cutting back to a side medium close-up of John shot stage right to stage left. It oscillates with John’s rocking movement. There is a slight zoom as he ventures forwards towards the microphone.

 

In front of him is a black man who is approximately 40 years old. He is mostly bald but around the sides and back of his head has a horseshoe of short curly black hair. He’s holds a tan yellow and black or possibly dark brown rhythm guitar. Due to its size and shape I would hazard a guess at it being manufactured by Gretsch. It reminds me of the one George Harrison use to play.

 

What did you just say right there. Arrrhhh… You feeling. Go on feel it. Go on.

 

Turn the key. Feeling alright. Oh no. Oh no. Feeling alright. Oh no. Oh no. All your life. Before I die. Feeling alright. Oh no. Oh no. Feeling alright. Oh no. Oh no. Saves my place. A different place. Feeling alright. Oh no. Oh no. Oh no. Oh no. Let’s start feeling alright. Let’s start feeling alright. Let’s start feeling alright. Let’s start feeling alright. Let’s start feeling alright. Let’s start feeling alright. Let’s start feeling alright. Let’s start feeling alright. Let’s start feeling alright. Let’s start feeling alright. Let’s start feeling alright. Feeling alright.

 

We return to an angled side shot of the backing singers. The music finishes. We momentarily stay with the backing singers before cutting back to the side by wide. The camera inclines towards Joe as he stumbles to the right side of the carpet. It follows his stumble, first to the right and then to the left as he corrects himself. The camera pans over him left to right. As John approaches Joe, we slowly zoom onto the both of them.

 

The lead guitarist wears a red, most likely cotton, crew neck short-sleeved T-shirt. The word ‘Stuff’ is emblazoned upon its front. ‘Stuff’ is rendered in white italic script. He is wearing black trousers, possibly corduroy. He has black leather shoes.

 

The rhythm guitarist wears a red, most likely cotton, crew neck short-sleeved T-shirt. The word ‘Stuff’ is emblazoned upon its front. ‘Stuff’ is rendered in white italic script. He is wearing blue flared stonewashed denim jeans.

 

To his right is a black man who is sitting. I make the assumption that he’s sitting, as you’re only able to see his head and shoulders. He could be at a piano or drum kit. To his right is a white man of around 30 years old with long straight dark hair. He’s sitting at a drum kit. The kit is metallic blue in colour, faceted and glittery like the exterior paintwork of a fair ground ride.

 

Trumpeter 1 is wearing an indigo blue denim two-piece suit. The jacket has a standard lapel. The trousers are flared. Beneath he is wearing a red, most likely cotton, crew neck top. Keeping his trousers up is a wide brown leather belt with an oversized silver buckle.

 

Approximately 2 metres behind them is a black man of approximately 40 years old. He’s slightly over weight. He holds a black bass guitar and is wearing a hat and a pair of wrap around sunglasses. The glasses have black fames and lenses. We can presume the stage is raised in certain areas, as he is elevated approximately 2-3 feet above the women in front.

 

Trumpeter 2 is wearing a dark grey suit jacket. He is wearing off-white flared trousers. On his head is a dusty brown deconstructed trilby hat. 

 

To the right of the stage 3 black women are standing in a row. They look to be somewhere between 30 to 45 years of age. They all have black hair. The two closest to the front of the stage have similar shoulder length haircuts whilst the third has a much shorter trimmed tightly curled haircut.

 

Saxophonist 1 is wearing a beige and cream patterned collared shirt, possibly pinstriped or lightly checked. On top, he is wearing a dark grey 3-buttoned waistcoat. The waistcoat is fully buttoned.

 

Saxophonist 2 ­is wearing a light blue stonewashed denim jacket. Beneath is a white crew neck top, possibly patterned.

 

What looks to be a reproduction oriental style rug is centred on the floor. It features a blue, yellow or possibly beige symmetrical swirling organic pattern. Beneath the rug is a pink or very light red carpet, which covers all other visible floor area.

 

The video file is in a folder titled ‘JOE’. It’s the only file in that folder. This is all happening on the desktop of my MacBook Pro laptop (late 2008 model). Reading the screen, top right to bottom left, the icons and folders on the desktop are as follows:

 

Macintosh HD

MD. MyPassportUltra

MD. Macbook Pro

WD Unlocker

perec_readings.pdf

[WayneKoestenbaum]_The_Anatom…zz.org).epub

KBThesisnotes.docx

KAPPA

FANTA

NOODLE

MatDo.CURRENTWORKING.Thesis.docx

MEINTHEBACKATLCM.jpg

DEUCE DEUCE

BABY, WE’LL GET THROUGH…IMAGES JPG

MARGEANVIL

Dogbowls

Porno Room mates

doubles

OFFCUT ROSTRUM

EMBROID

SADDLE

Working Medallion.ebroid.circle.ai

Hitchhiking Asterix.em….blackfill.ai

Hitchiker.embroid.bb.ai

embroidery.tests

WALL DRAWING

 

An open window masks the remaining folders and icons. All that is visible of the window itself is the ‘search’ bar and file ‘size’ tag. Underneath the ‘size’ tag there is a single unit of 11,5 MB. From now on I will detail the extent to which each folder and icon is obscured by this open window:

 

(Each of these icons and folders are masked by approximately one quarter)

…sal/Thesis/…entation

x & Obelisk

JOE (Highlighted in blue)

Bags/Jackets

PICTION

BENE

T ARTIST (half covered)

GHT NOW (one third covered)

A ZDJELAR (one third covered)

 

The desktop wallpaper features a photograph of Robert Smithson’s land artwork ‘Broken Circle and Spiral Hill’. I took it during a land art tour of the north of Holland that I went on in the December of 2015. The image is heavily obscured by what is open and on the desktop. In the photograph, you can clearly make out two people as black silhouettes’ walking along a sand-banked jetty. One of the figures is wearing a hat, which could be a woollen beanie, and bright red gloves or mittens. I believe it to be my friend Raluca. Both of the figures reflections are cast on the rippled surface of the water in front of them. A third reflection is visible to their left but whatever figure is casting the reflection is completely masked by another open window on the desktop. Beyond the figures and reflections there is more water. The horizon line is beyond that, made up of another outcrop of sand and a tree lined bank. What could be the top of a tall building, possibly an apartment block or office is positioned way in the background. It’s the feature positioned furthest away from us. The weather in the photograph is overcast with speckles of broken sunlight peering through a blanket of cloud. The entire image has a beige, almost golden tint to it. I took the photograph on my mobile phone. As it’s been some time since it was taken I cannot remember whether a filter was applied to it or not. If I did use one it was more than likely a chromatic filter, which would go some way to explaining its atmospheric colouring.

 

Bottom centre of the desktop is another open window. It’s a word document. I know this as you can make out the end of the file name and its format type:

 

‘Thesis.docx’.

The window contains the remnants of text, which is as follows:

are attached. Two more are

of the windows are abstracted

The top half of what could be a lower-case r, p, l, a, and s

(Space)

The top half of what could be a lower-case a, n and d

(Space)

The top half of a what could be a lower-case b, l, a, c, k and s

(Space)

The half of a lower-case h and an e

 

At the front of the desktop a Firefox window is open displaying my Gmail email account inbox. By it’s ‘front’ I refer to this in the same way as bringing certain layers to the front or to the rear of a working canvas in a programme such as Adobe Photoshop or Illustrator. I know its Firefox because the customised search engine bar is decorated with a cork particle effect, similar to an old-fashioned cork pin board. Although I have many Internet browsers installed on my Macbook Pro I only have this customisation on Firefox. The window is only half visible. Half of it is dragged off the screen.

 

This window is responsible for covering parts of the previous word document window and the original window featuring the 11,5 MB file size. I apologise. Here I have to retract my previous Firefox statement. I’ve just realised that it’s actually Chrome not Firefox that I have a cork customisation effect applied. My Firefox search bar is customised with a colour photograph of the Hollywood actress Megan Fox. She’s lying on a bed looking at directly at the camera. There seems to be an emphasis on the tattoo of a feather, drawn on her forearm. I can’t remember which arm.

 

The Chrome window has these bookmarks written along its top edge, running left to right:

 

Wikipedia

HSBC

MBNA

Santander

Barclaycard

Hotmail

Other bookmarks

‘Mat’ is written in a small square box in its top right corner. Immediately below, running left to right, are these symbols:

A key

A star

A lower-case b in a circle

A shield

Three consecutive lines stacked one on top of each other

 

(Top right of the inbox is a small circular black and white image of my face. It’s tightly cropped. I’m wearing a pair of sunglasses made by Oliver Peoples. My older sister purchased them for me as a 30th birthday present. I remember putting £50 towards them and managed to negotiate a 10% discount with the shop owner. My sister paid the remaining £150, which was very generous of her. Even though the photograph is black and white you can clearly see that they have tortoise shell frames. An ex-girlfriend took the photograph on a trip to Venice in September 2013. I was standing on the outside of a vaporetto waterbus.)

 

A small white circle with a black graphic of a bell in its centre

Nine small white squares orientated in three rows of three to make a single larger square.

‘Mat’ – written

Below that are:

1-50 of 7,676

Two cursor arrows pointing left and right (the right one is a slightly darker grey)

A graphic of a cog inside a small rectangular box and a small arrow pointing downward (positioned to its right)

 

On the far-left side of the window is what I know to be the end of the inbox search bar. It’s white with a small light grey arrow pointing down. Adjoined to it’s left is a bright blue rectangle with a graphic of a white magnifying glass in its centre. Beneath is a long rectangular…

 

“Gonna make the mountains be my home”

 

(Being sung by Jerry Garcia and David Crosby. The line is being repeated over and over with the some accompanying impromptu noises and exhales, laid on top for added affect. I have it playing in the background at a very low volume, playing through YouTube. This is the first discernable lyric that has registered with me. I felt that was enough reason to warrant it’s mentioning.)        

                                              

…light grey box with the text ‘romotions’ written in it. This is of course the word ‘promotions’ minus the ‘p’. It’s the third of three sub-inboxes of your Gmail inbox. Google automatically sort your emails into three categories of ‘Primary’, ‘Social’ and ‘Promotions’ (I think that’s correct) Promotions is where the plethora of monthly, weekly and daily promotional mail outs land. It’s a place for the legitimation of spam. A smaller squarer box containing a plus symbol is to its right.

 

Below is where you will find a list of emails and their accompanying times and dates of delivery. They’re outlined below in top to bottom order:

 

Half a lower-case n, Tue, Mar 1, 2016 at 7:23 PM

Mat Do <matdo.82@gmail.com> 22:56. Half a lower-case e, and obviously its not flattened. Find it attached… Let. (A graphic of a paper clip on its side) 21:29

Half a lower-case o, orrow and Thursday to help the last ones with the NSE. (Sorry, orders I got…). 17:25

ion: there are still some slots left with Sara next week and the week after. 17:01

do, the password for your Autodesk account (MatDo.82) was recently changed. At any point. 16:19

rom here, we will mark your email address as verified. Hi Matdo Matdo, we

Half of a lower-case k, password has been reset using the email address matdo.82@gmail.com on Tuesday, 16:10

to speak to todays counter and his name is Abco: Explained him the situation. 09:53

wrote in my email yesterday this whole week (Monday to Friday) there will be a head. 09:30

Witte de With, Thursday 3 March – Hello, Here’s an invitation from Natasha Hoare at Witte de 09:01

sabeth and she is very interested and excited that we asked her. On 00:38

At 19:20, Rehber, V. <v.rehberg@hr.nl> wrote: I can see you after 29 Feb

Half a lower-case r, ch 18, 10 – 17:00. I forgot to mention that PZI students can sign up for FREE!! Best, Petra 29 Feb

Half an upper-case M, arch 18 to Wednesday March 9 – Dear all, for those who signed up for a SV with Sara Van de 29 Feb.

But I needed to – ha ha… Yeah, I was thinking about it in. (A graphic of a paper clip on its side). 29m Feb.

 

The Gmail inbox features a background image of an orange and yellow sunset with a royal blue hillside in the foreground.

 

The top of the desktop’s task bar reads as follows:

 

A black graphic of an apple (with a bite taken out of it)

Finder

File

Edit

View

Go

Window

Help

A black circle with a bright green concave shape, similar to a smile, across its centre from side to side.

The Wi-Fi symbol (at full strength)

The Bluetooth symbol

A black graphic of a speaker with 2 sound bars emanating from it

A union Jack flag

A black graphic of a battery with a lightening bolt striking through it

Wed 00:35. (It just changed to 00:36)

A black graphic of a magnifying glass.

Three black dots next to three black lines (the middle line is about one quarter shorter than the two either side)

 

With my magic mouse, I double click on the folder titled ‘JOE’. The window that was partially obscured by the Gmail inbox window comes to the fore and is now fully visible. I double click on the only file in that window titled:

 

‘Joe Cocker and Jo…ng Alright 1976. Mov 23 Aug 2015 21:48’

 

As I double click on it a small black viewing window opens in the top right corner of the screen. It opens through the programme QuickTime. The small viewing window has a red, yellow and green circle in top left corner. Next to them is a barely visible QuickTime icon (a blue and black Q on a graphic of a movie frame/cell) The full title is visible running across the top of the window:

 

Joe Cocker and John Belushi SNL Feeling Alright 1976. Mov

 

After approximately 2-3 seconds the playback control bar dissolves into the black expanse of the window. I move the mouse cursor to the top of the screen, on to the task bar, and click on ‘View’. I scroll down one command on the drop-down menu to ‘Enter full screen ^⌘F‘ and click on it once. The small black rectangular window expands exponentially from all its sides to each of the four corners of the laptop screen, filling it in its entirety. The whole screen is completely black now. I move the mouse cursor and the playback bar appears in a dissolve style action fading out of the blackness into view. In that instance, I remember that I can just tap the space bar to do the same job. There is exactly five seconds of black.

 

I know this because the playback timeline is counting up in front of me. The video begins. I hear the sound of a guitar playing and a round of applause by an audience. There is no image at this point, just black. As soon as an image appears on the screen I decide to press pause. I would like some more time to look at the circumstances under which this is all playing out before watching the video. In the top left corner is the text:

 

HOSTED

(Very small and in capital letters)

They sit atop of a much larger white logo made up of the word/s:

Live/Leak

(Lower case, both with a capital L)

 

It’s rendered in a font that is soft and rounded at its edges. I do not recognise the font. The words Live and Leak are encapsulated in a rectangle, which again has rounded soft corners to it. Live is transparent with a white surround giving it definition. Leak is its opposite, white with a transparent surround and a thin white lined edge containing it. When I say transparent I mean you can clearly see the image through it (or behind it), like a mask or vignette I suppose. I’m not completely sure here of the correct word to use to describe what I am seeing. Symmetrical lines radiating out from either side of it flank the dot of the ‘i’ in Live. I think it’s attempting to mimic the live connection symbol found on most Internet routers. That’s my first inclination. It could be a microphone I suppose. That would be my second guess.

 

The aspect ratio of the video is 4:3. Typically there are two black bars running down either side of screen. Three lines of white text are found in the bottom left corner of the screen:

 

Joe Cocker

“Feeling Alright”

October 2, 1976

 

Again, I do not recognise the font. I tap the space bar and watch Joe Cocker walk up to a microphone. Approximately 8 seconds in and the white text saying his name, the song he is supposedly about to sing and the date and year slowly dissolves and disappears. I tap the space bar again.