[View the story “IndieCade15: Game Development in the Spanish-Speaking World” on Storify]
By Arturo R. Garcia
While a lot of rock documentaries focus on the “rise and fall” or coming and going of a particular artist or genre, John Pirozzi’s Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll largely fulfills a more daunting — and ultimately more haunting — assignment: chronicling the blossoming and annihilation of Cambodia’s entire musical identity, all within a 15-year period.
Pirozzi himself is invisible throughout the proceedings; instead, artists and officials who survived the period narrate the tale oral history-style, with film footage and recordings filling in the blanks and showing how vibrant the country’s musical scene became as it adapted not just North American rock but Afro-Cuban influences with its own traditions.
Under the cut, we’ll take a look at some of the more notable acts spotlighted in the documentary.
Read the Post A Quick Guide To Five Of The Cambodian Artists Featured In Don’t Think I’ve Forgotten
Compiled by Arturo R. García
I would sit on the corners, and people would walk up to me and ask me to play a gospel song, and they’d pat me on the head and say, that’s nice, son – but they didn’t tip at all. But people who ask me to play the blues would always tip me. I’d make $40-50. Even as off in the head as I am, I could see it made better sense to be a blues singer.
— The Telegraph, 2009
This year’s keynote session for Facing Race starts at 4:30 p.m. EST and will be…
Racialicious is pleased to be covering Facing Race 2014 from Dallas, Texas, on Nov. 14…
[View the story “The Witty Women of Steampunk” on Storify] Top image from Anina Bennett’s…
Since we took a look at Jenny Yang’s “If Asians Said The Stuff White People Say” yesterday, let’s revisit January 2012, when Latoya examined a similar vein of internet-based comedy that took on stereotypes from various communities.
By Latoya Peterson
So all this started with “Shit Girls Say,” which now has over 11 million views:
Created by Graydon Sheppard and Kyle Humphrey (and boosted by the star power of Juliette Lewis), “Shit Girls Say” went viral by taking a male perspective on common things “women” do and presenting it as humor. Internet forums filled with comments like “Omigod, all my friends do that” or “that is so me.” The sketch proved to be so popular, there are now three episodes, probably with more in the pipeline.
However, everyone wasn’t laughing at “Shit Girls Say.” Quite a few people noticed that the “girls” referred to in the top video were a certain type of woman, an experience that was not shared by all. Others noted that the humor that made the video funny was actually rooted in sexist stereotypes. Over at Feministing, Samhita explains:
While, I usually applaud men in drag, I can’t help but be critical of these characterizations of women. Are some of these stereotypes uncannily true? I’m sure they can be. But that’s the problem with stereotypes, it’s not about whether they are true or not, it’s that they are used to disempower people or deny them certain privileges. And I get that it is comedy, but it’s like the most boring and lazy comedy possible. You know, let’s make fun of girls cuz we already know everyone thinks they are dumb and annoying tee hee. These videos might as well be beer ads.
And Lynn Crosbie, writing for the Globe and Mail, notes:
Girls, or young women, who already speak largely in the interrogative and treat the world of men as another, completely inscrutable species, have enough on their minds already. They are already sexualized to the maximum. Must their every word be a potential joke?
Girls speak casually about inane things. Girls speak, too, about sexual violence and quantum physics. They talk about fear and art, children, murder and opera; philosophy, blood, sex and mathematics.
The Golden Notebook by Doris Lessing is also some stuff a girl said.
In this entry from the Racialigious series, we examine the struggles of women of color in religious communities — and how they’re often ignored in discussions about faith.
By Guest Contributor Sikivu Hutchinson; excerpt from “Godless Americana: Race and Religious Rebels” (Feb. 2013); originally published at the Feminist Wire
The 24-hour prayer sessions are the true test of a warrior for Jesus. They require Herculean stamina, the patience of Job, and the rigor of elite marathon runners hitting the wall in a fiery sweat pit at high altitude, primed for God’s finish line. In many small storefront Pentecostal churches these “pray-a-thons” are women’s spaces; hubs of music, food, caregiving, and intense witnessing. My student Stacy Castro* is a bass player in her Pentecostal church’s band. She is also the pastor’s daughter and a regular participant in the pray-a-thons, a mainstay in some evangelical congregations. Much of her weekends are focused on church activities. And though she is an intelligent, gifted speaker, up until her participation in the Women’s Leadership Project she thought little about pursuing college and wanted to go to cosmetology school. Stacy’s aspirations are not atypical of students at Washington Prep High School in South Los Angeles. In a community that is dominated by churches of every stripe; only a small minority go on to four-year colleges and universities.
Over the past decade, Pentecostal congregations have burgeoned in urban communities nationwide, as Pentecostalism has exploded amongst American Latinos disgruntled by rigid Catholic hierarchies, alienating racial politics, and sexual-abuse scandals. The gendered appeal of Pentecostalism is highlighted in a 2008 American Religious Identification Survey which concludes that, “Latino religious polarization may be influenced by a gender effect, as in the general U.S. population, with men moving toward no religion and women toward more conservative religious traditions and practices. Two traditions at opposite poles of the religious spectrum exhibit the largest gender imbalance: the None population is heavily male (61%) while the Pentecostal is heavily female (58%). (Italics added.)”[i]