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mask-of-prime · 2 months

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TLK: Nandi

After drawing sketches of Bianka, I felt like paying a revisit to a character I drew only one other time: Nandi. She is my fanmade mother of Zira, and mate of Nyoka (AKA the Strange Lion). Her name has many meanings in many languages. For starters, it can mean "with me" in Swahili, it's also part of the Swahili word for "nice" (full word is "Kamnandi"), it also means "sweet" or even "here I am" in Zulu, and "joy" or "happiness" in Sanskrit. All words are appropriate for her, as I've come to find out.

Nandi was not native to the Pridelands. She began her life in Pride Rock as a shy advisor to Uru. Nandi was very unlike her ruler, as she was unconfident, meek, and soft-spoken. Uru naturally possessed an intimidatingly elegant streak, but cordially encouraged Nandi with advice in order to help with her self-worth.

Nandi joined the Pridelands after the banishment of Nyoka. Her naïveté of his story is what allowed her to meet with him in secret at the Outlands with hardly a problem. Nandi was charmed by Nyoka, and was eager to have a child with him. He eventually warmed up to the idea, but internally swore not to raise the cub like a cub, but an extension of him, with the idea of integrating her into the pride to slowly take over the kingdom that once belonged to his ancestors.

They both agreed on the name "Zira" for different reasons: Where Nyoka was from, it was a word meaning "hate", where Nandi was from, it meant "moonlight", which had been perfect for a cub born at night.

Later on in her life as a Pridelander, Nandi, along with Uru, partook in mentoring the next generation of huntresses, including her daughter Zira, her classmate Sarafina, and Uru's top student, Sarabi.

However, after Nandi and Nyoka's separation relationship-wise, Zira's hunting lesson schedule would often be interrupted by Nyoka's harsh training in the Outlands. Zira took on a zealous, fiery, conflicted personality, and her hunting skills had also been affected as she would show mercilessness with prey. Nandi noticed Zira's harsh hunting strategies, bottled-up emotions, and cuts and bruises when she would return from the Outlands.

Nandi finally put her paw down, and firmly demanded that Zira cease her isolated visits with her father. This had unfortunate outcomes: Zira, as Nyoka's teachings successfully corrupted her, had turned on her mother, fully believing her mother was only slowing her growth and dragging her down. After a rendezvous with Nyoka at the Outlands, while their daughter was away, her mate threatened her using his cobra friend, Kuuma, to keep her in line and out of his and Zira's business.

Feeling threatened that Nandi would tell the Pridelanders of his threats, Nyoka sent Kuuma to deliver small doses of venom in bites he would inflict on Nandi in her sleep. Zira saw Nandi's mind decline over time the last few times she ever visited her, and Nyoka would tell Zira that Nandi had been becoming too unfit to be an influence on her. Zira grew into adulthood trying to understand which parent had been in the wrong, as Nyoka would emotionally neglect her, but she truly believed his mischaracterizing words about Nandi.

Kuuma's venom didn't directly kill Nandi, but she did eventually pass before the events of the films from possible complications.

Her granddaughter Vitani greatly resembles her, sporting square features, a head tuft, dark periwinkle eyes, and freckles above her mouth. Her grandson Nuka also resembles her, inheriting her lanky frame, ear tufts, and grayish-brown pelt. Their personalities parallel her too, such as poor self-worth and skittishness respectively.

#The Lion King #The Lion Guard #TLK #TLG #Zira #Strange Lion #My OCs #My Art

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septembriseur · 11 months

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From Stanley Cohen's States of Denial:

My earliest memory that could be called ‘political’ goes back to a winter night in Johannesburg in the mid-nineteen-fifties. I must have been twelve or thirteen. My father was away from home for a few days on business. Like many South African middle-class families (especially Jewish and anxious ones), we employed for these rare occasions a ‘Night Watch Boy’: that is, an adult black man – in this case an old Zulu (I vividly remember the wooden discs in his ear lobes)– working for a private security company. Just before going to bed, I looked out of the window and saw him huddled over a charcoal fire, rubbing his hands to keep warm, the collar of his khaki overcoat turned up. As I slipped into my over-warm bed– flannel sheets, hot water bottle, thick eiderdown brought by my grandmother from Poland– I suddenly started thinking about why he was out there and I was in here.

My mother always used to tell me that I was ‘over-sensitive’. This must have been my over-sensitivity at work, an inchoate feeling not exactly of guilt– this came later– but that something was wrong. Why did this old man have to sit out in the cold all night? Why had our family (and everyone like us) been allocated black men and women (who were called ‘boys’ and ‘girls’ or just ‘natives’) as domestic servants? Why did they live in tiny rooms in the backyard? Where were their wives, husbands and children? Why did they address me as ‘baas’, or ‘master’?

I don’t remember what I did with my bedroom epiphany. Almost certainly, I just dropped off to sleep. But later, even when I began to think sociologically about apartheid, privilege, injustice and racism, I would still return to some version of that early psychological unease. I saw this unease– correctly, I believe– as arising from a sense of knowing that something was deeply wrong, but also knowing that I could not live in a state of permanent awareness of this knowledge. Without my deliberate intention, this awareness would switch itself on or, more often, off. There might be weeks or months of blindness, amnesia and sleepwalking. Political education – later called ‘consciousness raising’ – made these phases less frequent, just as it should do.

Later, I started asking another question, one that I still discuss with people who grew up with me. Why did others, even those raised in similar families, schools and neighbourhoods, who read the same papers, walked the same streets, apparently not ‘ see ’ what we saw? Could they be living in another perceptual universe – where the horrors of apartheid were invisible and the physical presence of black people often slipped from awareness? Or perhaps they saw exactly what we saw, but just didn’t care or didn’t see anything wrong....

...By this time, my obsession appeared from an unexpected direction. In 1980, I left England with my family to live in Israel. My vintage sixties radicalism left me utterly unprepared for this move. Nearly twenty years in Britain had done little to change the naïve views I had absorbed while growing up in the Zionist youth movement in South Africa. It soon became obvious that Israel was not like this at all. By the 1982 invasion of Lebanon, I was already disenchanted with the liberal peace movement in which I thought I belonged. I drifted into what in Israeli terms is the ‘far left ’ – the margins of the margins.

I also became involved in human rights issues, particularly torture. In 1990,I started working with Daphna Golan, the Research Director of the Israeli human rights organization, B’Ttselem, on a research project about allegations of torture against Palestinian detainees. Our evidence of the routine use of violent and illegal methods of interrogation was to be confirmed by numerous other sources. But we were immediately thrown into the politics of denial. The official and mainstream response was venomous. Liberals were uneasy and concerned... Yet there was no outrage. Soon a tone of acceptance began to be heard. Abuses were intrinsic to the situation; there was nothing to be done till a political solution was found; something like torture might even be necessary sometimes; anyway, we don’t want to keep being told about this all the time.

This apparent normalization seemed difficult to explain. The report had an enormous media impact: graphic drawings of standard torture methods were widely reproduced, and a taboo subject was now discussed openly. Yet very soon, the silence returned. Worse than torture not being in the news, it was no longer news. Something whose existence could not be admitted, was now seen as predictable...

...It was natural to make the claustrophobic assumption that this problem was unique because Israel was uniquely horrible. Luckily our visitors from the international human rights community reminded us that the problem was universal. They were interested in information circulating in the international arena. How did audiences in North America or Western Europe react to knowledge of atrocities in East Timor, Uganda or Guatemala? I started imagining a nice thirty- something couple sitting, with their breakfast coffee and croissants, in New York, London, Paris or Toronto. They pick up the morning news- paper: ‘Another Thousand Tutsis Massacred in Rwanda’. In the mail plop two circular letters, one from Oxfam: ‘While you are eating your breakfast, ten more children starve to death in Somalia’, and one from Amnesty: ‘While you are eating your lunch, eight street-children are killed in Brazil’. What does this ‘news ’ do to them, and what do they do to the news? What goes through their minds? What do they say to each other?

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militantinremission · 9 months

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HipHop's 50th Anniversary: What 'Culture' are We talking about?

I was in Elementary School back on Aug. 11th 1973. My family left the West Bronx, but I spent a lot of time w/ my 'big cousins' in the Harlem River Houses. My cousin Mona babysat my brother & I, taking Us everywhere w/ her; including dates. I remember Mona taking Us to 'The Summer Of Soul Concert' in Harlem, & I remember going to a few of those Park Jams in Bronxdale & in Soundview. I think We saw more of King Mario than Kool Herc & Coke La Rock. My oldest brother formally introduced me to HipHop in the Spring of 1977. I remember coming home from School to find his Crew set up in Our Dining Room.

I got my 1st look from the 'Other Side of The Rope', & I was hooked! I wasn't a Rapper (yet), or a Break Dancer, but I had an ear for music. Like a lot of Old School Deejays (& under My brother's tutelage) I cut My teeth on Component Sets & BSR Turntables; rocking Line In switches b4 getting a [real] Mixer... I bought My own DJ Set in 1984 (B2s), & mastered my Craft as a Street DJ, & later in a few NYC Clubs. Most DJs are disciples of [Grand Master] Flash or [Grand Wizard] Theodore; I was more of a disciple of Jazzy Jay & Cut Master DC. We All have Our Unique Features, but EVERYONE went back to School when Jazzy Jeff introduced the 'Transformer Cut', back in 1986. Like a lot of DJs disenchanted w/ 'Gangsta Rap', I split time w/ HipHop's Twin Sister- House Music.

I say all of this, to qualify myself as a 'bonafide Shorty' of 1st Generation HipHop, & a full fledged Member of The New School Era. My point, is to say that 'In The Beginning', there was just The Culture. It didn't have a formal name- but it was being done ALL OVER NYC. I associate the '1520 Sedgwick Avenue' Story of HipHop w/ Afrika Bambaataa; he's The First Person that I remember telling this Story. Disco King Mario predated Kool Herc by years. Herc copied Mario's Style- down to his equipment! King Mario wasn't alone, Pete 'DJ' Jones & Frankie Crocker were dueling On The Radio (WWRL vs WBLS), while DJ Flowers, DJ Spotlight, DJ Smokey, DJ Hollywood, & a number of Club DJs were also mixing it up.

A major argument is whether Disco is connected to HipHop. The Cats up in The Bronx say HELL NO, while the rest of NYC says HELL YES! People need to understand that when We talk about 'Disco', we don't mean 'The Sound' or Studio 54; We mean 'The Disco Fever', 'Harlem World', 'Sugar Hill', & 'The Factory'. The DJs that spun @ these Clubs molded the format that HipHop DJs still follow Today. Kool Herc is credited w/ The 'Merry Go Round'- his mix of Break Beats, but he wasn't the only DJ mixing Breaks or James Brown songs. The Black Spades that were interviewed, speak on King Mario spinning 'Soul Power' & how they chanted 'Spade Power'- as early as 1971. This creates a schism between Bronxdale & Soundview.

Black Americans say HipHop started in Bronxdale, as late as 1971. West Indians- Jamaican- Americans in particular, say it started on Aug. 11th, 1973. Puerto Ricans [Nuyoricans/ Puerto Rocks] say it started between 1975 & 1977, when Afrika Bambaataa incorporated Latino Breakers into 'his' HipHop scene. While there is debate over When & Where in The Bronx it started, EVERYONE AGREES that HipHop was created to Stop Gang Violence. The Culture involves individual expression through Graffiti, B- Boy Style of Dress, & Dance, Spoken Word, & the ability to keep The Party going non-stop. The Original Gangs splintered into Crews that now 'battled' each other w/ Turntables & Mics, on the Dance floor, & w/ Spray Paint Cans (Bombing).

The vernacular of HipHop is based in The Nation Of Islam & The Nation of Gods & Earths, so it's big on Black Power, Black Excellence, & The Traditional Black Family. Both Organizations are Pan Afrikan in their Philosophy, so The Black Diaspora is represented. The same is true w/ The Zulu Nation. Before the rise of The Nation of Latin Kings & Queens, you would find Latino Zulu Kings & Queens- it was All Love! Afrika Bambaataa coined HipHop's 'Mission Statement' of: "Peace, Unity, Love, & Having Fun!", in a song w/ James Brown by the same Name. He also defined the existing '5 Elements' as the fundamentals of HipHop Culture. The Zulu Nation were the unofficial Ambassadors of HipHop; first taking it Downtown, & later taking it Globally... No One questioned Bambaataa's actions.

As We celebrate 50Yrs of HipHop, Afrika Bambaataa's Legacy is tarnished @ best. He has been Radio Silent, since allegations of Child Molestation rose against him 7Yrs ago. Every Move that Bambaataa made is being questioned- Was it a good move for HipHop to go Downtown to SoHo? Did it open the door to the current 'isms' that plague The Culture? It was a Black Specific art form, but it opened itself up to integration w/ Sexual Deviants, Drug Abusers, & White Record Executives. In retrospect, We can see what lured Bam Downtown. I'm curious- is the current manifestation of 'The Culture' Bambaataa's intended goal? It goes against his language, but it's in line w/ his actions.

In the wake of Afrika Bambaataa's 'Fall from Grace', people began questioning his narrative of HipHop. Original B- Boys are still walking The Streets, so it wasn't hard to fact check. DJ Phase has spoke on many Youtube videos under 'The Culture', where he breaks down the Foundation of what became HipHop. According to DJ Phase, HipHop was born on June 7th, 1971- in the Bronxdale Houses. He said that it wasn't organized; Mario simply set up on the grass & spun records. Later that Summer, in July- DJ Phase said that they were more organized w/ more sound & records, so THAT was when Brothers got serious about what they were doing. Disco King Mario did a series of Jams that culminated in the legendary 'Rosedale Park' Jam, that lit up The Bronx & inspired future pioneers.

There is a lot of controversy today concerning the Origins of HipHop. Jason Black, of 'The Black Authority' had the best comment on the subject: "Success has many Fathers, but Failure is an Orphan". As We question the running narrative of HipHop's birth, We also have to question WHO gets Credit for WHAT. No One questions the contributions of Jamaicans, Puerto Ricans, Cubans, Haitians, & Panamanians to The Culture, but the claims being made by Busta Rhymes, Pete Rock, Fat Joe, & John Leguizamo are disrespectful. Busta & Pete Rock assert that Jamaican Culture DIRECTLY INFLUENCED HipHop; Busta says 90%. He goes on to say that Kool Herc brought Jamaican 'Toasting' or 'Ranking' to the Bronx Youth. Fat Joe & John Leguizamo say Puerto Rico contributed 50% to The Culture... They ALL sound ridiculous.

In an effort to get ahead of King Mario predating Kool Herc, people have gone as far as saying that Disco King Mario is [half] Puerto Rican. When it was proven that Mario came from North Carolina, a Story came out that his family migrated to (Jim Crow) North Carolina back in 1912. Mario's Sister says they aren't Puerto Rican- They're North Carolinian & 'Country'... His Mother just liked the name Mario. This effort to remove Black Americans from a Black American genre is confusing. Making a contribution 'to', or an innovation 'of' something, doesn't make one 'The Originator' of it. DJ Phase made a point to elaborate on The Energy behind HipHop, & what inspired it. Our Family from The Diaspora mostly arrived after The Civil Rights Movement; They really don't know what AmeriKKKa was like before 1970.

Contrary to what Busta Rhymes, Pete Rock, or Fat Joe may say, HipHop begins w/ The Black Spades. As a boy in Harlem, I remember how revered The Black Spades were. They were respected, but I didn't understand why... Before The Black Spades, Blackfolk in The Bronx were being victimized by Whitefolk; 'Authur Avenue' Italians, in particular. According to The Black Spades, they couldn't go ANYWHERE w/o being attacked, so they organized & struck back. The Black Spades- essentially Black Teens, didn't just beat those Racists back; they opened up The Bronx for EVERY Black Person, giving them The Right of Autonomy. That Energy or Spirit of Revolution was celebrated in Song & Dance, & King Mario was The Conductor.

Kool Herc got to see King Mario & The Black Spades @ 'The Tunnel'. He heard the Breaks & saw how the Black Spades reacted... He heard 'Spade Power!'. Herc himself said that he analyzed what 'they were doing' & came up w/ The Merry Go Round. That, is an innovation. Herc never said that he introduced Toasting to those Baby Spades; in fact, Herc admitted trying to play Jamaican Music, but The Crowd didn't take to it. If Busta & Pete Rock were right, We should have some Reggae among familiar Beat Beats. All of these Cats talk about 'Culture', but they just sound ignorant. A 'Culture' is defined as: 'The sum total of Social Life'. If West Indian (i.e. Jamaican) and/or Latinx (i.e. Puerto Rican) Culture plays such a major role in HipHop, why did ALL of them adopt Black American Social Mores? Kool Herc admitted that he was clowned when he arrived in The Bronx; he thought Cowboy Boots were cool.

If we're going to run w/ the: 'Kool Herc is The Father of HipHop' Story, Coke La Rock should @ least be mentioned. He is credited w/ being The First Emcee. He was Herc's Partner. Busta & a literal Legion of Yardies want to coronate Herc as 'King of HipHop', but it was Coke La Rock that transformed 'Clive' into 'Kool Herc'. Clive DIDN'T KNOW THE CULTURE. Coke La Rock took him down to 125th Street, showed him what to buy, & how to sport it. Somehow, Coke La Rock was written out of the narrative. Again, Bambaataa started this. Another issue w/ Herc being hailed as 'The Father' of HipHop, is how easily he Bowed Down to U- Roy. Herc referred to him as 'his King'. Big Respect to U- Roy, I- Roy & ALL the Pioneers of Ska, Reggae, Lover's Rock, Dub Poetry, & Dancehall! That said, Black Americans BOW TO NO ONE! This is a Problem.

When We talk about Culture, HipHop embodies The Spirit of Revolution. Lay it out on the Black American Timeline, & it's a natural transition; from Work Songs, to Ragtime, to Jazz, to Rhythm & Blues, to Soul & Funk, to HipHop. It's the tireless spirit of Black Liberation in AmeriKKKa. Where does Jamaican or Puerto Rican 'Culture' fit in? They were 'Lovers, not Fighters'. We were Angry! What were they angry about? They were in America- Everything was 'Irie'! When DJ Phase was asked about this [Kool Herc] narrative, he cut to The Chase & said that this narrative gives Whitefolk a 'lane of claim' to Our Culture. It was Too Black, Too Strong, but it's been watered down. When We raise Our Heads, We will see that the people claiming ownership of Our Culture, are the same people representing Us in Government. They are the ones allowing Benign Neglect to continue. They also represent Us 'On Screen', but they rarely depict Us in a dignified manner; We're either Ghetto, or Cowards.

While We're on the subject of 'Culture', let's point out how the level of deviance & violence has risen w/ the number of Jamaican & Puerto Rican Rappers. Boogie Down Productions gets Full Credit for setting off the 9mm talk. Just- Ice's 'The Original Gangster of Hip Hop' was just plain Raw... Also, B- Girls didn't dress like or behave like Dancehall Girls; compare Shante, Lyte, & Latifah to Lil Kim, Nikki Minaj, & Cardi B. White Record Executives, like Lyor Cohen, have rerouted HipHop's 'messaging' to target Suburban Whitefolk eager to hear about 'Ghetto Life'. Today's Artists have been set up lovely by those who came before them, but I wonder if the New Jacks know The History? Do they know what it took for Us to maintain this? Cats had to show restraint, because Authorities were just waiting for Us to mess up. U can literally count the # of times U heard the N- Word b4 NWA... Do they know Themfolks tried to shut Us down in 1882; leading to the 'New School/ Hardcore Era' that started in 1983 w/ T- La Rock & Jazzy Jay, Run-DMC, & LL Cool J?

Truth be told, The Park Jams faded out by 1986- 1987. The Crack Wars began to make large gatherings dangerous. The 1st Crack Dealers (in My Hood) were The Dreads, who sold out of Weed Spots. The 'Rude Boys' weren't concerned w/ 'protocol', so things got Hot pretty quickly.... I understand that there is an effort to make HipHop EVERYONE'S genre, but it isn't; not anymore than Motown or Bebop. The World is welcome to enjoy HipHop, but make No Mistake- it's a Black American genre that just happens to be globally appreciated & adopted by many. That said, notions of people like Kool Herc, or Eminem being the 'Father' or 'King' diminish the effect that those 'Baby Spades' had on The Original Concept. We can appreciate their contributions, but HipHop Culture is bigger than them. It has a purpose, & it's NOT making Non Indigenous Blackfolk wealthy.

It was a youthful expression of Black Power & Creativity, but outside forces have turned it into a Golden Goose that only benefits White Record Execs & their Proxies. We treated Her like a Debutant, but She has been reduced to a Crack Whore that EVERYONE can get a piece of. Young Family has to go back to The Root. A Race War is looming, & i'm not sure that their music is up to task. Most of today's Artists are more concerned w/ their 30 pieces of silver, than The Culture it represents. Cats like Busta & Fat Joe aren't concerned, they're taking the money & running. Fat Joe wasn't even a Rapper back in The Day, he was a Stick up Kid; so he's always been about the 'Vic'. Big Pun on the other hand, was The Real Deal... HipHop has become symbolic of Black American Courtesy- We say: "have some", & Our 'guest' proceeds to help themselves to Everything. NO ONE is allowed to be more than a guest in the genres of Jamaican & Latinx Music, so why do they expect ownership in Black American Music?

When We talk about HipHop Culture, We need to remove All the noise in The Room. ANYONE making a claim to Our Culture should be Checked quickly. This 'Back to School Party' Story doesn't make sense! It's supposed to be inspirational, but it's narrated like just another Party. What's so special about it? What exactly motivated Herc's Sister to have this Party, several weeks before School started? How does this 'Party' spark a Movement? Compare it w/ HipHop being a Celebration of Black Youth in The Bronx [dramatically] winning their fight against White Supremacy & their Right of Autonomy- An UNAPOLOGETIC DISPLAY of Black Power. There was a REASON why NYPD left Mario & the Black Spades Deejays alone. When they were 'Jamming', The Black Spades weren't beating down White Racists... No disrespect, but Immigrant Family weren't Here, so they don't know what sparked this Movement.

The Original Concept of HipHop is rooted in stopping Gang Violence. It was a creative alternative to the death & destruction that We brought on each other. The current version of it is so far removed, it's almost unrecognizable. Today's manifestation is literally a Death Cult that offers little to no benefit to The Artist. White Executives seem convinced that it's only about Beats & Rhymes, but the Crap being presented is vulgar & cookie cutter; which defies HipHop's demand for Originality. After 50+Yrs, it's apparent that HipHop is best represented when it's Culturally connected to the Experience of Black American Life. EVERYONE ELSE is a House Guest & should behave accordingly.

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lemmaliya · 6 months

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Honey-trap 🍯

Summary: The task force 141 were never really fans of the whole “honey-trapping” mission. The thought of using a pretty face for bait wasn’t ideal, they’d rather do the job themselves.

Well, until now.

John Price x fem!Reader

READER CALLSIGN: Zulu

WARNINGS: Swearing, very poorly edited, slight violence, idea of seduction this is my first “x reader” fic so feedback is welcome lol

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It all started when they were in the briefing room, discussing the next mission. The target they needed for intel was at a party the night they planned the heist. I mean they couldn’t just walk in and pretend like they were all part of the party. I mean cmon they were all big bulky military men.

Except for Zulu.

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A gentle knock interrupts the silence in Zulu’s office as she’s doing paperwork.

“Come in!” She calls out, her voice gentle. In walks Gaz he seems a bit nervous, “uh- zu? Cap needs to see all of us in the briefing room“ he says, unusually timidly

“That’s weird.. usually John texts me before calling a meeting..” Zulu thought

________________________________________

“Absolutely not.” Zulu says, almost immediately, nope, no way, there was no way they are going to use Zulu for a honey-trapping mission. John stood on the other side of the table in front of her, his hands leaning on the edge on either side of him. The rest of the boys stand behind him.

“Look, dove, it’s not my favourite idea either. But it’s the best way to get in and out without anyone getting hurt.”

“Look..” she starts “I’m flattered, but this isn’t the best face you want for seduction..” she points out, making a hand gesture towards her face, ridden with battle scars. “Why don’t we just throw Johnny in a dress any put him out there?” Ghost teases as soap rolls his eyes. “And plus- we’re- dating!” Zulu continues “John, won’t that cause a bit of a..” she stops herself to think of the right word “barrier?”

There’s silence for a moment.

“Yeah.. yeah- it will. But as much as I hate to admit it.. it’s the best option.” John says defeatedly, pinching the inner corners of his eyes with is thumb and index finger.

Zulu scans the faces of everyone and let’s out a defeated sigh.

“Fine..” she gives in.

“What’s the plan?”

________________________________________

The plan was simple.

Get in.

Catch the targets attention, maybe flirt for a bit

Lure the target into a private room where Soap and Ghost will be waiting.

John and Gaz will be watching over the skylight rooftop in case anyone tries anything.

Once target is in the room punch him out so he’s passed out

Bag his head

Take him back to base for an interrogation.

“Check one two check, Zulu you copy?” Gaz says over comms as Zulu adjusts her earpiece, the party was held in some rich assholes mansion, was also calmer than Zulu thought. There was quiet chatter, classy music playing. So there Zulu sat, on the stool of a bar, a glass of whiskey in hand “Copy loud and clear Sargent.” She says, her voice low and quiet. She decided to go for a simple yet, sexy outfit. A black slim dress with a slit in the skirt, medium gold hoop earrings, black heels, and a gold sparkly hand bag paired with her earrings.

“Targets in the main hall talking with some ladies, blue tie, black blazer. Holding a glass of champagne” Says Gaz, his voice gruff and static from the radio.

“Roger that.” Zulu responds, taking the last swig of whiskey as she jumps off the stool to head to the main hall. “Go get em tiger.” Gaz encourages causing a smirk to spread across Zulu’s face.

Zulu settles herself on the nearest wall to the target, making sure her leg is slightly poking out from the slit in her skirt. The target looks over at her, bingo! Attention caught.

Gaz’s voice crackles through the radio “m’not rushing you or anything… but Price looks like he’s gettin’ impatient” he chuckles

“Tell him to stop being jealous” Zulu shoots back, she hears Gaz let out another chuckle, this time more genuine.

“Alright boys, I’ve got him locked in, he’s walking over.” She points out.

“What’s a pretty lass like you doing all alone?” He says. She can practically hear John rolling his eyes.

“Waitin’ for a handsome hunk like yourself” she flirts back, a slight transatlantic tone in her voice. Zulu kicks herself internally for that.

“Nice line zu’” Gaz smirks, looking over at Price.

“You alright cap’?” Gaz asks, already knowing the answer. “Swear to god this prick better back up.” He mutters under his breath, his gruff British accent filling the cool night air.

“Relaaaax” Gaz eases, waving him off “she’s got this.” He says confidently

Their conversation is soon cut off by Zulu’s shout in the comms that made both the men jump.

“No- no get the fuck off of me!”

Idk do u guys want a part 2?

#john price x reader #cod mw3 #john price #cod

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torikaku · 2 years

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I really loved that headcanon of the boys from Twisted teaching their native languages but this time...I want part 2 including Leona teaching the Zulu language.

I actually wanted to add Leona to the original post, but couldn’t choose a language.

I found out that apparently the opening song of The Lion King is sung in Zulu.

Ngiyakuthanda — “I love you” and Ngiyabonga — "thank you". You can choose to read it as platonic or romantic. Reader is ambiguous/gender-neutral. The second person pronouns are used.

Zulu

You never pondered about Leona's mother tongue since everyone here, in NRC, communicates in lingua franca and he has no need to speak in his native language. Until one day his phone is being torn from constant messaging from his adorable nephew. You peek over the lion's shoulder to look at his phone to find out what that little furball can possibly be excited about today. You quickly realize that you understand no word. You ask Leona about it and he says that one of the languages spoken in his home county. But most common language among the royal family is Zulu.

Today's discovery piques your interest and you decide to find out more. Later, you find yourself studying in depth this language. But that's not enough.

When you ask Leona for help, at first, he can't believe his ears. He's about to object but stops, and his lips form a smirk. Okay, he's agreed to help you but not for free (he will use you as his personal pillow as if you are not already 🤭).

Jokes aside, he actually helps you. But has no mercy upon you — all his explanation he does in Zulu. He says that like that you will quickly get used to perceiving speech.

One day, he gives you a box, saying that it's a present for you from Cheka. The cub found out about your desire to learn his native language, so he decided to help you by sending some studying materials (studying books, literature and such) to you. Also, he would LOVE to be able to speak with you in Zulu one day. If you question Leona about it, he will just avoid any answer.

The most difficult aspect of Zulu is its phonetics. But you work hard to be able to say "Ngiyakuthanda/Ngiyabonga" correctly to Leona for his help one day.

#twst #twisted wonderland #twst x reader #twst imagines #twst headcanons #leona kingscholar #leona kingscholar x reader

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dteamain · 1 year

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i see posts going around about the creator of the mod pack that has the barakoa mobs here is the creators response:

the creator claims that they meant to model the mobs after tokoloshes from zulu mythology. here is why i don't believe this for one second:

here is what tokoloshe are typically modelled as:

goblins. they are goblins. tokoloshe are mischievous goblins that are said to take lifes while you sleep.

here is the original mobs that the creator made:

these look and act nothing like tokoloshe. the creator mentions that they changed the skin to green and added pointy ears to better represent their idea:

the fact is the only thing these mobs have in common with the tokoloshe is the green skin and pointy ears that were added only after people pointed out the racist connotations that these mobs held.

these mobs hunt in tribes and even have a 'chief' they wear masks and other traditionally indigenous attire. they have body paint and they will become passive only if you kill them and wear their masks. nothing i just mentioned is anyway related to tokoloshe.

the masks might be the biggest red flag considering the tokoloshe do not wear them in any form yet the mob name 'barakoa' literally means mask so clearly this is something the creator felt was important to the mobs design

i will not give a white person the benefit of the doubt especially a white person with the worlds shakiest excuse.

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desertdragon · 21 days

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Tagged By: @shroudkeeper left it open

Tagging: @pettyeti @finishing-touch | actually I'm gonna extend this to @icehearts to talk about someone other than Esca the Fresca | OPEN bc all of ya'll passed this around already

BASICS

Name: Vaste Valescoere / U'ralhana Odh / Osha Tayuun Nicknames: Rala (SIBLINGS ONLY) Age: 23 Nameday: 8th Sun of the 3rd Astral Moon | May 8th Race: Miqo'te | Half Sun Seeker ☀️ and Half Moon Keeper 🌙 Gender: Non-Binary Orientation: Lesbian Profession: Hunter (formerly), The Warrior of Light, Tea Farmer (later)

PHYSICAL ASPECTS

Hair: Blue / Black Eyes: Aqua end of Green Skin: Fair peach Tattoos/scars: Swooped line black tattoos underlining both eyes, horizontal scar across nose bridge from being hit by a Sundrake tail spike

FAMILY

Parents: U'odh Nunh (Father) and Oghii Tayuun (Mother, doesn't know her because she abandoned her baby) Siblings: U'rahtalo Odh (Older Sister), U'thulani Odh (Oldest Sister), U'nkanyezi Tia (Oldest Brother), U'ingwe Tia (Youngest Brother) - 1. Rahtalo is a phonetic name 2. Thulani is a Zulu imperative plural phrase meaning Be Quiet! which she got for being a loud baby among the loudest babies of her time until it stuck as a name, it shares the same root conjugate Thula that makes up the Ukhuthula in Yoshino's Sun name, which means Peace / Tranquil / Clam / Silence 3. Nkanyezi means Star, combining from Khanya (shine) and Unyezi (moonlight), due to the passing star shower when he was born 4. Ingwe means Leopard, for the spotted marks on his ear fur

Dad & Mom

Siblings shown in order: Nkanyezi, Ingwe, Rahtalo, Thulani

Grandparents: Doesn't know Moon Keeper grandparents, Sun Seeker grandparents are U'themba Nunh (Themba meaning Hope, Trust, have Faith in) and U'anele Bheka, (Anele means to be enough in quantity and is usually given as a name to the last child born, Bheka primarily means to look at something) both sets long dead In-laws and Other: Yunagi and Ihanami (Mother and Father in Law), Yhen'ir Ganajai (Older Cousin, Moon Keeper) Pets: Lewena gave him planters of a few different types and said 'These are your feelings' and he's been watering them ever since, a Coelacanth and a Shark both in tanks

SKILLS

Abilities: The power of No you | Limitless physical ability and inability to be physically hurt by anything that is not designed to kill Primals, Echo (immortality, aether reading/attack prediction, knowing all languages, can see into others pasts) , Aether Manipulation extending to 'eating' any living thing by reducing it back into raw aether, immunity to poison, disease, and being mind controlled or compelled, underwater breathing, extreme pain tolerance, unrestricted movement allowing free flowing movement on any surface that exists including air and water, can survive outer space and extreme environments made of aether, power bestowal to others, inherited the mastery of all magic, aiming weapons, axes, and sword shield fighting styles after absorbing all five Warriors of Darkness souls, Sharlayan Astrology healing techniques learned from Leveva Byrde Hobbies: Fishing (accredited member of the Fishing Guild and master fisherman), Gambling over card games like Triple Triad, Chocobo Racing, Eating big at a different restaurant every day, Collecting dildos interesting things to send to people she knows, Training, Walks until she gets lost on purpose

TRAITS

Most Positive Trait: Perseverance Most Negative Trait: Naivety

LIKES

Colors: Orange Smells: Coming Rain, Food, Perfume, Leather, Peeled Wood Textures: Leather, Cool Stone, Sand, Soil, Water, Linen, Yugiri's Scales Drinks: Tea, Water, Alcohol, Fruit Nectar

OTHER

Smokes: Never Drinks: Can drink others under the table and even to death Drugs: Never Mount Issuance: Alba the Chocobo, Alba is Italian for Dawn/Sunrise

Friends for life (his favorite food is apples)

Been Arrested: Was almost arrested several times in New Gridania until Mother Miounne intervened each time then put in a word (read: made threats and bribes) to stop it- because Wood Wailers had clocked her Moon Keeper traits and were ready to make some bullshit up to arrest her because they're racist, now as WoL she can do anything she wants without ever getting arrested because people are either afraid or worship her too much

#hc

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buildwithakil · 2 months

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Mash’Allah, and Derijef Serigne Touba!

One knows she’s well on her way to defeating self when in her youth age remains just a number.

For the longest time my sister could never remember her age while in her twenties, but as soon as me or my brother had a solar return, she immediately, at least for two to three months, responded with her age because she knew how much older than us she was.

In my reflection now, (“backwards through the ages masterminds trace themselves, and thus they know,”) I’m thankful to my sister for imparting that lesson on me. I’ve always asserted that what keeps me young is my staying in the classroom feeding off of various young scholars energies.

BAMBA EVERYWHERE!

(One Hu has an eye also has an ear??!??)

Derijef Serigne Touba

Derijef Sheikh Sufi Ba

Derijef Sheikh Zulu

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timelessfineries · 3 months

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Boucles d'oreilles ethniques à franges perlées ::: Timeless Fineries

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bananamitz · 10 months

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Linked Universe + Flower crowns! - POLL - Warriors

A: Zulu warrior, has the name 'warrior' in it + I mean look at that color! >:D

B: Blue poppies, (Himalayan poppy, but don't quote me on that) now, poppies typically represent war, but I already used the basic poppy, so I let you guys choose the color! Blue to match the scarf! Good choice~

C: Erysimum cheiri, or, as it's often called, bloody warrior! I... think this one is a given, it even has warrior in it's name... took a lot of digging to find this one.

Now, as always, I did not take these pictures, nor do i own the rights to them! All I did was track em down, and do research about them, that's it.

#linked universe #flower crown #legend of zelda #warriors linked universe #warriors lu #I swear I'm working on the art!#Just... very slowly

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thenewgothictwice · 1 year

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Henry Dumas, "Emoyeni, Place of the Winds."

"Emoyeni, passing passing

from the tongue of the zulus

comes this word

Emoyeni place of the winds

you come

we will climb the body of the hill

thru the bowing of the talking grass

up the footpath where the spirits pass

look, emoyeni passing rising

by the crumbling rock and the fingerreeds

I put my ear to the mouth of an old man

Emoyeni passing passing, is what he told me

Listen to the wind, my son

see the coming of its children

every nation leans down to bite the hill

passing blowing emoyeni place of the winds

come

it is time to make the time

I see with my skin and hear with my tongue

emoyeni from the sky

emoyeni the tongue of many years passing

where the fingers from the earth rising

stroke all the singers passing passing

by the rumbling of the falling rock

down the valleys of the congo leaping

toward the body of the hill

breathe

it is time to make the time

it is my father singing

it is my mother at the river

it is the spear and the chain

it is your time to swallow the hill

breathe

emoyeni passing passing

behind the dust

emoyeni passing passing

behind the fear

emoyeni going going

I see the coming of the long green rain."

#henry dumas #from my book collection #poetry

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lazyworksinprogress · 8 months

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on Sunday, I went to an art exhibition in a backroom in Midrand...

one of my friends arranged for us to attend a small showing of the Bark//Please exhibition held at the Backroom SCAM (Studio for Creative Arts in Midrand) and we had an inspirational afternoon. what I expected to be an impersonal hour or so at an underwhelming typical gallery turned out to be something quite different. One of the big reasons for this is the Studio is a backroom that has been converted into a gallery and studio space - I wasn't sure I'd come to the right place when I stood outside what appeared to be someone's house in a residential suburb.

we had made an appointment to view the art which was a concession to the space's capacity limitations that has been turned into a strength. it felt intimate to be guided through in a story in a little group. Lesiba Mabitsela, the gallery owner, presented a lot of information about the barkcloth exhibit and our handful had an interesting discussion touching on fashion, geopolitics, and history for about an hour.

after the appointed hour of barkcloth appreciation, my friend and I sat in Lesiba's backyard and chatted his ears off. We made our way into his storage and work space to get a private view of upcoming projects and made him promise to invite us back whenever the gallery has more events. It felt like making a very special memory to have this kind of experience, particularly in an area that doesn't have a developed commercial art scene.

I linked a bit of information below about the show and its inspirations - the Issey Miyake connection made my heart soft and I told Lesiba about my mother and my shared love of his design philosophy. I put a little section on abaca too because I was reminded of Dolly De Leon wearing Rajo Laurel at the Baftas.

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"The exhibition showcases some early encounters, thought-processes and creative explorations between Ugandan visual artists Sheila Nakitende ( @sheila.nakitende ) and Liz Kobusinge ( @kobusinge ), including South African fashion practitioners Lesiba Mabitsela ( @souvenirs_of_conflict ) and Thabiso Ncanana ( @thabiso.ncanana ) in their explorations of bark, barkcloth and barkcloth papermaking in Kwa-Zulu Natal, South Africa. The exhibition comprises gifts and process work materialised during the Pan-African Research Residency (2023) that was facilitated by the African Fashion Research Institute (AFRI) ( @afri.digital ) in partnership with Creative Nestlings Foundation ( @creativenestlings ) as part of The Fold, a fashion research initiative supported by the British Council ( @britishcouncil )."

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"Issey Miyake’s essential touchstone has been the concept of making clothing from “a Piece of Cloth.” His process explores the fundamental relationship between the body, the cloth that covers it, and the space and room that is created between these elements, divesting itself of the labels of “East” or “West”. Miyake’s creative process begins by studying a single thread and creating his material, which then leads to new clothing." - IsseyMiyake.com

dailymotion

In 1993, he launched PLEATS PLEASE ISSEY MIYAKE line using the unique “garment pleating” process. The label offered clothing as a product that was easy to wear, to care for and to travel with; practical for all aspects of daily life, comfortable, affordable, and elegant. He continued to pursue avenues through which to create clothing that could suit the needs and lifestyle of a modern woman. - IsseyMiyake.com

#barkcloth #african art #african #uganda #abaca #issey miyake #art #fashion art #Instagram

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