The Numero Group’s archivistsor revivalists, if you preferhave, in varying degrees, done what they did for (and to) my father to (and for) so many musicians and artists that a complete tally seems intimidating. There’s also a Grammy-nominated book of photographs called Light: On the South Side, collecting Michael Abramson’s riveting images of mid-’70s Chicago nightlife. They’ve released 44 CDs, 32 LPs (mostly double), 17 45-RPM singles, eight 12-inch singles, two DVDs, one cassette and a mess of box sets. Founded in 2004 by Ken Shipley, Rob Sevier and Tom Lunt, the company specializes in media that most people never knew to begin within expansive scope and detail at that. It’s not that the Numero Group remembers history exactly the label helps rewrite itor, at the very least, augment it. Still he was excited for the films to find new eyes. “ Somebody knows who made them,” my father grumbled in one of a few dozen variants he crafted as the company arranged his first screenings in decades. When the label released the resulting DVD, Celestial Navigations: The Short Films of Al Jarnow, early in 2010, the set needed a marketing hook: “Tens of millions of people have seen these films,” it went. Several decades later, Numero Group wanted to help find that crowd once again. But mostly he made films for himself and an amorphous group of freethinking intelligences, young and old, that he assumed to be somewhere on the far side of the magical flickering screen. He made films for Sesame Street, The Electric Company and other PBS shows. Dad had thrived in the halcyon post-’60s days of public television, before curriculums and focus groups made it a less conducive environment for cosmic artistic expression. The best of INDY Week’s fiercely independent journalism about the Triangle delivered straight to your inbox.įor those few days, life turned hyperreal as the team dispatched from Numero’s Chicago-based office sorted through film canisters, animation cels, file drawers, index cards, notebooks, gyroscopes, seashells and other remnants of my father’s career as an experimental and educational filmmaker.
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