Afro--mixed-race

4

Back in South Africa when I’d get asked the question “Can I touch your hair?” or sometimes not even an ask, I’d hate it. So much so that I stopped wearing it out. To be honest I really didn’t really mind people touching it, until the comments about WHO I looked like and how it moved started. “Super Saiyan” was a regular, which angered me because the only thing similar about us is that we have Asian roots and our hair doesn’t lie flat on our heads. So in order to fit in a little bit more and stop the comments, I stopped wearing my hair out. Maybe on occasion I’d try to build up my hair confidence again, but I’d only last a few hours in school before it was back in a bun. When I reached (about) the legal age to go out drinking, I started wearing out more often because it was like dressing up…never casual. Maybe it was the alcohol or the people I surrounded myself with but slowly I no longer felt uncomfortable and Super Saiyan was only mentioned by guys who thought that telling me they liked anime was a great pick-up line for a half Japanese girl (btw, it’s not. I’m not a anime fan). At first when I moved to Japan, I thought that I’d go back to trying to fit in more like before. I soon realized that I look too different and that I might as well go all the way and embrace everything genetically given to me. For the most part people just think my hair looks cool or “Sugoi” (awesome). Comments like that, while touching my hair, have become so regular that I have found myself in this positive bubble. So when I over heard a few girls talking about it (in Japanese, thinking that I couldn’t understand), it infuriate me that they said I looked like a younger Micheal Jackson. It wasn’t the positive reaction I’d gotten so used to. I realized it wasn’t really their comments that made me so upset, but it was the fact that they comments brought back all the comments from before. Luckily I have friends here that made me feel automatically better about my hair and I haven’t gone back to tying it up for conforming reasons. I guess I just find it funny that I had to move to a country where I stuck out like a sore thumb to love my features.

With Love, M

Side Note: Why am I always compared to men with big hair and not women? Not saying I look like Solange Knowles or Angela Davis, but come on Super Saiyan?! Super Saiyan! 

sharkprncess asked:

no please oh my god i could talk about bitchy teensjin til the cows come home LET ME GET IN ON THIS

oH MY GOD YES OH MY GOD YES and hE”s so UGh he frustrates me i love him OFC YOU CAN GET IN ON THIS EVERYONE SHOULD GET IN ON IT

like you know the faces Disgust from Inside Out pulls?? that’s teen!sjin. boom. right there

and he’s always insulting everything, but subtly. don’T EVER GET IN A GROUP PROJECT WITH HIM because your ass will be screwed he’ll shit all over your ideas and be passive aggressive as hell

rythian is infuriated with him. sjin insulted his blonde streak that he bleached on a dare with zoeya.

maybe instead of rythian’s house it’s rythian’s handwriting he mocks

catty, bitchy teensjin is a beautiful thing

2

“(1835-?)

Fanny Antwistle was born in Jamaica and is described as of ‘mixed race’. By the mid-1850s she was living in London, married to James Eaton, who drove cabs and carts, and mother of their first two children, James Mark and Fanny Matilda, born in St Pancras in 1855 and 1858. In the 1861 census the family were living just south of Kings Cross in a small, crowded house and Fanny’s occupation is given as ‘charwoman’ or daily cleaner. However, she also had intermittent employment as artist’s model. She sat to A.F Sandys, Rebecca and Simeon Solomon and Albert Moore in 1859-60, to Joanna Wells in 1860-61, to D.G. Rossetti in 1865 and to J.E. Millais in 1864 and 1867, amongst others. Though not a full-time career, modelling augmented other earnings. It is possible that Eaton’s oldest daugther also sat, to Rossetti and Madox Brown, for some child figures. She herself was in demand for figure subjects of diverse origin. ‘What is striking about the employment painters made of Mrs Eaton…is the ambiguity of the ethnic identity they gave their model. She could be seen as located between races, not wholly of any one race’ (Nunn 1993, 13). By 1881, Fanny was widowed and living in Lancaster Road, Chelsea, with her seven children ranging from James, aged 24, to Frank, aged two, and working as a seamstress. Twenty years later she was a domestic cook in Oakfield, Isle of Wight, and incidentally living next to a white naval officer who was also born in the Caribbean.”

Black Victorians: Black people in British art 1800-1900, Jan Marsh (Editor)

Additional Links: Fanny Eaton, the Jamaican-born model in Millais’ Jephthah and Fanny Eaton

Images Courtesy of WikiArt & Delaware Art Museum

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