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Tamil Actor Surya and Jyothika Family Photos - Suriya Jothika
While a student at University in Germany he paid me a visit doing research for his book. While he was there he talked to them about his book and my work doing Eurock for many years. As a result of that visit they asked me to donate my Eurock publications to their Museum Archives. In his book there is a passage in reference to Eurock. The book is written in German, so that passage about Eurock was kindly translated so you can read it below. The first issues were published, assembled by hand and distributed in small numbers. In the following years, Eurock magazine grew enormously and was read primarily by importers, music journalists and musicians alike. Until the end of , Eurock exclusively focused on Krautrock. Between and , Patterson contributed significantly, as a Radio-DJ in central California, to the promotion of progressive German pop music. Along with print-media, Radio shows were a key factor in the promotion of pop music during the s in the USA - not TV. The Radio-system was commercialized, by the way, not organized as in Europe. State-sponsored institutions like in Germany and Great Britain were not established. My mission was a journey of discovery and exploration, the goal was to turn people on to the amazing music I uncovered. In addition to offer insight into the people and the evolution of their creativity as well as effect it had on those who listened and the culture as a whole. Today with Eurock I reflect back a lot, write, and share personal stories about what happened along the way. One of the more interesting stories involves Kraftwerk. In , they were playing Live at the small Keystone Club in Berkeley, so I drove up and stayed with a friend to see them. The place was half-empty and we had our choice of seats so we sat mid-center. I placed my small portable Panasonic cassette player on the table, plugged in a small Mic and preceded to record 2 Ampex C tapes of music. Some years later, another friend who had access to state of art audio equipment in a studio digitized the music for me and dubbed each of us DBL CD copies. A bit later, I had the original photos scanned to make covers. For its time the sound is excellent. ITC was as an adjunct to the record store Music Millennium. They had heard about Eurock and in September owner Don MacLeod hired me to run their mail-order and we soon began importing music from everywhere else. Due to my Eurock contacts over the span of the next aprox. We did limited local wholesale and a couple stores in the Northwest, but unlike Jem it was only me and one other person doing everything. Interestingly the bonanza sell-off you mentioned may partly be related to Eurock as I knew one of the head import buyers at Jem East at the time, Phillip Page, who subscribed to the magazine. The first two issues had featured Krautrock extensively. Those led to Jem importing some of those titles as well as opened the door to many other German labels to some extent. They even reprinted the full-page promotional layout from Eurock Issue 3 and used it as part of their promotion for those albums and a tie in to the other German music titles they began to license and offer. The first Distribution advert in Eurock Magazine was included in Issue 13 at the beginning of As a result, my budget became limited for importing and selling fewer odd experimental music titles from Europe. The result was I began offering my own parallel small selection of things offered via Eurock Distribution. From the outset ED was multi-format, eclectic and unique. Recently the great Vinyl on Demand German reissue label released a fantastic triple box set titled American Cassette Culture documenting the US artists Eurock promoted in the early cassette culture scene. Due to this ITC financial situation and budget constraints I continued doing the multi-layered approach until one day I got a phone call from LA in late from people who were starting a new import music company named Greenworld. I flew down there and part of their business plan was to have a direct retail arm of the company. They wanted me to come down and set it up. That was called Paradox Music Mailorder. I continued having ED adverts in the magazine through Issues 17 selling only foreign EP's, books and magazines. After that point I simply reviewed all the Indie cassettes and other EPs adding my personal contact at the end so people could write to me and buy things from me directly outside of the Greenworld business structure. A prime example of this occurred in with the discovery of experimental music down in Mexico where there was a small but very active and creative group of musicians who discovered Eurock Ironically, once again there was a rapid expansion of parallel importation of mainstream music from Japan. My work began to be affected due to the same dynamic of cash flow imbalance, it was deja vu for me. In , I quit working for anyone else and began doing Eurock Distribution full time while living in LA. Its main focus was the exploding cassette music scene as well as well as the various many other releases on cassette, fanzines, Indie LPs, EPs, etc. A bit earlier in late , early , I began my own Eurock cassette label. The first release was a tape smuggled out of Czechoslovakia via Canada recorded by the illegal band Plastic People of the Universe whose leader was then in jail. It was called the Hundred Points. That was the first release on the label released which was followed by a series of original recordings by various other international artists from France, USA, etc. I lectured for classes, grades , for 5-years, in a Portland K Public School. I offered a Listeners Guide to Experimental Music. I recorded special mix cassettes each week to use as musical background accompanying stories about my experiences in music overall. I ended up ultimately releasing them as a cassette series of taped music and lectures chronicling my personal adventures in the 's along with the creation Eurock. At this point a few other small import specialists like Aeon began to spring up that may have been influenced by those two companies. During that time I was in touch with Bill Sharp and Torger Houghen helping promote and market their work and first releases. I think they had a cassette only release as well as an LP titled The Mnemonist Orchestra later shortened. Ultimately they changed their name to Biota, if memory severs me right. I used a lot of the Mnemonist art as illustration and covers for Eurock Magazine. While running ED I always dealt directly with artists directly as well as small Indie labels. I'm sure it's hard to imagine a time now when everything wasn't ever present and mass marketed, available free as a download, or sold at ridiculously high prices. As strange as it seems music back then was done for the love of creation by the artists. In retrospect, I was blissfully naive. Today it's all about capitalizing on and cashing in on everything, be it music or any other form of art, or product being marketed. Not Art for Arts sake Eurock certainly was one of the very few, if not only seller of most these labels outside of direct personal sales by artists and small labels in their own areas. Two examples of this single minded creative ethos and process stand out in my mind. DD Records in Japan was perhaps the most incredible label of all. Kamada was the guy who did the label at the time. He was a Med School student later becoming a genetic research genius. Each DDR tape came with a 5" x 7" Xerox libretto. The diversity of musical style and passion embodied in DDR releases musically was astounding. As for the Eurock label itself, aside from the extraordinary circumstances of the PPU debut release, the 6-cassette set by Cyrille Verdeaux of Clearlight fame Kundalini Opera production process is a paradigm example of the Indie process in action. Those 6 individual tapes were all duped by Pat Baum, drummer for the legendary Portland all girl punk trio The Neo Boys. She lived in a big old run down building on Russell Street that was serving as a series of ramshackle lofts at that time now gentrified of course. Pat had 6 or 8 cassette recorders lined up on a couple shelves so she could dupe all the tapes in real time. It was totally cool and she got to know my 1 son as I brought him along to her place sometimes to drop off or pick up the order. You can't make this stuff up Those were the days of wine and roses for musicians and also in terms of being a wildly adventurous entrepreneur. One of the great things about DIY cassettes was that it liberated artist's creativity from the shackles of professional distribution companies and minimum order restrictions. They could be experimental, imaginative using simple equipment and tape recorders within the confines of their bedrooms or garages and sometimes the results were truly amazing. That window of time was open for a while then closed as technology always continues its inexorable progression. The musical door was opened to an incredible new chapter for many people in the music-scene; the discovery of an outstanding and amazing Experimental Music from Mexico in by Archie Patterson of Eurock. In , Archie started to distribute experimental music primarily released on cassettes, which he had also covered and written about in his magazine Eurock established in At that time, visitors from south of the border came to LA bringing Archie music cassettes and LPs, shortly after coming to buy music and take it back to their record stores in Mexico City. A musical link was created that still exists today. VOD itself would probably never have heard about such true hidden treasures released on this Box without Eurock and its protagonistic networking, distribution and promotion back then. Today there still is nothing that sounds like what you'll hear when listening to the sounds on these long lost cassette artifacts. In fact, the music never sounded better after to the excellent sonic restoration done by Jos Smolders of Earlabs. The Mexican Cassette Culture box set offers indisputable proof that music is the one art form that transcends time as well as all cultures and geographical boundaries… Eurock Book Events France My trip to France was more than I could have ever imagined. Theo and Bernard at Souffle were fantastic hosts. It was great to sit around the table and have a conversation about music and other things happening in the world today. Luc's wife Marie, a teacher of English, was translating for hours late into the evening. The next day was The Les Frigos event which took place in the Urban Sax studio space, which was otherworldly. Attending were a host of French musicians, labels, music fans and people from afar coming to listen, meet and talk. Quad Sax played an amazing, surreal music set, Benoit Garel screened his documentary film Reims …. I also did a fascinating interview with Gilbert Artman. Benoit filmed everything professionally, including both the Souffle Continue and Les Frigos events. Seeing his homemade instruments, hearing a preview of his soon to be released newly recorded album, sharing a great Moroccan dinner and filming a multilingual interview aided by Jean-Jacques Leca translation. It was a fantastic evening.
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