A male slave kept by a woman owner for bedroom duties is a "silk slave" while most male slaves on Gor are used for unskilled hard labor in work gangs. When a free woman makes use of a kajirus sexually, he is often chained so that he is unable to hold her in his arms — since allowing this would be considered to add a note of male domination to the lovemaking.
Some free women carefully avoid kissing a kajirus when making sexual use of him, since they would consider it degrading to soil their lips by touching them to the body of a mere slave.
Note that only a small minority of rich free women on Gor own silk slaves and in contrast to the usual situation with free men and kajirae it is often not very easy or convenient for a free woman to obtain the sexual use of a kajirus whom she does not personally own in the city of Ar, the largest city of known Gor, it is strictly forbidden by law. The phrase "lo kajirus" is said to mean "I am a slave boy. Kajiri do not usually wear locked collars; rather, they wear a band of iron.
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Slave Planet II - Kindle edition by Declan Brand. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note. The Martian King book. Read reviews from world's largest community for readers. The thrilling conclusion to THE SLAVE PLANET series.
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It provided us with a unique glimpse into undiscovered life and also a deeper understanding of the world we live in. In film and TV you work around scripts and actors talking. With Blue Planet II or any project without scripts or actors talking, the score is all the more forefront and principal to the storytelling.
The music must provide a voice for the animals and also complement Sir David as our story guide in the ocean journey. Blue Planet II Take a deep breath.
Music by Hans Zimmer. Date: Hans Zimmer has scored more than films, which have, combined, grossed over 24 billion dollars at the worldwide box office.
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About the BBC. Inspired by the sounds and musical palette of Blue Planet II, Radiohead and Hans Zimmer recorded an orchestrally reimagined version of the Radiohead song Bloom, with Thom Yorke re-recording the vocals.
After our spectacular experience of working on Planet Earth II, we were incredibly excited when presented the opportunity to collaborate again on the score for Blue Planet II. The scope of the project was immense giving us the chance to take a whole new approach at an epic natural history score. This time Hans was intricately involved in the entire score rather than just the theme. We also expanded our team with the addition of David Fleming.
The main difference from Planet Earth II is that whilst each episode is diverse the series is always surrounded by water so we aimed to underpin the score with a more homogenous texture. The score adds so much drama to natural history, as we experienced with Planet Earth II. How does your approach differ between documentaries and feature films?
The themes of life and death and new found love are relatable and deeply resonate with individuals in a visceral, personal way yet also on a global scale. The variety of underwater life and stories explored in this series are equally as epic and fantastic as any written script. Is there a particular orchestral instrument that particularly lends itself to natural history landmark soundtracks?