Beans, Rice & Life

Food, Inspirations, and Living in a Multicultural World

12 notes

fckyeahcambodia:

Sunday School Classical Dances & Performances done by those from the Cambodian Buddhist Temple in Maryland! :)

All photos belong to and are from Cambodian Buddhist Temple/Society

82 notes

america-wakiewakie:

Love of My Life: A Love Letter to the Girl Power in 90s Hip Hop and R&B | The Pulp Zine
Before I knew what feminism was I knew what Hip Hop was. I knew MC Lyte had a thing for the ruffnecks and could ‘cold rock a party’ and that The Lady of Rage rocked rough and stuff with her Afro puffs. Hip Hop is one of my very first loves but it wasn’t until I got older that I realized that the women of Hip Hop and R&B had been teaching me about feminism all along. Often popular music is denigrated as vacuous but I think people forget that there was a time when it seemed like everyone on the radio had a message they wanted to get across. Though the art of using Hip Hop as a voice for the voiceless isn’t dead, it seems like the 90s were a particularly good time to be a rapper with a message and replay value. So let’s take a look back at the fearless women of ’90s Hip Hop and R&B who unwittingly formed the soundtrack of female empowerment and general badassery.
Queen Latifah’s U. N. I. T. Y. is one of the quintessential Hip Hop feminist tunes. “Yo, who you callin a bitch?” Has been the title of many an article about Black feminism and if there were a Black feminist musical syllabus this would surely be at the top. What I appreciate is that Queen Latifah talks about street harassment and domestic violence but she also speaks to young women about channeling their anger in more productive ways. I love that she steers away from shaming young women for their actions and decides to teach instead. Too often young women are made to feel stupid for the ways they deal with growing up in a male centric world but Queen Latifah chooses to tell young women they have other options and they can find them with some thought and patience.
Missy Elliott was such a subversive and creative tour de force that I can hardly believe she exists and that she became the entity that she did. She has everything:
Body positivity: “I got a cute face, chubby waist, thick legs, in shape.” 
Celebrations of female autonomy: “Girls girls get that cash if it’s 9-5 or shaking ya ass. Ain’t no shame ladies do ya thang. Just make sure you ahead of the game.”
Refusal to be undone by gendered insults: “She’s a Bitch” is an eff you to those who hate on women who speak their minds and are driven. It also has a dope video. Because Missy’s videos were all incredible. I don’t care what anyone says, Missy Elliott (with Busta Rhymes coming in second) had the best videos in Hip Hop. Ever. Period.
Girl power: In a genre characterized by competition, Missy refused to play that game with other women. Instead, she collaborated with other women and featured them in her videos.
Subversion of the male gaze: often, women in Hip Hop are torn between dissecting the male gaze and catering to it. Missy celebrated sex positivity in trash bags and tracksuits, through distorted fish eye lens cameras, and covering herself in mud. She danced and had fun in videos for even her most sexual songs like “Work It” which is sexy but is visualized by a delightfully strange video. Then there’s “Sock It 2 Me” which is a song about a booty call but the video is an homage to MegaMan and she runs around dressed up like him with Da Brat. They go on a mission and blow stuff up. It’s campy, odd, and so very Missy. Missy Elliott brought the fun back into Hip Hop and I hope she returns to us soon.
…
Lauryn Hill’s discography will forever be the unfinished business of Hip Hop. You can’t discuss women in Hip Hop without someone bringing up Ms. Hill and everyone lowering their heads in sadness or extolling about how she’s going to come back and change the game again. And, to be honest, the mark she’s left on Hip Hop is deserved. The Miseducation of Lauryn Hill was a cultural event because here was this woman singing and rapping and doing both well. She gave you everything: knowledge, vulnerability, love, disappointment, empowerment. She spoke to women about making better relationship decisions and loving themselves. She had conversations with God. She spoke of her child and about being pressured into getting an abortion (which she didn’t get). She talked of lovers both good and bad. It’s all interspersed with interludes of children in a classroom talking about love and life. It’s a truly beautiful and varied album; one that is oddly self realized and complete for a debut solo album. Even if Ms. Hill never releases another album this one will have been enough. It’s really that good.
(Read Full Text) (Photo Credit: Molly McAlea!)

america-wakiewakie:

Love of My Life: A Love Letter to the Girl Power in 90s Hip Hop and R&B | The Pulp Zine

Before I knew what feminism was I knew what Hip Hop was. I knew MC Lyte had a thing for the ruffnecks and could ‘cold rock a party’ and that The Lady of Rage rocked rough and stuff with her Afro puffs. Hip Hop is one of my very first loves but it wasn’t until I got older that I realized that the women of Hip Hop and R&B had been teaching me about feminism all along. Often popular music is denigrated as vacuous but I think people forget that there was a time when it seemed like everyone on the radio had a message they wanted to get across. Though the art of using Hip Hop as a voice for the voiceless isn’t dead, it seems like the 90s were a particularly good time to be a rapper with a message and replay value. So let’s take a look back at the fearless women of ’90s Hip Hop and R&B who unwittingly formed the soundtrack of female empowerment and general badassery.

Queen Latifah’s U. N. I. T. Y. is one of the quintessential Hip Hop feminist tunes. “Yo, who you callin a bitch?” Has been the title of many an article about Black feminism and if there were a Black feminist musical syllabus this would surely be at the top. What I appreciate is that Queen Latifah talks about street harassment and domestic violence but she also speaks to young women about channeling their anger in more productive ways. I love that she steers away from shaming young women for their actions and decides to teach instead. Too often young women are made to feel stupid for the ways they deal with growing up in a male centric world but Queen Latifah chooses to tell young women they have other options and they can find them with some thought and patience.

Missy Elliott was such a subversive and creative tour de force that I can hardly believe she exists and that she became the entity that she did. She has everything:

  • Body positivity: “I got a cute face, chubby waist, thick legs, in shape.” 
  • Celebrations of female autonomy: “Girls girls get that cash if it’s 9-5 or shaking ya ass. Ain’t no shame ladies do ya thang. Just make sure you ahead of the game.”
  • Refusal to be undone by gendered insults: “She’s a Bitch” is an eff you to those who hate on women who speak their minds and are driven. It also has a dope video. Because Missy’s videos were all incredible. I don’t care what anyone says, Missy Elliott (with Busta Rhymes coming in second) had the best videos in Hip Hop. Ever. Period.
  • Girl power: In a genre characterized by competition, Missy refused to play that game with other women. Instead, she collaborated with other women and featured them in her videos.
  • Subversion of the male gaze: often, women in Hip Hop are torn between dissecting the male gaze and catering to it. Missy celebrated sex positivity in trash bags and tracksuits, through distorted fish eye lens cameras, and covering herself in mud. She danced and had fun in videos for even her most sexual songs like “Work It” which is sexy but is visualized by a delightfully strange video. Then there’s “Sock It 2 Me” which is a song about a booty call but the video is an homage to MegaMan and she runs around dressed up like him with Da Brat. They go on a mission and blow stuff up. It’s campy, odd, and so very Missy. Missy Elliott brought the fun back into Hip Hop and I hope she returns to us soon.

Lauryn Hill’s discography will forever be the unfinished business of Hip Hop. You can’t discuss women in Hip Hop without someone bringing up Ms. Hill and everyone lowering their heads in sadness or extolling about how she’s going to come back and change the game again. And, to be honest, the mark she’s left on Hip Hop is deserved. The Miseducation of Lauryn Hill was a cultural event because here was this woman singing and rapping and doing both well. She gave you everything: knowledge, vulnerability, love, disappointment, empowerment. She spoke to women about making better relationship decisions and loving themselves. She had conversations with God. She spoke of her child and about being pressured into getting an abortion (which she didn’t get). She talked of lovers both good and bad. It’s all interspersed with interludes of children in a classroom talking about love and life. It’s a truly beautiful and varied album; one that is oddly self realized and complete for a debut solo album. Even if Ms. Hill never releases another album this one will have been enough. It’s really that good.

(Read Full Text) (Photo Credit: Molly McAlea!)

35 notes

fckyeahcambodia:

remyhou:

#Food for #Thavada, took 4 days to make this #Giant #Khmer #Porkbun or in Khmer Num #Ansorm. After the blessing ceremony, it was then offer to everyone. All happening in front of #AngkorWat #SiemReap #Cambodia for #AngkorSankranta. #RemyHou #KhmerConnection #KhmerNewYear #KNY

that is literally GINORMOUS. enough to last til next new year lol

fckyeahcambodia:

remyhou:

#Food for #Thavada, took 4 days to make this #Giant #Khmer #Porkbun or in Khmer Num #Ansorm. After the blessing ceremony, it was then offer to everyone. All happening in front of #AngkorWat #SiemReap #Cambodia for #AngkorSankranta. #RemyHou #KhmerConnection #KhmerNewYear #KNY

that is literally GINORMOUS. enough to last til next new year lol

(via arunrasmey)