Madame de Pompadour in an elaborately embroidered gown with matching petticoat, 1760s

Infanta Margarita Teresa in pink dress (1660) by Diego Velázquez and Juan Bautista Martínez del Mazo, Prado Museum, Madrid, depicting Margarita Teresa of Spain wearing a extremely wide pannier peticoat.

Modern petticoat

A petticoat or underskirt is an article of clothing for women; specifically an undergarment to be worn under a skirt or a dress. The petticoat is a separate garment hanging from the waist (unlike the chemise).

In historical contexts (sixteenth to mid-nineteenth centuries), petticoat refers to any separate skirt worn with a gown, bedgown, bodice or jacket; these petticoats are not strictly speaking underwear as they were made to be seen. In both historical and modern contexts, petticoat refers to skirt-like undergarments worn for warmth or to give the skirt or dress the desired fashionable shape. In this context a petticoat may be called a waist slip or underskirt (UK) or half slip (US), with petticoat restricted to extremely full garments. Petticoat can also refer to a full-length slip in the UK,^[1] although this usage is somewhat old-fashioned.

Petticoat is the standard name in English for any underskirt worn as part of non-Western clothing, as with the sari.

History[link]

This unreferenced section requires citations to ensure verifiability.

The practice of wearing petticoats as undergarments was well established by 1585. Petticoats were worn throughout history by women who wanted to have the currently fashionable shape created by their clothing. The petticoat(s), if sufficiently full or stiff, would hold the overskirt out in a pleasingly domed shape and give the impression of a smaller waist than the wearer actually had. It would also complement the desired large bust.

Elaborately decorated petticoats were worn under open-fronted gowns and looped overskirts from the mid-sixteenth century. Eighteenth century petticoats of wool or silk were often quilted for additional warmth and were worn with matching short gowns or jackets, which could be fashioned like a man's jacket with military details and trimmings. These ankle-length petticoats remained a rural fashion, especially in the UK, into the nineteenth century and are a part of Welsh national dress.

Elaborate, lacy petticoats were worn with elegant silk dresses in the eighteenth century in much of Europe and America, sometimes supported by whalebone frames. The Laurel and Hardy film adaptation of Auber's comic opera Fra Diavolo offers a glimpse of the intricate petticoats, corsets, and other underwear worn in the eighteenth century, especially in a scene where actress Thelma Todd prepares for bed, assisted by a maid. Colored pictures, called "fashion plates", were used to advertise the popular dresses and lingerie of the eighteenth century, a practice that continued through the nineteenth century until the introduction of photography around 1840.

In the early nineteenth century, dresses became narrower and simpler with much less lingerie. Then, as the waltz became popular in the 1820s, full-skirted gowns with petticoats were revived in Europe and the United States. By the mid nineteenth century, petticoats were worn over hoops, which were placed over other underwear, including a corset cover, a corset, and drawers. The popular novel Gone with the Wind provides considerable, detailed descriptions of these fashions. One scene in the 1939 film adaptation with actress Vivien Leigh gives a good idea of the layers of petticoats and underwear that were worn in the 1860s.

The sheer weight of the clothing, along with the tightness of the corsets, sometimes caused women to faint. The voluminous, layered Victorian petticoats were fashionable in the eras when "full-bodied" was associated with health, wealth, and belonging to a higher class in the social structure, while "skinny" was associated with sickness, poverty, and belonging to a lower class.

The use of multiple petticoats continued to be popular until the 1870s, when the bustle was introduced, resulting in a return of narrower skirts. Some full-skirted gowns with petticoats were revived in the 1890s into the early twentieth century, but most women continued to wear relatively narrow skirts. The "Gibson Girl" look with white blouses and long, narrow skirts was very popular during the late nineteenth and early 20th-century.

Modern petticoats[link]

For the first two decades of the twentieth century, multiple petticoats fell out of fashion; narrow, sometimes tight, skirts became more common. Then, in the late 1920s, chiffon dresses with several sheer petticoats became fashionable. With the Great Depression in the 1930s, narrow skirts returned and petticoats again were unpopular until the end of the decade when revived for some evening, prom, and wedding gowns. World War II, with its rationing and general shortage of materials, brought an end to petticoats.

Petticoats were revived by Christian Dior in his full-skirted "New Look" of 1947 and tiered, ruffled, stiffened petticoats remained extremely popular during the 1950s, especially with teenage girls. Most of the petticoats were netlike crinoline, sometimes made of horsehair. Increasingly, nylon chiffon, taffeta, and organdy were used in petticoats. Many department stores carried an extensive variety of styles and colors of petticoats until the early 1960s. They were also available through the famous Sears and J.C. Penney catalogues. Typically, at least three single petticoats were worn, until manufacturers began making double and triple layer petticoats. A narrow slip was usually worn under the petticoats, especially the crinoline type, because they tended to be "scratchy".^[2]

Edith Head designed a number of gowns and dresses, supported by multiple layers of petticoats, for actresses such as Grace Kelly and Doris Day, who appeared in Alfred Hitchcock films in the 1950s.^[3] Dinah Shore frequently wore dresses with petticoats on her NBC television shows^{[citation needed]} Actress Connie Stevens, who appeared in television series and movies, said she wore petticoats as long as possible because she had wide hips.^[4] Other entertainers who often wore petticoats were Brenda Lee, Connie Francis, and Patti Page.

By the middle of the 20th century, the full petticoat was somewhat rare, having been commonly replaced by simple, ungathered underskirts/waist slips (UK) or half slips (US). However, petticoats were still worn for proms and weddings.

Ruffled white or unbleached cotton petticoats were a brief fashion under Prairie skirts in the 1970s, and remain a component of Western wear. Short, full petticoats in the 1950s style are also commonly worn by squaredancers.

There was a major attempt to revive separate petticoats in 1987. However, by that time, most women who wanted very full skirts for proms, parties, or weddings bought dresses or skirts with attached crinoline petticoats.

Petticoats today[link]

Lately the full, tiered petticoat has made a small comeback in the alternative subcultures, especially the gothic and Lolita subculture. They have also been popular with some cross-dressers. Various petticoats have also been used in films and musicals dealing with the 1950s, such as Grease, West Side Story, Peggy Sue Got Married, and Back to the Future, as well as occasional vintage rock music festivals, especially in Germany.^[5] Although the traditional purpose for the petticoat is no longer in fashion, the general design has stayed the same with minor alterations including ripping and/or the usage of bright or generally non-traditional colors to fit in with modern fashion.

Petticoats are also making a comeback due to recent trends towards lavish weddings and grandiose bridal attire. Petticoats are commonly worn under bridal gowns with full skirts as a means of maintaining the gown's intended silhouette.

Also, people who dress in period costumes have begun wearing petticoats for a more authentic look. A number of websites offer a great variety of petticoats for sale, while other websites show historic and modern photographs of petticoats, often worn by models.

The everyday use of petticoats in the 1950s and early 1960s appears to have passed.

Asian petticoats[link]

A petticoat is the main undergarment worn with a sari. Sari petticoats usually match the color of the sari and are made of satin or cotton.^[6] A notable difference between the western petticoat and sari petticoat is that the sari petticoat is rarely shorter than ankle length.

Petticoats in popular culture[link]

The phrase Petticoat Government has referred to women running government or domestic affairs. The phrase implying the threat to appropriate government by males was mentioned in several of Henry Fielding's plays.^[7] An Irish pamphlet Petticoat Government, Exemplified in a Late Case in Ireland was published in 1780.^[8] Frances Milton Trollope wrote Petticoat Government: A Novel in 1850.^[9] Baroness Emma Orczy wrote Petticoat Government, another novel, in 1911.

A 1943 comedy film called Petticoat Larceny depicted a young girl being kidnapped by grifters. In 1955, Iron Curtain politics were satirised in a Bob Hope and Katharine Hepburn film The Iron Petticoat. In the same year Western author Chester William Harrison wrote a short story "Petticoat Brigade" that was turned into the film The Guns of Fort Petticoat in 1957. Blake Edwards filmed a story of an American submarine filled with nurses from the Battle of the Philippines called Operation Petticoat.

Petticoat Junction is a TV series that originally aired in 1963, ran for seven seasons, and achieved enduring success in syndication. The opening sequence featured a display of petticoats hanging on the side of a large railroad water tank where three daughters are skinnydipping.

References[link]

1. ^ Oxford English Dictionary (1989) "A light loose undergarment .... hanging from the shoulders or waist"
2. ^ Interview by R.E. Nylund
3. ^ American Movie Classics
4. ^ Interview with Connie Stevens, reported in www.pettipond.com
5. ^ Petticoat Pond
6. ^ http://www.indiangarment.com/myshop/buyinless/lesspetticoats.php3
7. ^ p.21 Campbell, Jill Natural Masques: Gender and Identity in Fielding's Plays and Novels Stanford University Press
8. ^ p.184 Higgins, Padraig A Nation of Politicians: Gender, Patriotism, and Political Culture in Late Eighteenth-Century Ireland University of Wisconsin Press 2010
9. ^ Frances Milton Trollope (1850). Petticoat government: A novel, Volume 1. Henry Colburn. http://books.google.com.au/books?id=B-IVAAAAYAAJ&printsec=frontcover&dq=%22petticoat+government%22#v=onepage&q&f=false. Retrieved 8 August 2011. 

External links[link]

• Quilted Petticoat, 1750-1790, in the Staten Island Historical Society Online Collections Database

Wikimedia Commons has media related to: Petticoats

v t e Lingerie Upper torso Types of bras (History) Balconette brassiere • Bandeau • Cupless bra • Male bra • Nursing bra • Push-up bra • Sports bra • Training bra • Underwire bra Other Babydoll • Bustier • Camisole • Negligee • Torsolette Lower torso Bikini • Boyshorts • French knickers • Girdle • Girl boxers • Panties • Tanga • Tap pants • Thong (G-string) Full torso BodyBriefer • Corsage • Corset • Corselet • Nightshirt • Playsuit • Slip • Teddy Hosiery Garter • Knee highs • Pantyhose • Stocking Historical Basque • Bustle • Chemise • Crinoline • Farthingale • Hoop skirt • Liberty bodice • Pannier • Pantalettes • Petticoat • Pettipants • Waist cincher • Yếm Accessories Falsies • Lingerie tape Brands Aerie • Agent Provocateur • American Apparel • Andrés Sardá • Baby Phat • Bali • Berlei • Bruno Banani • Calvin Klein • Chantelle • DKNY • Formfit • Frederick's of Hollywood • Fruit of the Loom • Gerbe • Gilly Hicks • Hanes • HerRoom • Intimissimi • Intimo Lingerie • Jockey • Jolidon • La Senza • Maidenform • No Nonsense • Olga Intimates • Passport Panties • Peach John • Playtex • Pretty Polly • Trashy Lingerie • Triumph International • Ultimo • Underalls • Valisere • Van de Velde • Vassarette • Victoria's Secret • Wacoal • Warner's • Wolford • Wonderbra • XTG Extreme Game

"A Whiter Shade of Pale" is the debut song by the British band Procol Harum, released 12 May 1967. The single reached number one in the UK Singles Chart^[1] on 8 June 1967, and stayed there for six weeks. Without much promotion, it reached #5 on the US charts, as well. It is one of the fewer than 30 all-time singles to have sold 10 million (or more) copies worldwide.^{[citation needed]}

With its haunting Bach-flavoured instrumental melody, soulful vocals, and unusual lyrics—by the song's co-authors Gary Brooker, Keith Reid,^[2] and Matthew Fisher-- "A Whiter Shade of Pale" reached #1 in several countries when released in 1967. In the years since, it has become an enduring classic. It was the most played song in the last 75 years in public places in the UK (as of 2009),^[3] and the United Kingdom performing rights group Phonographic Performance Limited in 2004 recognised it as the most-played record by British broadcasting of the past 70 years.^[4] Also in 2004, Rolling Stone placed "A Whiter Shade of Pale" #57 on its list of the 500 Greatest Songs of All Time.

More than 1000 recorded cover versions by other artists are known.^[5] The song has been included in many music compilations over the decades and has also been used in the soundtracks of numerous films, including The Big Chill, Purple Haze, Breaking the Waves, The Boat That Rocked and notably in Martin Scorsese's segment of New York Stories. Cover versions of the song have also been featured in many films, for example by King Curtis in Withnail and I and by Annie Lennox in The Net.

The original writing credits were for Brooker and Reid only. On 30 July 2009, Matthew Fisher won co-writing credit for the music in a unanimous ruling from the Law Lords.

Recording and personnel[link]

The song was performed and recorded at Olympic Studios in London, England with Gary Brooker providing the vocals and piano, Matthew Fisher on a Hammond M-102 organ, David Knights on bass and Ray Royer on guitar. Drums were by session drummer Bill Eyden. A few days later, the song was re-recorded with the band's then newly-recruited drummer Bobby Harrison. That version, though, was considered inferior^{[citation needed]} and one of the original mono recordings was chosen for release.

Producer for the record was Denny Cordell and Keith Grant was the sound engineer.^[6]

The song was included on the original U.S. release of the Procol Harum album, but not on the UK version.

Lyrics[link]

Reid got the title and the starting point for the song at a party. He overheard someone at the party saying to a woman, "You've turned a whiter shade of pale," and the phrase stuck in his mind.^[7][8] The original lyrics had four verses, of which only two are heard on the original recording. The third verse has been heard in live performances by Procol Harum, and more seldom also the fourth.^[9] The author of Procol Harum: beyond the pale, Claes Johansen, suggests that the song "deals in metaphorical form with a male/female relationship which after some negotiation ends in a sexual act."^[8] This is supported by Tim de Lisle in Lives of the Great Songs, who remarks that the lyrics concern a drunken seduction, which is described through references to sex as a form of travel, usually nautical, using mythical and literary journeys.^[10] Other observers have also commented that the lyrics concern a sexual relationship.^[7]

Structurally and thematically, the song is unusual in many respects. While the recorded version is 4:03 long, it is composed of only two verses, each with chorus. The piece is also more instrument-driven than most songs of the period, and with a much looser rhyme scheme. Its unusually allusive and referential lyrics are much more complex than most lyrics of the time (for example, the chorus focuses on Chaucer's The Miller's Tale). Thus, this piece can be thought of as a forerunner to the progressive rock that would reach its zenith about ten years later.

The phrase a whiter shade of pale has since gained widespread use in the English language, noticed by several dictionaries.^[11][12][13] As such, the phrase is today often used in contexts independent of any consideration of the song. (See ^[14] for many annotated examples complete with links to original sources.) It has also been heavily paraphrased, in forms like an Xer shade of Y--this to the extent that it has been recognised^[15][16] as a snowclone – a type of cliché and phrasal template.

Composition[link]

The song is in moderate time, in C major, and is characterised by the bassline moving stepwise downwards in a repeated pattern throughout. In classical music this is known as a ground bass. The harmonic structure is identical for the organ melody, the verse and the chorus, except that the chorus finishes with a cadence. The main organ melody appears at the beginning and after each verse/chorus. But it is also heard throughout, playing variations of its theme and counterpointing the vocal line. Both the vocal and the organ accompaniment reach a crescendo at the beginning of the chorus "And so it was, and later ..."; where the organist rapidly runs his finger down and up the entire keyboard. The final instrumental fades out to silence - a common device in pop music of the time.

The Hammond organ line of "A Whiter Shade of Pale" was inspired by Johann Sebastian Bach's "Sleepers, Wake!" and "Air on the G String" - both of which use a similar stepwise bass motion. But contrary to popular belief, the song is not a direct copy or paraphrase of any music by Bach,^[17] although it makes clear references to both pieces. This similarity is referred to in the 1982 play The Real Thing by Tom Stoppard and the 1991 film The Commitments. A yet closer melodic influence that is seldom cited can arguably^{[weasel words]} be found in the organ choral prelude "O Mensch bewein dein' Sünde groß" (O Man, Lament Your Sin So Great), BWV 622, from Bach's Orgelbüchlein (Little Organ Book). The music also borrows ideas from "When a Man Loves a Woman" by Percy Sledge.^[18]

Reception[link]

The single was released on 12 May 1967 by Deram Records and entered the UK charts on 25 May. In two weeks it reached number one where it stayed for six weeks, and on the UK chart for a total of 15 weeks. A May 1972 re-release on Fly Records stayed in the UK charts for a total of 12 weeks, and reached number 13 as highest. In the US, it reached #5 and sold over one million copies. In the Netherlands it entered the chart at number one in June 1967 and again reached number one in July 1972.

Chart positions: # 1 (UK), # 1 (the Netherlands), # 1 (Germany), # 1 (Ireland), # 1 (Australia), # 1 (World), # 3 (Norway VG-lista), # 5 (USA Hot 100). "A Whiter Shade of Pale" also managed to peak at number twenty-two on the soul charts in the U.S.^[19]

Over time, "A Whiter Shade of Pale" has earned extensive critical acclaim:

• John Lennon was a great fan of the song and was known to have played it repeatedly in his Rolls Royce. When it was released in England, Lennon (and friends in his circle) reportedly confused Brooker's soulful vocals with Steve Winwood, who had popularity at the time with The Spencer Davis Group.
• It was named joint winner (along with Queen's "Bohemian Rhapsody", which also uses the word 'fandango') of the Best British Pop Single 1952–1977 at the BRIT Awards, part of Elizabeth II's Silver Jubilee.
• #57 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time in 2004.
• British TV station Channel 4 placed the song at #19 in its chart of the 100 greatest number one singles.^[20]

Authorship lawsuit[link]

In 2005, former Procol Harum organist Matthew Fisher filed suit in the High Court against Gary Brooker and his publisher, claiming that he co-wrote the music for the song.^[21]

Fisher won the case on 20 December 2006 but was awarded 40% of the composers' share of the music copyright, rather than the 50% he was seeking and was not granted royalties prior to 2005.^[22]

Gary Brooker and publisher Onward Music were granted leave to appeal, and a hearing on the matter was held before a panel of three judges during the week of 1 October 2007. The decision, on 4 April 2008, by Lord Justice Mummery, in the Court of Appeal upheld Fisher's co-authorship^[23] but ruled that he should receive no royalties as he had taken too long (38 years) to bring his claim to litigation. Full royalty rights were returned to Brooker.^[24]

On 5 November 2008, Matthew Fisher was granted permission to appeal this decision to the House of Lords.^[25] Lawyers say it is the first time the Law Lords have been asked to rule on a copyright dispute involving a song.^[26] The appeal was heard in the House of Lords on 22–23 April 2009.^[27]

On 30 July 2009 the Law Lords unanimously ruled in Fisher's favour. They noted that the delay in bringing the case had not caused any harm to the other party; on the contrary they had benefited financially from it. They also pointed out that there were no time limits to copyright claims under English law. The right to future royalties was therefore returned to Fisher.^[28][29] The musicological basis of the judgment, and its effect on the rights of musicians who contribute composition to future works, has drawn some attention in the music world.^[30]

Video[link]

The first video for the song was shot in the ruins of Witley Court in Worcestershire, England.^[31] The Witley Court video features four of the five musicians who played on the hit single: Gary Brooker, Matthew Fisher, David Knights and Ray Royer, in performance and walking through the ruins. Only the drummer in the video isn't on the record: early band member Bobby Harrison is seen miming to session man Bill Eyden's drumming. According to Shindig! Magazine's Procol Harum cover story by Alan Robinson (November–December 2009 issue – page 55), the video was directed by Peter Clifton whose insertion of Vietnam War newsreel footage caused it to be banned from airplay on the "Top of the Pops" TV show. The band subsequently made another video using "Scopitone" technology, but by this time, Robin Trower and B.J. Wilson had replaced Royer and Harrison in the band, so only three of the five musicians on the recording are represented, and no performance footage included – only the five musicians cavorting around London, running across fields, etc. This lineup, with Fisher in a monk's cowl, also mimed to the song on Top of the Pops, (though Gary Brooker sang live) and black and white footage of this performance has been shown online, perhaps constituting the third video of the song from 1967. (See also its inclusion on the 'Top of the Pops 40th Anniversary 1964–2004 DVD'.)

There was also a video shot as part of Joel Gallen's Deja-View music video series.^[32] Originally airing on various networks in late 1985 through 1986, this video starred Harry Dean Stanton and Bernie Taupin, but featured no member of the band. It has also aired on VH1 Classic, and has recently surfaced online.^[33][34]

References[link]

External links[link]

• Bill Eyden Obituary
• Procol Harum — A Whiter Shade Of Pale, live video from Eagle Rock Entertainment's official channel on YouTube
• A Whiter Shade of Pale: authorised lyrics of all four verses

This biographical article needs additional citations for verification. Its only attribution is to IMDb, which may not be a reliable source for biographical information. Please help by adding additional, reliable sources for verification. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (July 2007)

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (May 2010)

Chantal Janzen
Born	(1979-02-15) 15 February 1979 (age 33) Tegelen, Netherlands

Chantal Janzen (born 15 February 1979 in Tegelen) is a Dutch actress and musical star. She starred in The Preacher, Full Moon Party and Deuce Bigalow: European Gigolo and presented Idols. She also played Belle in the Dutch Musical version of Beauty and the Beast and Jane in the Dutch Musical version of Tarzan. She also sang a song against cancer, called "Vecht Mee" (English: Fight With Us) with Dutch rapper Yes-R. From late 2011, she stars as Glinda in the Dutch premiere production of Wicked.

Background[link]

Janzen studied at the Amsterdamse Hogeschool voor de Kunsten. She was taught in classical-, modern-, jazz- and tapdance, acting, singing and musical repertoire. She played in several musicals, including Crazy For You, Kunt u mij de weg naar Hamelen vertellen, mijnheer?, Saturday Night Fever, 42nd Street, Beauty and the Beast, Tarzan and the current production of Petticoat (http://nl.wikipedia.org/wiki/Petticoat_(musical), in Dutch).

She played several guest roles in TV shows like Baantjer, Intensive Care, De Band, Meiden van De Wit and Kinderen Geen Bezwaar. She also hosted Staatsloterij Live and the Dutch version of Popidol, Idols. Janzen played several parts in movies:De Dominee, Feestje, Deuce Bigalow II, Volle Maan, Alles is Liefde, Kicks and the made for TV film Loverboy. In December 2002 her single Achter De Sterren, the title song from the movie Science Fiction was released.

Janzen won the John Kraaijkamp Musical Award in 2002 for Upcoming Talent for her lead in Saturday Night Fever. She also won a musical award in 2005 for Best actress in a supporting role for the musical Crazy For You. She got nominated for Best female lead in 2006 as Belle in Beauty and the Beast and in 2007 she got nominated for the same prize for her role as Jane in the musical Tarzan. Because of her pregnancy she had to temporarily leave her part in the musical Tarzan from September 2008 through April 2009. She was replaced by Bente van den Brand. After Tarzan she played a part in the Disney Musical Sing-Along.^[1] In 2010 Janzen can be seen in the musical Petticoat. It's an original Dutch musical, written especially for her. After her role in Petticoat she will go on to play in the Dutch rendition of the Broadway musical Wicked.^[2]

In 2011 Janzen ended her contract with the Dutch TV channel AVRO and signed a contract with RTL. According to her, hosting the Award shows she had been hosting at the AVRO for the fourth year in a row, would make her performance look cheap. She was enthused by the idea of experiencing other things. "^[3]

Private life[link]

Janzen has been in a relationship with Marco Geeratz for a few years now, who brought three kids from an earlier relationship into their relationship.^[1] On 23 January 2009 she gave birth to her healthy son James.

References[link]

External links[link]

• Chantal Janzen at the Internet Movie Database

Sherlyn Chopra
Born	Sherlyn Chopra (1984-02-11) 11 February 1984 (age 28) Hyderabad, Andhra Pradesh, India
Other names	Mona Chopra
Occupation	Actress, Singer
Years active	2005–present
Website
http://www.sherlynchopra.com/home.asp

Sherlyn Chopra (formerly known as Mona Chopra) is an Indian model, singer and actress.^[1]

Early life[link]

Chopra was born in India in 1984. She did her schooling from Stanley Girls High School.^[2] Gradually losing interest in her studies, she turned her attention to films.

Career[link]

Chopra's early acting career was mainly in B-grade Bollywood films. She appeared in movies such as Time Pass, Red Swastik and Game. She also appeared in the Telugu film A film by Aravind.^[3]. Chopra was the second guest on Bigg Boss (Season 3).^[4] She was evicted from the show on Day 27. She was also a presenter at the 55th Filmfare Awards held in February 2010.

Filmography[link]

Television appearances

• Bigg Boss (Season 3) in 2009 as Herself (contestant)

Discography[link]

Studio albums[link]

• 2007: Outrageous
• 2009: Dard-e-sherlyn
• 2010: NON

Controversy[link]

Sherlyn Chopra has always desired to stay in the limelight. On 12 February 2012, after her birthday she published her first naked photo on twitter (Her twitter handle is @SherlynChopra), which was later deleted by twitter.

References[link]

External links[link]

• Sherlyn Chopra at the Internet Movie Database
• Official Website
• Official Twitter