#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 ❤️

[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.

[sankofaspirit]

30 Ways Modern-Day Africans Still Exhibit a Colonial Mindset: A Garveyite Analysis

Marcus Garvey’s Pan-Africanist philosophy emphasized self-reliance, cultural pride, and the rejection of colonial influence. However, many Africans today still exhibit behaviours and attitudes rooted in a colonial mindset. Below are 30 examples, explained and analyzed in depth, from a Garveyite perspective:

1-10: Cultural Influence and Identity

1. Preference for European Standards of Beauty

Example: Many Africans prioritize lighter skin, straight hair, and European features over natural Black aesthetics.

Analysis: Skin-lightening creams and the global embrace of Eurocentric beauty ideals reflect internalized inferiority and rejection of African identity.

2. Disdain for African Languages

Example: African children are often discouraged from speaking native languages in favour of English, French, or Portuguese.

Analysis: Linguistic erasure ensures dependency on colonial languages for governance, education, and international relations.

3. Glorification of Western Education

Example: Degrees from European or North American universities are valued more than African ones.

Analysis: This reinforces the notion that African intellectual systems are inferior, perpetuating brain drain and dependency.

4. Adoption of Western Names

Example: Africans often give their children Western names instead of traditional African ones.

Analysis: This signifies a rejection of African heritage in favour of aligning with Western norms.

5. Colonial Religious Practices

Example: Christianity and Islam dominate African spiritual practices, while indigenous beliefs are demonized.

Analysis: Religion was used as a colonial tool to pacify and control, and its dominance reflects ongoing psychological colonization.

6. Rejection of African Fashion

Example: Western suits and dresses are deemed more "professional" than African attire in workplaces.

Analysis: Clothing reflects identity, and the preference for Western styles reinforces the idea that African traditions are primitive.

7. Accent Bias

Example: Africans with European or American accents are viewed as more intelligent or credible.

Analysis: This bias reflects internalized colonial superiority.

8. Neglect of African History

Example: African curricula prioritize European history over African empires like Mali, Songhai, or Great Zimbabwe.

Analysis: This erasure perpetuates ignorance about Africa’s rich heritage and contributions to civilization.

9. Worship of Western Entertainment

Example: Hollywood and European music dominate African media, sidelining local industries.

Analysis: This promotes cultural dependency and undervalues African creativity.

10. Desire to Migrate to the West

Example: Many Africans dream of emigrating to Europe or the U.S. for a "better life."

Analysis: This mindset undermines the potential of building strong nations on the continent.

11-20: Political and Economic Dependence

11. Reliance on Foreign Aid

Example: African governments often depend on Western aid for development projects.

Analysis: This fosters dependency and allows Western nations to control African policies.

12. Colonial Borders

Example: African nations still adhere to arbitrary colonial borders that divide ethnic groups.

Analysis: The refusal to renegotiate these borders reflects a lack of sovereignty and Pan-African unity.

13. Imitation of Western Governance

Example: African governments replicate Western political systems, often failing to adapt them to local contexts.

Analysis: Blind imitation undermines the development of systems rooted in African traditions and needs.

14. Dependence on Western Currencies

Example: The CFA franc, used by West and Central African nations, is controlled by France.

Analysis: This reflects continued economic colonization and inhibits financial independence.

15. Exploitation of Resources by Foreign Corporations

Example: Multinational companies exploit Africa's oil, minerals, and agriculture with little reinvestment.

Analysis: Africans prioritize Western partnerships over local ownership and control.

16. Outsourcing Security to Foreign Powers

Example: French troops stationed in Africa under the guise of fighting terrorism.

Analysis: This reinforces the narrative that Africans can not secure their own nations.

17. Preference for Imported Goods

Example: Imported clothing, food, and technology are seen as superior to local products.

Analysis: This devalues African production and stifles economic growth.

18. Neocolonial Debt Traps

Example: African nations take loans from institutions like the IMF, leading to perpetual debt.

Analysis: These loans come with conditions that undermine sovereignty.

19. Overdependence on Western Technologies

Example: Africa imports most of its technology rather than building local industries.

Analysis: This dependency stifles innovation and economic independence.

20. Election Interference by Western Powers

Example: Western nations influence African elections through funding or propaganda.

Analysis: This undermines democratic processes and reinforces external control.

21-30: Social and Psychological Patterns

21. Black Elitism

Example: Africans educated in the West often look down on those educated locally.

Analysis: This creates divisions within African societies and perpetuates classism.

22. Hostility Toward Pan-Africanism

Example: Resistance to efforts to unify Africa economically or politically.

Analysis: Colonial powers instilled fear of unity to prevent collective strength.

23. Undervaluing African Labour

Example: African workers are underpaid while foreign workers are overpaid for similar roles.

Analysis: This reflects an internalized belief in the superiority of non-African expertise.

24. Neglect of Local Agriculture

Example: African nations import staple foods like rice despite fertile lands.

Analysis: This prioritizes foreign economies over local food sovereignty.

25. Demonization of Traditional Medicine

Example: Preference for Western pharmaceuticals over indigenous remedies.

Analysis: This reflects distrust in African innovation and healing systems.

26. Preference for Colonial Languages in Art and Literature

Example: Writers and artists creating works in English or French to gain Western recognition.

Analysis: This marginalizes African languages and creativity.

27. Inferiority Complex Toward Western Nations

Example: Africans praise Western infrastructure while criticizing their own.

Analysis: This self-perception hinders the belief in African potential.

28. Overlooking the African Diaspora

Example: Africans often ignore the struggles and contributions of African Americans, Caribbeans, etc.

Analysis: Colonial divisions still separate the global African community.

29. Dependence on Colonial Education Systems

Example: African nations still use colonial curricula with minimal African content.

Analysis: Education is a tool of control, and this reflects ongoing intellectual colonization.

30. Hostility Toward Repatriation

Example: Africans discouraging descendants of the enslaved from returning to Africa.

Analysis: This reflects colonial teachings that Africa is undesirable or unworthy.

Garveyite Call to Action:

Marcus Garvey warned against mental colonization and called for:

Reclaiming African identity: Embrace African languages, cultures, and traditions.

Economic independence: Build industries, control resources, and support local economies.

Pan-African unity: Foster solidarity among Africans worldwide.

Rejection of Western validation: Recognize that Africa’s greatness does not depend on foreign approval.

“Liberate the minds of men, and ultimately, you will liberate the bodies of men.” – Marcus Garvey

[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 ✊🏿✊🏾✊🏽!

[anthraxx-pology]

I know the Salmon Team events are not canon, but I’ve got to appreciate these crumbs.

So. If you choose ‘exercising after a meal’

Basically. “Fuck your diet culture, Shuichi”

Definitely the type of person to point out that the ‘conventionally attractive’ body type varies a lot across time and cultures, and that the most common modern ideal is based in Eurocentrism, coloniality, and racism.

Also as a student of anthropology myself, I immediately recognized that last one as a Buddhist practice, which makes sense, especially considering their name contains the kanji for ‘Buddhist temple’ (寺).

I had a professor for a food and culture course who would do that too, interestingly enough, though she also did it when she bought a whole chicken from a farm we were doing an ethnographic analysis on. Thanking the animals for giving their lives. It’s beautiful actually.

There was also a section of that course on ‘eating and embodiment’ or in other words ‘How food culture affects diet culture/body image’.

It just brings back so many memories.

And I miss you, Dr. M

[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.

[blackisdivine]

The History of Dreadlocks

Ancient origins:

The origins of dreadlocks can be traced back to ancient cultures around the world. The earliest written evidence of dreadlocks dates back to between 2500 and 1500 BC: the God Shiva and his followers are described as jaTaa, meaning "wearing knots of tangled hair".

They are also found among ancient Egyptians, Buddhist monks in India, Māori warriors in New Zealand and Maasai tribes in East Africa, for example. For these cultures, dreadlocks were often a sign of spiritual connection, wisdom and belonging to a community.

But that’s not all! In Mexico, a Mesoamerican people wore dreadlocks between the 14th and 16th centuries. Among the Wolofs in Senegal, locks were worn by kings and the Tiedo warrior class. Celtic and Viking peoples also wore them. In short, dreadlocks have been adopted by many peoples around the world for thousands of years.

The Rastafari heritage:

One of the most famous associations with dreadlocks is the Rastafari movement, which originated in Jamaica in the 1930s. The term dreadlocks (first used in the 1950s) was considered derogatory, referring to Jamaica’s marginalised poor people. For Rastafarians, dreadlocks are more than just a hairstyle; they are a symbol of devotion to spirituality and nature. Rastafarians see dreadlocks as a way of letting their hair grow naturally, in keeping with their belief in the sacred nature of life.

A Declaration of Freedom:

Over the years, dreadlocks have also become a statement of freedom and resistance to the beauty standards imposed by society. For many people, wearing dreadlocks is a way of rejecting ideals of conformity and celebrating their individuality. Dreadlocks allow individuals to express their authenticity and stand out from the crowd.

A political motivation:

The popularity of reggae and Bob Marley boosted interest in dreads worldwide during the 1970s and 80s. At the time, Rasta philosophy had a strong resonance for young Afro-Americans. Like Afro hairstyles, dreadlocks took on social and political implications: a way of valuing black cultures against Eurocentrism.

In conclusion, the history of dreadlocks is deeply rooted in culture, spirituality and self-expression. This iconic hairstyle has crossed eras and borders, becoming a symbol of resistance, freedom and a celebration of diversity. Whatever the reason people choose to wear dreadlocks, it’s important to recognise and respect the deep cultural and spiritual significance that surrounds them.

[crazysodomite]

AND THEN people start talking about how 'its meant to be idealized' 'it's a fantasy'

okay... sooo...... idealized = beautiful, and beautiful = young, skinny, no imperfections, no wrinkles, hairless, tiny nose, etc.

and everything that falls outside of that can't be a fantasy and is not ideal. HELLO? so you're imagining an idealized world where everyone is beautiful for your fantasy. and in a world where everyone is beautiful there are no fat people and no old people and nobody who doesn't conform to eurocentric beauty standards. thats Crrrrrrraaaaaaazyyyyyyy

[dailyjameshunt]

James in Monaco, 4th May 1978

I love this photo of James. I especially love how it shows that he didn't have perfect pretty-handsome features.

If your Facetune app or whatever the fuck is saying you should smooth and widen your eyes, straighten and whiten your teeth, airbrush away your stubble, and confirm even more to Eurocentric, racist, sexist beauty ideals regardless of your gender - please remember James Hunt's eye wrinkles and crooked snaggle teeth and big goofy smile and remember the magic of being yourself. You may see "flaws" but together all of your features make up you.

[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

--

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.

--

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

--

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 :)

[maybemalkaa]

I originally posted this on FetLife. But it feels important to say everywhere.

pretty privilege is just white supremacy

Yup! You read that right! This is in a response to a post, I mean this with love and I don’t feel right not having a bigger conversation about it.

While it’s important to ask “What is pretty privilege” it’s imperative to know where it comes from.

“Ugh is this a political rant?”

It sure fucking is. Buckle in bitch.

“Pretty privilege” is often discussed as an unearned societal advantage given to those who meet conventional beauty standards. People deemed “pretty” are granted better opportunities, treated with more kindness, and often navigate life with fewer barriers. But what many fail to examine is how these so-called “standards” of beauty are rooted in racism. Pretty privilege isn’t just about individual attractiveness—it’s a system that upholds Eurocentric ideals and excludes people of color, disabled people, trans people, faggots, and dykes alike. It’s perpetuates the same power structures that uphold white supremacy.

The fucking FOUNDATION of modern beauty standards are tied to colonialism. When European colonizers colonized, they also imposed their cultural ideals, including their ideas of beauty, on the people they oppressed

So it was all about pale skin, straight hair, narrow noses, and thin lips became markers of “civilization” and “desirability,” while features associated with Black, Indigenous, and other people of color (BIPOC) were deemed “savage” or “ugly.” These standards weren’t just superficial—they were tools of domination, used to dehumanize and “other” non-European peoples.

So today these beauty standards absolutely monopolize every community. Why? Because it’s everywhere. Social media, TV, video games, etc.

These are very obvious “benefits” of pretty privilege. Which just further expose its racist underpinnings. If you google a single thing (without confirmation bias) you’ll see literal STUDIES that consistently show that people deemed attractive earn higher salaries, are more likely to be hired, and receive better treatment in the workplace.

Okay, so we know where it comes from.

Now what?

We have to shift the conversation about beauty privilege away from individual experiences and toward systemic change. Pretty privilege isn’t just about being attractive—it’s about who is allowed to be seen as attractive and why. Until we address the racist foundations of beauty standards, pretty privilege will remain a tool of oppression, reinforcing the very hierarchies it claims to ignore. To dismantle the racist underpinnings of pretty privilege, we must acknowledge how deeply beauty standards are tied to white supremacy. This means critically examining the media we consume, celebrating diverse representations of beauty, and rejecting Eurocentric ideals that exclude people of color.

So what can white people do?

You can learn about racism, white privilege, and the systems of oppression that benefit white people.

You can recognize how white privilege benefits you daily, even in ways you don’t notice.

You can give POC money

Acknowledge that systemic racism exists, and reflect on how you can use your privilege to help dismantle it.

When POC share their experiences, listen without defensiveness or interruption. Believe them. Validate their experiences instead of centering your own. If a person of color is speaking, pay ATTENTION.

Call out racism when you see it, whether it’s in your family, workplace, or friend group. Silence allows racism to continue unchecked. Use your voice to challenge injustice, even when it feels uncomfortable.

Be accountable for your mistakes.

Amplify POC voices

Do some research…

We all know that racism won’t end overnight, but every single action you take matters. Commit to showing up, even when it’s uncomfortable, and remember: allyship isn’t about being perfect—it’s about being persistent in the fight for justice everywhere.

[multi-fandom-lunatic]

as someone who has delusions I don't think those white women are delusional but I do think they're like. Really irritating lol. Like I get where they're coming from to an extent (I myself have fantasised about just being a fairy queen or whatever in a palace because I am tired of capitalism lmfao). However I also don't really get why they're fantasising about a misogynistic man choosing them. It's like the opposite of how white Christian women will clutch their pearls when they go outside because due to white supremacy's view of white women, they've made themselves believe they're so vulnerable that they're the only people cis white men will prey on/attack. And a lot of these authors and FMCs are white, they usually leave no space for poc and if they do, then it's usually the moc who's the big hunky toxic love interest. In romantasy poc aren't allowed to be soft apparently, they must always appear aggressive/more masculine/flirty so that the demure white woman can swoon over them (if they're men) or scoff at their trying to find romance (if they're women). Yes, in real life misogynistic white men will usually choose white women as romantic partners, but white women don't see them as misogynistic. So across all genres of media, we still see white women try desperately to push poc out. They either push canon characters of colour out of romances with healthy white male characters and insert themselves/white ocs, or they find another white character to ship their white fave with. I feel like romantasy, as it currently stands as a commercialisation of fanfic, is a culmination of white fans' behaviour because fandom is not only misogynistic, it is usually racist as well.

I think the delusional part of it for me (though, I admit, poor choice of word) is them believing that this misogynistic man will change for them. Stop being misogynistic for them. Stop being a shitty person for them. It's really about being the exception to the rule.

I think it's really deeply rooted misogyny. White cis Christian women have been like the ideal woman model historically. They've been seen as pure and therefore good. This is rooted in misogyny. And along with white cis Christian women being the Gold Standard, so is being a white cis hyper masculine man. White women fantasising about these kind of men is really just due to the patriarchy (oh wow! the patriarchy strikes again!). They don't want to be mistreated, they just want do know that they're desired. Like "I have a white cis Christian hyper masculine man, therefore I'm important". But in books, wanting a guy that is acceptable to want isn't entertaining so they make the dude the villain and morally grey.

And this completely pushes POC out of the romance picture. So, POC women have to be indifferent/completely uninterested in romance (and they count this as a "yay feminism!" moment), and them being indifferent to romance means they must obviously not be soft, right? They simply have to be tough, because to them soft = romance and tough = no romance. And POC don't have a place in romance so they simply have to be tough, right?

And the hunky toxic MOC is such a tired trope. POC are ALWAYS seem as more masculine (based on Eurocentric beauty standards) and therefore aggressive. And even in fandom, you'll notice that characters who are white and protective are seen as significantly less aggressive than character who are POC and protective (I've actually been planning to write a rant about this on one of the characters from my fandom, but anywho).

It's insane how many vaguely badass white woman x hypermasculine MOC ships there are in Booktok books. And each time they're hailed for being representative of POC while falling into tropes that are rooted in racism. There's a weird thing where people feel the need to choose between bad representation vs no representation at all (this is more prevelant in queer rep, but the point stands). They forget that good representation is an option and settle for these mediocre at best, shitty at worst representation, which then because popular because white people tend to think any representation = good representation (ignoring whether it's good or bad).

A lot of the tropes that are used in Booktok today are rooted in racism or straight up exclude people of colour (which is also racist, but I feel the need to clarify), so they create these tropes for POC that end up also being rooted in racism, because the people that are creating/popularising/consuming these tropes are mostly white people.

And this isn't just limited to Booktok. There's genuinely good representation in media that is swept under the rug by fandoms uplift white characters. This is a bit of a tangent, the point is important. You might have heard of the Disney show The Owl House. Main character Luz Noceda finds herself in the demon realm and has a bunch of adventures there. What I'd like to focus on is that in a show starring an Afro-Dominican-America girl, who is arguably the most likeable and interesting out of the entire cast, her arc and character as a whole is overshadowed (in the fandom, not the show, which is important to clarify) by Amity and Hunter. Amity, who is a reformed mean girl with shitty parents (she's well written but the trope is a bit overdone IMO) and Hunter, who has the least substance out of any TOH character. Somehow, the two most poorly written main characters in the show (who, surprise surprise, are white) overshadow a very interesting, likeable and relatable POC protagonist. And I should clarify, being relatable is not something authors should desperately be trying to achieve in their characters, but it baffles me how a character who is perfect to project yourself onto (keep in mind TOH's audience, which is mostly neurodivergent queer teens who are heavily involved in fandom) managed to be an underrated character. I don't think I'll ever forgive the TOH fandom for that. Anyways....that was a bit long, but this is definitely applicable to Booktok. Even the characters that should be the fan favourite by all the metrics that make white characters a fan favourite are completely thrown aside to favour white characters.

And I guess the above ties in a belief that I have that fandom is not queerphobic but can be racist. My example from TOH would be my example, but also how fandoms react when a live action film of their book is announced and their white character is going to be played by a black woman.

Holy shit this got a bit tangenty, and I still have stuff to say about fandom not really being progressive but just being dominated by white, usually queer people. But I'll save that for another time. Thank you for popping by, Booktok anon. I had a lot to say about this one, lol.

[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.