Paris Jackson, the only daughter of late pop star Michael Jackson, opened up about her African-American roots and how proud she is of that, as well as the criticism she received.
Paris, 25, was born to parents Billie Jean hitmaker and Debbie Rowe in 1998.
Over the years, there have been speculations that Jackson wasn’t the biological father of his three children, Paris and her two brothers, Bigi, 22, and Prince, 27. This was due to the fact that that many couldn’t see any resemblance between the late star and the kids, especially Paris who has white skin, light eyes and now bleached-blond hair.
The kids were very close with their father who went to great lengths to protect them from media scrutiny. His measures were unlike, however. He would show his son Bigi to the public with his face covered with a blanket, causing him troubles while growing up because his friends often teased him. He now prefers to be called Bigi.
Following the star’s death in 2009, his children were tossed alone in the public eye, turning them a highly profitable prey for the media that were eager to share their photos and followed their every step.
This experience left Paris battling a post-traumatic stress disorder (PTSD).
“I experience audio hallucinations, sometimes, with camera clicks and severe paranoia and have been going to therapy for a lot of things, but that included,” she shared.
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By age 15, Paris attempted suicide “multiple times” and in 2019 she was admitted at a treatment facility. “It was just self-hatred…Low self-esteem, thinking that I couldn’t do anything right, not thinking I was worthy of living anymore.”
Today, she’s a successful musician who follows into her father’s footsteps. Over the years, she has also walked the runway for famous brands such as Chanel. Paris is a member of the band The Soundflowers.
“Everyone in my family does music. I mean, I’m a Jackson,” she said in 2020. “It makes sense that I’m a musician but like, a Jackson doing folk indie?”
Paris is very close to her brothers and looks up to Prince. “He’s everything to me, you know?” In 2020, she told People of her relationship with her older brother. “I’ve always looked up to him and always wanted his approval and everything, and wanted to be more like him.”
He loves and supports his younger sister as much. “Basically, as a person, she is who my dad is. The only thing that’s different would be her age and her gender,” he said of Paris, adding that she’s similar to her father “in all of her strengths, and almost all of her weaknesses as well. She’s very passionate.”
The physical appearance of the King of Pop underwent significant changes over the course of his life and many accused him of bleaching his skin, which was considerably darker in his younger days, but he claimed he had never done anything to his skin and that it turning white was a result of Vitiligo, during an Oprah interview in 1993.
“I am proud of my race. I am proud of who I am,” Jackson told Winfrey at the time.
Back in 2017, speaking of herself, Paris told Rolling Stone magazine she “considers [herself] black,” and that “[Michael] would look me in the eyes and he’d point his finger at me and he’d be like, ‘You’re black. Be proud of your roots.’”
“Most people that don’t know me call me white. I’ve got light skin and, especially since I’ve had my hair blond, I look like I was born in Finland or something,” she said. “And I’d be like, ‘okay, he’s my dad, why would he lie to me?’ So I just believe what he told me. [Because], to my knowledge, he’s never lied to me.”
This declaration of race triggered criticism on Paris. Among the rest, it was host Wendy William’s that mocked Paris’ statement.
“I get that she considers herself black and everything, but I’m just talking about the visual because you know…black is not what you call yourself, it’s what the cops see you when they got steel to your neck on the turnpike.”
She added: “It’s what they see. But that’s cute and good for her.”
Some of us still remember when “typing classes” had to be taken on actual typewriters
A few of us can still recall the days when “typing classes” required using real typewriters.
It is almost impossible to imagine that there was a period when typing had a tactile, almost rhythmic quality in an era when computerized screens rule our communication.
Our fingers danced across keys in a complete ten-finger ballet, not the constrained choreography meant for smartphones.
The medium for this dance was the typewriter, the mysterious device that ran on paper and ambition and required no electricity at all.
The late 1800s saw a great deal of advancement in communication technology, which is when the typewriter first came into being. Relics from this era are housed at the Henry Ford Museum of American Innovation, where curator Kristen Gallerneaux shows that the typewriter was not an immediate hit.
Its origins were largely due to Milwaukee printer Christopher Sholes and Carlos Glidden, who were inspired by a magazine article to design what would eventually become the first typewriter to be commercially successful.
The invention of Sholes and Glidden, who called it after themselves, was a technical miracle. It struck a compromise between the precision necessary for legible typing and the need for durability to withstand users’ need to “bang away on the keys.”
The typewriter took a while to become well-known despite its inventiveness; it didn’t take off until 1874.
The typewriter was a marvel of design as much as a technological achievement. The QWERTY keyboard layout, which was popularized by the Sholes and Glidden typewriter and is still in use today due to its efficiency in minimizing letter jamming by separating frequently used pairings, was introduced.
Centuries later, this keyboard layout’s answer to a mechanical issue unintentionally influenced how we use them.
The typewriter started to change the American workplace by the late 1880s. A notable change was brought about by the invention of the typewriter, which at first was used mostly by men.
By 1910, women accounted for nearly 80% of professional typists, a significant shift in the office setting.
This change was a social revolution that redefined gender roles in the workplace, not merely a technological one.
Innovations like the Nodin typewriter were the result of the search for a quieter typing experience. Its moniker, a witty reference to its silent functioning, perfectly captured the way typewriter design has continued to advance.
Even though the Nodin is a unique find, its presence demonstrates the inventive lengths inventors were willing to go to in order to enhance typing.
We haven’t even discussed electric typewriters in our history, which added a new level of convenience and noise to the typing experience. Nonetheless, early typewriters’ tactile feedback and straightforward mechanics have left a lasting impression on those who have used them.
Many individuals still enjoy listening to the old-fashioned clickity-clack sound of the keys.
The story takes a pleasant detour and returns to the act of typing. One of these old machines is available for you to type on, thanks to the curator at the Henry Ford Museum. The sensation serves as a sharp reminder of how physically demanding typing on a typewriter is, in sharp contrast to how natural typing on a modern keyboard is.
It’s a nostalgic moment that serves as a reminder of the development of writing technology and the timeless allure of typing.
The typewriter is a link to a lost era of communication because of its intricate mechanical design and lengthy history. It is a sentimental stroll down memory lane for those who recall. It’s an invitation to those who are unfamiliar with typing to discover the tactile delights of a world where words were created physically and each letter carried weight.
The typewriter is a monument to the human need for connection, communication, and creation even as we enter the digital age.
Watch the video below to find out more about the complex and fascinating history of the common typewriter! Kindly DISPLAY this to your loved ones.
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