We don’t get many visitors to our small Little Village office, which is a good thing, because we’re surly and busy and our office is completely jammed from top to bottom with stuff and people and activity. The most extreme example of the chaos is the critical mass of weird stuff, boxes of LPs, arcane reference books, outdate Caribbean phone books, bicycle tools, handwritten notes, drawings, coffee stains, business cards for businesses that seem only imaginary, setlists for obscure bands that may have never even really performed the sets, long outdated postal ephemera, star trek zines, photocopied comics, National Lampoons, invoices from Papua New Guinea record companies, acetate sticker labels (unused), typewriter ribbons, and pulps that completely fill Rob Sevier’s office, informing and often instigating the research that drives Numero’s packed release schedule. Today it ends.
(An impressionistic panoramic photo of what it looks like on a normal day.)
Today, Sevier is moving his quarters, delicately, in hopes of not upsetting the mojo built up over the last five years of chaos that begets order. Although a larger office awaits in the piecemeal restoration of the Numero office that’s currently happening, change is hard to take. The centerpiece of the office is the prize wall:
Thank you notes, Christmas cards, letters and drawings from prison, collages, glossies, Public Safety warnings, funeral cards, tickets for canceled shows, cookies that are too elaborate to eat, and postcards from obscure historical societies. It will be available for viewing for a few more days before portions of it are donated to the Smithsonian.
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