# OUR SHOW is a claim, and somebody amended it

> A cassette label carrying two lines in two hands — a title in thick felt-tip claiming joint authorship, and a smaller correction in blue ballpoint squeezed in underneath it later.

August 21, 2026 · https://justog.club/stories/the-tape-with-both-their-voices-on-it

One cassette, drawn flat and straight on, filling the chest of a bone tee. The paper label carries
two lines in two obviously different hands: OUR SHOW in thick black felt-tip capitals, and SIDE A
ONLY squeezed in underneath in small blue ballpoint, riding slightly uphill along a printed rule.
Behind the shell window the right spool is wound nearly full and the left one is down to bare hub.
There is no maker's name anywhere on the shell.

Two lines, two pens. The second one was written after somebody heard the first side.

## Why print a recording that nobody looking at it can hear?

Because everything the recording decided is on the outside of it.

A label is where a production settles its questions. Who made it, what it is called, how much of it
counts. This one answers all three in two words and a correction, and it does it in handwriting,
which means the answers were arrived at by the two people holding the pens rather than agreed with
anybody else in the house.

The audio itself is unrecoverable in every sense that matters. The machine is gone, the tape has
been in a drawer for years, and even played back it would be forty minutes of two voices doing
something you had to be there for. The label survives that. It is the part that was always going to
be legible.

## Why is OUR the word doing the work?

Because it settles authorship before a second of the recording has been heard.

Not MY SHOW, not either of their names, not the name of whatever the show was actually about. The
title asserts a joint production, in the largest letters on the object, in the pen that makes the
heaviest mark available to a household. Whatever the split of the labour was — one talking, one
working the buttons — it is not recorded here, and the omission looks deliberate.

That is a whole vocabulary in one word. Two people who share a room build a set of terms nobody else
uses, and the terms tend to be short: [a name with exactly two
speakers](/stories/the-nickname-only-the-other-one-uses) does the same job in the same
number of syllables.

## Why is the second line in different ink and a different hand?

Because it is a correction, added later, by the other party.

The felt-tip went on when the label was clean and the space was generous. The ballpoint had to fit
itself between a rule and the line above, in smaller letters, at a slight angle, which is what a
line written by somebody who was not there for the titling looks like. SIDE A ONLY is not a
flourish. It is a limitation being placed on the record: this half is the show, the other half is
not, and if you play past the end you are on your own.

The rest of the label is left blank, printed rule and all. There was room for a track list, a date,
a second title. The production ran out before the label did.

## Why is the tape drawn wound to one end?

Because it was played and put down, and nobody rewound it.

A cassette drawn with its spools even is a stock illustration of a cassette. This one has an actual
position in it: the right spool full, the left one down to the hub, which is the state a tape is in
at the moment somebody presses stop at the end of a side and gets up. Rewinding is the tidying step,
and tidying is what does not happen when a thing has just been listened to all the way through.

It also means the last event in the object's life is fixed and readable. Whatever else is unknown,
the tape got heard, and the person who heard it left it where it stopped — the same way [the talking
that happens after the light goes off](/stories/what-gets-said-after-the-light-goes-off)
leaves no record except where it ended.

## Does anyone need permission to print a cassette label like this?

No. Two lines of your own handwriting on a blank label, and a drawing of a plain cassette shell with
no maker's name on it, involve nobody else's property.

The shell is where a real one would carry marks that do belong to somebody — a manufacturer's name,
a moulded logo, a printed grade. Those are licensable like anything else, and if a particular one is
genuinely the point of the shirt then clearing it is part of the job rather than a reason to give up
on it. Left off, as here, the design stays on the recording rather than sliding into being a picture
of a product, which is the stronger result anyway.

The live question is the handwriting. Those two lines belong to the two who wrote them, and they
will be old enough to have a view about wearing them in public. That is worth asking about rather
than settling on their behalf now.

Style has no owner. A work does.

## Isn't a cassette just a period object at this point?

It is a period object, and it is also the reason the design works: a tape has one label, two sides
and an end.

Nothing recorded today has those properties. A file has no outside to write on, no fixed length, and
no way for a second person to add a correction to it in a different pen. The cassette carries the
argument because its physical limits are the same as the production's limits — SIDE A ONLY is a
sentence that needs an object with sides in order to mean anything.

The subject generalises further than the format does. A radio programme made in a bedroom, a song
with two singers, an interview one conducted with the other, a set of sound effects recorded off the
back of a sofa — any of those is a joint production with a title, finished without an adult in the
room, the way [one of them got the other riding a bicycle](/stories/who-actually-taught-them-to-ride)
did. What travels is the title and the correction, not the plastic.

## Does it print well?

Yes. A cassette is a hard-edged rectangular object drawn in line work, and hard edges are what
fabric holds.

The whole thing is essentially two inks: black for the shell, the hatching and the felt-tip title,
and a mid blue for the printed rules and the ballpoint line. The distressed break-up in the shell's
line work is the part to watch — it wants to stay coarse, because fine speckle sits below what a
weave resolves and turns into a grey smear at any distance. Keep the ballpoint line one clean weight
rather than shading it. Bone, oat, sand and pale grey all read as a paper label without needing a
white block behind the artwork, and the print's edge is the cassette's own outline, with no
rectangle drawn round it.

## How do I get one made?

Describe the tape at [JustOG](/) — what it was called, who wrote the title, and what got added
underneath afterwards. Pick a direction, drag the crop frame, see it composited on the real garment,
and it's made to order and shipped.

Designs other people have published are in the [shop](/shop).

The blank half of the label is still blank. There was going to be a second one, and there was not.