The Bohemian style, often termed 'Boho chic', is a fashion and lifestyle choice characterized by its unconventional and free-spirited essence. While its precise origins are debated, Bohemian style is believed to have been influenced by the nomadic lifestyle of the Romani people during the late 19th century to the early 20th century. The term 'Bohemian' itself derives from the French 'Bohémien,' originally associated with the Roma community due to a historical misconception that they originated from Bohemia, a region in the Czech Republic.

Throughout history, Bohemian fashion has undergone significant transformations, reflecting the cultural shifts and influences of each era. Today, contemporary Bohemian fashion embraces flowing fabrics, vibrant colors, and natural, woven materials instead of knits. This style draws inspiration from various sources, including the counterculture movements of the 1960s and 1970s, reminiscent of the attire worn by attendees of the inaugural Woodstock music festival.

The Bohemian style has achieved global popularity, appealing to individuals seeking a unique and individualistic approach to fashion and lifestyle. It encourages a sense of freedom and self-expression, often attracting those who prefer to live unconventionally, sometimes in a nomadic manner, and who may reside in colonies or communes, fostering a strong sense of community.

Early 19th century and the role of women
The Bohemian subculture has been closely affiliated with predominantly male artists and intellectuals. The female counterparts have been closely connected with the Grisettes, young women who combined part-time prostitution with various other occupations. In the first quarter of the 19th century, the term "grisette" also referred to independent young women. They often worked as seamstresses or milliner's assistants and frequented Bohemian artistic and cultural venues in Paris. Many grisettes worked as artist models, often providing sexual favors to the artists in addition to posing for them. During the time of King Louis-Philippe, they came to dominate the Bohemian modeling scene.

Due to the role and influence they had on 19th century French art, the grisette became a frequent character in French fiction. However, the grisettes have been mentioned as early as in 1730 by Jonathan Swift. The term "grisette" in poetry signified qualities of both flirtatiousness and intellectual aspiration. George du Maurier based large parts of Trilby on his experiences as a student in Parisian Bohemia during the 1850s. Poe's 1842 story was based on the unsolved murder of Mary Cecilia Rogers near New York City, subtitled "A Sequel to 'The Murders in the Rue Morgue.'" It was the first fictional detective story to attempt to provide a real solution to a real crime. The most enduring grisette is Mimi in Henri Murger's novel (and subsequent play) Scènes de la vie de Bohème, the source for Puccini's famous opera La bohème.

Pre-Raphaelites

In 1848 William Makepeace Thackeray used the word Bohemianism in his novel Vanity Fair. In 1862, the Westminster Review described a Bohemian as "simply an artist or littérateur who, consciously or unconsciously, secedes from conventionality in life and in art". During the 1860s the term was associated in particular with the Pre-Raphaelite movement, the group of artists and aesthetes of which Dante Gabriel Rossetti was the most prominent:

As the 1860s progressed, Rossetti would become the grand prince of Bohemianism as his deviations from normal standards became more audacious. He then became this epitome of the unconventional, his egocentric demands necessarily required his close friends to remodel their own lives around him. His Bohemianism was like a web in which others became trapped – none more so than William and Jane Morris.

Jane Morris, Edward Burne-Jones, and Pre-Raphaelite traits
Jane Morris, who was to become Rossetti's muse, epitomized, probably more than any of the women associated with the pre-Raphaelites, an unrestricted, flowing style of dress that, while unconventional at the time, would be highly influential at certain periods during the 20th century. She and others, including the much less outlandish Georgiana Burne-Jones (wife of Edward Burne-Jones, one of the later pre-Raphaelites), eschewed the corsets and crinolines of the mid-to-late Victorian era, a feature that impressed the American writer Henry James when he wrote to his sister in 1869 of the bohemian atmosphere of the Morrises' house in the Bloomsbury district of London and, in particular, the "dark silent medieval" presence of its chatelaine:

It's hard to say whether she's a grand synthesis of all the pre-Raphaelite pictures ever made … whether she's an original or a copy. In either case, she's a wonder. Imagine a tall, lean woman in a long dress of some dead purple stuff, guiltless of hoops (or of anything else I should say) with a mass of crisp black hair heaped into great wavy projections on each of her temples … a long neck, without any collar, and in lieu thereof some dozen strings of outlandish beads.

In his play Pygmalion (1912) Bernard Shaw unmistakably based the part of Mrs. Higgins on the then elderly Jane Morris. He described Mrs. Higgins' drawing room, he referred to a portrait of her "when she defied the fashion of her youth in one of the beautiful Rossettian costumes which, when caricatured by people who did not understand, led to the absurdities of popular estheticism [sic] in the eighteen-seventies".

A biographer of Edward Burne-Jones, writing a century after Shaw (Fiona MacCarthy, 2011), has noted that, in 1964, when the influential Biba store was opened in London by Barbara Hulanicki, the "long drooping structureless clothes", though sexier than the dresses portrayed in such Burne-Jones paintings as The Golden Stairs or The Sirens, nevertheless resembled them. The interior of Biba has been described by the biographer of British 20th century designer Laura Ashley as having an atmosphere that "reeked of sex … [It] was designed to look like a bordello with its scarlet, black and gold plush fitments, but, interestingly, it implied an old-fashioned, Edwardian style of forbidden sex with feathered boas, potted palms, bentwood coat racks and dark lighting" MacCarthy observed also that "the androgynous appearance of Burne-Jones's male figures reflected the sexually ambivalent feeling" of the late 1960s.

Early flower power: Effie Millais
Effie Gray, whose marriage to John Ruskin was annulled in 1854 before her marrying the pre-Raphaelite painter John Millais, is known to have used flowers as an adornment and probably also as an assertive "statement". While in Scotland with Ruskin (still her husband) and Millais, she gathered foxgloves to place in her hair. She wore them at breakfast, despite being asked by her husband not to do so, a gesture of defiance, at a time of growing crisis in their relationship, that came to the critical notice of Florence Nightingale (who tended to regard others of her sex with "scarcely concealed scorn" and was generally unsympathetic towards "women's rights"). A few weeks earlier, on Midsummer Day, Effie (possibly inspired by Shakespeare's A Midsummer Night's Dream) was said by her hostess, Pauline Trevelyan, to have "looked lovely" with stephanotis in her hair at an evening party in Northumberland, while, the previous year, a male friend had brought a vase of flowers for her hair from Venice. Ruskin's father was evidently shocked to learn that, when Effie herself was in Venice, she had removed her bonnet in public, ostensibly because of the heat.

In 1853 Millais painted Effie with Foxgloves in her Hair which depicts her wearing the flowers while doing needlework. Other paintings of the mid-to-late 19th century, such as Frederick Sandys' Love's Shadow (1867) is of a girl with a rose in her hair, sucking a sprig of blossom, which was described in 1970 as "a first rate PR job for the Flower People", and Burne-Jones' The Heart of the Rose (1889), have been cited as foreshadowing the "flower power" of the mid-to-late 1960s.

Early 20th century and inter-war years

Rational dress and the women's movement

By the turn of the 20th century, an increasing number of professional women, notably in the United States, were attempting to live outside the traditional parameters of society. Between 1870 and 1910, the marriage rate among educated women in the United States fell to 60% (30% lower than the national average). By 1893, in the state of Massachusetts alone, some 300,000 women were earning their own living in nearly 300 occupations. The invention of the typewriter in 1867 was a particular spur. For example, by the turn of the 20th century, 80% of stenographers were women.

By this time, such movements as the Rational Dress Society (1881), with which the Morrises and Georgiana Burne-Jones were involved, were beginning to exercise some influence on women's dress, although the pre-Raphaelite look was still considered "advanced" in the late years of the 19th century. Queen Victoria's precocious daughter Princess Louise, an accomplished painter and artist who mixed in bohemian circles, was sympathetic to rational dress and to the developing women's movement generally (although her rumoured pregnancy at the age of 18 was said to have been disguised by tight corsetry).

However, it was not really until the First World War that "many working women" embarked on a revolution in a fashion that greatly reduced the weight and restrictions imposed on them by their clothing". Some women working in factories wore trousers. The brassiere (invented in 1889 by the feminist Herminie Cadolle and patented in America by Mary Phelps Jacob in 1914) began gradually to supersede the corset. In shipyards "trouser suits" (the term, "pantsuit" was adopted in America in the 1920s) were virtually essential to enable women to shin up and down ladders. Music hall artists also helped to push the boundaries of fashion; these included Vesta Tilley, whose daring adoption on the stage of a well-tailored male dress not only had an influence on men's attire but also foreshadowed to extent styles adopted by some women in the inter-war period. It was widely understood that Tilley sought additional authenticity by wearing male underclothing, although off stage, she was much more conventional in both her dress and general outlook.

By the early 1920s, what had been a wartime expedient, the need to economize on the material had become a statement of freedom by young women. This was manifested by shorter hemlines (just above the knee by 1925–1926) and boyish hairstyles, accompanied by what Robert Graves and Alan Hodge described as "the new fantastic development of Jazz music". At the Antwerp Olympic Games in 1920, the French tennis player Suzanne Lenglen attracted attention with a knee-length skirt that revealed her suspender belt whenever she leaped to smash a ball. From then on, sportswear for women, as with day-to-day clothes, became more free, Although, after the Second World War, when the American player Gussie Moran appeared at the Wimbledon championships of 1949 in a short skirt that revealed lace-trimmed panties, the All England Lawn Tennis and Croquet Club accused her of bringing "vulgarity and sin into tennis" and shunned the outfit's designer Teddy Tinling for many years.

The impact of lingerie in the 1920s and 30s
The Penguin Social History of Britain noted that "by the 1920s newspapers were filled with advertisements for 'lingerie' and 'undies' which would have been classed as indecent a generation earlier". Thus, in Ben Travers' comic novel Rookery Nook (1923), a young woman evicted from home in her nightwear and requiring day clothes remarked, "Combies. That's all right. But in the summer you know, we don't", while in Agatha Christie's thriller, The Seven Dials Mystery (1929), the aristocratic heroine, Lady "Bundle" Brent, wore only "a negligible trifle" under her dress; like much real life "it girls" of her class, she had been freed from the "genteel expectations" of earlier generations. In Hollywood the actress Carole Lombard, who, in the 1930s, combined feistiness with sexual allure, never wore a brassière and "avoided panties". However, she famously declared that though "I live by a man's code designed to fit a man's world, at the same time I never forget that a woman's first job is to choose the right shade of lipstick" Coincidentally, sales of men's undershirts fell dramatically in the United States when Lombard's future husband, Clark Gable, was revealed not to be wearing one in a famous motel bedroom scene with Claudette Colbert in the film It Happened One Night (1934). According to Gable, "the idea was looking half-naked and scaring the brat into her own bed on the other side of the blanket [hanging from a clothesline to separate twin beds]". However, he "gave the impression that going without was a vital sign of a man's virility" More generally, the adoption by the American movie industry of the Hays Production Code in the early 1930s had a significant effect on how moral, and especially sexual, issues were depicted on film. This included a more conservative approach to matters of dress. Whereas the sort of scanty lingerie on show in some earlier productions (for example, Joan Blondell and Barbara Stanwyck in Night Nurse, 1931) had tended to reflect trends that, in the 1920s, defied convention and were regarded by many young women as liberating, by the early years of the Depression such displays came to be regarded quite widely as undesirable. Developments in the late 1960s and 1970s, when the strictures of the code were abandoned, followed a similar pattern, although, by then, it was often women themselves who were in the vanguard of resistance to sexualized imagery.

Looking back at this period, Graves and Hodge noted the protracted course that "daring female fashions had always taken from brothel to stage, then on to Bohemia, to Society, to Society's maids, to the mill-girl and lastly to the suburban woman".

The "Dorelia" look
Among female Bohemians in the early 20th century, the "gypsy look" was a recurring theme, popularized by, among others, Dorothy "Dorelia" McNeill (1881–1969), muse, lover, and second wife of the painter Augustus John (1878–1961), whose full skirts and bright colors gave rise to the so-called "Dorelia look". Katherine Everett, née Olive, a former student of the Slade School of Art in London, has described McNeil's "tight fitting, hand-sewn, canary colored bodice above a dark gathered flowing skirt, and her hair very black and gleaming, emphasizing the long silver earrings which were her only adornment".

Everett recalled also the Johns' woods "with wild cherry trees in blossom, and a model with flying red hair, clad in white, being chased in and out of the trees by nude children". With similar lack of inhibition, as early as 1907 the American heiress Natalie Barney (1875–1972) was leading like-minded women in sapphic dances in her Parisian garden, photographs of which look little different from scenes at Woodstock in 1969 and other "pop" festivals of the late 1960s and early 1970s.

Bobbed hair and cross-gender styles

By contrast, short bobbed hair was often a Bohemian trait, having originated in Paris c.1909 and been adopted by students at the Slade several years before American film actresses such as Colleen Moore and Louise Brooks ("the girl in the black helmet") became associated with it in the mid-1920s. This style was plainly discernible on a woodblock self-portrait of 1916 by Dora Carrington, who had entered the Slade in 1910, and, indeed, the journalist and historian Sir Max Hastings has referred to "poling punts occupied by reclining girls with bobbed hair" as an enduring, if misleading, the popular image of the "idyll before the storm" of the First World War.

In F. Scott Fitzgerald's short story, Bernice Bobs Her Hair (1920), a young woman who wishes to become a 'society vamp' regards the adoption of a bob as a necessary prelude, while Louise Brooks' sexually charged performance as Lulu in G. W. Pabst's film, Pandora's Box (1929), left an enduring image of the style, which has been replicated on screen over the years, most vividly by Cyd Charisse in Singin' in the Rain (1952), Isabelle de Funès as Valentina in Baba Yaga (1973) and Melanie Griffith in Something Wild (1986). It was associated also with many popular singers and actresses in the 1960s and has frequently been evoked by writers and directors, as well as fashion designers, seeking to recapture the hedonistic or free spirit of the 1920s. For example, Kerry Greenwood's Cocaine Blues (1989) and succeeding novels about Phryne Fisher, a glamorous, but unconventional aristocratic investigator in late twenties Melbourne, Australia, conveyed an image – "five feet two [157.5 centimeters] with eyes of green and black hair cut into a cap" – that was later cultivated stylishly on television by Essie Davis in ABC's Miss Fisher's Murder Mysteries (2012).

Around 1926 an even shorter style, known as the 'Eton crop', became popular: on her arrival in Tilling (Rye) in E. F. Benson's comic novel Mapp and Lucia (1931), Lucia described "Quaint" Irene as "a girl with no hat and an Eton crop. She was dressed in a fisherman's jersey and knickerbockers". For many years trite assumptions were often made about the sexuality of women with cropped hairstyles; a historian of the 1980s wrote of the Greenham Common "peace camp" in England that it "brought public awareness to feminist separation and even to lesbianism, hitherto seen in the mass media – when acknowledged at all – either in terms of Eton-cropped androgyny or of pornographic fantasy". Even so, others have drawn a stark contrast between the bohemian demeanor of the Greenham women and the "bold make-up and power-dressing" that tended to define women's fashion more generally in the 1980s (the so-called 'designer decade').

One social historian has observed that "the innocuous woolen jersey, now known [in Britain] as the jumper or the pullover, was the first item of clothing to become interchangeable between men and women and, as such, was seen as a dangerous symptom of gender confusion". Trousers for women, sometimes worn mannishly as an expression of sexuality (as by Marlene Dietrich as a cabaret singer in the 1930 film, Morocco, in which she dressed in a white tie suit and kissed a girl in the audience) also became popular in the 1920s and 1930s, as did aspects of what many years later would sometimes be referred to as "shabby chic". Winston Churchill's niece Clarissa was among those who wore a tailored suit in the late 1930s.

Post-Liberation Paris

The 'New Look'
After the Second World War Christian Dior's 'New Look', launched in Paris in 1947, though drawing on styles that had begun to emerge in 1938–1939, set the pattern for women's fashion generally until the 1960s. Harking back in some ways to the Belle Epoque of the late 19th and early 20th centuries – and thus not a 'new' look as such – it was criticized by some as excessively feminine and, with its accompanying corsets and rustle of frilled petticoats, as setting back the "work of emancipation won through participation in two world wars". It also, for a while, bucked the trend towards boyish fashion that, after the First World War, tended to follow major conflicts.

Rive Gauche
American influences had been discouraged during the Nazi occupation of France, but, notably in the form of be-bop and other types of jazz, were strong among intellectual café society in the mid-to-late 1940s. In 1947, Samedi-Soir lifted the lid on what it called the "troglodytes of Saint-Germain", namely bohemians of the Parisian Left Bank (Rive Gauche) district of Saint-Germain-des-Prés, who appeared to cluster around existentialist philosopher Jean-Paul Sartre. These included Roger Vadim (who married and launched the career of actress Brigitte Bardot in the 1950s), novelist Boris Vian (since described as "the epitome of Left Bank Bohemia, standing at the center of its postwar rehabilitation") and singer Juliette Gréco.

Juliette Gréco
At the liberation of Paris in 1944, the American journalist Ernie Pyle observed that the women were all "brightly dressed in white or red blouses and colorful peasant skirts, with flowers in their hair and big flashy earrings." while Lady Diana Cooper, whose husband, Duff Cooper, became British Ambassador to Paris that year, wrote that, during the occupation, Parisienne women had worn "grotesquely large hats hung with flowers and fruits and feathers and ribbons" as well as high carved wooden shoes. However, in contrast to such striking bohemian adornments and subsequently the "New Look" (which itself scandalised some Parisennes), the clothes of the post-war bohemians were predominantly black: when Gréco first performed outside Saint-Germain she affronted some of her audience by wearing "black trousers, her bare feet slipped into golden sandals". In old age she claimed that this style of dress arose from poverty:

When I was a teenager in Paris, I only had one dress and one pair of shoes, so the boys in the house started dressing me in their old black coats and trousers. A fashion was shaped out of misery. When people copied me, I found it a little ridiculous, but I didn't mind. It made me smile.

Performing in London over fifty years later, Gréco was described as "still oozing bohemian style".

Saint-Germain in retrospect
Capturing the spirit of the time, David Profumo has written of how his mother, the actress Valerie Hobson, was entranced by Roger Vadim's flatmate, the director Marc Allégret, while she was filming Blanche Fury in 1947:

Allégret's apparently bohemian lifestyle appealed sharply to her romantic side and she revelled in the Left Bank milieu to which he introduced her during script discussions in Paris. There were meals with André Gide, Jean Cocteau and the long-legged Zizi Jeanmaire. For an attractive British woman who felt deprived of attention ... this was an ideal situation for some sort of reawakening.

The previous year a perfume created for Hobson had been marketed as "Great Expectations" to coincide with her role as Estella Havisham in David Lean's film of that name, based on Charles Dickens' 1861 novel. In England, this attracted the custom of then-University of Oxford undergraduate Margaret Roberts, later British Prime Minister Margaret Thatcher, who, a little daringly for the time, also shopped for "push-up" pink brassieres. In 1953, when Hobson starred in the musical The King and I in London, it was apparent that she had retained a Parisienne mix of chic and Bohemianism. A Daily Mirror journalist described her "pale, ladylike looks, her well-bred clothes ... she likes embroidery and painting", while a young Etonian who visited her dressing room recalled that "it had been freshly painted pink and white for her, and was like entering a risqué French apartment". Ten years later, when Hobson's husband, the politician John Profumo, was involved in a sex scandal that threatened to destabilize the British government, Prime Minister Harold Macmillan wrote that "his [Profumo's] wife is very nice and sensible. Of course, these people live in a raffish, theatrical, bohemian society where no one really knows anyone, and everyone is "darling"".

Post-war Paris was recalled fondly in 2007 when France introduced a ban on smoking in public places. The aroma of Gauloises and Gitanes was, for many years, thought to be an inseparable feature of Parisian café society, but the owner of Les Deux Magots, once frequented by Sartre, Simone de Beauvoir, Albert Camus and other writers, observed that "things have changed. The writers of today are not so addicted to cigarettes". A British journalist who interviewed Juliette Gréco in 2010 described Les Deux Magots and the Café de Flore as "now overpriced tourist hotspots" and noted that "chain stores and expensive restaurants have replaced the bookshops, cafés and revolutionary ideas of Jean-Paul Sartre and Simone de Beauvoir's Rive Gauche". As measures of changing attitudes to cuisine and fashion, by the early 21st century 80% of French croissants were being made in food plants, while, by 2014, only one factory continued to manufacture the traditional male beret associated with printers, artists, political activists and, during the inter-war years, the tennis player Jean Borotra.

New influences in 1960s
The bohemian traits of post-war Paris spread to other urban parts of the French-speaking world, notably to Algiers, where an underground culture of "jazz clubs, girls and drugs" grew up – in the words of punk rock producer Marc Zermati, who was in the city at the height of the Algerian war in the late 1950s, "all very French". However, that war marked a turning point which, in the view of some, was so traumatic that "ordinary French people" looked instead to America as "a new model for pleasure and happiness". This, in turn, led to the ye-ye music of the early to mid 1960s (named after the British band, the Beatles' use of "yeah, yeah" in some their early songs) and the rise of such singers as Johnny Hallyday and Françoise Hardy. The French also adopted a number of British singers (Petula Clark, Gillian Hills, Jane Birkin) who performed successfully in French, Birkin forming a long-term relationship with singer/songwriter Serge Gainsbourg, who was a seminal figure in French popular music in the 1960s and 1970s. In 1968 major industrial and student unrest in Paris and other parts of France came close to ousting the government of President Charles de Gaulle, who, after leading the Free French during the Second World War, had returned to power at the time of the Algerian emergency. The events of 1968 represented a further significant landmark in post-war France, although their longer term impact was probably more on cultural, social and academic life than on the political system, which, through the constitution of the Fifth Republic (1958), has remained broadly intact. Indeed, one paradox of 1968 was that the first student demonstrations broke out at Nanterre, whose catchment area included the affluent and "chic" 16th and 17th arrondissements of Paris. Its students were more modish and "trendy" than those of the Sorbonne in the city's Latin Quarter, being described at the time in terms that typify more generally the styles and attitudes of young people in the late 1960s:

It is the girls that give the show away – culottes, glossy leather, mini-skirts, boots – driving up in Mini-Coopers ... Rebellious sentiment is more obvious among the boys: long hair, square spectacles, Che Guevara [Cuban revolutionary, died 1967] beards. The picture in Nanterre in May was lots and lots of painted dollies cohabiting with unkempt revolutionaries.

America: the beat generation and flower power

In the United States adherents of the "beat" counter-culture (probably best defined by Jack Kerouac's novel, On the Road, set in the late 1940s, written in 1952 and published in 1957) were associated with black polo-neck (or turtle neck) sweaters, blue denim jeans and sandals. The influence of this movement could be seen in the persona and songs of Bob Dylan in the early- to mid-1960s, "road" films like Easy Rider (1969) and the punk-oriented "New Wave" of the mid-1970s, which, among other things, produced a boho style icon in Deborah Harry of the New York band Blondie. (However, as with some American musicians of the mid-1960s, such as Sonny and Cher, Blondie came to international prominence only after a tour of Britain in 1978.)

Greenwich Village and West Coast
New York's Greenwich Village, which, since the late 19th century, had attracted many women with feminist or "free love" ideals, was a particular magnet for bohemians in the early 1960s. Bob Dylan's girl-friend Suze Rotolo, who appeared with him on the cover of his second album The Freewheelin' Bob Dylan (1963), recalled that the Village was "where people like me went – people who didn't belong where they came from ... where the writers I was reading and the artists I was looking at had lived or passed through". These "beatniks" (as they came to be known by the late 1950s) were, in many ways, the antecedents of the hippie movement that formed on the West Coast of the US in the mid-1960s and came to the fore as the first post-war baby-boomers reached the age of majority in the "Summer of Love" of 1967. The Monterey Pop Festival was a major landmark of that year, which was associated with "flowerpower", psychedelia, opposition to the Vietnam war and the inventive music and flowing, colorful fashions of, among others, Jimi Hendrix, the Mamas & the Papas, Jefferson Airplane and the British group, The Beatles, whose album, Sgt. Pepper's Lonely Hearts Club Band, is said to have caused the guru of psychedelia, Timothy Leary, to remark that "my work is finished".

Hippiedom and the Pre-Raphaelites
The documentary film, Festival (Murray Lerner, 1967), recorded how the "clean-cut college kids" who attended the Newport (Rhode Island) Folk Festival in 1963–1964 had, by 1965 (when Bob Dylan caused a sensation at that year's festival by playing an electric guitar), become "considerably scruffier": "the hippies were waiting to be born". Among other things, the wearing of male neckties, which, in the mid-1960s, had often drawn on 19th century paisley patterns, declined as muttonchop whiskers and teashades (sunglasses) came in: by the time of the Chicago 7 trial (late 1969), hair over the collars had become so commonplace that it was beginning to transcend Bohemian style, taking on mass popularity in the 1970s. The London art dealer Jeremy Maas reflected in the mid-1980s that:

there [was] no question that the Hippy [sic] movement and its repercussive influence in England owed much of its imagery, its manner, dress and personal appearance to the Pre-Raphaelite ideal ... It was observed by all of us who were involved with these exhibitions [of pre-Raphaelite paintings] that visitors included increasing numbers of the younger generation, who had begun to resemble the figures in the pictures they had come to see.

Jimmy Page of the British band Led Zeppelin, who collected Pre-Raphaelite paintings, observed of Edward Burne-Jones that "the romance of the Arthurian legends [captured in his paintings] and the bohemian life of the artists who were reworking these stories seemed very attuned to our time", while the author David Waller noted in 2011 that Burne-Jones' subjects "have much in common with the sixties rock chicks and their pop-star paladins".

London in the 1950s

Although the annual Saturday Book recorded in 1956 a view that "London's now nothing but flash coffee bars, with teddies and little bits of girls in jeans", the "Edwardian" ("teddy boy") look of the times did not coincide with Bohemian tastes. For women, the legacy of the "New Look" was still apparent, although hemlines had generally risen as, as one journalist put it in 1963, "photographs of those first bold bearers of the New Look make them seem strangely lost and bewildered, as though they had mistaken their cue and come on stage fifty years late". The Bohemian foci during this period were the jazz clubs and espresso bars of Soho and Fitzrovia. Their habitués usually wore polo necks; in the words of one social historian, "thousands of pale, duffel-coat-clad students were hunched in coffee bars over their copies of Jean-Paul Sartre and Jack Kerouac". Various public houses and clubs also catered for Bohemian tastes, notably the Colony Room Club in Soho, opened in 1948 by Muriel Belcher, a lesbian from Birmingham. As with the literary phenomenon of the so-called "Angry Young Men" from 1956 onwards, the image was more a male, than a female, one. However, when the singer Alma Cogan wished to mark her success by buying mink coats for her mother and sister, the actress Sandra Caron, the latter asked for a duffel-coat instead because she wanted to be regarded as a serious actress and "a sort of a beatnik". In 1960 the future author Jacqueline Wilson, who, as a teenager, lived in Kingston-upon-Thames, Surrey, captured this look after spotting two acquaintances in a record shop "in turquoise duffle coats, extremely tight jeans and cha-cha shoes being cuddled by a group of horrible spotty teddy boys".

Continental influences
In Iris Murdoch's novel The Bell (1958), an art student named Dora Greenfield bought "big multi-colored skirts and jazz records and sandals". However, as Britain emerged from post-war austerity, some Bohemian women found influences from continental Europe, adopting, for example, the "gamine look", with its black jerseys and short, almost boyish hairstyles associated with film actresses Audrey Hepburn (Sabrina, 1954, and as a "Gréco beatnik" in Funny Face, 1957) and Jean Seberg (Bonjour Tristesse, 1958 and A bout de souffle, 1960), as well as the French novelist Françoise Sagan, who, as one critic put it, "was celebrated for the variety of her partners and for driving fast sports cars in bare feet as an example of the free life". In 1961 Fenella Fielding played "a mascara-clad Gréco-alike" in The Rebel with comedian Tony Hancock, while, more recently, Talulah Riley replicated the look for scenes in ITV's 2006 adaptation of Agatha Christie's The Moving Finger, set in 1951.

Others favored the lower-cut, tighter styles of continental stars such as Bardot or Gina Lollobrigida. Valerie Hobson was among those whose wardrobe drew on Italian couture; in addition to a large collection of stiletto heeled shoes, she possessed a skirt made from python skin. More generally, European tastes – including the Lambretta motor scooter and Italian and French cuisine, which the widely traveled cookery writer Elizabeth David, herself a bit of a Bohemian, did much to promote – not only began to pervade Bohemian circles, but offered a contrast, from 1955 onwards, with the brasher Americanism of rock 'n' roll, with its predominantly teenage associations.

Hamburg and Beatlemania

In 1960, when the Beatles (then an obscure Liverpudlian combo with five members, as opposed to their eventual "fab" four) were working in Hamburg, West Germany, they were influenced by a Bohemian "art school" set known as Exis (for "existentialists"). The Exis were roughly equivalent to what in France became known as les beats and included photographer Astrid Kirchherr (for whom the "fifth Beatle" Stuart Sutcliffe left the group) and artist and musician Klaus Voormann (who designed the cover for the Beatles' album Revolver in 1966).

John Lennon's wife Cynthia recalled that Kirchherr was fascinated by the Beatles' "teddy-boy style", but that they, in turn, were "bowled over by her hip black clothes, her avant garde way of life, her photography and her sense of style". As a result the group acquired black leather jackets, as well as fringed hairstyles that were the prototype of the "mop-top" cuts associated with "Beatlemania" in 1963–1964. The latter coincided with the revival of the bobbed style for women, promoted in London by hairdresser Vidal Sassoon, initially for actress Nancy Kwan, and adopted by, among others, singers Cilla Black, Billie Davis and, in America, Bev Bivens of We Five and Tammi Terrell, fashion designers Mary Quant and Jean Muir, American actress Barbara Feldon in the TV series Get Smart, and, in the form of a longer bob, Cathy McGowan, who presented the influential British TV pop music show, Ready Steady Go! (1963–1966). However, when longer blonde hair (associated with, among many others, Julie Christie, Samantha Juste, Judy Geeson and fashion model Lorna McDonald, who, at the end of each edition of the BBC's Dee Time, jumped into Simon Dee's open E-type Jaguar) came to typify the "sixties" look, advertisers turned to the Bohemian world for inspiration: through its use of herbs, Sunsilk shampoo was said to have "stolen something from the gypsies".

Swinging London

Beatlemania did not of itself create the apparent iconoclasm of the 1960s; however, as one writer put it, "just as Noël Coward and Cole Porter reflected the louche, carefree attitude of the [Nineteen] Twenties, so did the Beatles' music capture the rhythm of breaking free experienced by an entire generation of people growing up in the Sixties". By the middle of the decade, British pop music had stimulated the fashion boom of what Time called "swinging London". Associated initially with such "mod" designs as Quant's mini-skirt, this soon embraced a range of essentially Bohemian styles. These included the military and Victorian fashions popularized by stars who frequented boutiques such as Granny Takes a Trip, the "fusion of fashion, art and lifestyle" opened by Nigel Waymouth in the King's Road, Chelsea in January 1966, and, by 1967, the hippie look largely imported from America (although, as noted, London stores such as Biba had, for some time, displayed dresses that drew on Pre-Raphaelite imagery). The Rolling Stones' Keith Richards, whose early girlfriend, Linda Keith, had, in her late teens, been a bohemian force in West Hampstead, noted on the Stones' return from an American tour in 1967 how quickly hippiedom had transformed the London scene.

Victorian imagery

This fusion of influences was discernible in two black-and-white productions for BBC television in 1966: the series Adam Adamant Lives!, starring Gerald Harper as an Edwardian adventurer who had been cryopreserved in time and Juliet Harmer as Georgina Jones, a stylish "mod" who befriended him, and Jonathan Miller's dreamy, rather Gothic production of Lewis Carroll's mid-Victorian children's fantasy Alice in Wonderland (1865). (Confirming the aspiration, Sydney Newman, the BBC's Head of Television Drama in the 1960s, reflected of Adam Adamant that "[they] could never quite get [the] Victorian mentality to contrast with the '60s".)

On the face of it, Carroll (a pseudonym for Charles Lutwidge Dodgson) had been a rather conventional and repressed Oxford University don, but he was a keen and artistic photographer in the early days of that medium (taking, among other things, rather bohemian looking pictures of Alice Liddell and other young girls) and he developed an empathy and friendship with several of the Pre-Raphaelites; the sculptor Thomas Woolner and possibly even Rossetti dissuaded him from illustrating Alice himself, a task that was undertaken instead by John Tenniel. The imagery of Alice, both textually and graphically, lent itself well to the psychedelia of the late 1960s. In America, this was apparent in, among other ways, the "Alice happening" in Central Park, New York (1968) when naked participants covered themselves in polka dots and the lyrics to Grace Slick's song "White Rabbit" (1966) – "One pill makes you larger/And one pill makes you small" – that she performed with both the Great Society and Jefferson Airplane, including with the latter at Woodstock in 1969.

Women in the late 1960s and early 1970s

By the late 1960s shops such as Laura Ashley (whose first London outlet opened in 1968) were routinely promoting the "peasant look" and selling a range of "uniquely eccentric clothes ... The magic was being able to step into a 'Laura Ashley' dress and imagine you had found something out of a dressing-up box". At around the same time too, and into the 1970s, the brassière (or bra), which, as noted, had been seen as a liberating innovation in the early part of the century, came to be regarded by some women, such as the Australian academic Germaine Greer (The Female Eunuch, 1969), as an unduly restrictive symbol of traditional womanhood. However, the much-publicised incidence of "bra burning" in the 1970s tended to be overstated and came to be satirised: for example, in the 1973 film, Carry On Girls, and a poster by Young & Rubicam, one of a mildly subversive series for Smirnoff vodka: "I never thought of burning my bra until I discovered Smirnoff". It was also seen by many, including Greer herself, as a distraction from the cause of women's "liberation". A Vermont lawyer later observed wryly that "like every good feminist-in-training in the sixties, I burned my bra", but that "now it's the nineties ... I realize Playtex [underwear manufacturer] had supported me better than any man I know." Claire Perry, who became a Conservative Member of Parliament in 2010 and later a government minister, reflected that, as a "women's officer" at Oxford University in the early 1980s, she was "a bra-burning feminist with a hideous new-romantic haircut", but that her feminism had, in her view, matured.

"Girl power"
By the mid-1980s, the American singer Madonna had turned the bra into a positive, even provocative, fashion statement. Madonna's flamboyant and gritty style (notably seen to bohemian effect alongside Rosanna Arquette in the 1985 film, Desperately Seeking Susan) was, in turn, a precursor of so-called "girl power" that was associated in the 1990s with various prominent young women (such as singers Courtney Love, who played the 1999 Glastonbury Festival in a headline-grabbing pink bra, and the more commercially oriented Spice Girls) and offbeat or quirky American television series (Xena: Warrior Princess, Buffy the Vampire Slayer, Caroline in the City, Sex and the City).

Since the 1960s: hippie/boho-chic

Journalist Bob Stanley remarked that "the late 1960s are never entirely out of fashion, they just need a fresh angle to make them de jour". Thus, the features of hippie fashion re-emerged at various stages during the ensuing forty years.

In the mid-to-late 1980s, variants of the short and fundamentally un-Bohemian rah-rah skirt (which originated with cheerleaders) were combined with leather or denim to create a look with some Bohemian or even gothic features (for example, by the singing duo Strawberry Switchblade who took inspiration from 1970s punk fashion). In the 1990s the term, "hippie chic", was applied to Tom Ford's collections for the Italian house of Gucci. These drew on, among other influences, the style, popular in retrospect, of Talitha Getty (died 1971), actress wife of John Paul Getty and step-granddaughter of Dorelia McNeil, who was represented most famously in a photograph of her and her husband taken by Patrick Lichfield in Marrakesh, Morocco in 1969. Recalling the influx of hippies into Marrakesh in 1968, Richard Neville, then editor of Oz, wrote that "the dapper drifters in embroidered skirts and cowboy boots were so delighted by the bright satin '50s underwear favored by the matrons of Marrakesh that they wore them outside their denims à la Madonna [the singer] twenty-five years later".

In the early 21st century, "boho-chic" was associated initially with supermodel Kate Moss and then, as a highly popular style in 2004–2005, with actress Sienna Miller. In America, similar styles were sometimes referred to as "bobo-", "ashcan chic", or "luxe grunge", their leading proponents including actresses Mary-Kate Olsen and Zooey Deschanel. As if to illustrate the cyclical nature of fashion, by the end of the noughties strong pre-Raphaelite traits were notable in, among others, singer Florence Welch, model Karen Elson and designer Anna Sui.

In Germany, terms like Bionade-Bourgeoisie, Bionade-Biedermeier or Biohème refer to former Bohemians that gained a sort of Cultural hegemony with their LOHA lifestyle; the phenomenon of such former (young) bohemians becoming established during the years is a typical aspect of gentrification processes. A bon mot of Michael Rutschky claimed that at the end of the 20th century, "not the Proletariat, but the Bohème became the ruling class". The group in question uses especially food as a means of distinction and separation. Among others, the lemonade trademark Bionade has been connected with the phenomenon.

See also
Bohemia in London

Notes

Fashion aesthetics
Underground culture
19th-century fashion
20th-century fashion
1960s fashion
1970s fashion
2000s fashion
Bohemianism

Bohemian style


Sardar Abdur Rashid Khan OBE () (1906 — 1995) was a senior police officer from the Khyber-Pakhtunkhwa province and cabinet minister in Pakistan.

Born in Dera Ismail Khan, Sardar Rashid was educated at Islamia College Peshawar. He then joined the Indian Police (IP) and was serving as the Deputy Superintendent of Police in Peshawar City when Pakistan became an independent country on August 14, 1947. He was one of the senior most police officers in the newly-emergent country.

Sardar Rashid rose to become the Inspector General of Khyber Pakhtunkhwa Police, but resigned from the police service on April 23, 1953, when he was appointed as the 8th Chief Minister of Khyber-Pakhtunkhwa. His nomination was controversial in that he was handpicked by his predecessor Abdul Qayyum Khan. However, he proved to be a popular choice, and in November 1953, he was elected as the provincial president of the Muslim League despite the efforts of Abdul Qayyum Khan to retain the post for himself following his elevation to the Central Government.

He remained Chief Minister until  July 18, 1955, when he was forced to resign because of his opposition to the ""One Unit Scheme"". He was succeeded by Sardar Bahadur Khan (older brother of General Ayub Khan) who secured approval from the provincial assembly for the controversial scheme.

Sardar Rashid joined the Republican Party and was elected as a Member of the West Pakistan Assembly when the ""One Unit Scheme"" came into effect, and served in the cabinet of Dr Khan Sahib initially as Minister for Health and later as Minister for Finance and Information.

On the resignation of Dr Khan Sahib in July 1957, Sardar Rashid was elected as the second Chief Minister of West Pakistan. He resigned from this position on March 18, 1958, and was succeeded by Nawab Muzaffar Ali Khan Qizilbash.

Sardar Rashid (Republican) served as Minister for Commerce and Industries in the cabinet of Prime Minister Sir Feroz Khan Noon (Republican) from March 29, 1958 - October 7, 1958, when the cabinet was dismissed on the declaration of Martial Law by President Iskander Mirza.

After the fall of the Ayub Khan government, Sardar Abdur Rashid served as Minister for Home Affairs (Interior), Kashmir Affairs, States, and Frontier Regions in the presidential cabinet of President and Chief Martial Law Administrator General Yahya Khan from August 4, 1969 - February 22, 1971.

1906 births
1995 deaths
Chief Ministers of Khyber Pakhtunkhwa
Interior ministers of Pakistan
Pakistani police officers
Pakistani republicans
Pashtun people
Chief Ministers of West Pakistan

Abdur Rashid Khan (politician)


ShellZ Zhu is a Chinese model and actress.

Biography
Born in Nanjing, China, ShellZ moved to Hong Kong as an early adolescent. After moving to Hong Kong, she began to initially garner public recognition through theatrical performances of traditional Chinese dance. At age 17, she transitioned from dance to modeling, as she began to promote fashion, commercial attire, editorials, and print-outs. While still modeling, she was offered her first movie role in the Hong Kong film Gorgeous. After acting in Chinese language Hong Kong movies, ShellZ moved to Hollywood, California to further her acting career. While in the United States, she was offered acting roles in Hollywood hits, such as Steven Spielberg's The Terminal and Michael Mann's Collateral. Before returning to Hong Kong in 2008, ShellZ (Stage name: Siu wai Cheung on IMDB) accepted a major role in the feature film Extra Ordinary Barry. In the film "Hard Fall" she plays lead role Veronica.

Personal life
Shell Z currently resides in Hong Kong S.A.R. She enjoys dressage, singing, and badminton. She is also an autoracing enthusiast, and actively participates in karting. Shell Z is fluent in English, Cantonese, and Mandarin, and maintains basic proficiency in Japanese.

Selected filmography

Film
Flashes (in production)
Hard Fall (2009)- Nominated for the best film in AIFF
Lumina(2009)-On YouTube//lumina webisode 2, 3 and 7
Extra Ordinary Barry (2008)
The Terminal (2005)
Naked in the 21st Century (2004)
The Blood Rules (2002)
Conspiracy (2000)
Resort Massacre (2000)
Boh Lee Chyn-Gorgeous (Jackie Chan Production-1998)
In Love With Industry (Hong Kong Production-1997)

Television
Human Trafficking - Lead (Girl Right next door) (LifeTime Television)
The View Show-RunWay, Entertainer (ABC Studios, NYC)
Ripley's Believe It Or Not - an episode (with Kelly Packard-NYC)
Ananda Lewis Show - Runway Model (CBS Studio, NYC)
Call Any Time Talk Show - Host (Hong Kong i-Cable TV)

References

External links

Shell Z Zhu
Shelly Zhu

Living people
Chinese female models
Hong Kong film actresses
Hong Kong female models
Hong Kong television actresses
Actresses from Jiangsu
Actresses from Nanjing
Year of birth missing (living people)
Chinese film actresses
Chinese television actresses
20th-century Chinese actresses
21st-century Chinese actresses
20th-century Hong Kong actresses
21st-century Hong Kong actresses

ShellZ Zhu


The United Consumers (Consumatori Uniti) was a political party in Italy led by Bruno De Vita.

In the 2006 general election the party was affiliated to The Union, the centre-left coalition led by Romano Prodi. The United Consumers contested the election with the Federation of the Greens and the Party of Italian Communists (PdCI) for the Italian Senate in a joint list called Together with the Union, winning 11 seats together.

History
In October 2006 Senator Fernando Rossi, splinter from the Party of Italian Communists, joined the party, but in September 2007 he left it to form his own Citizens' Political Movement. In the same month the party was merged into the Democratic Union for Consumers of Willer Bordon.

Subsequently the United Consumers formed a joint list known as Anticapitalist and Communist List with the PdCI, the Communist Refoundation Party and Socialism 2000 for the 2009 European Parliament election.

References

External links
Official website

Defunct political parties in Italy
Political parties with year of disestablishment missing
Political parties with year of establishment missing

United Consumers


"Joy to the World" is a popular Christmas song. English minister Isaac Watts added the words to the song. As of the late 20th century, the song was the most published Christmas hymn in North America.

Origin
The words of the hymn are from Isaac Watts. They are based on Psalm 98, 96:11-12 and Genesis 3:17-18. The song was first published in Watts' collection The Psalms of David in 1719.

The version of this hymn heard since 1848 is from an edition by Lowell Mason for The National Psalmist. It was his fourth revision of the tune he named ANTIOCH.

Words
The text appears thus in The Psalms of David : imitated in the Language of the New Testament, and applied to the Christian State and Worship (London 1719):

Psalm XCVIII. Second Part.
The Messiah's Coming and Kingdom

Joy to the World; the Lord is come!
Let earth receive her King!
Let ev'ry heart prepare Him room,
And Heaven and nature sing.

Joy to the earth, the Savior reigns!
Let men their songs employ;
While fields & floods, rocks, hills & plains
Repeat the sounding joy.

No more let sins and sorrows grow,
Nor thorns infest the ground;
He comes to make his blessings flow
Far as the curse is found.

He rules the world with truth and grace,
And makes the nations prove
The glories of His righteousness,
And wonders of His love.

Alternate lyrics
In the Latter-day Saints' hymn, the refrain in the first verse is "And Saints and Angels Sing".

Modern recordings, mostly those aimed at children, take out the first verse.

Recordings
A version from the Trinity Choir was very popular in 1911. Since then, the song has been recorded by a number of artists, including Johnny Cash, Mariah Carey, Pat Boone, Ella Fitzgerald, The Supremes and Nat King Cole.

References

Christmas carols
Nat King Cole songs
Johnny Cash songs
The Supremes songs
Mariah Carey songs
Ella Fitzgerald songs
1840s songs

Joy to the World


Elliot Danforth (March 6, 1850 – January 7, 1906) was an American lawyer and politician.

Life
He was born on March 6, 1850, in Middleburgh, Schoharie County, New York, the son of Peter S. Danforth, a justice of the New York Supreme Court. He studied law with his father and was admitted to the bar in 1872. On December 17, 1874, he married Ida Prince, and they had a son, Edward Danforth, and a daughter. In 1878, he removed to Bainbridge, N.Y., where his father-in-law was President of the First National Bank. There, Danforth practiced law in partnership with George H. Winsor, and was President of the Corporation of Bainbridge.

He was a delegate to the 1880 and 1884, 1888, 1892, 1896, 1900 and 1904 Democratic National Conventions.

He was Deputy Treasurer under Lawrence J. Fitzgerald from 1885 to 1889, and was New York State Treasurer from 1890 to 1893, elected in 1889 and 1891.

In November 1891, he was a member of the State Board of Canvassers (made up by the Secretary of State, Treasurer, Comptroller, Attorney General and State Engineer), when the electoral fraud in the Dutchess County senatorial election happened by which Governor David B. Hill gained control of the New York State Senate. The Republican candidate Gilbert A. Deane had received 78 votes more than Democrat Edward B. Osborne, but the Board changed 92 votes and declared Osborne elected by a plurality of 14. The New York Supreme Court issued a writ to Danforth, ordering him to certify the election of Deane, but Danforth refused to obey. For this he and the other members of the Board were fined $500 by Justice D. Cady Herrick. The sentence was later upheld by the New York Court of Appeals.

In August 1893, it became known that Danforth had received a loan of $50,000 (about seven times the annual salary of the Treasurer) from the Madison Square Bank in New York City in exchange for keeping a large amount of State monies in that bank. Danforth managed to withdraw the State's $250,000 from the bank in the early hours of August 9, the day the bank (of which Fitzgerald was a director) closed.

After leaving the Treasury, he resumed the practice of law at New York City. From 1896 to 1898, he was Chairman of the New York State Democratic Committee, and in 1897 campaigned successfully for the election of Alton B. Parker as Chief Judge of the New York Court of Appeals. In 1898, he ran for Lieutenant Governor of New York with Augustus Van Wyck but they were narrowly defeated by Theodore Roosevelt and Timothy L. Woodruff.

He died on January 7, 1906, at his home at 51, East 58th Street in Manhattan, of pneumonia, and was buried at Woodlawn Cemetery in The Bronx.

References

External links

1850 births
1906 deaths
Burials at Woodlawn Cemetery (Bronx, New York)
Deaths from pneumonia in New York City
New York State Treasurers
People from Bainbridge, New York
Politicians from New York City
People from Middleburgh, New York
Lawyers from New York City

Elliot Danforth


Business writing is a form of professional communication that typically consists of memorandums, emails, letters, and other documents. Usually found within a work environment, business writing helps employees communicate efficiently. Business writing is also used for communication with outside sources such as other companies or customers. The goal of business writing is to clearly define to your audience what you are trying to portray.

Based on what kind of audience you are writing to, (boss, coworkers, customers, other companies) certain formats will be expected. Your audience also dictates the content of the document and its tone. In most cases, a professional tone is expected although in some instances, such as with coworkers a more casual tone can be used.

References

Writing
Writing

Business writing


The humanitarian crisis following the 2023 Sudan conflict was further exacerbated by the violence occurring during a period of high temperatures, drought and the conflict starting during the latter part of the fasting month of Ramadan. Most residents were unable to venture outside of their homes to obtain food and supplies for fear of getting caught in the crossfire. A doctors' group said that hospitals remained understaffed and were running low on supplies as wounded people streamed in. The World Health Organization recorded around 26 attacks on healthcare facilities, some of which resulted in casualties among medical workers and civilians. The Sudanese Doctors' Union said more than two-thirds of hospitals in conflict areas were out of service with 32 forcibly evacuated by soldiers or caught in the crossfire. The United Nations reported that shortages of basic goods, such as food, water, medicines and fuel have become "extremely acute". The delivery of badly-needed remittances from overseas migrant workers was also halted after Western Union announced it was closing all operations in Sudan until further notice. The World Food Programme said that more than $13 million worth of food aid destined for Sudan had been looted since the fighting broke out. An estimated 25 million people, equivalent to more than half of Sudan's population, were said to be in need of aid.

Situation

Khartoum
The fighting in Khartoum left some of its five million residents stranded in their homes without electricity or water for days. On 17 April, the Sudan Medical Association said that bombs struck al-Shaab Hospital and al-Khartoum Hospital, forcing both hospitals to stop the services of their emergency departments. The Sudan Doctors' Union said that 52 hospitals went out of service in the capital and adjacent areas, equating to about 70% of hospitals in the region. Nine hospitals were bombed, and 19 were subject to forced evacuation, while five ambulances had been attacked by military forces. The union later told the BBC that only five hospitals were functioning in Khartoum, all of which were facing exhausted staff and major shortages of oxygen and life-saving drugs. Other hospitals were taken over by the warring parties either to shelter their fighters or for other military purposes.
The Sudanese government accused the RSF of seizing 12 hospitals while civilian resistance committees said 22 hospitals in Khartoum were taken over by the RSF. At least five ambulance crews were attacked while on duty. The association described the attacks as a clear violation of international humanitarian law and called on the international community to help. The World Health Organization (WHO) said that the warring sides seized ambulances. The vice president of the Sudan Doctors' Trade Union told Al Jazeera that doctors and other healthcare personnel were finding it very difficult to reach hospitals because the major bridges on the Nile were blockaded.

Residents were asked to limit their electricity usage as the state's distribution authority said the servers that manage online purchases of power were out of service and engineers could not reach them because it was too dangerous. Two water plants were reportedly damaged in the fighting, forcing residents to collect water directly from the Nile River instead. A grassroots movement using the hashtag #NoToWar offered people food, medication and information about safety routes to escape the city.

The Sudan Animal Rescue Centre, whose sanctuary is located southeast of the capital near a military base that saw heavy fighting, warned that the situation at its facility was "critical", with no permanent staff to take care of its 25 lions and other animals, shortages of food and no electricity to power electric barriers for its enclosures.

On 19 April, the RSF announced that it had set up a call center in areas it controlled in Khartoum to receive distress calls from residents.

On 28 April, Volker Turk, the UN High Commissioner for Human Rights accused the RSF of evicting people from their residences during the fighting in Khartoum.

Archaeologists, artists, museum workers and heritage advocates also raised concern over the status of the National Museum of Sudan, which was the scene of heavy fighting between the SAF and the RSF and was taken over by the RSF on 2 June. Archaeologists monitoring the site noted fire damage on the building during the fighting. Other cultural institutions such as the Natural History Museum of Sudan, the Mohamed Omer Bashir Center for Sudanese Studies at Omdurman Ahlia University, the Abdallah Khalil museum were also destroyed or looted during the conflict.

The RSF was also accused of harassing pro-democracy artists during the conflict.

Darfur
The governor of North Darfur called the humanitarian situation in the region dire. The Project Coordinator for Médecins Sans Frontières (MSF) in the state's capital El-Fasher said that the only remaining hospital in North Darfur was "rapidly running out of medical supplies to treat survivors" while other hospitals have had to close due to their proximity to the fighting or the inability of staff to get to the facilities because of the violence. MSF said that its compound in Nyala, South Darfur, had been raided by armed men who "stole everything including vehicles and office equipment".

Save the Children said that the charity's compound in Darfur was looted by armed men, saying staff were not hurt but medical supplies were taken, as well as food and laptops. Islamic Relief's office in Central Darfur was looted by armed men, and cars were stolen. The World Food Programme reported the deaths of three of its employees and the looting of its facilities and vehicles during clashes at Kabkabiya, North Darfur. United Nations Under-Secretary-General for Humanitarian Affairs and Emergency Relief Coordinator Martin Griffiths said that they were "receiving reports of attacks and sexual violence against aid workers", adding that the UN aid office in South Darfur was looted on 17 April. A car carrying employees of the Norwegian Refugee Council was attacked in El-Fasher on 20 April but there were no injuries. A hospital supported by MSF in Geneina was looted during fighting on 26–28 April. On 3 May, Griffiths said that six trucks belonging to the World Food Programme were looted in Darfur. In June, the Sudanese Health Ministry said all hospitals in West Darfur had been closed due to the fighting.

Effects on relief organizations
The International Federation of Red Cross and Red Crescent Societies said it is nearly impossible to provide humanitarian services around Khartoum, and warned that Sudan's health system is at risk of collapse. The World Food Programme (WFP) confirmed that one of its aircraft had been damaged at Khartoum International Airport during an exchange of gunfire on 15 April, which it says impacted its ability to move staff and provide assistance to people across the country.

An internal UN document seen by CNN stated that armed personnel, reportedly from the RSF, stormed the homes of people working for the UN and other international organizations in downtown Khartoum, sexually assaulting women and stealing belongings including cars. One incident of rape was reported. Two Nigerian men working for an international organization were abducted and later released; a building housing the UN Office for the Coordination of Humanitarian Affairs was targeted; and a rocket-propelled grenade hit the home of a local UN staff member in Khartoum. The RSF denied the claims, blaming the Sudanese military for committing the crimes while wearing RSF uniforms. In turn, the SAF denied involvement and blamed the RSF. The United Nations said that the fighting had "totally shut down" its work in Sudan and affected one-third of the country's population.

Due to attacks against their staff and facilities, Save the Children, WFP, Islamic Relief and the Danish Refugee Council suspended their operations in Sudan. Fifty-seven Sudanese aid workers and 20 Indian workers were relocated from Sudan to Chad.

On 30 April, the Red Cross sent its first aid delivery to Sudan by air since the conflict began, ferrying eight tonnes of humanitarian cargo from Amman, Jordan to Port Sudan. The World Food Programme resumed operations on 1 May.

Diseases
Medecins Sans Frontieres said that measles outbreaks had broken out in refugee camps, with at least 13 deaths recorded. Aid groups later reported measles outbreaks in 11 of Sudan's 18 states, while Islamic Relief reported 300 cases and 7 deaths from cholera and diarrhea.

It has been reported that thousands of decomposing corpses on the streets of Khartoum may lead to an epidemic.

Sexual violence
Authorities recorded numerous instances of sexual violence against women during the conflict, most of them attributed to the RSF. In Nyala, at least 25 incidents were recorded, in addition to 21 in Geneina, and 42 in Khartoum. Wartime sexual violence has been reported.

Refugees

The International Organization for Migration said in August that the fighting in Sudan had produced more than a million refugees, while more than four million had been internally displaced. These included at least 75,000 migrant returnees and other third-country nationals. It also said that all of Sudan's 18 states experienced displacement, with most refugees coming from Khartoum, which accounted for about 69 percent of the total number of displaced people, followed by West Darfur with more than 17 percent. The UN projected that the total number of refugees fleeing Sudan could reach 1.8 million people.

References

War in Sudan (2023)

Humanitarian impact of the war in Sudan (2023)


The House of Windsor is the current Royal House of the United Kingdom of Great Britain and Northern Ireland and each of the other Commonwealth realms. It replaces the now-extinct British Branch of the House of Saxe-Coburg and Gotha.

Descendants of Victoria
Queen Victoria I married Prince Albert, a son of Duke Ernst I of Saxe-Coburg and Gotha. Therefore her descendants are members of the ducal family of Saxe-Coburg and Gotha. Victoria's eldest son, Edward VII and his son George V reigned as members of this house. But during World War I there was a lot of hatred of anything German. A lot of this feeling was stirred up by newspapers. People with German names were beaten up, and shops with German names had their windows broken.  Even the Royal Family were accused of supporting Germany. On 17 July 1917 George V ordered the Royal Family to give up their German titles, and change German-sounding titles and house names for English-sounding versions. Prince Louis of Battenberg became Lord Louis Mountbatten. The Duke of Teck became the Marquis of Milford Haven and the name of the royal house, and the royal surname was changed to Windsor, after the town of Windsor and Windsor Castle.

When he heard about the change of name, German Emperor William II joked that he wanted to see Shakespeare's play The Merry Wives of Saxe-Coburg-Gotha.

Descendants of Queen Elizabeth II
In April 1952, Queen Elizabeth II said that her descendants will keep the name and House of Windsor.

On 8 February 1960, the Queen decided instead to keep the House and Family of Windsor, however for non-royal male line descendants, the surname "Mountbatten-Windsor" was created.  Mountbatten is the surname adopted by Prince Philip before his marriage, an anglicization of his mother's family name of Battenberg.

List of monarchs in the House of Windsor
King George V of the United Kingdom (died 1936)
King Edward VIII of the United Kingdom abdicated  (died 1972)
King George VI of the United Kingdom (died 1952)
Queen Elizabeth II of the United Kingdom (died 2022)
King Charles III of the United Kingdom (2022-)

The next in line for the throne is Prince William; if so he may be known as King William V of the United Kingdom.

Related pages
 British Royal Family
 Windsor, Berkshire

Further reading
Longford, Elizabeth Harman (Countess of Longford). The Royal House of Windsor. Revised ed. Crown, 1984.
Roberts, Andrew. The House of Windsor. University of California Press, 2000.

Other websites
 Royal Family Name from royal.gov.uk
 House of Windsor from royal.gov.uk
 Royal Family of Great Britain  including the Houses of Hanover, Saxe-Coburg and Gotha and Windsor.

House of Windsor


Lonnie Thompson (Gassaway, 1 de julho de 1948) é um paleoclimatólogo estadunidense.

Ligações externas
Ice Core Paleoclimatology Research Group, the Thompson's research group at OSU.
Lonnie Thompson's web page at Byrd Polar
Ellen Mosley-Thompson's web page at Byrd Polar
Lonnie Thompson's Department of Geological Sciences faculty home page
Ellen Mosley-Thompson's Department of Geography faculty home page
 "Rapid Climate Change in the Earth System: Past,Present,Future" 2002 Heineken Prize lecture by Prof. Thompson
Profile of Lonnie G. Thompson from Proceedings of the National Academy of Sciences
Lonnie Thompson, biography from the Encyclopedia of World Biography
"Deciphering the ice: scientist drills into tropical glaciers for clues to Earth's climate changes" from CNN/Time.
"Science Goes to New Heights", article about Thompson's research in The Antarctic Sun. June 27, 2008
The Habitable Planet video
Dan David Prize laureate 2008
WOSU Public Media profiled the Thompson's polar research in 2008 in a two video segments distributed nationally

Medalha Nacional de Ciências
Membros da Academia Nacional de Ciências dos Estados Unidos
Professores da Universidade Estadual de Ohio
Geólogos dos Estados Unidos
Climatologistas dos Estados Unidos
Alunos da Universidade Estadual de Ohio

Lonnie Thompson


A Woman of Mystery is a 1958 British crime film directed by Ernest Morris and starring Dermot Walsh, Hazel Court, and Ferdy Mayne. The film features an early performance from Michael Caine in an uncredited role.

Plot
Ray Savage, reporter for a sensational magazine in London is assigned over his objections to investigate a pretty blonde hat-check attendant's suicide. Inquiring at Jane Hale's place of work he learns that someone from her past had recognized her, and she was afraid. Finding a luggage label on her suitcase, he follows the lead to a dubious hotel where the manager tells him someone had taken a shot at her while she was staying there. From there he goes to her former place of work, then to the home of her friend at work who tells him that Miss Hale regularly called her mother, long distance. Following the number to a sanatorium where questioning Mrs. Hale yields nothing, but the cooperative administrator tells him the upscale neighborhood Jane was living before she went on the run.

Finally determining that she had been employed at an escort agency, he is so excited as to ignore the indications that he is being followed until he returns home to be attacked by three men who try to duplicate Miss Hale's supposed suicide by knocking him on the head and turning the gas on. Rescued by his girlfriend he grabs a gun and starts taking up housebreaking, until he determines the escort agency is cover for a counterfeiting operation. Then he shoots it out with the villains but feels frustrated because the mastermind behind the operation, the man who killed Jane, has apparently gotten away unseen. That doesn't last, because Jane's new boyfriend comes after Ray to try to kill him and Jane's friend who came to talk to Ray.

Cast
 Dermot Walsh as Ray Savage
 Hazel Court as Joy Grant
 Jennifer Jayne as Ruby Ames
 Ferdy Mayne as Andre
 Ernest Clark as Harvey
 Diana Chesney as Mrs. Bassett
 Paul Dickson as Winter
 Michael Caine Minor Role (uncredited)

External links

References

1958 films
1958 crime films
British black-and-white films
British crime films
Films shot at New Elstree Studios
1950s English-language films
Films directed by Ernest Morris
1950s British films

A Woman of Mystery


Aroline Sanborn (August 13, 1825 - July 10, 1900) was a nineteenth-century American diarist who lived in Kingston, New Hampshire. She was the wife of Dr. Samuel Bartlett (1811-1865), the great-grandson of Josiah Bartlett, one of the original signers of the Declaration of Independence. Mrs. Bartlett was not a well-known or famous woman, but her diary from the mid-nineteenth century is an excellent primary source for students interested in learning more about what domestic life for American women was like in the mid-nineteenth century.

External links
Harvard University Library Open Collections Program. Women Working, 1870–1930, Aroline Sanborn. A full-text searchable online database with complete access to publications written by Aroline Sanborn.

American diarists
19th-century American people
1825 births
1900 deaths
19th-century diarists

Aroline Sanborn


Severin Ducharme (November 26, 1866 – December 30, 1952) was an Ontario real estate and insurance agent and political figure. He represented Essex North in the Legislative Assembly of Ontario as a Liberal member from 1914 to 1919.

He was born in Joliette County,(at St Felix de Valois?) Canada East, the son of Pierre Ducharme, and came to Belle River, Rochester Township in Essex County, Ontario with his family in 1874. Ducharme taught school in Belle River for two years. He then went to Montana, where he worked as a book keeper at a lumber mill for four years before returning to Belle River. After teaching for seven more years, he bought a farm. Ducharme married Marie Mousseau in 1891. In 1895, he became clerk for the township. He qualified to practice as a notary public and, in 1902, was named a justice of the peace. He was named clerk in a division court for Essex County in 1906. He was also an auctioneer. Ducharme served as secretary and treasurer for the local separate school board. He died December 30, 1952.

External links

Commemorative biographical record of the county of Essex, Ontario ... (1905)

1866 births
1952 deaths
Franco-Ontarian people
Ontario Liberal Party MPPs

Severin Ducharme


Robert Marco Tomasulo (October 31, 1934 – April 3, 2008) was a computer scientist, and the inventor of the Tomasulo algorithm. Tomasulo was the recipient of the 1997 Eckert–Mauchly Award "[f]or the ingenious Tomasulo algorithm, which enabled out-of-order execution processors to be implemented."

Robert Tomasulo attended Regis High School in New York City. He graduated from Manhattan College and then earned an engineering degree from Syracuse University. In 1956 he joined IBM research. After nearly a decade gaining broad experience in a variety of technical and leadership roles, he transitioned to mainframe development, including the IBM System/360 Model 91 and its successors. Following his 25-year career with IBM, Bob worked on an incubator project at Storage Technology Corporation to develop the first CMOS-based mainframe system; co-founded NetFrame, a mid-80s startup to develop one of the earliest microprocessor-based server systems; and worked as a consultant on processor architecture and microarchitecture for Amdahl Consulting.

On January 30, 2008, Tomasulo spoke at the University of Michigan College of Engineering about his career and the history and development of out-of-order execution.

Notes

External links
 Lecture, 2008
Personal Profile on the computer.org

1934 births
2008 deaths
American computer scientists
Regis High School (New York City) alumni
Manhattan College alumni
Syracuse University alumni

Robert Tomasulo


Sea Lion was a 2-foot gauge battery-electric locomotive built by Wingrove & Rogers in 1921 as works no. 313 for the Groudle Glen Railway on the Isle of Man.  Together with its sister, Polar Bear, it was intended that they would replace two Bagnall steam locos of the same names.  However, the battery locos were not hugely successful, with Sea Lion being scrapped in 1922 following an incident where it fell down the side of the Groudle Glen.

Replica
It has been proposed to build a replica Sea Lion at the Amberley Museum Railway, home of Polar Bear, using the frames of 1953-built Wingrove & Rogers loco no. 5031, which has been used at Amberley as a spares donor.  The replica would be built initially as a static exhibit, with the potential for it to be made operational.

References

Railway locomotives introduced in 1921
1921 in England
Battery electric vehicles
Groudle Glen Railway
2 ft gauge locomotives
Narrow gauge locomotives of the United Kingdom
Individual locomotives of Great Britain

Sea Lion (battery-electric locomotive)


John Ireland Blackburne (28 May 1817 – 5 September 1893) was a British army officer and Conservative politician.

Blackburne came from a political family: his father, also John Ireland Blackburne was Member of Parliament (MP) for Newton from 1807 to 1818 and Warrington from 1835 to 1847, his mother was Anne née Bamford, of Bamford, Lancashire. His grandfather was John Blackburne (1754–1833), also a member of the Commons. He sat for Lancashire from 1784 – 1831.

He was born at Hale Hall near Liverpool, the family home of the Ireland Blackburnes, and was educated at Eton College. He obtained a commission in the 5th Dragoon Guards and served with the regiment for 14 years, retiring with the rank of captain. On 22 March 1853 he was appointed Lieutenant-Colonel Commandant of the newly raised part-time 4th Royal Lancashire Militia (The Duke of Lancaster's Own Light Infantry). After his retirement from the command he was appointed Honorary Colonel of the regiment on 11 July 1874 (from 1881 it became the 3rd (Militia) Battalion of the Prince of Wales's Volunteers (South Lancashire Regiment)).

In 1874 he inherited his father's large land holdings, and was actively involved in the management of the estate until his death, when it was noted that he was popular with his tenants. In October 1875, Charles Turner, MP for South West Lancashire, died. Accordingly, a by-election was held to fill the vacancy. Blackburne was the only candidate nominated, and was thus elected unopposed on 5 November 1875.

Blackburne successfully defended his seat at the 1880 general election. The Redistribution of Seats Act 1885 redistributed the two-seat South West Lancashire seat among seven new constituencies. Blackburne retired from parliament at the ensuing general election.

He was married twice. In 1846 he married Mary Hoghton, daughter of Sir Henry de Hoghton, Baronet. Following her death he married Emma Jemima Ravenscroft, widow of the 15th Viscount Hereford, who died in 1870.

Blackburne was a justice of the peace for the county palatine of Lancaster.

He died at his London residence after a long illness in September 1893, aged 77.

References

External links

1817 births
1893 deaths
Conservative Party (UK) MPs for English constituencies
UK MPs 1874–1880
UK MPs 1880–1885
People educated at Eton College
5th Dragoon Guards officers
South Lancashire Regiment officers
Lancashire Militia officers

John Ireland Blackburne (1817–1893)


Eucalyptus cuspidata is a species of small, spreading mallee that is native to the south-west of Western Australia.

It was first formally described in 1849 by Nikolai Turczaninow in the journal, Bulletin de la Société Impériale des Naturalistes de Moscou. In 1867, George Bentham listed it in Flora Australiensis as a synonym of Eucalyptus incrassata var. angulosa occurring in Western Australia as did Joseph Maiden in A Critical Revision of the Genus Eucalyptus. In 1988, George Chippendale listed it in Flora of Australia as a synonym of Eucalyptus angulosa. Nevertheless, it is an accepted name by the Australian Plant Census.

It grows on plains and on the edges of seasonal swamps in the Esperance Plains biogeographic region.

Conservation status
Eucalyptus cuspidata is classified as "not threatened" by the Western Australian Government Department of Parks and Wildlife.

See also
List of Eucalyptus species

References

Eucalypts of Western Australia
cuspidata
Myrtales of Australia
Mallees (habit)
Plants described in 1849
Taxa named by Nikolai Turczaninow

Eucalyptus cuspidata


Laurent de Wilde (born in Washington, D.C. in 1960) is a French jazz pianist, composer, and writer.

Biography
Born in Washington, D.C., and raised in France from 1964, he joined the École Normale Supérieure in 1981, philosophy section. In 1983, during a music scholarship, he lived in New York at the Brooklyn campus of Long Island University. At the expiration of his scholarship six months later, he decided to settle permanently in New York. With the encouragement and advice of his elders, he performed in town and joined the trumpeter Eddie Henderson's regular band.

Music career
In 1987, he recorded the first of a series of four albums for Ida Records Off the Boat with Eddie Henderson, Ralph Moore, backed by Ira Coleman on bass and Billy Hart on drums. In 1989, Odd and Blue was released with Coleman and Jack DeJohnette (drums), followed in 1990 by Colors of Manhattan, with Coleman, Henderson and Lewis Nash. De Wilde then returned to Paris to settle but came back to New York in 1992 to record a trio album, Open Changes, with Coleman and Billy Drummond (drums). The success of this record in 1993 earned him the Django Reinhardt Prize, awarded to the best musician of the year. He now shares his time between Paris and his career in New York as a leader or sideman with Barney Wilen, Aldo Romano and André Ceccarelli.

In 1995, de Wilde signed with Sony Jazz (Columbia) and recorded The Back Burner. In 1996, he published Monk (L'Arpenteur/Gallimard), a biography of Thelonious Monk on which he had worked a long time. The book was an immediate success, and joined the permanent Folio catalog in October 1997. It was awarded the Charles Delaunay Prize in 1996 as "the best book about jazz" and the Pelleas Award. Monk has been translated and published in New York, London, Tokyo, Barcelona and Milan.

In 1997, de Wilde released his album in trio-quartet for Columbia. Spoon-a-Rhythm earned him an award at the Victoires de la Musique in 1998 as "jazz artist of the year". His trio toured intensively in Europe, the United States and Japan for over two years. De Wilde decided then to focus on the electronic revolution that radically redefined contemporary jazz. He joined the group of Ernest Ranglin, true founding father of Jamaican reggae and met with different music movers such as Samia, Cosmik Connection or Roudoudou.

The result was an album that claimed for a mutation in jazz: Time for Change was released for Warner Jazz in 2000. The band (Flavio Boltro, Gaël Horellou, Minino Garay, Jules Bikoko and Stéphane Huchard) gave more than a hundred concerts in France and abroad. Enriched by this experience, de Wilde went into studio again. In 2002 he recorded Stories for Warner, released in spring 2003. His new group with DJ Ben on turntables and Julien Charlet on drums toured throughout 2003-2004. During the same period, de Wilde wrote music for children's programs on France 3 TV and has composed scores for several feature films for television on TF1 and France 2.

In fall 2004 de Wilde composed and recorded with his new band, Organics. The album was released by Nocturne. This group featured Gaël Horellou on sax and computer, Philippe Bussonnet on bass and Yoann Serra on drums. That same year, de Wilde pursued his collaborations with André Ceccarelli, Eddie Henderson (Echoes) and Rick Margitza.

In February 2006, de Wilde decided to return to the acoustic trio, and invited Laurent Robin (drums) and Darryl Hall (bass) to take a break from those electronics years. The result is an album rich in rhythms, The Present (Nocturne). The same year, de Wilde met a slam artist whose album had just been out and was looking for a jazz pianist to take the band on the road. Impressed by the quality of the project, de Wilde agreed and it was the beginning of the magnificent ascension of Abd al Malik who would soon be recognized as the new figure of slam. The band toured for two and a half years and has performed in more than 160 major halls around the world.

Between tours, de Wilde took the time to compare the two worlds he lived in for twenty years, and recorded the encounter of an acoustic piano and a computer. As a duet with the participation of Otisto 23, de Wilde produces sounds from his piano (with or without the keyboard) that Otisto records in real time before looping and processing them, building the musical form as it unfolds. The album, released in September 2007 (Nocturne), called PC Pieces, takes the form of a small book in which de Wilde describes the long road leading to this object. Inside the CD, a dual disc offers the music on one side and video on the other: videos synchronized to the music and a filmed concert. In 2010, the project extended into a second volume, entitled FLY! enriched by the experience of touring and playing with this group for two years. The relationship between the computer and the piano is purified, the music is more instinctive, more emotional and more rhythmic. Added to the group is videographer Nico Ticot (XLR Project), a true magician of colours and volumes, matches the music with dreamlike precision.

De Wilde has produced and toured with the Diane Tell Boris Vian Project (Docteur Boris & Mister Vian, Celluloid, 2009) and has produced four volumes of tales from Africa with Souleymane Mbodj editions for Milan. He has also published short stories (Jazz Me Blue, 2009, Au Duc des Lombards, 2010) and participated in the making of a broadcast program for Arte around Thelonious Monk and the book he has written about him.

Discography
 1987: Off the Boat
 1989: Odd and Blue
 1990: Colors of Manhattan
 1992: Open Changes
 1995: The Back Burner
 1997: Spoon-a-Rhythm
 2000: Time 4 Change
 2003: Stories
 2004: Organics
 2006: The Present
 2007: PC Pieces
 2010: Fly
 2011: Colors of Manhattan
 2011: Organics/The Present
 2012: Over the Clouds
 2013: Back Burner
 2014: Fly Superfly
 2016: Riddles: duet with Ray Lema
 2017: New Monk Trio
 2021: Wheels: duet with Ray Lema

Books
 Monk, Gallimard, 1997,

References

External links
 Official site

1960 births
Living people
French jazz pianists
French male pianists
French jazz composers
Male jazz composers
21st-century pianists
21st-century French male musicians

Laurent de Wilde


Andrews is a town in both Georgetown and Williamsburg counties in the U.S. state of South Carolina. Its total population was 2,861 at the 2010 census, down from 3,068 in 2000. General aviation airfield Robert F. Swinnie Airport is  east of its central business district.

Geography
Andrews is located in western Georgetown County, with a small portion extending west into Williamsburg County. U.S. Route 521 bypasses the town to the south, then passes through the west side of the town; the highway leads northwest  to Sumter and east  to Georgetown, the county seat. South Carolina Highway 41 leads northeast  to Hemingway and southwest  to Jamestown. Charleston is  to the southwest.

According to the United States Census Bureau, Andrews has a total area of 2.2 square miles (5.7 km2), all land.

Demographics

2020 census

As of the 2020 United States census, there were 2,575 people, 1,049 households, and 754 families residing in the town.

2000 census
As of the census of 2000, there were 3,068 people, 1,182 households, and 843 families residing in the town. The population density was . There were 1,347 housing units at an average density of . The racial makeup of the town was 60.76% African American, 37.55% White, 0.23% Native American, 0.88% from other races, and 0.59% from two or more races. Hispanic or Latino of any race were 1.43% of the population.

There were 1,182 households, out of which 35.5% had children under the age of 18 living with them, 40.2% were married couples living together, 26.4% had a female householder with no husband present, and 28.6% were non-families. 26.3% of all households were made up of individuals, and 11.6% had someone living alone who was 65 years of age or older. The average household size was 2.60 and the average family size was 3.12.

In the town, the population was spread out, with 30.5% under the age of 18, 8.8% from 18 to 24, 25.3% from 25 to 44, 22.1% from 45 to 64, and 13.3% who were 65 years of age or older. The median age was 35 years. For every 100 females, there were 77.8 males. For every 100 females age 18 and over, there were 73.3 males.

The median income for a household in the town was $19,375, and the median income for a family was $22,750. Males had a median income of $24,891 versus $17,344 for females. The per capita income for the town was $12,105. About 30.8% of families and 34.2% of the population were below the poverty line, including 45.8% of those under age 18 and 21.4% of those age 65 or over.

History

The towns of Rosemary and Harpers Crossroads were settled along the Georgetown and Western Railroad, which started operation in 1886. In 1905, the Seaboard Air Line Railroad built a route through the town, along with a sizable maintenance shop. In 1909, voters agreed to incorporate the two separate towns into a single community, which was named Andrews, after Colonel Walter H. Andrews, who played an important role in the incorporation. Andrews worked for the Atlantic Coast Lumber Co. and served as mayor through most of the 1920s. In 1915, a town hall was built, which is now a museum. By 1919, Andrews had reached a population of 2,000 and continued to grow. During the 1920s, Andrews had the title of being the fastest growing town in the United States for its age. The two schools were the Andrews School and the Rosemary School. These were segregated, with the Andrews School being the white school and Rosemary being the black.

When the Great Depression of the 1930s started, Andrews was hit hard, with population down by 700 when Seaboard scaled back its operations. In 1932 the local economy was dealt a further blow when the Atlantic Coast Lumber Co. closed its nearby plant. The lumber business never regained prominence in the area. The economy subsequently improved in the late 1930s when an International Paper paper mill was built in Georgetown County.

After World War II, the Andrews Development Board was incorporated to attract businesses to the area. Among the industries added were Brooks Veneer Co., the Beale and the Ingram lumber companies, the Rogers Saw Mill Co., the Hardee livestock market, the Andrews Ice Co., and the Oneita Knitting Mill. In 1970, the schools were integrated. Rosemary became a middle school. The Andrews school became the elementary/high school. In 1984, Andrews Elementary School was built. In 2000 new middle and high school facilities were built. An expansion to the local branch library began in 2010. It celebrated its centennial year in 2009.

Education
Public education in Andrews is administered by Georgetown County School District. The district operates Andrews Elementary School (child development-5th), Rosemary Middle School (6th-8th), and Andrews High School (9th-12th).

Trinity Christian Academy is a private institution.

Andrews has a public library, a branch of the Georgetown County Library.

Notable people
 Chris Rock
 Chubby Checker

References

External links
 Town of Andrews official website
 Members.tripod.com
 Visitandrews.com

Towns in South Carolina
Towns in Georgetown County, South Carolina
Towns in Williamsburg County, South Carolina

Andrews, South Carolina


Donna is an Italian television series.

Plot
The story, set in Ferrara, starring Matilde, wife of a small industrial, Roberto, struggling with a serious crisis in the family; her son, Matteo, falls in love with mother's best friend, Paola, and the daughter Nina leaves her husband Fausto and her son to pursue a modeling career.

Then Nina falls in love with Gianfranco Vezze, financier of a South American multinational business with Roberto. Matilde, who feels neglected by her family, decides to separate for a while from her husband, and during the separation, he meets Enrico, her old love at a young age that lives in Hamburg, and falls in love with him again. But when Nina and Roberto are arrested and charged with fraud and drug dealing Matilde decides to return home. During the process, Enrico reveals to Matteo the true identity of Vezze and his previous in the financial sector, but also reveals that is protected by the corporation for which he works, so it becomes difficult to catch him; Matteo decides to ask Vezze's wife, Lisa Longhi, locked in a psychiatric clinic. Lisa, encouraged by her father, will testify in court, and Roberto will be exonerated from the accusations directed against him, having been cheated by Vezze, which is a fugitive under a false name, involved years earlier in the murder of an entrepreneur in Marseille.

Matteo decides to end the relationship with Paola so as not to suffer too much his mother and falls in love with a girl his age. Nina, after having attempted suicide in prison, and after being in a coma, became reacquainted with her parents and returns to live with her son and her husband, whom he met another woman, Lucia. Matilde, who in the meantime has separated from her husband after a period of reflection and had to deal with Paola the death of her friend Annamaria, moved to Hamburg where she can live peacefully by Enrico her new romantic relationship.

Cast
Ottavia Piccolo as Matilde
Angelo Infanti as Roberto
Simona Cavallari as Nina
Agnese Nano as Lisa
Paki Valente as Gianfranco Vezze
Stefania Casini as Annamaria
Davide Bechini as Fausto
Viviana Natale as Lucia
Daniele Liotti as Matteo
Imma Piro as Maria
Emilio Bonucci as Enrico
Giacomo Piperno as Lisa's father
Matteo Naldi as Michele
Edwige Fenech as Paola

See also
List of Italian television series

External links

Italian television series
RAI original programming
Television shows set in Emilia-Romagna

Donna (TV series)


Eric James Ellis (born 9 December 1942) is a former Australian politician.

Born in Sydney, New South Wales, he was a pharmaceutical wholesaler on the South Coast before entering politics. Ellis had also represented Australia in ten pin bowling, and had served in the 3rd Battalion of the Royal Australian Regiment Regular Army. In 1990, he joined the Liberal Party.

In 1995, when the sitting independent member for South Coast in the New South Wales Legislative Assembly, John Hatton, retired, Ellis was elected to the seat as the Liberal candidate. He held the seat until 1999, when he was defeated by Labor candidate Wayne Smith.

References

1942 births
Living people
Members of the New South Wales Legislative Assembly
Liberal Party of Australia members of the Parliament of New South Wales

Eric Ellis (politician)