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Actress, dancer, model, literary critic, psychologist, and free-spirited provocateur, Anita Reynolds was, as her Parisian associates nicknamed her, an American Cocktail. In the beginning, when God created the black man, He gave all his knowledge to his first creations without boundaries and fears. Unfortunately, for far too long, black males have been portrayed negatively in our society and by the day by day rhetoric that surrounds us. In their complete research compiled with information, stories, and historic experiences, husband and wife staff Mr. Michael and Ms. About The Author
Author Biograhy: Nataly Komova founded Chill Hempire after experiencing the first-hand results of CBD in helping her to relieve her skin condition. Nataly is now determined to spread the word about the benefits of CBD through blogging and taking part in events. In her spare time, Nataly enjoys early morning jogs, fitness, meditation, wine tasting, traveling and spending quality time with her friends. Nataly is also an avid vintage car collector and is currently working on her 1993 W124 Mercedes. Nataly is a contributing writer to many CBD magazines and blogs. She has been featured in prominent media outlets such as Cosmopolitan, Elle, Grazia, Women’s Health, The Guardian and others.
email@example.comC illustrate to all black males that they need to not really feel degraded, but as a substitute be bursting with delight about their heritage. By encouraging black men to face racial hatred and demand respect, Mr. Michael and Ms. C lay a foundation intended to assist all black men discover the aim of their existence. Also included are biographies of well-known black males who overcame obstacles and altered the world.
It is ironic that essentially the most unfree populations from the middle of the free world, black Americans, should come to symbolize the promises of the Enlightenment come to fruition. If you have a question that explicitly issues any of the content on this website, be happy to Contact me and I will get again to you at my earliest comfort. With a really “busy” business to run, the time I can spare responding to enquiries through this website is finite, to say the least. So, please don’t ask me to do research for you or help in matters of household historical past. Published within the Pall Mall Gazette in July, 1885, “The Maiden Tribute of Modern Babylon” was Stead’s extremely scandalous expose of child prostitution. A tour de force of late nineteenth century prostitution, it exposed in graphic detail the entrapment, abduction and “sale” of younger under-privileged women to London brothels. Written in successive installments, Stead’s “infernal narrative”, as he referred to as it, revealed to a decent readership a legal underworld of stinking brothels, fiendish procuresses, medicine and padded chambers, the place upper-class paedophiles might revel “within the cries of an immature child.”
The first million units of Bridges to Babylon had been encased in a special manufactured filigree slipcase, that seemed that the lion was embedded into the design. The desert background of the duvet was extended all through the booklet, featuring ruins that had been the idea for the Bridges to Babylon Tour stage design. Brown’s guide reads as a cultural historical past, every chapter providing a detailed glimpse into these rich efficiency moments and the our bodies enlivening them. I say glimpse, as a result of the writer herself admits to not providing “linear, full, and seamless biographies” in order to permit for extra scholarly work to be accomplished, not only on these performers but “on performance, dance, and racialized our bodies in resistance to oppressive social regimes”. The ensuing chapters provide nuanced, thorough and sturdy histories, biographies, performances, and important analyses. Babylon Girls works interdisciplinarily, shifting by way of literature, history, performance studies, black feminism, and important race concept to render these black bodies as modern topics.
In Victorian England, in contrast, laws against homosexuality had been mercilessly enforced. After a night in jail, the 2 “tarts” have been referred to as into a packed courtroom, where they stood earlier than the magistrate with their wigs askew and beard stubble poking by way of their make-up. The younger men were discovered not responsible and dismissed, free to return to their life touring together in second-price theater revues. Fanny and Stella have been the primary in London to dress in full drag publicly as a form of social insurrection. Although their actions set a precedent in the city, it might be no less than a hundred extra years earlier than any pertinent legal guidelines were modified. Some discovered frequent floor by forging a neighborhood at Pfaff’s Restaurant and Lager Beer Saloon at 647 Broadway in Manhattan. Charles Pfaff’s underground beer corridor was modeled on the subterranean drinking establishments that have been in style in Europe.
Why I Am So Proud to Be a Black Man shares the data that can open the eyes, minds, and hearts of the African American group, enabling all to embrace Gods first, primal function. “American album certifications – Rolling Stones, The – Bridges to Babylon”. Select albums in the Format area.Select Gold in the Certification area.Type Bridges to Babylon in the “Search BPI Awards” area after which press Enter. “Polish album certifications – The Rolling Stones – Bridges to Babylon” . “French album certifications – The Rolling Stones – Bridges to Babylon” .
In Black Utopias Jayna Brown takes up the concept of utopia as a method of exploring different states of being, doing, and imagining in Black culture. Musical, literary, and mystic practices turn into utopian enclaves by which Black individuals interact in modes of inventive worldmaking. Brown demonstrates that partaking in utopian practices Black subjects think about and manifest new genres of existence and forms of collectivity.
At that time the term “bohemian” was not used generally in America, and had in fact been imported from Paris by Clapp himself, along along with his newfound taste for French laissez-faire café life. In Paris, Clapp had collaborated with the French utopian socialist Charles Fourier, translating his work into English. His keep in Paris energized him “with contempt for [America’s] puritanism and a mania for shocking it.” Clapp returned to New York inspired to domesticate an egalitarian environment at Charlie Pfaff’s beer corridor. He transformed the saloon right into a salon by attracting a crowd of artists, writers, actors, and poets. Some New Yorkers repudiated the poets and actors as indolent, crude, idealistic—and poor, because they rejected traditional paths to success and achievement. Bohemians had been shunned as lovers of art and drink, as raconteurs who were instigators only of bon mots; poverty was often the value of admission to their camaraderie.
In 1861 she was forged as the male lead in the play Mazeppa, primarily based on Lord Byron’s epic poem. M. Milner, the creative director, staged a dramatic extravaganza with elaborate units and costumes, culminating within the startling entrance of a beautiful black steed. The melodramatic climax occurred when the warrior prince, played by Menken, was stripped bare and strapped by his Polish captors to his horse, which then galloped up a mountain built into the set. This was a troublesome stunt that the majority actors shied away from, and other productions of the play had substituted a dummy or model atop an old nag for this scene. Menken’s childhood training with horses served her properly, giving her the courage and talent to experience the horse, naked-back and unfold-eagle, a daring feat of horsemanship. She performed it along with her hair reduce brief like a boy’s, sporting only a flesh-coloured leotard, appearing to be utterly bare in the dim theater lights.
Visiting Babylon Boulevard, New Yorks Nineteenth
Brown’s in depth research frames these girls’s bodies in opposition to literature and drama, European primitivism, and colonialism . In so doing, Brown resists offering a recuperative historical past of these performing black ladies’s bodies. Instead, she troubles the epistemologies that situate the body and performance exterior of historical past-making. Ultimately, Brown demonstrates how the transatlantic motion of black expressive cultures undergirds any dialogue of modernity. The reception of the artists and their inventive choices had been informed by the shifting class formations and ideological evocation of the folk in early European nationalist actions.
Their presence was dialogic, invoking the advanced conversations talked about above. To perceive the cultural which means of their acts, this chapter goes again in time, to a a lot precedent days of antebellum slavery. It reads their acts in relation to the circulating discourses of plantation slavery, civic freedom, and the laboring black physique, and it argues that these earlier discourses profoundly shaped their significance, in addition to their efficiency methods.
The youngsters, as well as the younger ladies who led the troupes, had been working in and in opposition to a circulating commerce of black iconography, spun out of nineteenth-century discourses on race and black subjecthood within the United States, Great Britain, and Europe. Debates, assertions, and appeals of anti- and pro-slavery literature formed these concepts. Competing cheap london outcall escorts about race had been negotiated in and between these discourses, such because the educability and physiology of the Negro and the results of miscegenation. Christian missionary doctrine and treatises of pure science additionally informed commonsense notions on the constitution of raced our bodies, which I focus on in chapter 2. Aided by new applied sciences of manufacture and transportation, these debates and discussions had been relayed with remarkable immediacy into popular culture.
They had, however, repaired their relationship nicely sufficient to embark on a wildly successful tour to support the album. Like the traditional metropolis, New York’s “New Babylon” is mythic—a confluence of many races, languages, nationalities, and identities. Pfaff’s was on the heart, where Whitman and other bohemian artists converged, even perhaps aspiring to build their own transcendental tower to heaven.
Contents Of The Articles
The film, anchored by Dennis Bovell’s propulsive score, is partly based on Bovell’s false imprisonment for operating a Jamaican sound system, Sufferer’s Hi Fi, within the mid-70s. The fantasy of the plantation returns again and again in well-liked cultural forms well into the 20 th century. It does so as a result of histories of plantation slavery type the key topos in the nation’s dialectic of racial formation. Traveling shows were sometimes called “plant shows,” and, as I discover in chapter four, the fictive plantation was the setting for inner-metropolis spectacles at the turn of the century. Black dancers competed in large Cakewalk Jubilees in New York City’s Madison Square Garden, with black sporting celebrities similar to Jack Johnson officiating at the proceedings.
- Through a consideration of the gestures, costuming, vocal techniques, and stagecraft developed by African American singers and dancers, Jayna Brown explains how these women shaped the movement and style of an rising urban in style tradition.
- Babylon Girls is a groundbreaking cultural historical past of the African American girls who performed in variety shows-chorus lines, burlesque revues, cabaret acts, and the like-between 1890 and 1945.
- Investigating both properly-known performers corresponding to Ada Overton Walker and Josephine Baker and lesser-recognized artists similar to Belle Davis and Valaida Snow, Brown weaves the histories of specific singers and dancers together with incisive theoretical insights.
- In an period of U.S. and British imperialism, these ladies challenged and played with constructions of race, gender, and the body as they moved throughout stages and geographic space.
The movie captures the trials and tribulations of younger black youths in troubled London in the early eighties. “n unique, exciting, and ambitious examine of black women performers within the early many years of the twentieth century. In a e-book crammed with fascinating and valuable insights and knowledge, the discussion of white female minstrelsy is likely one of the most fascinating and original. Artists similar to the women about whom Brown writes should have their lives and work studied and attended to—as Brown does, providing brilliant evaluation independent escorts in manchester of and insight into the meanings embedded in them. Mid-century, ideas of the black baby and the childlike races from abolitionist, Christian, and scientific discourses shaped the course and techniques of a lot sentimental fiction. Picaninnies have been an integral a part of the home space of the southern plantation. Unlike the primitive races Europeans have been subduing in far-off locations, African Americans had been inside colonial topics, not only geographically, within the public spheres of nation and colony, but in addition within the “personal” sphere of the home and household.
Like different chanteuse, Davis was now accompanied by her very personal “picaninny chorus.” On board along with her that day have been two boys-seven-12 months-old Fernandes “Sonny” Jones and 9-year-old Irving “Sneeze” Williams-traveling with Davis because the core members of her troupe (see fig. 3). Their first reserving was a North London music corridor; Davis, billed as “America’s Greatest Coon Cantatrice of the Century,” was to be “assisted by her two Picaninny Actors.” Over the following few years Belle Davis and Her Picaninnies labored on the Empire circuit of music halls. Davis, Sonny, and Sneeze had been to ” extra of Britain than most Britons” as they traveled all through England, Scotland, Wales, and Ireland.
Babylon obtained praise from critics each at its original 1980 release and 2019 U.S. launch. Many praised its illustration of Black youth life in South London during the Thatcher-period. Babylon was filmed on a six-week capturing schedule, completely on location in South London and the West End. The set was completely closed to guests, together with journalists, due to the movie’s delicate material and the fact that taking pictures was taking place in an area of London where there was racial rigidity. The story facilities on sound system culture and themes of police brutality, racism, poverty, and disillusionment with lack of opportunities. 95 minutesCountryUnited KingdomLanguageEnglish and Jamaican patois with subtitlesBabylon is a 1980 British drama movie directed by Franco Rosso. Written by Franco Rosso and Martin Stellman , and shot by two-time Academy Award winner Chris Menges , Babylon is an incendiary portrait of racial pressure and police brutality set in Brixton, London.
Sunlight filtered into the smoke-crammed cellar via tiny circular home windows in the sidewalks above. An advertisement for Pfaff’s within the Saturday Post of 1859 boasted, “The best of every little thing at average prices.” Pfaff’s proudly supplied its clients a day by edinburgh female escorts day supply of worldwide newspapers in 5 completely different languages. Clientele from around the world mingled in the underground dining corridor furnished with lengthy communal tables, socializing freely in an atmosphere that welcomed everybody.
At a time when a hegemonic discourse on these subjects already existed, what did it imply to “inform the reality” about slavery? Impossible Witnesses explores these questions by way of a examine of fiction, poetry, essays, and slave narratives from the abolitionist era. Linking the racialized discourses of slavery and Romanticism, it boldly calls for a reconfiguration of U.S. and British Romanticism that locations slavery at its center. Unlike the prior a number of albums, which the production and songwriting team of vocalist Mick Jagger and guitarist Keith Richards had co-produced alongside a single producer, the group introduced in an eclectic mix of famous person producers, together with the Dust Brothers, Don Was, and Rob Fraboni among others. Similarly, a big selection of guest musicians appeared on each of the tracks alongside band members Jagger, Richards, Ronnie Wood and Charlie Watts . The sprawling album features a variety of genres, together with the Stones-normal blues rock, pattern-laden hip hop and rap. The band was once once more not on speaking terms through the recording of the album, with Jagger and Richards each recording their elements individually and barely showing within the studio together.
The cultures of those closest to the land took on new meanings on this moment, representing the folks of the nation. These folks cultures, although best escort birmingham, could additionally come to symbolize nostalgia for past hierarchical stabilities and an pre-industrial peace.
Picaninny performers did not begin in Uncle Tom’s Cabin, but they’re markedly current in Harriet Beecher Stowe’s textual content. The novel is opened by the pressured cavorting of a small black child, Little Harry.
History weaves all through this important guide with out crystallizing right into a neat, linear, all-encompassing framework. They dance about their realities, however they also resist, reinterpret, and reposition blackness as something mobile, material, and modern. Peter Tosh didn’t need to go on tour in the US as a result of he didn’t wish to go into the heart of babylon. Ironically, Menken became well-known for her portrayal not of a woman but of a young boy.
Chapter one examines the touring picaninny choruses the place lots of the black performers of the early twentieth century began their careers. Brown provides a genealogy of the picaninny from the plantation tocultural imaginaries in the United States, Europe and Russia, and to their representations on these respective stages. Brown engages with the physicality of the dancing children to show how they mediated their experiences corporeally. Here, Brown furthers important dance studies’ claims that a transferring, gesturing, and dancing body articulates and theorizes the socio-culturo-historic house in which it’s situated.
Babylon Girls is a groundbreaking cultural historical past of the African American women who performed in variety shows-chorus strains, burlesque revues, cabaret acts, and the like-between 1890 and 1945. Through a consideration of the gestures, costuming, vocal methods, and stagecraft developed by African American singers and dancers, Jayna Brown explains how these ladies formed the motion and elegance of an rising urban popular tradition. In an period of U.S. and British imperialism, these women challenged and played with constructions of race, gender, and the physique as they moved across levels and geographic house. They pioneered dance actions together with the cakewalk, the shimmy, and the Charleston-black dances by which the “New Woman” defined herself.
In his act, prompted by his master in the interest of a sale, the popular stage is conflated with the auction block. I think it helpful to incorporate Jefferson’s plantation compound as a type of captivity equal to the camp, the jail, and the reservation.
Most of the artists on this book began performing as young children, dancing and singing with touring firms, shows, and choruses, traveling the casual circuits of tent exhibits and festivals within the United States and then popular levels overseas. These youngsters had been gifted dancers and developed dance techniques that may affect later dance phraseologies of eccentric, faucet, and refrain line dancing. “The Charleston originated with the Picaninnies,” Florence Mills states, who herself began acting at three years old. Their antics gave us the convention of the “mischievous lady on the end of the road,” of specific significance for this study of black girls selection performers, as this is a conference later given signature by the performers Ethel Williams after which Josephine Baker.
Like the collective artwork form of theatre itself, this interactive, multi-touch introductory text is a collaborative effort on the a part of the Ohio State’s Department of Theatre to suggest a variety of methods for reflecting on, writing on, and seeing theatre. Using varied formats from eyewitness accounts of spectators to first particular person narratives by numerous theatre artists, the book considers theatre as play, points of ritual, the embodied nature of live performance, and the audience/actor relationship, amongst many different topics. Interweaving historic, social, and political features, it presents insights into the wealthy varieties of up to date efficiency. Even the most cursory evaluation of black literary production through the nineteenth century indicates that its primary concerns had been the issues of slavery, racial subjugation, abolitionist politics and liberation. How did the writers of these narratives “bear witness” to the experiences they describe?
Brown, nevertheless,complicates the spectacularity of these women by considering how their shows “celebrated and known as into question the boundaries between colonies and metropole and drew parallels between geographies of imperial annexation and the sexualized, racialized zoning of metropolis areas” . Babylon Girls is a groundbreaking cultural history of the African American women who carried out in variety exhibits—chorus strains, burlesque revues, cabaret acts, and the like—between 1890 and 1945. They pioneered dance actions including the cakewalk, the shimmy, and the Charleston—black dances by which the “New Woman” outlined herself.
Chapter two investigates the most well known picaninny, the character of Topsy in Uncle Tom’s Cabin, and the performances of Topsy made famous by Ida Forsyne at the Palace Theatre in London. Brown eloquently materializes Topsy as a resistant figure twisting ideas of time and hegemonic energy.
A stranger event was a summer season-lengthy plantation recreation called Black America, which was staged over the summer season of 1894 in a Brooklyn metropolis park. We begin and will return to the strange space of the plantation, but we is not going to remain there. Instead I will incorporate these returns into the larger questions of race and place which run all through this book.
In January 1902, they recorded for Gramaphone Records in London, and in 1906 they appeared in a brief film in Paris. Davis continued to tour variety circuits all through the Austro-Hungarian Empire, Germany, Russia, and the Netherlands with varied casts of youngsters until 1917, years after Sonny and Sneeze had left the troupe. Neither Davis nor the boys returned to the United States on a everlasting basis. Through the Great War and after, they remained in Europe with many other African American performers. In the Twenties they have been primarily based in Paris, there to greet a second era of black performers to the abroad city circuits. Once the Rolling Stones picked Stefan Sagmeister to be the album’s artwork director, Jagger told him to seek inspiration from Babylonian artwork exhibited on the British Museum. Sagmeister was most impressed by a Lamassu sculpture, that includes a lion with a human head and beard, and commissioned artist Kevin Murphy to color a similar Assyrian lion in an assault stance.
The dancer Ida Forsyne went to Britain with a picaninny troupe referred to as the Tennessee Students, led by Abbie Mitchell. Forsyne did a star turn as “Topsy” in London and Budapest and then toured Eastern Europe for 9 years from her base in St. Petersburg (see fig. 4). Her versions of both the cakewalk and the Cossaski gave audiences a logo for Western imperial wealth and so-called democratic freedoms, but also referenced the growing uses of the people in Europe, accompanying the relief of the feudal system and the rise of the nation-state. Serfs had been emancipated in 1863, two years earlier than the emancipation of slaves in the United States. Mid-century, Russian activists had drawn comparisons between the methods of serfdom and slavery of their arguments in opposition to techniques of unfree labor.
Against this backdrop of a thriving literary and theatrical empire, artists from around the globe were capable of make their own original contributions. Like many immigrants and international guests who arrived in New York, the Baroness of Babylon Boulevard found a tradition open to freedom of expression, and her portrait is a testomony to self-invention. With her faint Mona Lisa smile and penetrating gaze, she is an enigmatic muse of mysterious origin, a persona like lots of Pfaff’s bohemians. Framed in chiaroscuro light harking back to an old grasp portray, she is the epitome of each old and new, basic and revolutionary, with one foot rooted in traditions of the old country and the opposite moving into a brand new world. There was never a better time or place to fashion a brand new identification and start over—ultimately, it was a time of beginnings. Henry Clapp, recognized to many because the “King of Bohemia,” discovered a common language with the patrons who frequented his establishment.
“Canadian album certifications – The Rolling Stones – Bridges to Babylon”. “Austrian album certifications – The Rolling Stones – Bridges to Babylon” . “Argentinian album certifications – Rolling Stonse – Bridges to Babylon”. The Bridges to Babylon Tour in 1997 consisted of 108 reveals, with an elaborate stage design Jagger aimed to make much like U2’s PopMart Tour. Bridges to Babylon is the twenty first British and twenty third American studio album by British rock band the Rolling Stones, launched by Virgin Records on 29 September 1997. Released as a double album on vinyl and a single CD, the album was supported by the 12 months-lengthy worldwide Bridges to Babylon Tour that met with a lot success.
In her groundbreaking study, Brown carefully demonstrates how these black women performers reclaimed their our bodies by way of performance and mobility—bodies that had been ideologically, traditionally, and often physically ravaged by racialist considering, the legacies of slavery, imperialism, and patriarchy. Although marginalized, these black ladies’s performances got here to characterize American ideals. Jayna Brown’s excellent monograph tackles the idea of transatlantic modernity via the touring, singing, and dancing our bodies of black girls performers in the early twentieth century.
It deserves emphasis that Jefferson’s case was a well-known and infrequently-used argument of each the abolitionists and black anti-slavery activists. This chapter is about how the picaninny choruses figured in relation to concepts of blackness and the laboring physique circulating in slave-owning after which imperial Britain and Europe. Parallels have been drawn by labor, in conversation with the black activists, between chattel and wage slavery, and notably between the condition of the laboring baby of Victorian industrial England and the slave youngster of the New World. That these parallels have been drawn is necessary in our understanding of the black performers who toured later, because it keeps the black actors from being understood simply as icons, produced and managed by the paternalism of the major abolitionist movement.
With other black acts, Belle Davis and Her Picaninnies also entertained audiences in continental Europe. They toured Britain in the course of the fall and winter seasons and then spent the summers performing in varied European cities, including Paris, Vienna, Prague, Berlin, St. Petersburg, and Copenhagen. Black specialty acts packed European and British music halls over the turn of the century, however the act of Davis, Jones, and Williams was among the many most successful.
In March 1997, the band arrived in Los Angeles to start out the recording periods at Ocean Way Studios. After many albums recorded in isolated islands, working in an enormous metropolis allowed for the contribution of varied musician friends of the band. Bridges to Babylon was recorded till July, and the four-month production made it one of their most concise intervals of recording in years. The sessions were frequently all-nighters that lasted till Richards obtained drained by the morning. The analysis is thorough and meticulous, and the archival photographs interspersed all through further enrich the transatlantic stories.
These early-twentieth-century performers introduced these dances with them as they toured throughout the United States and all over the world, changing into cosmopolitan subjects extra broadly traveled than a lot of their audiences. Investigating both nicely-known performers similar to Ada Overton Walker and Josephine Baker and lesser-known artists similar to Belle Davis and Valaida Snow, Brown weaves the histories of particular singers and dancers together with incisive theoretical insights. She describes the unusual phenomenon of blackface performances by women, both black and white, and she considers how black expressive artists navigated racial segregation. Brown exhibits not solely how these artists influenced transnational ideas of the fashionable woman but also how their artistry was a vital component within the growth of jazz. This book begins with a chapter that considers the histories of picaninny choruses, singer-led troupes of black kids performers in Britain and Europe in the course of the 1900s and 1910s.
Topsy’s inability to visibly express pain, but to maintain dancing despite the oppression and violence committed onto her physique, suggests a new way to conceive of black feminine resilience. Similarly, Topsy’s improvisations that play with time assert her lack of ability to be contained. As Brown claims, “Topsy signifies an anarchic second by which the working black girl transforms herself in the area of labor, reclaims her physique in the administrative center” . Chapter three takes the reader to the Creole shows of the late nineteenth centuries the place light-skinned black ladies engaged in performances of race and gender inside a libidinal economy that rendered them as desirable objects of colonialism and empire.
Like their philosophical counterparts, the Transcendentalists, they noticed America as an unfolding utopian dream of private freedom. T-shirts, stickers, wall artwork, home decor, and more featuring designs by impartial artists. Find Babylon presents and merchandise printed on high quality products which are produced one by one in socially accountable ways. On board was Belle Davis, a younger mezzo-soprano from the black selection stage, who was booked on a tour of Britain’s Empire music hall theaters. The twenty-seven-12 months-old singer was already a veteran of the stage, beginning her profession in 1890 as one of the illustrious teenaged refrain ladies in the Chicago revue The Creole Show. This was also not her first overseas tour; she had gone to Britain in 1897 with the revue Oriental America, certainly one of several exhibits that was staged after The Creole Show’s success. But this was her first trip touring the overseas circuits along with her personal specialty act.
For Brown, utopia consists of those moments in the here and now when these excluded from the class human leap into different onto-epistemological realms. Black folks—untethered from the hope of rights, recognition, or redress—celebrate themselves as parts in a cosmic effluvium. This is the rollicking, by no means-earlier than-published memoir of a fascinating African American lady with an uncanny knack for being in the best place in probably the most attention-grabbing instances.