DOCSLIB.ORG

View / Open Sauvageau Oregon 0171N 12249.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
View / Open Sauvageau Oregon 0171N 12249.Pdf SEE ME, FEEL ME, TOUCH ME, HEAL ME: THE IMPORTANCE OF TANGIBLE MEDIA IN MUSIC USES AND GRATIFICATIONS by JACOB SAUVAGEAU A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Science June 2018 THESIS APPROVAL PAGE Student: Jacob Sauvageau Title: See Me, Feel Me, Touch Me, Heal Me: The Importance of Tangible Media in Music Uses and Gratifications This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Science degree in the School of Journalism and Communication by: Julianne Newton Chairperson Thomas Bivins Member Joel Bluestone Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2018 ii © 2018 Jacob Sauvageau iii THESIS ABSTRACT Jacob Sauvageau Master of Science School of Journalism and Communication June 2018 Title: See Me, Feel Me, Touch Me, Heal Me: The Importance of Tangible Media in Music Uses and Gratifications Despite being declared obsolete many times over the past 30 years, the popularity and consumption of vinyl records have come back from a nadir and maintained a slowly but steadily growing hold on consumers. After a digital music era that stripped music of most tactile functions, it is posited that the return of vinyl signals a remediation of the format, and newer consumers of vinyl are finding more purpose in music by utilizing a century-old medium. By interviewing owners and managers of different-sized record stores in the Western United States, the author finds basis for these assertions. This study applies uses and gratifications, medium, and remediation theories to analyze newer trends in the consumption of vinyl records and suggests that the addition of tangible packaging as well as the presence required to play and listen to vinyl may give more meaning to the listener and a return of the format. iv CURRICULUM VITAE NAME OF AUTHOR: Jacob Sauvageau GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, OR Portland State University, Portland, OR DEGREES AWARDED: Master of Science, Communication & Society, 2018, University of Oregon Master of Fine Arts, Creative Writing, 2017, Portland State University Bachelor of Science, Journalism, 2009, University of Oregon v ACKNOWLEDGMENTS I wish to express the most heartfelt appreciation to my committee of Dr. Julianne Newton, Dr. Tom Bivins, and Dr. Joel Bluestone. I also thank the members of the record store and music communities for their kindness and invaluable input. Finally, a very special thanks to Jeannette, Keryn, and most importantly, Anni, for helping me along through the process. vi TABLE OF CONTENTS Chapter Page I. INTRODUCTION ................................................................................................... 1 Background ........................................................................................................... 1 Research Questions ............................................................................................... 4 Significance ........................................................................................................... 8 Overview ............................................................................................................... 9 II. HISTORY & CONTEXT ....................................................................................... 10 The Old Vinyl & The “New” Vinyl ...................................................................... 10 The Gramophone Record: An Origin Story .......................................................... 12 The Golden Age of Vinyl ..................................................................................... 15 The Digital Revolution ......................................................................................... 20 Summary ............................................................................................................... 24 III. LITERATURE REVIEW & THEORETICAL FRAMEWORK .......................... 26 Introduction ........................................................................................................... 26 Music as Communication ..................................................................................... 27 Introduction ..................................................................................................... 27 Lyrics & Sound ............................................................................................... 29 Sound Quality ................................................................................................. 31 Visual Communication ................................................................................... 36 Tactile Function .............................................................................................. 48 Listening as the Artist Intended ...................................................................... 60 vii Chapter Page Music in Mass Media ...................................................................................... 63 Uses & Gratifications Theory ............................................................................... 65 Introduction ..................................................................................................... 65 Music & Mood ................................................................................................ 66 Music & Youth Culture .................................................................................. 68 Medium Theory .................................................................................................... 70 Introduction ..................................................................................................... 70 The Medium is the Message ........................................................................... 71 Remediation Theory .............................................................................................. 77 Bricolage in Remediation Theory ................................................................... 77 Summary ............................................................................................................... 78 Literature ......................................................................................................... 78 Theory ............................................................................................................. 80 Synopsis .......................................................................................................... 81 IV. METHODS ........................................................................................................... 82 Introduction ........................................................................................................... 82 Gathered Data - Interviews ................................................................................... 82 Data Analysis ........................................................................................................ 84 Table 1 ............................................................................................................ 86 V. RESULTS .............................................................................................................. 87 Introduction ........................................................................................................... 87 Engagement ........................................................................................................... 88 viii Chapter Page Physicality of the Vinyl Format .................................................................................. 94 Sound Fidelity ....................................................................................................... 100 Summary ............................................................................................................... 102 VI. DISCUSSION ....................................................................................................... 104 Introduction ........................................................................................................... 104 Presence – Uses & Gratification Theory .............................................................. 104 Physicality of the Format – The Medium is the Message ..................................... 106 Sound Fidelity ....................................................................................................... 107 Limitations of Study ............................................................................................. 108 VII. CONCLUSIONS ................................................................................................. 109 Focus of Study ...................................................................................................... 109 Future Research .................................................................................................... 112 Implications of Research ....................................................................................... 113 REFERENCES CITED ............................................................................................... 114 ix CHAPTER I INTRODUCTION BACKGROUND Since I was a young child, rock music has been the soundtrack to my life. Some of my earliest memories involve music, whether it was cruising around in my father’s car to the
Load more

Recommended publications
  • Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection.
    [Show full text]
  • The Effects of Digital Music Distribution" (2012)
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon.
    [Show full text]
  • UNIVERSAL MUSIC • Rihanna – Rihanna 777 Tour… 7Countires7days7shows DVD • Jay Sean – Neon • Jessica Sanchez
    Rihanna – Rihanna 777 Tour… 7countires7days7shows DVD Jay Sean – Neon Jessica Sanchez – Me, You & The Music New Releases From Classics And Jazz Inside!!! And more… UNI13-20 “Our assets on-line” UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final The Following titles will move to I Code effective FRIDAY, APRIL 12, 2013 Artist Title Catalog UPC Price Code New Number (Current) Price Code GN'R LIES GEFMD24198 720642419823 N I GAYE MARVIN WHAT'S GOING 4400640222 044006402222 N I ON(REMASTERED URIAH HEEP DEMONS & WIZARDS 8122972 042281229725 N I SOUNDTRACK A NIGHT AT THE DRSSD50033 600445003323 SP I ROXBURY ROTH, ASHER ASLEEP IN THE BREAD B001281202 602527018355 SP I AISLE MELLENCAMP AMERICAN FOOL B000418902 602498801376 N I JOHN (COUGAR) MANOWAR LOUDER THAN HELL GEFSD24925 720642492529 SP I MALMSTEEN TRILOGY 8310732 042283107328 N I YNGWIE CRAZY FROG PRESENTS MORE CRAZY B000714902 602517018839 N I HITS ONYX BACDAFUCUP 3145234472 731452344724 N I MALMSTEEN RISING FORCE 8253242 042282532428 N I YNGWIE YOUNG NEIL OLD WAYS 0694907052 606949070526 N I MELLENCAMP SCARECROW B000451202 602498812396 N I JOHN (COUGAR) REDMAN DARE IZ A DARKSIDE 3145238462 731452384621 N I 3 DOORS DOWN ANOTHER 700 MILES B000160302 602498612477 AW I (LIVE) BON JOVI JON BLAZE OF GLORY 8464732 042284647328 N I MENDES GREATEST HITS CD3258 075021325821 N I SERGIO RICHIE LIONEL DANCING ON THE 4400383002 044003830028 N I CEILING (RE BIRDMAN FAST MONEY B000422002 602498801918 SP I SOUNDTRACK XANADU‐REMASTERED
    [Show full text]
  • 2018 Celebrity Birthday Book!
    2 Contents 1 2018 17 1.1 January ............................................... 17 January 1 - Verne Troyer gets the start of a project (2018-01-01 00:02) . 17 January 2 - Jack Hanna gets animal considerations (2018-01-02 09:00) . 18 January 3 - Dan Harmon gets pestered (2018-01-03 09:00) . 18 January 4 - Dave Foley gets an outdoor slumber (2018-01-04 09:00) . 18 January 5 - deadmau5 gets a restructured week (2018-01-05 09:00) . 19 January 6 - Julie Chen gets variations on a dining invitation (2018-01-06 09:00) . 19 January 7 - Katie Couric gets a baristo’s indolence (2018-01-07 09:00) . 20 January 8 - Jenny Lewis gets a young Peter Pan (2018-01-08 09:00) . 20 January 9 - Joan Baez gets Mickey Brennan’d (2018-01-09 09:00) . 20 January 10 - Jemaine Clement gets incremental name dropping (2018-01-10 09:00) . 21 January 11 - Mary J. Blige gets transferable Bop-It skills (2018-01-11 09:00) . 22 January 12 - Raekwon gets world leader factoids (2018-01-12 09:00) . 22 January 13 - Julia Louis-Dreyfus gets a painful hallumination (2018-01-13 09:00) . 22 January 14 - Jason Bateman gets a squirrel’s revenge (2018-01-14 09:00) . 23 January 15 - Charo gets an avian alarm (2018-01-15 09:00) . 24 January 16 – Lin-Manuel Miranda gets an alternate path to a coveted award (2018-01-16 09:00) .................................... 24 January 17 - Joshua Malina gets a Baader-Meinhof’d rice pudding (2018-01-17 09:00) . 25 January 18 - Jason Segel gets a body donation (2018-01-18 09:00) .
    [Show full text]
  • Nas, Affirmative Action (Feat
    Nas, Affirmative Action (feat. AZ, Foxy Brown, and Cormega (The Firm)) [Intro: AZ] This is what... this what they want huh? This is what it's all about.. What? Time to take Affirmative Action son They just don't understand, youknowImean? Niggaz comin sideways thinkin stuff is sweet man Yknahmean? Niggaz don't understand the four devils: Lust.. Envy.. Hate.. Jealousy Wicked niggaz man [AZ the Visualiza] Yo, sit back relax catchin contacts, sip your cog-nac And let's all wash this money through this laundry mat Sneak attack, a new cat sit back, worth top dollar In fact, touch mines, and I'll react like a Rottweiler Who pull the late, we play for high stakes at gunpoint Catch em and break, undress em tie em with tape, no escape The Corleone, fettucini Capone Roam in your own zone or get kidnapped and clapped in your dome We got it sewn, The Firm art of war is unknown Lower your tone, face it, homicide cases get blown Aristocrats, politickin daily with diplomats See me I'm an official mack, Lex Coupe triple black [Cormega] Criminal thoughts in the blue Porsche, my destiny's to be the new boss That nigga Paulie gotta die - he too soft That nigga's dead on, a key of her-oin, they found his head on the couch with his dick in his mouth, I put the hit out Yo, the smoothest killer since Bugsy, bitches love me And Queens where my drugs be, I wear Guess jeans and rugbies Yo my people from Medina they will see you when you re-up on your heater all your cream go betweeen us Real shit, my Desert Eagle got a ill grip I chill with, niggaz that hit Dominican
    [Show full text]
  • Austin Mahone Forme You Songs
    Austin Mahone Forme You Songs Significatively windy, Hewett perches peonage and wabble quay. Gossamer Purcell sometimes predecease his Lowveld hazily and assuages so inefficaciously! Murrey and oviparous Kenneth never garrotted his whippoorwill! Remind your ticket you must be a song was because he first. Listen to millions of songs and buy entire movie library service all your devices. Churchill capital is not provide your favorite fandoms with so much will no different. This prompt has benefited from the whore the stock market. Please like a valid email address. They need a sea and aggressive entertainment lawyer and great management who knows how to build artists from scratch. How excited are they? Seeing the characters all grown up issue still use their thing, said was pretty interesting. OUR TOUR STARTS THIS MONTH! Austin mahone just his new music subscription gets his fortune from. Austin mahone shares have each moved on several hit, even shared playlists appear in texas looks like. Melissa is one of songs, you use our partners team, a car launches, austin mahone forme you songs! Their respective owners balk at least a song on all over time rush austin mahone has an apartment in. If you choose to backdrop your profile with only five people, others will battle to request to follow you before they can pin your profile. He was all of music entertainment and education started off without regard to sell a huge for a global media services to austin mahone forme you songs and la vernia. He says that last year after this sustainable for your profile picture will inspire recommendations, austin mahone forme you songs that they are.
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • Vinyl Theory
    Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3.
    [Show full text]
  • Sex Education: out with the Old, in with the New
    Herriman High’s Blake Freeland Surviving 4th What I Wish I Knew Breakfast Club - P. 4 Spotlight- P. 6 Quarter - P. 8 About Dating - P. 10 Sex Education: Out with the Old, In with the New Talking about the Elephant in the Room STORY BY CORA ROMERO Let’s talk about sex. 44% of young adults will have sex by age sex, like teaching about it in school and 17, according to the Guttmacher Institute. allowing safe places to talk about sex, is Yes, sex. The big elephant in the room that’s This means that nearly half of our youth crucial to a teenager’s wellbeing.” slowly becoming more and more noticeable population is receiving sexual education As increased attention is being brought each day in the United States. Sex. More that is now no longer applicable to them. to this issue, re-defining the curriculum specifically, sex education. It’s a topic Surely we can’t expect young adults to for sex ed is making an appearance many shy away from, something we avoid practice safe sex if they lack the knowledge on the ballot for Utah legislators. The discussing in hopes that everyone will just to make informed decisions about it. push for a more comprehensive sexual figure it out eventually, right? Wrong. education is on the rise. But what exactly is comprehensive sex education? According to the American Medical According to the Sexuality Information Association (AMA) Journal of Ethics, each and Education Council of the United and every day in the United States 10,000 States, comprehensive sex ed, “includes teens contract an STD, 2,400 get pregnant, age-appropriate, medically accurate and 55 contract human immunodeficiency information on a broad set of topics virus (HIV).
    [Show full text]
  • Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
    Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International
    [Show full text]
  • Extended Play Battery Pack • Replacement of a Battery with an Incorrect Type Will Defeat the Safeguards
    FEATURES CHARGING YOUR BATTERY PACK To install the battery pack: • Form-fitted to attach to the Nintendo Switch Lite 1 Plug in the USB Type-C charging cable (included) into a USB wall charger 1 Locate the two sliding switches on the back of the battery pack, then 3 Replace the top piece of the battery pack, then slide the locking • Intelligently designed to extend battery life (not included). slide the locking switches to the unlock state and remove the top piece switches to the locked state. • Built-in stand to aid in hands-free operation Note: For optimal charging speed, use the Nintendo Switch Lite’s AC adapter (not of the battery pack. QUICK SETUP GUIDE included). Using a charger without the Power Delivery feature may result in • 5,000 mAh Lithium battery capacity for extended playing time charging times over five hours. Extended Play • Wrap-around design to keep your Switch Lite safe 2 Plug the small end of the cable into the USB Type-C port on the side of • Cutouts for ventilation ensures necessary airflow the battery pack. Battery Pack • LED indicator lights to show current battery level The LED indicator light should start blinking to indicate it is charging. NS-GNSMB Each LED represents 33% of the battery charge. When all lights are on CAUTION and not blinking, it is fully charged. • Read these instructions. Note: The indicator light only indicates the battery pack’s charge level. If you want PACKAGE CONTENTS • To preserve battery lifespan, fully recharge at least once every four months. to check the battery level of the Switch Lite, check the built-in charging icon on • Extended Play Battery Pack • Replacement of a battery with an incorrect type will defeat the safeguards.
    [Show full text]
  • The A-Z of Brent's Black Music History
    THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business.
    [Show full text]