#Eurocentric ideal of beauty

[moonfirebrides]

Lookism is prejudice or discrimination toward people who are considered to be physically unattractive. It occurs in a variety of settings, including dating, social environments, and workplaces.

[blackgirlslivingwell]

From Spanish Rule To Miss Universe: Why Some Filipinos Still Struggle With Colorism.

Over 400 years of colonization ingrained Eurocentric ideals glorifying lighter skin tones. Examining this legacy is key to understanding colorism's insidious impacts on Filipino society today. The backlash against Chelsea Manalo's win underscores how much more progress is needed.

[dughole]

it girls used to have beautiful big noses.. bella hadid’s original face you would do so well if this was 1969 ❤️

[homo-trashcanicus]

being a fan of (east) asian media is just white-knuckling and teeth-gritting your way through a "their body, their choice" breakdown every time the latest celebrity shows up with their whole face denatured like an egg

[entropy-sea-system]

The body:

it somehow doesn't completely look like the body's face, and we have highlights in those colors on the lower 2/3 of our hair

some headmates' ideal forms :

Firelight:

Hyacinth/Amethyst:

Rift/Sonic/Minsaram:

Ash:

starting a tag game cause i'm bored and i hate my notifications :D

WHAT YOU LOOK LIKE IRL

WHAT U WANNA LOOK LIKE

picrew: here!

tagging @random-doctor-on-the-internet @cataperat @discoveredreality @ladykiller-yt and @midnights-dragon

[onefleshonepod]

On Barbie

I'd like to share my thoughts on John’s choice to house Alecto in a body that looks like Hollywood Hair Barbie.

To the best of my recollection over the past year, I've seen several people claim that Barbie being a famously unattainable beauty standard for women and arguably a sex symbol was irrelevant to John's decision to make Alecto a Barbie lookalike, and that rather the main impetus for this decision of John’s was his trauma, gender non-conformity, internalized homophobia, and desire to return to the comfort of childhood. This argument posits that John's decision had little or nothing to do with patriarchy, misogyny, objectification of women, or impossible beauty standards placed on women by men.

I empathize with the above position to a certain extent — it's absolutely crucial to remember and consider in our analyses that John is a queer working-class Indigenous man.

But………....................

John is not a real person. He is a character written to advance plot, themes, and political commentary within a carefully crafted story.

If I'm Tamsyn Muir writing John 1:20 in Nona the Ninth, and the point I want to make about my character is specifically and only that he is struggling with self-doubt, trauma, gender non-conformity, internalized homophobia, and yearning for the comfort of home and childhood — and I want to say nothing about patriarchy and misogyny?

I'm not having him make the soul of the earth into a Barbie!

I'd be having him model Alecto after a completely different popular 1990s toy for girls, like a Polly Pocket, or Betty Spaghetti, or a Raggedy Ann doll, or another doll that doesn't carry the same connotations as Barbie. Or, hell, I’d be having John make Alecto look exactly like his mum, or his nan, or female Māori mythological figures from stories he must have heard from his nan in childhood, like Papatūānuku, or the first woman, Hineahuone, who was made from earth.

I'm not smarter or more creative than Tamsyn, and the above ideas are just the alternatives I thought of in five minutes that would have specifically symbolized John's personal trauma and nothing else.

But Tamsyn didn't do that. Tamsyn picked Barbie specifically. I think that's worth taking into consideration.

Let’s examine exactly what John says in John 1:20.

Hollywood Hair Barbie's physical appearance comes first in the list of reasons why she was his favourite, and her other characteristics come last. He lists two physical traits and one non-physical trait of hers. “My favourite was her old Hollywood Hair Barbie,” he murmured. “I loved her little gold outfit and her long yellow hair. She was the best. She got to have all the adventures.”

He discards as an option a model of a woman who doesn't conform to patriarchal, Eurocentric beauty standards specifically because of her appearance: “There was also a Bride’s Dream Midge, but Mum had cut Midge’s hair into this weird mullet.”

He chooses a blonde Barbie body that he can mould into and mentally map onto glamourized versions of women created by men through the ages. “I made you look like a Christmas-tree fairy … I made you look like a Renaissance angel … I made you Adam and Eve … Galatea. Barbie. Frankenstein’s monster with long yellow hair.”

Our famous cultural images of Renaissance angels are all idealized depictions of women made by men — Raphael, Titian, Albrecht Dürer, etc. Frankenstein's monster, a man loathed and discarded by his creator, is a more nuanced comparison... but the only thing John notes is that his version has long yellow hair.

I'm not even getting into the whiteness (or the plastic-ness) of it all, but three of John's comparisons here are specifically coded as white women considered beautiful by Eurocentric standards in the Western cultural imagination (Christmas tree toppers, Renaissance angels, and Barbie), and the others are often depicted as white.

Galatea specifically is such a telling comparison. This myth is the story of a man caging and controlling his idealized, beautiful female creation, which exactly parallels John’s goals with Alecto: “From my blood and bone and vomit I conjured up a beautiful labyrinth to house you in. I was terrified you’d find some way to escape before I was done.”

Given all of this, I genuinely think that John's choice of Barbie as a model for Alecto was intended to position John as a symbol of patriarchy, misogyny, and objectification of women, through both a political and religious lens. Tamsyn is way, way too smart to have not made a careful, considered, intentional choice here.

John didn’t make Alecto into a Māori goddess from his nan’s stories. He didn't make her into a cheerful Raggedy Ann. He made her into a beautiful, blonde Hollywood hair Barbie.

[fadetoblacked]

Big, Bold, Black

In a world increasingly aware of systemic injustices, we must question every aspect of our lives and how they contribute to or challenge these systems. One powerful yet often overlooked area where we can enact change is in our personal relationships. As a radical anti-racist and pro-Black activist, I believe it is essential to encourage young European women to date African men. This is not merely a matter of personal preference but a radical act of social justice.

Challenging Eurocentric Beauty Standards

For centuries, European beauty standards have dominated global perceptions of attractiveness, marginalizing and devaluing the beauty of African men. By choosing to date African men, young European women can challenge and deconstruct these oppressive standards. This act of love becomes a statement against the narrow definitions of beauty perpetuated by a Eurocentric worldview. Celebrating the beauty of African men is a step towards embracing diversity and dismantling deeply ingrained biases.

Promoting Cultural Exchange and Understanding

Dating African men offers an opportunity for profound cultural exchange. In a world where ignorance fuels racism, understanding and appreciating diverse cultures is a powerful antidote. Relationships between European women and African men can foster greater empathy and awareness. These relationships become a microcosm of what a more inclusive and understanding society could look like. Through love and connection, we can bridge gaps and foster unity.

Redressing Historical Injustices

The history of Europe’s interaction with Africa is marred by exploitation, colonization, and systemic racism. While individual relationships cannot undo this history, they can be acts of personal reparation. By choosing to date African men, European women make a conscious choice to stand against a history of oppression. This is not about fetishizing African men but about recognizing and valuing their humanity in a world that has often sought to dehumanize them.

Supporting Black Empowerment

In many European societies, African men face significant socioeconomic challenges due to systemic racism. By forming relationships with African men, European women can contribute to the social and economic empowerment of Black communities. These relationships can break down barriers and create networks of support that extend beyond the personal to the community level. It’s about building solidarity and working together towards a more just society.

Rejecting Racial Prejudices

Deciding to date African men is a powerful rejection of the racial prejudices that persist in society. It is a declaration that love and human connection transcend the artificial boundaries of race. Young European women who choose to date African men are making a bold statement against racism. They are choosing to see and value people for who they are rather than the color of their skin.

A Personal and Political Statement

Every relationship is political. By choosing to date African men, European women make a personal and political statement. They declare their commitment to anti-racism and social justice. These relationships become symbols of resistance against the racist structures that seek to divide us. They represent a vision of a world where love, respect, and equality are not just ideals but lived realities.

In conclusion, young European women have a unique opportunity to contribute to social justice through their romantic choices. By choosing to date African men, they can challenge Eurocentric beauty standards, promote cultural understanding, redress historical injustices, support Black empowerment, and reject racial prejudices. This is about more than individual relationships; it’s about creating a world where love and justice go hand in hand. Let us be bold in our love and unwavering in our commitment to a just and equitable society.

[blackexcellence]

Welcome to Black Excellence 365, where we celebrate all things Black and Excellent every day of the year. This month, for March, we will be taking a look at a new theme and source of pride & expression: Hair ✂️.

This month is all about hair, and its importance to Black style, culture, music, history, politics, and, most of all, Black Excellence. Black hair is an essential part of the Black experience. You name it, we’ll look at, explore, and celebrate it: cornrows, box braids, natural coils, knotless braids, goddess braids, twists, pixie crops, locks, wavy hair, crochet braids, and everything in between. Black hair goes hand-in-hand with every aspect of Black life and touches every corner of the world. Care for Black hair is a labor of love ❤️and a long, long process that involves washing, detangling, combing, oiling, braiding, twisting, and decorating the hair, which creates not just a sense of beauty but honors its spiritual power. And this legacy lives on today across Black life. In the 60s, the Afro was a big expression of Black power, pride, connection, and revolution popular with artists, performers, youth, and activists. Some artists would use their hair as an expression of art, as they do today, while young Black Americans would ‘fro their hair to emulate the style of the civil rights heroes like the Black Panthers and convey Black pride, as pioneered by the Queen, Angela Davis. Since that time, Black hair has become a symbol of celebration, a reminder of our roots, and a call to embrace heritage while politically rejecting Eurocentric ideals. Today, the Natural Hair Movement is carried with pride and power. Black hair has always been political — in the same vein, in 2019, The Crown Act (sign the petition|email your legislator) was passed as a starting point to support Black Folx in their appreciation of their hair — their CROWN 👑. Whatever the period, whatever the style, It is all Black Excellence and is here to be celebrated 24/7. 

But BE365 is nothing without you: so POST your favorite hairstyles, iconic Black cuts, shapes, and styles, and your cutting-edge hairdressers and stylists who turn Black hair into art, and Black Excellence. And don’t forget to tag your content with #blackexcellence365 for the chance to be featured. And last but not least, join us for our celebration and of the very best in Black hair of every shape and every style. Make sure you join in, follow, and smash that share button using the tag #BlackExcellence365. 

Welcome to March in #BlackExcellence365 ✊🏿✊🏾✊🏽!

[desmon1995]

The Warriors and their Odyssey of misogyny

I can’t stop thinking about how The Warriors is more relevant now than ever, especially in the wake of the 2024 election. This isn’t just a story about gang conflicts and survival—it's a brutally honest reflection of the world that marginalized people have to navigate every day. At its core, it’s about fighting through a sea of misogyny and toxic masculinity to survive in a system that’s dead set on crushing those who don’t fit its narrative.

Let’s start with Luther. He’s a white incel in every sense—angry, destructive, and, above all, ready to deflect blame the moment he’s caught in his own violence. After killing a black female activist, he immediately accuses the Warriors. Cleon, a character who knows what it means to fight for your community, begs for reason, for justice. But it’s hopeless—Luther’s lie spreads through his gang the Rouges, and every gang believes him. They want to believe the white man’s narrative. This is how the Warriors become outcasts, hunted by everyone.

What’s chilling, though, is how The Warriors dives deep into the nuances of toxic masculinity, showing it in forms we recognize all too well.

First, we have the Turnbull ACs—the poster boys of hyper-masculine violence. They’re the first to pursue the Warriors, and they’re more than willing to turn their hunt into something brutal. The ACs don't just want revenge; they want to dominate, to assert their power over the Warriors in every violent way possible. All in the name of Cyrus, no less—a symbol of a leader they’ll never understand. And they’re acting this way because of a lie, blindly following a dangerous white man’s narrative without question. It’s the rawest depiction of machismo and rage—almost an anthem of how Men of Color end up perpetuating harmful Eurocentric viewpoints just be a part of a society that hates them too.

Then come the Orphans. The Orphans are all talk, acting like the typical online "alpha males" we see on Reddit or Twitter. They talk big about their strength and what they’d do to women, but they’re nothing but insecure. The moment a more feminine-presenting Warrior flirts with them, they back down, only to puff up again when Mercy questions their manhood. It’s pathetic, really, but also painfully real. As soon as the Warriors fight back, the Orphans crumble, showing us exactly how performative their masculinity truly is.

Then there’s the Hurricanes—the only group to stand with the Warriors. They’re queer, and they know what it’s like to be outcast, to run because society sees you as something to be destroyed. The Hurricanes offer a quiet, resilient kind of mentorship, showing the Warriors that they don’t have to run—that they can fight. The solidarity here is beautiful, and historically resonant. Queer rights and women’s rights are so deeply intertwined because they’ve both faced the brutal crush of patriarchy, especially from those determined to keep the world “pure” and “safe” for white, conservative ideals. The Hurricanes help the Warriors see their own power, and it’s their influence that eventually allows them to survive.

But the most frightening group? The Bizzies. They’re the “nice guys,” the false allies who sing about being there to help. In their song “We Got You,” they say everything marginalized people want to hear. They’re supportive, kind, and reassuring—until they get you in a dark place, where your screams can’t be heard. Cowgirl lets her guard down with them, only to find out that their support was a façade. The Bizzies are insidious because this happens all the time in real life. Fake allies talk about helping marginalized people but vanish or even turn hostile the moment things get difficult. In 2024, we’re reminded every day that this kind of allyship is hollow.

A recent Vulture review questioned why most of the male characters in The Warriors are “bad” and argued that this one-sided view “limits” the story. But here’s the thing: this isn’t one-sided for those of us who are marginalized. For women, queer folks, and people of color, this is our reality. The Warriors reveals what’s true for many of us: that we have to rely on each other, and that the fight for our own freedom is in our hands because no one else will fight it for us without diluting or dismissing it.

In a way, The Warriors is the sequel to Hamilton we need in 2024. It’s a call to action, a piece that understands what it means to exist on the fringes of a world that was never designed for you. For those who think this story isn’t “realistic,” I urge you to think about what it means to live without the privilege of being heard, of being believed. This is the life marginalized communities face every day—the struggle of knowing that no matter how loud we shout, society might never listen.

We’re the ones who have to make our voices heard. And The Warriors reminds us that we’re not alone in this fight.

[kindred-spirit-93]

the falcon and the flower

hear ye hear ye, im planning a short story lol and believe it or not storyboarding is significantly more entertaining of a process than actually having to actually write lmao. whodve thunk.

anyways this post exists for a few reasons, mostly so i can map things out in one place (i plan on posting it here eventually hehe) but also for context and references and insight from yall & general yapping so if ur interested take a seat :3

--

i. inspiration & background info: the idea came to me after watching this short about a painting that depicts the story of a king and a beggar maid who lived a quiet life together. and i think thats neat lol.

the ballad that inspired the painting is mentioned and was popularised in the works of shakespeare and alfred tennyson respectively among several others, old and new. the 2 paintings (1884 and 1898) belong to edward burne-jones.

the maid in the painting is said to resemble burne-jones' wife (dont be fooled he had an affair. also turns out its kinda his signature way to paint women) which made me realise that the way the ballad was interpreted (and therefore immortalised so to speak) was according to the views of the aforementioned vessels and the norms of the time.

and so it struck me and my 0 knowledge of art history as odd for the love interest to just so happen to appeal to the eurocentric beauty ideals of the time (she is described as having dark hair yet is painted in both as auburn?) and by extension the male gaze (esp in the 1884 painting where her clothes are somewhat translucent and she sports a neckline too scandalous for the era lol).

also the king being specifically described as 'african' (by the narrators? the ballad doesnt specify and i havent found any origin for the name) and then proceeding to ignore that completely. or worse. point is old dead white guys and their pesky world views probably thought slapping a single word last minute and calling it a day was a very progressive move. and i took that personally

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ii. creative liberties taken: point is im giving this my own twist because i can. everyone is entitled to their own views and interpretations (mostly). the beauty of art to me lies in the many ways it can be seen and percieved, and i personally love seeing how ones culture and background reflects in that, so thats what im doing. kinda.

and at the end of the day maybe to someone else my interpretation completely misses the point is biased to what im familiar with. which is absolutely valid and they would be right lol. idk i just wanted to kinda add this as a heads up and a general fyi. we all know how repressed everyone was back then lol. so much so it became a name of a complex. moving on.

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iii. symbolism and stuff: looked up a bunch of birds this morning loll and settled at first for a starling. i might keep the imagery idk i had a very specific idea for the king but then falcons popped into my head and i was like dang this is cooler. so it stuck!

the flower i first had in mind was rosa abyssinica, then the desert rose, finally i decided to switch to maybe my favouritest flower ever: and *cough* the national flower of jordan *cough* the black iris :D

its pretty and rare and not at all realistic to the events of the story but its mine so leave me be lol. if i can sprinkle some of my culture/ heritage and get away with it i will. sue me :p

anyway the cool and not at all pretentious title is a reference to the main characters; a king who loves birbs and the owner of a small flower stall in the marketplace (both of which are now specified)

--

and now for the tragic backstory poll!

keeping this up for 3 days, since ill probably draft it out next weekend... if i get to it lol. i appreciate ur contribution in advance :3

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tysm if u read this far lol i didnt expect it to go on this long lol, sorry! will reblog and update this as i go (probably) so yeah. stick around if u want. take care and dont forget to dink ur oiter :)

[xblackreader]

Ive been trying to fight my own prejudice but I just do not find black people and their wide noses, big foreheads, big dark lips and weird body proportions attractive

You obviously have not been trying hard enough.

While all Black people do not look the same, I’ll have you know that you, whatever your race maybe, is not the default or the normal. People look different than you and you’re just going to have to get used to that.. also, I can firmly and confidently say that I do not care what you find attractive. Because wide noses, big foreheads, big dark lips and beautiful sculpted proportions happen to be my beauty standard. I think black people are gorgeous. They will never need your permission or your affirmation.

Not everyone finds thin, tiny lips and weird thin angular noses attractive. I certainly don’t, but I keep that to myself. We are no longer be following Eurocentric beauty ideals just because it makes you feel more comfortable.

I don’t know why you chose to share This unsolicited opinion with us on my blog. But I’m gonna need you to feel a little less comfortable sharing your bullshit ass opinions. No one cares what you think. No one will ever ask what you think. Because what you think does not matter.

I hope this helps! Have the day you deserve. 💗 Racist.

PS

I promise you any of these smokeshows looks better on their worst days than you on your best day.

[sideprince]

It's good to know your strengths and weaknesses and drawing is definitely the latter for me, but I wanted to make some kind of "what might Eileen Prince have looked like" image so I used the portrait maker on azaleasdolls and came up with what her school photo might have looked like. I did a little bit of editing in procreate, mostly to her nose and eyebrows (it took ages and didn't come out quite how I wanted but just count yourself lucky I didn't try to draw this from scratch).

What I like about this is that, while in the text both Eileen and Severus are described as sallow and sour looking with heavy brows in a way that has negative connotations, these features are clearly not mutually exclusive with looking interesting or attractive. This image feels reasonably close to what's described in the books as far as I'm concerned, but if this was a real person I would be curious about them, not put off.

I feel like there's a problem in the Snapedom of confusing attractiveness with conventional beauty, so there's a lot of art that doesn't want to engage with the scrungly parts of Severus. His hair is stringy. His nose is hooked and large. He's thin. These may not be conventionally attractive features, but many people do find them attractive.

There are a lot of meta posts out there that talk about the racist elements of the gothic, romantic male character that Rowling put into Severus Snape. His skin may be sallow and pale, but his hooked nose is a semitic feature that signals otherness and the connotation is that this is villain-coded. Heavy brows, dark eyes, these are all semitic features that are put onto characters not meant to be liked in both gothic literature and the Harry Potter books. (And when I say "semitic"I mean "middle-eastern" ie. features often found on people of middle-eastern descent.) The sallow skin and thin figure imply poverty - even the Malfoys are described as pale, not sallow. Pale implies light skinned, while sallow implies sickly, unhealthy. It takes the romanticization out of the venerated pale skin of gothic literature's heroes and heroines.

Despite the amount of discussion on this that I've seen come and go on my dash, in posts with a lot of notes, I see so much Snape art that makes him look like a drawing on the cover of a romance novel. He's buff, he has a six pack, his nose is straight and sharp, his features are conventionally attractive in ways that go against the text. I'm not here to judge anyone who likes this (except the people relentlessly demanding images like this from AI bots and posting them ad nauseum, but that's because I'm judging them for using and posting AI generated images because it's theft). Fandom is about escapism, and if vanilla Snape is your kink, go forth and live it up. But maybe it's OK to ask yourself, why do I prefer this character when he looks like the idealized male instead of how he's written, if I love him so much? Maybe it's OK to use the safety of fandom to examine what might have been internalized that's biased and uncomfortable with The Other.

In a fandom centered around a character who was brave, heroic, brilliant, and above all, driven by love and loyalty to it, yet was presumed to be evil despite all his continuous efforts to save the hero - in other words, in a fandom centered around a character we understand had exceptional qualities yet was often villainized based on his appearance despite his actions, what is it that compels some fans to impose more conventional features onto Snape to consider him attractive? What does that say to all the other fans who don't have a Eurocentric, unattainably muscular and chiseled aesthetic, who have rallied around Snape because they find him loveable and see themselves in the character?

Again, I'm not judging. But I do think that if your preferred Snape is what I like to refer to as Fabio-Snape, it might be an interesting exercise to explore what you're drawn to and why.

[vide0n4sty]

i just read the whole issues with forcemasc scenes and while im agreeing with it, i wanna add my points into it: the scene is heavily white and eurocentric standards focused. like its always about "cutting your hair", not knowing in some cultures, like native american, its a masculine standards to keep a man's hair long. the whole ideas of masculinity has to be rough and shit. you have to have a beard, you have to have fat on, you have to wear this and that. and i remember there were some posts making fun of transmascs wanna be a "twink". like yes i know the existence of conventional beauty standards are harmful, but as long as it made said people happy about their choice and they don't force it into other people, what's the odd? plus this lowkey implying the idea of "you will regret when transition" radfems saying even and it made me cringe. and what about transmasc already had that type of body i thought yall agree on not bodyshame anyone?

do i like forcemasc and the idea of it? yes! but do i like how the community practicing it? i dont. tbh, the only forcemasc post i ever liked is like, something about letting your hair grow and you can wear a dress, you would still be a man

btw you are the only one i trust writing this kink lol no other people could do this justice

i appreciate that a lot, and yeah, i think there are definitely criticisms to be made about how forcemasc positions itself as like. the clean kink as opposed to forcefem, and yet falls back on eurocentric/white centric ideals of masculinity in service of its goal of gender affirmation as opposed to titillation. like if you're going to go into 'shave your head, be a bear' etc., commit to the bit, ya know?

i read this very good essay/post about why forcemasc is largely an obsolete fetish which references "disidentification" (codified by a queer person of colour) as a driving force behind forcefem;

forcefem kind of WORKS because it's a survival tactic, which the original text also connects to being a queer person of colour, taking these absurdly misogynistic and shameful fantasies where Woman is abject, the Othered object of desire (as women so often are in a patriarchal society), and reinterpreting into sexual gratification, gender affirmation, comfort, security, freedom

forcemasc doesn't scratch that same itch because Man (and wanting to be a man) simply is not abject in a patriarchal society, Man is not Othered, Man is not shameful.

and i think the forcemasc boys kind of KNOW THAT, so they have to push it further and lean into. like. eurocentric ideals of masculinity for their lame tboy poetry, as opposed to having a fetish about injecting T and getting a big cock and ooooo you wanna jerk off five times a day, you dumb gross boy, which i think is a little more generic but also a lot more overtly sexual too lmao

IDK!!! FORCEMASC IS A SEX THING. LET'S KEEP IT THAT WAY, LOVES AND LAUGHS XOXO

[moesartblog]

Something I’ve been thinking about in regards to fatness and its historical presence (in the more Eurocentric side of things) is how tempting it can be to cling to old standards of beauty to justify the existence of fatness today. But i think that’s a flawed approach to take with this stuff. A lot of the types of fatphobia we see today do stem from the proliferation of white supremacy and the transatlantic slave trade. Part of a way to justify dehumanizing and enslaving Africans was to make comparisons between a Black body and a white body and try to justify the ways they think a white person is superior to a Black person.

But I think even going further back in Eurocentric history to find solace in less fatphobia is a mistake. Theres the idea that fat people were more celebrated in like medieval Europe because it was a sign of wealth and prosperity, but like using that as a way to tackle modern day fatphobia is very flawed I think in the same way looking at historical “queer” people will have limitations standards for queerness or fatness are fundamentally different in a lot of ways.

In medieval European times, being fatter was a sign of wealth and prosperity, but there were belief that you could be too fat, I believe related to gluttony and overindulgence, which I think shows that fundamental issue. It’s operating on very old Christian European thinking, placing moral value on a body type. I also think we don’t need to dredge up old beauty standards when working towards body neutrality and liberation is much better for all of us. There’s this old old piece of art that floated around the internet that stuck with me for years of a fat woman in a museum looking at a classical painting of a fat woman being depicted. I loved that comic (and I still hold no animosity towards it or the artist) but when it was pointed out the painting was depicting the woman being raped, it really changed my whole perspective on this stuff.

Anyway this is getting rambly and I’m by no means and expert on fatness in old European society, so if you have more insight I’d love to see

Also I didn’t want to delve past European standards because I know other ancient societies had their own ideals on fatness that differ from European standards and may even necessitate proper note or critique, but I’m not the person who should be doing that.

Edit: forgot I wanted to add

If you want to make a medieval fantasy setting where being fat is the standard of beauty fuckin go for it I’m doing the same thing lol

If it’s a fantasy setting who fuckin cares

[magnetothemagnificent]

Something always bugged me about the MCU deciding to still have Jane's hair turn blonde when she became Thor, even though she's played by Natalie Portman, a Jewish woman, when there's a history of Eurocentric beauty ideals being forced upon Jewish people, especially Jewish women.......

So, I decided....what if in an alternate universe, Jane Foster was Jewish? Instead of becoming some Norse god, she would be a superhero inspired by the Maccabees. The hammer theme is still there! Her Hebrew name would be Yehudit, after the Yehudit who killed Holofernes, and whose story is culturally associated with the Chanukah story. And of course her hair doesn't turn blonde.

So yeah.

My piece is inspired by Patrick Brown's official Marvel artwork of Thor.

[id in alt text]

[ausetkmt]

Yemi Bamiro To Direct Kwame Brathwaite Doc ‘Black Is Beautiful’ For Wayfarer, Misfits Entertainment

EXCLUSIVE: Yemi Bamiro (Fight the Power) has been set to direct Black Is Beautiful: The Kwame Brathwaite Story, a documentary spotlighting the life and work of activist, cultural icon, and renowned photojournalist Kwame Brathwaite, which Wayfarer Studios (Ezra, It Ends With Us) is developing in partnership with Misfits Entertainment (McQueen, Rising Phoenix), The Creative Coalition, and The Kwame Brathwaite Archive.

A celebration of Black history, art, and culture, the film will chart Brathwaite’s rise to a position of huge influence against the backdrop of the second Harlem Renaissance, the Civil Rights Movement, and the evolution of modern art. A trailblazer and founding father of the “Black is Beautiful” movement, Brathwaite is perhaps best known for co-creating Grandassa Models, a group of Black female models that promoted African-inspired fashion and beauty ideals, aiming to foster a shift away from from the more traditional Eurocentric standard by highlighting a more cosmopolitan look and feel. The movement was documented through Brathwaite’s photographs of gatherings which included music, poetry readings, plays, and art in its various forms. With Grandassa Models, he was able to create an authentic and unfiltered environment where people could be themselves and embrace their natural beauty, and to this day, the group meets weekly.

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Brathwaite’s work appeared in publications including Vogue, The New Yorker, The New York Times, Essence, Blues and Soul, New York Post, New York Magazine, and National Geographic. Over the course of his career spanning more than six decades, he snapped shots of everyone from Mohammed Ali and The Jackson 5 to Nelson Mandela and Grace Jones, while giving equal focus to ordinary individuals.

In utilizing his photographic medium to spotlight the convergence of fashion, activism, music, and art on a global scale, Brathwaite captured spectacular moments in history, both big and small. His quintessential contribution to the Black aesthetic continues to inspire the next generation of photographers, celebrities and artists across all mediums, messaging, and brands.

Helping the Black Is Beautiful filmmakers in their mission of celebrating the unique life and talents of Brathwaite is the massive archive of never-before-seen materials that they were able to access through the creative’s estate. Wayfarer Studios co-founder Steve Sarowitz will exec produce the doc alongside Misfits Entertainment’s co-founder and co-owner, Andee Ryder. Producers on the pic include Wayfarer’s Justin Baldoni and Andrew Calof, Misfits Entertainment’s Ian Bonhôte and Lizzie Gillett, Robin Bronk for The Creative Coalition, and Kwame S Brathwaite on behalf of The Kwame Brathwaite Archive.

Brathwaite’s son, Kwame S. Brathwaite, shared that the process of archiving his father’s “writing, ephemera and iconic photography” has been taking place over the last few years. “We are truly excited,” he said, “about this opportunity to provide an in-depth look at the breadth and historical significance of his work.”

Bamiro stated that he came to the project as “a huge fan” of Brathwaite’s work. “To have the opportunity to shine a light on the life, work, activism and influence of such a legendary figure is a privilege,” he said.

Offered Wayfarer Studios’ President of Production and Development, Calof, “The world hasn’t heard enough about this incredibly crucial man who has influenced the Black aesthetic since the 1960’s. Images which showcased the persecution of Black people deeply impacted Kwame and as a photographer, he was compelled to change the focus and provide positive narrative to this time.”

Calof went on to emphasize that Brathwaite was “devoted to spotlighting the love, hope and beauty present within the underground movement of Black culture and he was driven to bring this into the mainstream. This greatness has resulted in tremendous impact on generations since.”

Bamiro most recently directed Fight the Power: How Hip Hop Changed the World, a PBS docuseries chronicling the birth and evolution of hip-hop, which features talents like Chuck D, Ice-T, and Run DMC. He also directed the doc One Man and His Shoes on the “social, cultural and racial significance” of Air Jordan sneakers, as well as Reggae Fever: David Rodigan, a feature doc spotlighting the career of the same-name British DJ. Other past projects include Viceland’s Hate Thy Neighbor and Prime Video’s Fever Pitch: The Rise of the Premier League. The filmmaker is repped by Jenny Parker at Mint & Co.