Princess Poppy: Lets Dance! Free

Total Page:16

File Type:pdf, Size:1020Kb

Princess Poppy: Lets Dance! Free FREE PRINCESS POPPY: LETS DANCE! PDF Janey Louise Jones | 32 pages | 28 Aug 2014 | Random House Children's Publishers UK | 9780552570688 | English | London, United Kingdom Let's Dance! (Princess Poppy) by Janey Louise Jones Grab your tickets to DreamWorksTrolls The Trolls are small creatures who live in an almost perpetual state of happiness, singing, dancing and hugging all day Princess Poppy: Lets Dance!. However, they are discovered by the Bergens, large creatures who never feel happy but discover that they can feel happy for a moment if they eat a Troll. The Bergens put the Trolls and their tree in a cage, and hold an annual festival in which each Bergen gets its feeling of happiness Princess Poppy: Lets Dance! eating a Troll. Christopher Mintz-Plasse would taste his first Troll. The furious Bergen king Gristle Sr. Twenty years later, King Peppy's daughter, the extremely happy and optimistic Princess Poppy Anna Kendrickthrows a big party to celebrate the Trolls' escape, despite the fears and warnings of the glum and paranoid Troll Branch Justin Timberlake that loud parties will attract the Bergens. Branch's fears are realized when indeed the banished Bergen Chef sees the fireworks and captures a number of Trolls. Poppy is among the Trolls who managed to hide, but discovers that none of the other Trolls dare to venture to Bergen Town to rescue their friends. She is however able to recruit the reluctant Branch, and together they go to Bergen Town. Poppy and Branch discover that their friends are being guarded by the scullery Princess Poppy: Lets Dance! Bridget Zooey Deschaneland strike a deal with her: if she frees their friends, they will help her get a date with the now King Gristle Jr. With the Trolls' advice and hairBridget gets her date with Gristle and she helps the Trolls escape. However, things go wrong when Poppy and her friends try to rescue the last Troll, the Zen-like Troll Creek Russell Brand who after being apparently swallowed by the young king has been discovered being held captive in the jewel that decorates the king's mantle. While the Trolls are successful in stealing the jewel, they are dismayed to discover that it is empty and even more shocked by being captured immediately afterwards by Chef and discovering that Creek has betrayed them to save his own hide. Creek returns to the Troll village where using Poppy's cowbell he lures the other Trolls out of hiding, letting them be captured by Chef and the other Bergen cooks who lie in ambush. With all the Trolls captured and being ready to be served to the Bergens, even Poppy loses hope and she and all the other Trolls turn Princess Poppy: Lets Dance!. Branch, despite his grumbling, reveals through song that he is secretly in love with Poppy and cannot stand seeing her and the others so despondent. For the first time since his grandmother was eaten by a Bergen, Branch sings so that Poppy and the other Trolls regain their color and hope, leading Branch himself to lose his grey hue and show his true blue color. Just before being served, Princess Poppy: Lets Dance! Trolls are rescued by Bridget who wants them to flee while she herself is ready to accept the Bergen's punishment for her "treason. Together with the other Trolls, Poppy reveals that Bridget was in fact the king's mysterious date, and that for being happy it is not necessary to eat Trolls as the feeling that Bridget and the King had on their date was happiness Princess Poppy: Lets Dance!. The trolls invite the Bergens to sing and dance with them, making the grey creatures feel the Princess Poppy: Lets Dance! that was already inside them that they just needed help to access. The vengeful Chef, who sees her newly re-won position at court jeopardized, tries to kill the Trolls. Before she can do so is knocked into the serving cart by a well-aimed spoon thrown by Bridget. Together with Princess Poppy: Lets Dance! traitor Creek who was still Princess Poppy: Lets Dance! her pouch, Chef rolls out of the castle, winding up in the wilderness where she and Creek themselves are devoured by a big monster. In the end, the Trolls live in peace with the Princess Poppy: Lets Dance! Bergens, Poppy is crowned their new queen, and with Branch regaining his true blue color and his hope, he and Poppy kiss. Join Us on Facebook. Contact Us. My little pony/Trolls Party - Super Sparkle Parties The videos achieved viral fame. Inshe signed to Mad Decent and released her debut studio album, Poppy. Computerwhich consisted of art pop and bubblegum pop songs. To promote the album, she embarked on the Poppy. Computer Tour across North America. She also released her second studio album, Am I a Girl? In stark contrast to her first album, Am I a Girl? Inshe released her third studio album I Disagree through Sumerian Recordsshifting her style even further away from pop to a sound incorporating heavy metal and industrial Princess Poppy: Lets Dance!. Moriah Rose Princess Poppy: Lets Dance! [8] was born in BostonMassachusetts. Poppy moved to Los Angeles in to pursue her musical career. As of Aprilthe channel is actively uploading videos and has attracted a large audience. In Augustshe released a series of advertisements for the shoe company Steve Madden on her channel as a part of its Steve Madden Music program. In OctoberPoppy released an experimental ambient music album called Music to Sleep Tocomposed by Sinclair and herself, Princess Poppy: Lets Dance! assistance from polysomnographists from the Washington University School of Medicine. In Novembershe became the face of Japanese retailer Sanrio 's first "Hello Sanrio" collection. Poppy's debut studio album, Poppy. Computerwas released on October Princess Poppy: Lets Dance!, by Mad Decent. Her first concert tour, the city Poppy. Computer Tourstarted on October 19 in Vancouver. Poppy made her YouTube Rewind debut Princess Poppy: Lets Dance!and was Princess Poppy: Lets Dance! of the few content creators to get their own lines. In MarchPoppy performed at the Japanese pop music festival, Popspring. On April 17,Sinclair's former partner Mars Argo filed a page lawsuit in Central California court against Sinclair and Poppy alleging copyright infringement, stating that Sinclair based Poppy's online persona on hers, as well as emotional and physical abuse Sinclair had allegedly subjected her to in the period after their separation and the subsequent abandonment of the project. She called the suit a "publicity campaign" and a "desperate grab for fame". On July 6,Poppy released a cover of Gary Numan 's song " Metal " as a single on all digital platforms. In SeptemberPoppy announced on her social media that she was already working on her third studio album. InPoppy began to drop hints about a new project and website called Poppy. After a few months, however, the purpose of the site was made clear. Every day at PDT, certain people who entered their phone number would Princess Poppy: Lets Dance! a link to join the Church. There they could fill out a profile, create an avatar, and pledge their allegiance to her. As of August 24, there is an Atrium, which acts as a chatroom, a theater, a gallery which changes weekly, a lobby like another chatroom, a bulletin board with announcements, a personal report page, a box office selling tickets for Poppy's Am I a Girl? Tour, [43] a backpack, and a settings page to edit contact information and character. On August 23, room invites were sent out to members of the Church who were showing "Faith, Dedication, and Loyalty". There arerooms, with 1, halls connecting to Princess Poppy: Lets Dance! corresponding rooms in that hall. For example, Hall No. Members of the Church can visit each other's rooms, leave Princess Poppy: Lets Dance! on their walls, and access provided social media. Poppy attended the American Music Awards. On January 8,Poppy announced a graphic novel through Z2 Comics entitled Genesis 1which was released to comic book stores on July The description on Z2 Comics' website reads "Is she a girl? Is she a machine? Is she humanity's redemption, or its damnation? Don't be scared — either way, she is Poppy… and you love Poppy. Witness the genesis of the internet phenomenon in this original graphic novel, bundled with an exclusive brand new album. She elaborated in an interview with Gigwise that the album released with the graphic novel, titled I C U: Music to Read Tois an ambient music album meant to be listened to while reading. Later that month in an interview to ForbesPoppy announced her new single and video called "Voicemail", produced and directed by Sinclair. It was released on January InPoppy revealed plans for Princess Poppy: Lets Dance! movie and her own Princess Poppy: Lets Dance! streaming service. The song was included on her second EP, Chokewhich was on released on June On September 30,Poppy announced that her third studio album entitled Princess Poppy: Lets Dance! Disagree would be released on January 10, through Sumerian Records. The title track was released as the second single from the album following "Concrete" in August on October 4 alongside Princess Poppy: Lets Dance! album pre-order. The final single from the album, "Anything Like Me," was released alongside the album and the music video for the track on January 10, A statement confirming that Poppy and Sinclair parted ways was released in December She accused him of glamorizing suicide and using this to manipulate her, alleging she and Sinclair's former collaborator Mars Argo suffered similar psychological abuse.
Recommended publications
  • “Grunge Killed Glam Metal” Narrative by Holly Johnson
    The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way.
    [Show full text]
  • CONTRACT Case Studies in Science Education, Volume I: the Case 658P.; for Related Documents, See SE 026 360, SE 0261 Occasional
    DOCUMENT RESUME E6 166 058 SE 026 707 AUTHOR Stake, Robert E.; And Others TITLE Case Studies in Science Education, Volume I: The Case Reports. INSTITUTION Illinois Univ., Urbana. Center for Instructional - Research and Curriculum Evaluation. SPONS AGENCY National Science Foundation, Washington, D.C. Directorate for Science Education. REPORT NO NSF-SE-78-74 PUB DATE Jan 78 CONTRACT NSF-C-7621134 NOTE 658p.; For related documents, see SE 026 360, SE 0261 708, ED 152 565 and ED 153 875-880; Contains occasional light and broken type AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402 (Stock Number 038-000-00377-1; $7.25) EDRS PRICE MF-$1.16 HC-$35.49 Plus Postage. DESCRIPTORS *Case Studies (Education); Curriculum; Educational Research; Elementary Secondail Education; Federal Legislation; Instruction; Instructional Materials; *Mathematics Education; *Science Education; *Social Studies; State Federal Aid; *Teaching Methods" IDENTIFIERS *National Science Foundation ABSTRACT This document presents a collection of field observations, from 11 -sites, submitted as a part of the final report of a project funded by the National Science Foundation to gather data about science, mathematics and social science education in Amerlcad schools. Schools involved a variety of settings: rural-urban, racially diverse, socioeconomically different, and located throughout the United States. Field observers spend 4-15 weeks on site, gathering data. Biographical information on each field observer accompanies his/her case study. (PEB) *********************************************************************** Reproductions supplied by EDRS are the best that can_be made from the original document. *********************************************************************** U.S DEPARTMENT OF HEALTH, EDUCATION I. WELFARE NATIONAL INSTITUTE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO- DUCED EXACTLY AS RECEIVEDFROM THE PERSON OR ORGANIZATION ORIGIN -.
    [Show full text]
  • Early STRATEGY of the MONTH EXTENDING
    CORE WORD: Early For Educators, Related Service Providers and Parents STRATEGY OF THE MONTH EXTENDING, EXPANDING AND ELABORATING The AAC strategy of Extending, Expanding and Elaborating focuses on communication partners responding to what students express by providing immediate, (simultaneous) verbal and AAC system modeling based on the student's unique language goals. As an example, students at the single-word level may have a goal to produce two-word utterances and therefore the ‘add a word’ approach could be utilized, (providing modeling by adding a word to the utterance/word produced). Such added words could be targeted as: pronouns, verbs, or descriptors, (for added specificity). Intermediate to advanced communicators would have different, higher-level language goals and targets that are individualized. When using the Extending, Expanding and Elaborating approach, it is suggested that such modeling is carried out in a positive, upbeat tone and with correct grammar and syntax. WAYS WE CAN USE THE WORD SHARE INFORMATION: (e.g., I am early) ASK A QUESTION: (e.g., am I early?) DESCRIBE: (e.g., too early) NEGATE: (e.g., you are not early) ROUTINES AND SCHEDULES Circle: Adults and students can use early to indicate who was early to school during the morning circle time routine. 1 Snack time: Adults can lead students in a discussion about foods and the difference between what type of foods you eat early in the day such as breakfast food (e.g., eggs, toast, yogurt, etc.). PLAY Freeze Dance: Students can play freeze dance and when an adult or student pauses the music, students can point out if anyone stopped dancing too early.
    [Show full text]
  • K-Pop Fandom in Lima,Perú
    Wesleyan ♦ University K-POP FANDOM IN LIMA, PERÚ: VIRTUAL AND LIVE CIRCULATION PATTERNS By Stephanie Ho Faculty Advisor: Dr. Mark Slobin A Dissertation submitted to the Faculty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts. Middletown, Connecticut MAY 2015 i Acknowledgements I would like to thank my advisor, Dr. Mark Slobin, for his invaluable guidance and insights during the process of writing this thesis. I am also immensely grateful to Dr. Su Zheng and Dr. Matthew Tremé for acting as members of my thesis committee and for their considered thoughts and comments on my early draft, which contributed greatly to the improvement of my work. I would also like to thank Gabrielle Misiewicz for her help with editing this thesis in its final stages, and most importantly for supporting me throughout our time together as classmates and friends. I thank the Peruvian fans that took the time to help me with my research, as well as Virginia and Violeta Chonn, who accompanied me on fieldwork visits and took the time to share their opinions with me regarding the Limeñan fandom. Thanks to my friends and colleagues at Wesleyan – especially Nicole Arulanantham, Gen Conte, Maho Ishiguro, Ellen Lueck, Joy Lu, and Ender Terwilliger – as well as Deb Shore from the Music Department, and Prof. Ann Wightman of the Latin American Studies Department. From my pre-Wesleyan life, I would like to acknowledge Francesca Zaccone, who introduced me to K-pop in 2009, and has always been up for discussing the K-pop world with me, be it for fun or for the purpose of helping me further my analyses.
    [Show full text]
  • Selling Or Selling Out?: an Exploration of Popular Music in Advertising
    Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable
    [Show full text]
  • View / Open OURJ Spring 2018 Lelkins.Pdf
    Oregon Undergraduate Research Journal 13.1 (2018) ISSN: 2160-617X (online) blogs.uoregon.edu/ourj Spitting Bars and Subverting Heteronormativity: An Analysis of Frank Ocean and Tyler, the Creator’s Departures from Heteronormativity, Traditional Concepts of Masculinity, and the Gender Binary Lizzy Elkins*, International Studies and Women’s, Gender and Sexuality Studies ABSTRACT This paper seeks to investigate an emerging movement of rap and pop artists who actively subvert structures of the gender binary and heteronormativity through their music. The main artists considered in this research are pop/rap/R&B artist Frank Ocean and rap artist Tyler, the Creator, both of whom have claimed fame relatively recently. Artists like Ocean and Tyler make intentional departures from heteronormativity and the gender binary, combat concepts such as ‘toxic masculinity’, and hint at the possibilities for normalization and destigmatization of straying from the gender binary through lyrics, metaphysical expressions, physical embodiments of gender, expression of fluid/non-heteronormative sexualities, and disregard for labels in their sexual and gendered identities. I will discuss the history and context around music as an agent for social change and address privileging of the black heterosexual cisgender man as the central voice to pop/rap/R&B in the following research. This project will draw on Beauvoirian philosophy regarding gender as well as contemporary sources of media like Genius, record sale statistics, and album lyrics. By illustrating and evaluating how these artists subvert traditional concepts of gender and sexuality, I hope to also shine a light on how their music, which reaches millions of people who are less aware of or accepting of gayness, catalyzes social change and is significant in this current political moment, which is an era of increasing public tolerance of queer ideas and less binary gender expression.
    [Show full text]
  • Songs by Artist
    Songs by Artist Title Title (Hed) Planet Earth 2 Live Crew Bartender We Want Some Pussy Blackout 2 Pistols Other Side She Got It +44 You Know Me When Your Heart Stops Beating 20 Fingers 10 Years Short Dick Man Beautiful 21 Demands Through The Iris Give Me A Minute Wasteland 3 Doors Down 10,000 Maniacs Away From The Sun Because The Night Be Like That Candy Everybody Wants Behind Those Eyes More Than This Better Life, The These Are The Days Citizen Soldier Trouble Me Duck & Run 100 Proof Aged In Soul Every Time You Go Somebody's Been Sleeping Here By Me 10CC Here Without You I'm Not In Love It's Not My Time Things We Do For Love, The Kryptonite 112 Landing In London Come See Me Let Me Be Myself Cupid Let Me Go Dance With Me Live For Today Hot & Wet Loser It's Over Now Road I'm On, The Na Na Na So I Need You Peaches & Cream Train Right Here For You When I'm Gone U Already Know When You're Young 12 Gauge 3 Of Hearts Dunkie Butt Arizona Rain 12 Stones Love Is Enough Far Away 30 Seconds To Mars Way I Fell, The Closer To The Edge We Are One Kill, The 1910 Fruitgum Co. Kings And Queens 1, 2, 3 Red Light This Is War Simon Says Up In The Air (Explicit) 2 Chainz Yesterday Birthday Song (Explicit) 311 I'm Different (Explicit) All Mixed Up Spend It Amber 2 Live Crew Beyond The Grey Sky Doo Wah Diddy Creatures (For A While) Me So Horny Don't Tread On Me Song List Generator® Printed 5/12/2021 Page 1 of 334 Licensed to Chris Avis Songs by Artist Title Title 311 4Him First Straw Sacred Hideaway Hey You Where There Is Faith I'll Be Here Awhile Who You Are Love Song 5 Stairsteps, The You Wouldn't Believe O-O-H Child 38 Special 50 Cent Back Where You Belong 21 Questions Caught Up In You Baby By Me Hold On Loosely Best Friend If I'd Been The One Candy Shop Rockin' Into The Night Disco Inferno Second Chance Hustler's Ambition Teacher, Teacher If I Can't Wild-Eyed Southern Boys In Da Club 3LW Just A Lil' Bit I Do (Wanna Get Close To You) Outlaw No More (Baby I'ma Do Right) Outta Control Playas Gon' Play Outta Control (Remix Version) 3OH!3 P.I.M.P.
    [Show full text]
  • Deconstructing “Do-It-Yourself” Punk Rock Ethics in Philadelphia" (2016)
    Dickinson College Dickinson Scholar Student Honors Theses By Year Student Honors Theses 5-22-2016 Consuming Authenticity: Deconstructing “Do-It- Yourself” Punk Rock Ethics in Philadelphia Patricia Ann Kotrady Dickinson College Follow this and additional works at: http://scholar.dickinson.edu/student_honors Part of the American Popular Culture Commons, Music Commons, and the Sociology of Culture Commons Recommended Citation Kotrady, Patricia Ann, "Consuming Authenticity: Deconstructing “Do-It-Yourself” Punk Rock Ethics in Philadelphia" (2016). Dickinson College Honors Theses. Paper 238. This Honors Thesis is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Consuming Authenticity Deconstructing “Do-It-Yourself” Punk Rock Ethics in Philadelphia By Patricia Ann Kotrady Submitted in partial fulfillment of Honors Requirements for the Department of American Studies at Dickinson College May 10, 2016 Table of Contents Introduction: Welcome to “the Best Punk Scene in the Country Right Now” 1 “The House Shows Don’t Really Happen Everywhere”: Why Philadelphia? 7 “Semi Anti-Establishment, I Guess”: Punk as a Vessel 12 “You Know, Just Do It”: An Overview of DIY Punk Ethics 16 “This Music is Just Organic”: 21 Authenticity, Opposition, and the Myth of the Mainstream "We never want to be a band that's just in it to make a buck”: 27 The Narrative of “Selling Out” “It’s Never Been Easier to Make Music Like a Pro”: 32
    [Show full text]
  • University of Nevada, Reno Partying with Hello Kitty: How Electronic Dance Music and Rave Culture Are Transforming, Commercializ
    University of Nevada, Reno Partying with Hello Kitty: How Electronic Dance Music and Rave Culture are transforming, commercializing, and globalizing youth culture in the twenty-first century A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History By Geoff Scott Dr. Hugh Shapiro/Thesis Advisor May 2014 i Abstract This thesis will demonstrate how electronic dance music (EDM) has evolved from the musical underground during the second half of the twentieth century into the mainstream, commercial powerhouse it is now in the early twenty-first-century world. EDM at its core is a musical style characterized by the use of synthetic, electronic sounds. The combination of technological devices such as drum machines, repetitive bass lines, electronic builds and releases and inorganic noises in tandem with instrumental and vocal samples makes EDM an incredibly malleable style of dance music that has branched into a variety of forms over the course of its less than fifty year existence. Innovations in technology, like the tape reel, the Moog synthesizer, the vinyl mixer and the computer have led to new ways of contemplating and creating music. I argue that the innovative musical voices of late modernism and early postmodernism set the foundation for early EDM, who were not afraid to harness the new synthetic sounds at their disposal. Electronic dance music can trace its roots back to the repetitive, minimalist structures used since the 1960’s by postmodern composers such as Philip Glass and the electronic instrumentation of artists like Terry Riley and John Cage. Owing to its flexibility, EDM has also been re-contextualized in different cultures.
    [Show full text]
  • The Influence of Role Models in Metal Musicians' Composing and Career
    Niina Lämsä The influence of role models in metal musicians’ composing and career How do the songs come alive? Thesis CENTRIA UNIVERSITY OF APPLIED SCIENCES Music pedagogy June 2017 ABSTRACT Centria University Date Author of Applied Sciences June 2017 Niina Lämsä Degree programme Music pedagogy Name of thesis The influence of role models in metal musicians’ composing and career Instructor Pages Kirsti Rasehorn 20 The idea of this thesis was to study the influence of role models in metal musicians’ composing and career. The information was collected from theme interviews from the members of Amaranthe, Epica and Sonata Arctica and this thesis was written based on their answers using qualitative research. Based on the interviews we can say that each musician has taken some influences from their role models. The influences they take from other musicians’ songs are mostly the stylish or atmospherical influence. For all musicians, the common source of inspiration was books and movies. The role models affected these people in different ways, but what was common was that they have learned from them with consideration, following only the good practices. In this thesis I compared my own composing process to my role models’ composing processes. There was a lot in common, it turned out, that the most of these composers compose alone. The most important tips for aspiring composers were to “follow your heart”, “let the music choose you” and “never give up”. Key words Composing, metal music, music, role models TIIVISTELMÄ OPINNÄYTETYÖSTÄ Centria- Aika Tekijä/tekijät ammattikorkeakoulu Kesäkuu 2017 Niina Lämsä Koulutusohjelma Musiikin koulutusohjelma Työn nimi Esikuvien vaikutus metallimuusikoiden säveltämiseen ja uraan Työn ohjaaja Sivumäärä Kirsti Rasehorn 20 Opinnäytetyön tarkoitus oli tutkia esikuvien vaikutusta metallimuusikoiden sävellysprosessiin ja uraan.
    [Show full text]
  • Faouda Wa Ruina: a History of Moroccan Punk Rock and Heavy Metal Brian Kenneth Trott University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 Faouda Wa Ruina: A History of Moroccan Punk Rock and Heavy Metal Brian Kenneth Trott University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Islamic World and Near East History Commons, and the Social and Cultural Anthropology Commons Recommended Citation Trott, Brian Kenneth, "Faouda Wa Ruina: A History of Moroccan Punk Rock and Heavy Metal" (2018). Theses and Dissertations. 1934. https://dc.uwm.edu/etd/1934 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FAOUDA WA RUINA: A HISTORY OF MOROCCAN PUNK ROCK AND HEAVY METAL by Brian Trott A Thesis Submitted in Partial Fulfillment of the Requirements of a Degree of Master of Arts In History at The University of Wisconsin - Milwaukee May 2018 ABSTRACT FAOUDA WA RUINA: A HISTORY OF MOROCCAN PUNK ROCK AND HEAVY METAL by Brian Trott The University of Wisconsin-Milwaukee, 2018 Under the Supervision of Professor Gregory Carter While the punk rock and heavy metal subcultures have spread through much of the world since the 1980s, a heavy metal scene did not take shape in Morocco until the mid-1990s. There had yet to be a punk rock band there until the mid-2000s. In the following paper, I detail the rise of heavy metal in Morocco. Beginning with the early metal scene, I trace through critical moments in its growth, building up to the origins of the Moroccan punk scene and the state of those subcultures in recent years.
    [Show full text]
  • Developing a Strategy for Appropriate Uses of the Benjamin Franklin Parkway
    Developing a Strategy for Appropriate Uses of the Benjamin Franklin Parkway Report to the Parkway Council Foundation and Managing Director’s Office – City of Philadelphia February 28, 2018 Table of Contents Acknowledgements ......................................................................................................................................... 2 Executive Summary ......................................................................................................................................... 3 Introduction and Definitions ......................................................................................................................... 3 Context ....................................................................................................................................................... 5 Findings and Conclusions .............................................................................................................................. 6 Recommendations and Observations .............................................................................................................. 10 Vision and Oversight .............................................................................................................................. 10 Communication ..................................................................................................................................... 11 Noise, Sound and Vibration Management ..............................................................................................
    [Show full text]