News - Певец из «Короля Льва» требует $20 млн за неправильно истолкованный напев

In a dramatic legal battle, Grammy-winning vocalist Lebohang Morake has filed a $20 million lawsuit against Zimbabwean comedian Learnmore Jonasi. The dispute arises from Jonasi's alleged mistranslation of the iconic opening chant, 'Nants’ingonyama bagithi Baba,' from Disney's 'The Lion King.' According to Morake, Jonasi misrepresented the chant's meaning during a podcast appearance on 'One54,' translating it humorously as, 'Look, there’s a lion. Oh my God,' rather than Disney’s official translation, 'All hail the king, we all bow in the presence of the king.' Morake alleges that this misrepresentation not only mocks the cultural significance of the chant but also damages his professional reputation, affecting his relationships with Disney and diminishing future royalty earnings. He is pursuing $7 million in punitive damages in addition to the $20 million for loss incurred due to the viral spread of Jonasi's statements. The lawsuit, filed in Los Angeles on March 16, cites that Jonasi’s assertions came across as factual, rather than comedic, and were reinforced during a live performance in Los Angeles where the comedian received a standing ovation. Morake’s legal team argues that although 'ingonyama' can mean 'lion,' it also serves as a royal metaphor in the Zulu context of the chant, providing deeper cultural layers, especially given its performance by Elton John in the 1994 film. The controversy has taken social media by storm, with debates regarding the impact of such interpretations on African cultural expressions and authenticity in global media. For Morake, the damage extends beyond financial loss to a broader cultural misrepresentation, a point Jonasi seemed willing to address through a collaborative video, which ultimately fell through after an interpersonal clash via text exchanges. Comedian Jonasi, while expressing admiration for Morake's work, stands by his comedic intentions, pointing to the broader dialogues comedy can initiate about cultural representation. However, his proposed collaboration was thwarted following contentious exchanges where Morake allegedly labeled Jonasi as 'self-hating.' Jonasi’s subsequent video post on Instagram, which garnered significant attention, underscores his belief in educating audiences through humor. The resolution of this dispute remains uncertain, but it continues to fuel discussions on cultural authenticity and interpretation, highlighting the delicate interplay between comedy, culture, and commerce in today's media landscape.