Humboldt Penguin resembles her personality in other Kemono Friends media. As a member of the penguin idol group, PPP, she is cute, carefree, humorous and calm with a healing vibe. She has a troubled expression most of the time even when she is not feeling troubled. She has a gentle, soft voice and speaks in an unhurried manner. Using honorific whenever addressing others is her speech signature. Not the best in reaction time, she often prefers slow-paced, relaxing games. She is apparently quite familiar with old songs and media of nostalgia. She is often described as a mature senpai by her kouhai.

One of her regular streams recurs on Monday and Thursday at 7:00 JST and lasts for an hour, named "Hululu Alarm Clock" (). The themes in her earlier streams includes weather reports, riddle guessing, singing nursery rhymes and just chatting. The current "Hululu Alarm Clock" themes include breakfast ASMR, chatting with viewers, and reciting Japanese literature. She also streams in the evening playing games, chatting and even doing casual counselling. Her gaming streams occur in the evening at around 20:00 JST. Since July 2022, she has started a recurring program called "Hululu Goodnight Radio" () streaming around 11:30pm JST. Similar to "Hululu Alarm Clock", she chats about various topics and sings songs occasionally.


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PPP's Do-Re-Mi Song is the tenth and final original song performed during the Kemono Friends Stage Play. It is Penguins Performance Project's answer to Kemono Michi, the festival entry of their rival idol unit, the Savanna Girls.

Oozora DreamerCover for the Limited Edition release.Cover for the regular release.Artist(s)PPPRelease DateFebruary 8th 2017AlbumYoukoso Japari Park eOozora Dreamer () is the first song performed by PPP during their debut concert in Episode 8: PPP Live. It was included on the Youkoso Japari Park e single, also containing the anime's opening theme song, Youkoso Japari Park e (Song).

Hollywood Records has released the original song We Are America from the Hulu original documentary Anthem. The track written by Ruby Amanfu, Charity Bowden, Kris Bowers (who also composed the score and produced the film), Dahi, Joy Harjo & Cecilia Pea-Govea is now available to stream/download on all major digital music platforms, including Amazon. Also listen to the song after the jump. Anthem is directed by Peter Nicks and produced by Nicks & Bowers themselves, Sean Havey, Chris L. Jenkins and Ryan Coogler. The documentary, which follows Bowers & Dahi as they travel across the country to find out how the national anthem would sound like if it was based on American music, had its world premiere earlier this month at the Tribeca Film Festival and is premiering today exclusively on Hulu.

You people amaze, talking like a bunch of incel white guys. The point of the song, of the project, is to recognize what a polyglot of a nation we are. The spirit of the piece is that we are ALL Americans, we have a place here.

Praise-singers occupy an ambivalent place in Hausa culture. As generally lower-status individuals engaged in something akin to a craft for pecuniary reward, they are sometimes looked down on by others. On the other hand, their proximity to the wealthy and powerful lends them a certain allure of power. Furthermore, their ability to subtly (or not so subtly) sabotage the reputations of their patrons and sponsors in song gives praise-singers very real influence over the wealthy. In a sense, the song of the praise-singer is the most public statement possible of the actions, standing, and moral fiber of her patrons; it serves, in effect, as an audible statement of account of local symbolic capital.

It is not hard to imagine the sense of social obligation Lawali has grown up with hearing this song repeatedly throughout his childhood, nor is it hard to imagine the difficulties others might have in challenging his ties with Malaya. Hajjiya Malaya, who had no living birth children, had managed to keep Lawali with her for eight years at the time I recorded the song. Her failure to produce healthy children had contributed to her numerous divorces, yet in spite of her great age and her dependent status she had succeeded in maintaining her claims to this adopted child. The song was no doubt an element in her success in sustaining her ties to Lawali. The song, then, is far from being a simple record of a trip to Mecca. The dynamics generated by this public song of praise and prayer make the song and the singer important agents within the local political field.

Obviously in a region as poor as Niger these multiple transactions (cash into pilgrimage, experience into song, unseen woman into visible Muslim person) generate tremendous competition for scarce capital. Not everyone succeeds in going to Mecca: of my 110 female informants only 17 had performed the hajj in a sample deliberately skewed toward elderly women and urban women who were active in trade. While this is a startling increase over the number of women who performed the pilgrimage in past centuries, it continues to be the case that only a small percentage of the population succeeds in fulfilling this religious obligation. Women in urban centers with access to the resources of the state clearly have an advantage over women who are locked in marginal farming enterprises in rural areas. We need to begin to gain a clearer picture of how global phenomena such as the hajj influence the generation and circulation of wealth and status, amplifying existing social differentiation while simultaneously altering the terms on which distinctions (such as gender, age, and sexuality) are marked and understood.

What kind of music do the penguin gals bring forth? Judging by the cutesy penguin looks, you'd be forgiven for thinking this is some super-sugary kawai pop, but this is not the case. In fact the whole album has a clear pop-rock vibe to it, bigger emphasis on 'rock'. Though there are a slew of lighter songs, majority of the album is on the more powerful side, making it an energetic, head-bobbing ride. ff782bc1db

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