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Semar mendem which is lemper wrapped in thin omelette. A variant snack almost identical to lemper is called semar mendem. Both are glutinous rice filled with shredded seasoned chicken. Instead of banana leaf wrapping, semar mendem uses a thin omelette made from egg and flour as wrapper, hence rendering the whole package edible.
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In the Colonial era, kerak telor was a privileged food and was served in big parties for the colonial government or rich Betawi.According to the gastronomy expert, Suryatini N. Ganie, kerak telor was created in order to make glutinous rice more tasty and satisfying. [1]
Alternative variants are easy from this tuning, but because several chords inherently omit the lowest string, it may leave some chords relatively thin or incomplete with the top string missing (the D chord, for instance, must be fretted 5-4-3-2-3 to include F♯, the tone a major third above D). Baroque guitar standard tuning – a–D–g–b–e
Arem-arem is often described as a smaller size lontong with fillings, so it is sometimes also called lontong isi (lit. "filled lontong"). [ 1 ] It is common in Java , and often found in Indonesian marketplaces as jajan pasar ("market munchies"), a type of kue (snack) offered there.
Tahu telur: (lit: tofu with egg), with omelette, beansprout, peanuts, and lontong rice cake, served in thin sweet and sour soy sauce. Also originated from Surabaya City, East Java . Tahu bulat (round tofu) or tahu bola also called bola-bola tahu (tofu balls): is a relatively new variant of fried tofu from Tasikmalaya .
Telur gulung (Indonesian for 'rolled egg') is a traditional Indonesian food in which an egg is fried into an omelet and then rolled using a skewer which is usually made of bamboo. This food is often served and sold by street vendors in front of schools. [1] Telur gulung is a legendary snack because it has been around since the 90s. [2]
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...