Please post your completed research essays here after your presentation. Please respond to one another's presentations: What did you learn? What worked well in the presentation? What would you like to see more of?
One thing that came up for me was how well the ensembles worked together. I liked the division of labor, so to speak. In the Brazil ensemble, they stayed really close to the planning/outline I read earlier in the research process weeks ago, so it was nice to see how the final project came together. Despite the technical difficulties, their presentation utilized books, websites and other visuals of the culture. They followed really closely the assignment, answering all the questions asked.
The only area I would suggest improvement is relevancy, that is, making sure the research includes current sources to tie in with historic facts, such as the reference to police violence and incarceration which is a big problem in Brazil. Poor people fill the jails and these places are nothing like the prisons here. Prisoners have no rights.
Deon, Dominique and Wendy's presentation on Venezuela was interesting, especially when Deon went off script and became really passionate about hip hop's relevance in Third World Communities. I liked Dominique's reference to Slingshot or hip hop in Palestine. Wendy's ability to translate the lyrics for us and talk about the cultural history behind the songs was helpful. Linguistic assess is wonderful and adds depth to the presentations. Eder's assistance in pronunciation of Portuguese words for the presenters and assistance in defining what was meant by Capoeira's influence on Brazilian b-boying, again added an extra dimension to the presentation.
Suggestion for future presenters: if you don't know what a word means, or what a reference is referring to, look it up. In both these instances, the references were crucial to understanding hip hop in Brazilian culture.
We will continue presentations in class on Thursday. We'll start with the presentations and do the freewrite second. Tuesday, we will talk about your research essays on a person who is using hip hop as a tool for social change. Check the due dates. Bring Coldest Winter to class, also Elements of Style.
7 comments:
First of all, I really enjoyed the presentations today!
I really liked how the first group, who did theirs on Brasil, showed us multiple pictures, and I really liked the book you guys brought in, since it was a book on graffiti from around the world, instead of just Brasil. I also really liked the documentary that was showed, and how it followed the guy around, and he talked about his music.
The second presentation was great too! I thought both groups had great media to help the projects come together, because sometimes it’s really hard for people like me who don’t understand the language or the culture to understand hip-hop from that area. Great Job!
I ended up posting this on like the first blog of October. Sorry about that! :-D
And, Good job EVERYONE with your presentations. I liked listening to the various types of music from all over the world.
Kimberly Peterson
Professor Sabir
English 1B
20 October 2008
The place this scene takes place in is, Sao Pablo, Brazil in the present day. Looking at the streets of Brazil, we can see that it is much more different then it was about twenty years ago. Gerard Behague, the late abounding Latin American scholar, explains that “[i]n 1985 Brazil returned to a democratic government after over twenty years of military authoritarian rule during which censorship was rampant…” (Behague). Behague basically meant that Brazil has only been under democratic rule for a little over twenty years, and freedom of speech has been made possible for the inhabits by this democratic new rule. At approximately the same time as the new rule of democracy taking over Brazil, was also the same time that hip hop started to flourish the streets. The hip hop scene had already reached America in the 1970’s, and from there on was a new way of life for many. The hip hop culture spread like a wildfire through different nations. The hip hop culture includes the 4 elements of MCing (or rapping), DJing, b-boying (break dancing), and the urban art, graffiti. Since there is defining line in Brazil’s hip hop that this is graffiti seen in their culture, I will now look at some the differences in Brazils hip hop scene, and any residual remains of American culture.
Hip hop started in America in the 1970’s in the Bronx, New York. Michael Dyson an American writer and author of Know What I Mean?, and even civil professor Paul Butler would both agree that the culture was brought out of poverty, with prison-idealistic realities. Dyson explains that “…men have embraced… certain elements of the prison-industrial complex: the sagging pants, the baggy shirts, the laceless [sic] shoes…” (Dyson 14). The chances of someone going to prison that lives in poverty is much higher than someone living comfortably in a safe neighborhood. Prison attire exists far beyond the prison system, but even now in neighborhoods all around the world. Butler tells us that this prison vestment in hip hop culture has made its way to Brazil, “[a]t the same time that an art form created by African American and Latino men dominates popular culture, African American and Latino men dominate American prisons. Unsurprisingly then, justice--especially criminal justice--has been a preoccupation of the hip-hop nation” (Butler). Could this be that the prison complex has made its way over to another continent, is it coincidentally that the males in the hip hop culture has decided to dress this way as well, or could this mentality of being in the prison complex have started from slavery? Africans were brought from their country centuries ago to be enslaved even in Brazil. Scholar, Helioisia Toller Games believes that since Africans were “denied access to cultural goods” such as music, and literature, that their “culture in Brazil appeared as a strategy for psychological resistance.” This theory is a way to think about another true underlining foundation of hip hop’s roots.
Even in Brazil, they use hip hop as a type of aesthetic outlet. Music all around the world is used as outlets for human beings. As I prior said, the movement in Brazil started in the 1980’s, at about the same time as the democratization of the entire country. Brazilians use hip-hop as a form of education in their communities and to others, as they try to put out better messages for their society. For example, they tell children to stay in school and to never give up. Unlike Americans, although, we use hip hop as education too (and you can mostly find this in earlier hip hop, in the 1980’s) but, mainstream “rap,” or media rap, that is played on the radio, gives off bad messages. This ruins the image of American hip hop.
As for graffiti, the people that apply themselves in this urban artistic practice, is well respected by others that fore take in this urban art form. The community, as a whole, however, all has different views on what they think the graffiti is all about. Some graffiti has good messages, and some would believe that it has negative messages in the community. I guess it would depend on what was written or what was drawn, and where. Brazil takes pride for their trains and would never allow anything to tarnish their images. In America, graffiti is seen as a horrible thing to city workers. They see it as this type of film that covers the beauty in the city. In 1972, the beginning of the brawl, graffiti vs. the city of New York, New York; graffiti won because the city realized that they could only cover up so much of it. The major, John Lindsay spent so much of the city’s tax dollars on different methods of putting a stop to all graffiti, and in the end, nothing worked. In Jeff Chang’s book, Can’t Stop Won’t Stop, Lindsay suggested that people who do graffiti are “insecure cowards’… they all had mental health problems,” (Chang 134). It is hard to say how Brazilians have reacted to graffiti. If graffiti was covering the entire city, like a plague like in New York in 1972, I would imagine that it could have the same effect. People write tags, that start tagging crews in different cities, or just sit at home and make art, for many different reasons. Jeff Ferrel, a criminologist, believes that graffiti “incorporates youth from different ethic and economic backgrounds and takes back some of the public space which is denied to them. The writing of this graffiti creates alternative statues, identity[,]and community by tagging and piercing from other writers.” A group in Brazil called; the 6emeia project started tagging because they wanted people to view things in their daily lives’ in another way. They go around and tag everywhere on street lamps, trash cans all around the city of Sao Paulo.
In the end, most of hip hop in the Brazil is just trying to give out positive messages to the communities. Perhaps hip hop artists are giving good messages out to their society because their society is experiencing other issues then America is, to this day. Derek Pardue, a socio-cultural anthropologist explains that, “[b]eyond an evaluation of Brazilian hip hoppers’ engagement with the State as ‘educators,’ the evidence and analysis presented in this article suggests that Brazilian hip hoppers see “globalized” discourses of hip hop identity…“ Hip hop is expressed asa globalized view, it is not just kept in the communities but spread throughout. They even talk about many different topics. For the majority, they tend to focus more on the positive, rather than the negative. It could be there Brazil’s media is completely different than in America. Americans media focuses on sex, drugs, and money and I know America has one of the most taboo countries in regards to sex. In the end, it is just a music form that was created for the people, by the people like all music.
Works sited
Behague, Gerard. “Rap, reggae, rock, or samba: the local and the Global in Brazilian popular music (1985-95).” Latin American Music Review 27.1 (Spring-Summer 2006): 79(12). Expanded Academic ASAP. Gale. College of Alameda. 8 Oct. 2008 http://find.galegroup.com/itx/start.do?prodld=EAIM
Butler, Paul. "Much respect: toward a hip-hop theory of punishment." Stanford Law Review 56.5(April 2004): 983(34). Expanded Academic ASAP. Gale. College of Alameda. 13 Oct. 2008 http://find.galegroup.com/itx/start.do?prodId=EAIM
Chang, Jeff. Can’t Stop Won’t Stop. New York: Picador, 2005.
Dyson, Michael, Jay-Z, Nas. Know What I Mean? New York: Basic Civitas, 2007.
Ferrell, Jeff. "Urban graffiti: crime, control and resistance." Youth & Society 27.n1 (Sept 1995): 73(20). Expanded Academic ASAP. Gale. College of Alameda. 15 Oct. 2008
http://find.galegroup.com/itx/start.do?prodId=EAIM.
Pardue, Derek. “Hip hop as pedagogy: a look into “heaven” and “soul” in Sao Paulo, Brazil.” Anthropological Quarterly. 80.3 (Summer 2007): 673(37). Expanded Academic ASAP. Gale. College of Alameda. 7. Oct. 2008
http://find.galegroup.com/itx/infomark.do?&contentSet=IACDocuments&type=retrieve&tabID=T002&prodld/EAIM&docld=A168547244&source=gale&userGroupName=collalamedal&version=1.0
Toller Gomes, Heloisa. Afro-Brazilian literature: spaces conquered spaces in between. Research in African Literatures. 38.1 (Spring 2007): 152(11). Expanded Academic ASAP. Gale. College of Alameda. 7 Oct. 2008 "target=_blankhttp://find.galegroup.com/itx/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T002&prodld=EAIM&docld=A162921738&source=gale&userGroupName=collalamedal&version=1.0.
http://nothingtoxic.blogspot.com/2007/09/street-cartoons-paintings.html
Kimberly Peterson
Professor Sabir
English 1B
20, October 2008
Outline
Thesis: Looking at graffiti, in hip hop as a global movement and taking a peek into Brazil’s culture, what are some the differences in Brazils hip hop scene, and can we still see any residual remains of America?
1. Hip hop in Brazil, what is residual?
A. This is how it all started; Black and Latin men are both subconsciously doing things as if they are in prison. Art from prison culture turned into the hip hop culture.
B. Even Dyson agrees with the prison complexity.
C. Similarities: All forms of hip hop are used as an outlet. Slums, rich kids-everywhere. Africans were slaves too in Brazil… could have been a heavy influence on the hip hop culture…
2. Differences: Brazil hip hop started in 1980s, America 1970’s. Brazilians use hip-hop as an education, Americans use hip hop as education too but mainstream “rap” gets in the way and kind of ruins the image of hip hop.
3. Graffiti
A. The adults in America felt like it was the kids who were the ones who where crazy for writing graffiti.
B. The kids feel like it is public space that is theirs!
C. 6ameia project and their purpose. http://nothingtoxic.blogspot.com/2007/09/street-cartoons-paintings.html.
Conclusion: In the end, they are just mostly good messages/educators… Globalized we can see a lot of similarities. There are differences because it does not appear that the violence in the songs are there in Brazil like they are in America.,, Perhaps the media is not like Americas at all, that could be why it is different!...
Kimberly Peterson
Professor Sabir
English 1B
20 October 2008
Solo Initial Planning Sheet: Brazil and Hip Hop
1) The subject of my paper as using a team ambience is to look at the hip hop structure in Brazil, Latin America to see how they interpret the hip hop culture. My topics will be about how art (including graffiti, some music, and a possibility of even photography) has had an influence in Brazilian hip-hop.
2) I want to write about this subject because I have always wanted to go to Brazil. I heard the country is not taboo with sex at all; it is a part of their culture. If I cannot learn with a first handed experience by going to Brazil, then I would love to learn about the culture in a visual way, by photography and even with street art, like graffiti.
3) The audience I want to write for is my professor, and my peers.
4) The question I want to answer is how America culture, in hip hop has survived over to Brazil, and even how Brazil has brought some of their culture to America.
5) The basic writing structure I think I will be using for my paper is using and giving descriptions of how life is like there, in my own point of view. Also, I will be using the compare and contrast method to my essay.
Kimberly Peterson
Aerin O’Leary
Benjamin Herrera (sp)
Tammia
Professor Sabir
English 1B
20 October 2008
Group Initial Planning Sheet: Brazil and Hip Hop
1) The subject of our paper, using a team ambience is to look at the hip hop structure in Brazil, Latin America to see how they interpret the hip hop culture. Our topics are as followed, Aerin will be covering some of the history of Brazil, Kimmy will be discovering art in Brazil (including graffiti, some music, and a possibility of even photography), Tammia will be covering politics, and Benjamin will be using a compare and contrast method to discuss how some of Brazil’s hip hop has come to America, and how American aspects of hip hop has even survived in Brazil.
2) We wanted to write about this subject because Brazil is known for being influenced from America by its hip hop. (Like all countries I presume.) Brazil seems like a really interesting country to learn about.
3) The audience that we want to write for is our professor, Ms. Sabir, and all of our peers.
4) The question we want to answer is how America culture, in hip hop has survived over to Brazil, and even how Brazil has brought some of their culture to America.
5) The basic writing structure that we will be using for all of our papers is the compare and contrast method.
Faraj Fayad.
Response to groups.
To the Group that did a research on Brazil Hip-hop. I really enjoyed learning about the hip-hop culture in Brazil and you did a great job explaining that type of environment.
I really liked the graffiti in Brazil because they have a distinctive style. Great job on your presentation.
Aerin O'Leary
English 1B
Essay post
Brazils Hip Hop Won't Stop, Can't Stop.
Hip-hop originated in the Bronx of New York city where people began the movement and brought hip-hop to a higher level. Hip-hop is considered to have four different elements. These elements include: MCing (rapping), DJing, art/tagging (graffiti), and b-boying (break dancing). Hip-hop is among many other genres of music that have created a subculture. One that has brought on new styles, views, and overall created an outlet and freedom of expression for many.
A place that is rarely mentioned when hip-hop is brought up is Brazil. Brazil is the largest and most populated country in South America. The majority of people speak Portuguese and much of their hip-hop artists choose to express themselves in their language and therefore it is interesting to look at.
Although hip hop was born in New York if you were to ask a youngster in Brazil, they’ll will say that they feel it truly belongs to them. According to the magazine, “Dynamic” of the Young Communist League USA, “No one will deny it is an American import, but after more than two decades of hip-hop, pronounced “hippy hoppy” in Portuguese, local hip-hop has developed explicitly Brazilian characteristics.” Much like the Bronx “ghetto” where there is little to no outlet of expression for the youth the “slums” of Brazil have this very issue and this is perhaps in part why so many artists and youth take hip-hop so seriously and are so passionate about the “movement”.
A man by the name of Manuel Raimundo Querino researched African contributions to Brazil. Although this “research” was documented a great deal before the time and birth of hip-hop it is a possible link between Brazil and hip-hop today. “ One of Querino’s chief contributions to Brazilian historiography was his insistence that national history take into account its African background and the presence and influence of blacks.” According to Burns Querino was interested in searching for the truth and “emphasized that Brazil was the resultant fusion of the Portuguese, Indian, and African. “Yet, the contributions of the Africans had gone unheralded.”(369).
In the late 80’s and early 90’s Brazil was considered to be very racist. During WW1 a great deal of ethnicities rushed into Brazil and therefore many differing ideas and mindsets were expressed. In the end of the nineteenth century Latin America began following “specious” racial doctrines imported from Europe. During this time Darwinism was very popular and people began to take interest in race and racial theories. At this time a great deal of people began conversing about superior and inferior races.
This is interesting to look at when we look at Brazil today. Brazil is differs a great deal from it’s history and has come a long way since the nineteenth century. Hip-hop has made its mark in Brazil and is there to stay. What sets it aside from any other place is its culture and deep respect for the music. They see it as a gift from God in a place where there is little for the youth to do in regards to expression rapping, painting graffiti is the way. According to VC2 producer Tania Cuevas in her documentary, “Hip Hop in Brazil” “Over the past two decades a youth movement has emerged determined to bring about change through voice of hip hop.” She talks about how hip-hop has become one of the most popular sub-cultures between the Brazilian youth.
Interestingly enough just like the original history of hip-hop Brazil’s hip-hop scene comes from areas of suffrage and poverty. Something that truly stands out is there love and admiration for hip-hop. It is something they see as a truth, an eye-opener and outlet to life’s troubles. On Cuevas’s journey through Rio de Janeiro, Brazil she was eager to see what was behind the land of “beautiful people, good food, and beautiful beaches.” She was able to speak with Nitro D, a DJ turned rapper from South Brazil. He was able to share insight and background information on Brazil and his love for hip-hop. Like I learned before hand he stated that “hip hop in Brazil comes from the heart”. Reading about Brazil’s hip-hop scene this seemed to be a big factor and play a role in the output and quality of their music. Nitro D talked about how record labels won’t invest in rap therefore it doesn’t sell and make lots of money. This in part could be the reason as to why it still is attached to its roots and the passion is still seen. Nitro D stated that, “it’s with good intention, and generally it’s done voluntarily.”
Throughout the video images of graffiti and hoards of hip-hop followers are shown. Brazil is continually producing new hip-hop and no record labels are picking them up yet millions of artists are selling albums. Cuevas talks about how “records are sold without media exposure” that just from the strength of fan based support the scene is going strong. Original lyrics that offer insight and knowledge to the people is going to sell it’s what people want and what music should be and Brazil sees that.
Graffiti is another great part of the hip-hop scene and is demonstrated on a large scale in Brazil as well. In the same video we see an artist or referred to in this case a “writer” by the name of Acme, Acme lives in the Favelas (ghetto) and invites Cuevas to see his art and where he gets his inspiration. As Acme explained the concept of Graffiti he defined it as “street art” he stated that “if it becomes commercialized it’s going to turn into a mere product of the market.” Once again it was evident that hip-hop was about expression, whether it be a verbal or unspoken form of art. Hip hop in Brazil is a great deal political, it’s how they (the people) can get their word across about what’s going on around them and show the government or industries that the suffering is happening yet nothing is being done to change it. Nitro D wants to “take the art of hip-hop culture outside the community and bring it back in.”
Unlike the America’s hip-hop that seems to be overplayed on the radio Brazil stays true to its roots and community. It is referred to as something that is growing, maturing that has no end or true beginning whatever it is descent to be it will be. Acme talks about it hip-hop as a cure that perhaps it will someday start a revolution of its own. Artists are coming out of communities where little to no performers were seen or heard of, places that before were “just criminals or just samba singers.”
The video demonstrated a great deal of in depth visuals and description on Brazil and its hip-hop. Continually changing is the world but the overall message in hip-hop will always stay the same. Rappers in Brazil feel as though it is a duty to spread lyrics about politics and issues around them. By spreading the message through song or images on buildings young people see them and feel there power, it’s as though they too want to be a part of it and as a result it brings them into the loop.
Brazil carries its harsh upbringing from the start including wars, drug culture and political scandals yet has begun to see a much brighter day. A new movement today has begun to use the Brazilian hip-hop scene and aim to create an outlet for the kids on the street who have nothing else to do and hope to keep them out of trouble off the streets, away from drugs, etc. This in part is why hip-hop is so cherished and well known throughout parts of Brazil. It’s a remedy for a disease, a healing power that many perhaps do not understand.
Works Cited
Burns, E. Bradford. (1980). A History Of Brazil. Second edition.
New Work: Columbia University Press.
Skidmore, Thomas, E. (1999). Brazil Five Centuries Of Change.
New York: Oxford University Press, Inc.
http://www.pww.org/article/articleview/3749/
http://current.com/items/76432962_hip_hop_in_brazil?xid=45
Deon Johnson
English 1B: Tuesday/Thursday
Hip Hop as a Globe Movement: Venezuela
In ancient times, Venezuela was paradise for the Indians who lived on its beaches, in its tropical forests, and on the gentle grassland of the llanos. There were three main groups: the Carib, Arawak, and the Chibcha. They lived in small groups and all of them practiced some degree of farming; the land, however, was bountiful enough so that this was not always a necessity. They could easily hunt, fish for, and gather their food. In recent times, Venezuela has venger out into a independent country. The music of Venezuela originated after the country won its independence from the Spaniards. The music of Venezuela was the product of intermingling of the African, Spanish and native music. Gaita is one of the important traditional music of the country which is mainly performed during the festival seasons
The people of Venezuela boast of a history and culture that is rich in folk music. The national musical instrument of Venezuela is the "cuatro." Ilanero is a typical Venezuelan music. It originated in the plains or 'ilanos' of the country and was made popular by many musical artists, including Juan Vicente Torrealba and Ignacio Figueredo. However, most of its popular music has been eclipsed by the music of its neighboring countries, especially Brazil, Trinidad, and Colombia. Merengue, salsa, and other imported styles are also quite popular in the country. Despite a rough history, Venezuelans are infamous in South America for their easy-going nature and fun-loving spirit. Their national mythology hails back to the days when independent and rugged settlers tamed the lawlessness of the llanos, a heritage not unlike that of the American West. Most Venezuelans they come from a mix of European, Indian, and African roots, while a minority is exclusively white, black, or Indian. Roman Catholicism is the overwhelmingly dominant religion. (1)
Folk musics is thee popular muisc in Venezuela. However, purists and the younger generation of Venezuelans are not very appreciative of this music. Neo-folklore is a form of music that takes traditional music and organizes it in an electronic style, to be played on electronic instruments. Joropo is the national dance of Venezuela. Salsa is one of the most popular dance forms in this country. Folk music of Venezuela also forms an important part of Venezuela Culture. Gaita is the name of another popular music of this country; It is played much fervor during the Christmas season and is even considered a national representation of the festivity.(3)
There are several fusion artist groups such as Un Solo Pueblo, Huracán Del Fuego, and Grupo Madera, who have combined Latin American music such as jazz, rumba, and salsa. Aldemaro Romero is a well-known creative Venezuelan composer of Caribbean jazz, Venezuelan waltzes, and other symphonic works. Vicente Emilio Sojo is renowned in the country and internationally for his contributions to Venezuelan musicology and music education.(5)
From 2000 until present, a lot of Venezuelan artists have made a strong movement into different underground music styles. The most significative ones are: Masseratti 2lts (Downtempo), KP-9000 (Trip hop), Cardopusher (Breakcore), Nuuro (IDM), Todosantos (Nu Rave/Indietronica), Jimmy Flamante (Breakbeat), Las Americas (Shoegaze), Retrovértigo (Post-rock), Lis (Instrumental rock), Panasuyo (Neo-folcklore), Pacheko (Dubstep) and Los Javelin (Surf-rock/Rockabilly).
Venezuelan music and culture is the product of a diverse set of cultural traditions. A real melting pot, influenced by the meeting of three cultures: the 5,000-year-old musical traditions of the indigenous, native Venezuelans, the Arab-Andalusian songs and dances of the Spanish conquerors and the intricate patterns of the music from different West African countries. The complex tones, numerous rhythmic variations and the virtuosity demanded in the execution of folk poetry have made Venezuelan folk music one of Latin America's most dynamic art forms.
The National Assembly, which is dominated by Chavez, recently passed a law requiring that no less than 50 percent of all music played on the nation's radio stations be Venezuelan. Of that, half must be classified as "traditional," showcasing the "the presence of traditional Venezuelan values." Chavez backers say the harps and bandolas that now resound through this country of 25 million are playing the overture to a musical revolution. Chavez states:
"We've always had traditional Venezuelan records in stock, but before a few months ago we never sold any -- not one," said Miguel Angel Guada, manager of the Disco Center Superstore in one of the capital's largest malls. "It was all Britney Spears, Backstreet Boys and that sort of thing. But now I'd say one-third of our business comes from Venezuelan artists, which is absolutely incredible."
The new law can make listening to the radio an adventure in dizzying contrasts. One minute a disc jockey might spin Puerto Rico's Daddy Yankee rapping about "Biggie and Pac," and the next minute its flutes and fiddles from the Andean highlands. Some Venezuelan rock and pop artists have begun to record cover versions of traditional songs to take advantage of the mandates. Almost all local artists, regardless of age or genre, are reaping the rewards. Radio listeners say they occasionally detect muted grumblings from pop and hip-hop DJs when they introduce the songs that meet the law's requirements. But a casual survey at Caracas record stores suggested that many Venezuelans are enjoying the variety.
But to many Venezuelans, America's loss is their country's gain. Gustavo Arroyo, 20, dreams of being a rapper in a successful group. For two years, he and his friends have been performing at parties, playing a re-mix of underground and main stream rap. Even though one of his friends recently moved to Mexico, Arroyo said the group dreams have not died. The new law, he added, doesn't hurt their chances.
"We need a little touch of luck," he said, "and a manager to get our songs on the radio."
WorkCited
1.W. A. Wulf, R. Levin and S. P. Harbison, HYDRA/C.mmp: An Experimental Music Festival, McGraw-Hill, 1981, ISBN 0-07-072120-3.
2.M. Accetta, R. Baron, D. Golub, R. Rashid, A. Tevanian, and M. Young, "Mach: A New WayFoundation For Artist Development", Proc. Summer 1986 Usenix Conf., 1986.
3.Jeff Chase , Valérie Issarnay , Hank Levy, A life with the Venezuelans, v.27 n.2, p.61-65, April 1993 [doi>10.1145/155848.155859]
4.J. Vochteloo, S. Russell, and G. Heiser, "Venezuela", Proc. IWOOOS '93, December, 1993.
5.S. J. Mullender, Protection, Hip Hop in Venezuela, ACM, New York, NY, 1990 [doi>10.1145/90417.90743]
6.A.S. Tanenbaum, S.J. Mullender and R. van Renesse, "Using Venezuela Capabilities in a Distributed music", Proc. of the 6th Int Conf. on Distributed Computing Systems, Amsterdam 1986.
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