title: Erik Palladino

text: Erik Palladino (born May 10, 1968) is an American actor known for his portrayal of Dr. Dave Malucci in the NBC medical drama "ER". He is also known for his recurring roles as Lt. Michael Daghlian in "Joan of Arcadia", Vostanik Sabatino in "" and Kevin Miller on "Suits". He has also had major supporting roles in the films "Buried", "Latter Days" and "U-571".


title: Erik Palladino

text: Palladino was born the youngest of three boys in Yonkers, New York, in the spring of 1968 to an Armenian mother, Queenie, a high school teacher, and Peter Palladino, a heating contractor of Italian descent. His older brothers are Chris (b. 1961) and Todd (b. 1963).


title: Erik Palladino

text: Palladino has been in over 20 feature films. He is also known for his work in television on shows such as "", "", "Fringe", "Burn Notice", "NCIS" and "".


title: Erik Palladino

text: He has starred in movies "U-571" alongside Matthew McConaughey and Harvey Keitel, "Finders Fee" opposite James Earl Jones, the teen comedy "Can't Hardly Wait" and TV series "Suits" as Kevin Miller.


title: Erik Palladino

text: In 1999, Palladino landed his breakthrough starring role, one month after returning from the "U-571" shoot in Rome, on "ER" as Dr. Dave Malucci, which he played in the sixth season until the eighth season in 2001. In 2005, he starred in the FX war drama "Over There" as Sgt. Scream, the leader of a squad of U.S. 3rd Infantry Division soldiers involved in the 2003 Invasion of Iraq.


title: Erik Palladino

text: He is a singer of the rock band Hearing Red. Palladino was also the host of the short-lived TV series, "Hit Parader's Heavy Metal Meltdown", in the late '80s.


title: Charlie Korsmo

text: Charles Randolph Korsmo (born July 20, 1978) is an American lawyer and actor. He is best known for portraying the Kid from the film adaption of "Dick Tracy" and Jack Banning in "Hook".


title: Charlie Korsmo

text: Korsmo was born in Fargo, North Dakota, the son of Deborah Ruf, an educational psychologist, and John Korsmo, former owner of Cass County Abstract and former chairman of the Federal Housing Finance Board. He was raised in the Minneapolis suburb of Golden Valley, where he attended and graduated from Breck School in 1996. He has one older brother, Ted (born 1976), and one younger brother, Joe (born 1983).


title: Charlie Korsmo

text: Korsmo's acting roles included The Kid/Dick Tracy, Jr. in "Dick Tracy"; Siggy, the son of Richard Dreyfuss's character, in "What About Bob?", and Jack Banning, the son of Peter Pan in the 1991 film "Hook". His final film role until 2019 was the supporting character William Lichter in the 1998 film "Can't Hardly Wait".


title: Charlie Korsmo

text: Korsmo earned a degree in physics from the Massachusetts Institute of Technology in 2000. Korsmo has worked for the Environmental Protection Agency, and for the Republican Party in the House of Representatives. He received his Juris Doctor degree from Yale Law School in 2006.


title: Charlie Korsmo

text: At Yale, he was a member of the Federalist Society, an organization for conservative and libertarian lawyers and law students. In January 2006, he and other Yale Law students signed an open letter to Pennsylvania Senator Arlen Specter supporting the nomination of Samuel Alito to the Supreme Court. In July 2007, Korsmo passed the New York State Bar exam. Formerly an associate in the New York office of Sullivan & Cromwell LLP and a visiting professor at Brooklyn Law School, Korsmo is currently a professor of corporate law & corporate finance at the Case Western Reserve University School of Law in Cleveland.


title: Charlie Korsmo

text: In May 2011, it was announced that Korsmo had been nominated by President Barack Obama as a member of the Board of Trustees of the Barry Goldwater Scholarship and Excellence in Education Foundation.


title: Pass by catastrophe

text: Pass by catastrophe is an academic urban legend proposing that if some particular catastrophic event occurs, students whose performance could have been affected by the event are automatically awarded passing grades, on the grounds that there would then be no way to assess them fairly and they should not be penalized for the catastrophe.


title: Pass by catastrophe

text: The most common version of this story is that if a student's roommate commits suicide, the surviving student will be awarded straight As for that semester. This version provides the premise for the films "Dead Man on Campus" and "The Curve", as well as episodes of several television series.


title: Pass by catastrophe

text: In his book "Curses! Broiled Again!", urban legend expert Jan Harold Brunvand investigated the claim that a student whose roommate commits suicide will receive straight As for that semester. He could not find any college or university which actually had such a rule. Sociologist William S. Fox described this legend and variants, such as the rule applying to any death of a roommate; he also concluded that the claim has no basis in fact. The website Snopes rates the story as false.


title: Pass by catastrophe

text: Many schools and jurisdictions, while not adopting any blanket rule as claimed by the legend, may make allowances or adjustments for individual students in cases of hardship. In the United Kingdom, the Joint Council for Qualifications allows candidates to apply for an adjustment of their score (up to 5%) if they have met all the qualifications for the exam but suffer "temporary illness, temporary injury or other indisposition at the time of the assessment". If an eligible candidate dies before completing the examination, an "honorary certificate" can be requested; however, it has no academic value.


title: Pass by catastrophe

text: In Victoria, Australia, a student takes the GAT midway through the year. If an event happens that affects their performance in the final exams, their results will be derived from their coursework marks and the marks they received on the GAT.


title: Pass by catastrophe

text: On 12 November 2019, Hong Kong police raided and seriously damaged the Chinese University of Hong Kong. The university management team thus announced a premature end of semester two weeks early. All students could proceed to the next semester for online classes, and arrangements would be made for evaluating their work in the shortened semester.


title: Pass by catastrophe

text: Beginning on December 31, 2019, some students in the United States of America and Canada advocated for various forms of pass by catastrophe due to the COVID-19 pandemic. In response, numerous universities and pre-secondary institutions adopted a pass/fail system as opposed to letter grades.


title: Burgenland

text: Burgenland (; ; ; Austro-Bavarian: "Burgnland;" Slovene: "Gradiščanska") is the easternmost and least populous state of Austria. It consists of two statutory cities and seven rural districts, with a total of 171 municipalities. It is long from north to south but much narrower from west to east ( wide at Sieggraben). The region is part of the Centrope Project.


title: Burgenland

text: Burgenland is the third-smallest of Austria's nine states, or "Bundesländer", at . The highest point in the province is exactly on the border with Hungary, on the Geschriebenstein, above sea level. The highest point entirely within Burgenland is 879 metres above sea level; the lowest point (which is also the lowest point of Austria) at , is in the municipal area of Apetlon.


title: Burgenland

text: Burgenland borders the Austrian state of Styria to the southwest, and the state of Lower Austria to the northwest. To the east it borders Hungary (Vas County and Győr-Moson-Sopron County). In the extreme north and south there are short borders with Slovakia (Bratislava Region) and Slovenia (Mura Statistical Region) respectively.


title: Burgenland

text: Burgenland and Hungary share the Neusiedler See (Hungarian: "Fertő-tó"), a lake known for its reeds and shallowness, as well as its mild climate throughout the year. The Neusiedler See is Austria's largest lake, and is a great tourist attraction, bringing ornithologists, sailors, and wind and kite surfers into the region north of the lake.


title: Burgenland

text: Burgenland's state assembly "(Landtag)" has 36 seats. At the election held on 26 January 2020, the Social Democratic Party (SPÖ) won an absolute majority of 19 seats, the Austrian People's Party (ÖVP) won 11 seats, the Freedom Party (FPÖ) won 4 seats and the Green Party won 2 seats. The voting age for regional elections in Burgenland was reduced to 16 in 2003.


title: Burgenland

text: The Gross domestic product (GDP) of the state was 9 billion € in 2018, accounting for 2.3% of Austria's economic output. GDP per capita adjusted for purchasing power was 27,300 € or 90% of the EU27 average in the same year. Burgenland is the state with the lowest GDP per capita in Austria.


title: Burgenland

text: Burgenland consists of nine districts, two statutory cities and seven rural districts. From north to south:


title: Burgenland

text: The territory of present-day Burgenland was successively part of the Roman Empire, the Hun Empire, the Kingdom of the Ostrogoths, the Italian Kingdom of Odoacer, the Kingdom of the Lombards, the Avar Khaganate, the Frankish Empire, Dominion Aba belonging to the Aba (family); Aba - Koszegi, the Kingdom of Hungary, the Habsburg monarchy, the Austrian Empire, Austria-Hungary, Austria.


title: Burgenland

text: Burgenland is the only Austrian state which has never been part of the Archduchy of Austria, Holy Roman Empire, German Confederation nor Austria-Hungary's Cisleithania.


title: Burgenland

text: The first Indo-European peoples appeared in this region around 3300 BC. From the 4th century BC, the area was dominated by Celts and in the 1st century AD it became part of the Roman Empire. During Roman administration, it was part of the province of Pannonia, and later part of the provinces of Pannonia Superior (in the 2nd century) and Pannonia Prima (in the 3rd century). During the late Roman Empire, Pannonia Prima province was part of larger administrative units, such are Diocese of Pannonia, Praetorian prefecture of Illyricum and Praetorian prefecture of Italy.


title: Burgenland

text: The first Germanic people to settle in this region were the Ostrogoths, who came to Pannonia in AD 380. The Ostrogoths became allies of Rome and were allowed to settle in Pannonia, being tasked to defend the Roman borders. In the 5th century, the area was conquered by the Huns, but after their defeat, an independent Kingdom of the Ostrogoths in Pannonia was formed. The territory of present-day Burgenland became part of the Italian Kingdom of Odoacer, but at the end of the 5th century the Ostrogothic king Theodoric conquered this kingdom and restored Ostrogothic administration in western Pannonia.


title: Burgenland

text: In the 6th century, the territory was included in another Germanic state, the Kingdom of the Lombards. However, the Lombards subsequently left towards Italy and the area came under the control of the Avars. Briefly in the 7th century, the area was part of the Slavic State of Samo, but was subsequently returned to Avar control. After the Avar defeat at the end of the 8th century, the area became part of the Frankish Empire. After the Battle of Lechfeld (or Augsburg) in 955, new Germanic settlers came to the area.


title: Burgenland

text: In 1043, Henry III and King Samuel Aba of Hungary signed a peace treaty. On 20 September 1058, Agnes of Poitou and Andrew I of Hungary met to negotiate the border. The area of Burgenland remained the western frontier of the medieval Kingdom of Hungary until the 16th century.


title: Burgenland

text: The majority of the population was Germanic, except for the Hungarian border guards of the frontier March ("Gyepű"). Germanic immigration from neighbouring Austria was also continuous in the Middle Ages.


title: Burgenland

text: In 1440 the territory of present-day Burgenland was controlled by the Habsburgs of Austria, and in 1463 the northern part of it (with the town of Kőszeg) became a mortgage-territory according to the peace treaty of Wiener Neustadt. In 1477 King Matthias Corvinus of Hungary had retaken the area, but in 1491 it was mortgaged again by King Vladislaus II of Bohemia and Hungary to Emperor Maximilian I. In 1647 Emperor Ferdinand II returned it to the Kingdom of Hungary (which itself was a Habsburg possession in this time).


title: Burgenland

text: In the 16th century, the medieval Kingdom of Hungary lost its independence and its northwestern part that was not conquered by the Ottoman Empire was included in the Habsburg Empire. This Habsburg possession was known as Royal Hungary and it included territory of present-day Burgenland and western Hungary. Royal Hungary still had counties. What is today Burgenland was in those times the Moson, Sopron and Vas counties of Hungary.


title: Burgenland

text: In the 16-17th centuries German Protestant refugees arrived in Western Royal Hungary to shelter from the religious wars of the Holy Roman Empire, particularly from the suppression of the Reformation in Austrian territories, then ruled by the staunchly Roman Catholic Habsburgs. After the Habsburg military victory against the Ottomans at the end of the 17th century, the Habsburg Kingdom of Hungary was enlarged to include much of the territory of the former medieval Kingdom of Hungary. In the 17th and 18th centuries the region of Western Hungary was dominated by the wealthy Catholic landowning families, for example the Esterházys and Batthyánys. In 1867, the Habsburg Empire was transformed into the dual monarchy of Austria-Hungary.


title: Burgenland

text: According to the 1910 census 291,800 people lived on the territory of present-day Burgenland. Among them 217,072 were German-speaking (74%), 43,633 Croatian-speaking (15%) and 26,225 (9%) Hungarian-speaking. Roma people were counted according to their native language.


title: Burgenland

text: In December 1918, the Republic of Heinzenland was declared by Austrian politician Hans Suchard with the goal to eventually annex the territory into Austria. However, it was taken over within two days by Hungary.


title: Burgenland

text: The area had also been discussed as the site of a Czech Corridor to Yugoslavia. The decision on "German West Hungary" ("Deutsch-Westungarn") was fixed in the treaties of Saint Germain and Trianon. Despite diplomatic efforts by Hungary, the victorious parties of World War I set the date of Burgenland's official unification with Austria for 28 August 1921. However, on that day sharpshooters with the support of Hungary prevented the establishment of Austrian police control and customs. Lieutenant Colonel Pál Prónay and his men, the Rongyos Gárda, defended western Hungary from occupation by Austrian officials and forces of the Austrian Gendarmerie. Prónay had help from Hungarians and Croatians who did not want to live under Austrian rule, leading to the Uprising in West Hungary in 1921. Prónay occupied the whole area and created the state of Lajtabánság. In 1921, general elections were held in Sopron and 8 other villages, which voted to stay in Hungary. The other areas were handed over to Austria, to form the Austrian state of Burgenland.


title: Burgenland

text: With the help of Italian diplomatic mediation in the Venice Protocol, the crisis was almost resolved in the autumn of 1921, when Hungary committed to disarm the sharpshooters by 6 November 1921. This was in exchange for a plebiscite on the unification of certain territories, including Ödenburg (Sopron), the designated capital of Burgenland, and eight surrounding villages. The vote took place from 14 to 16 December, and resulted in a clear (but doubted by Austria) vote of the people who inhabited the Sopron district to be part of Hungary. Consequently, the territory was incorporated into Austria, except for the Sopron district which was united with Hungary.


title: Burgenland

text: In contrast to all the other present Austrian states, which had been part of Cisleithania, Burgenland did not constitute a specific "Kronland", and when it was formed it did not have its own regional political and administrative institutions such as a "Landtag" (representative assembly) and "Statthalter" (imperial governor).


title: Burgenland

text: On 18 July 1922, the first elections for the parliament of Burgenland took place. Various interim arrangements were required due to the changeover from Hungarian to Austrian jurisdiction. The parliament decided in 1925 on Eisenstadt as the capital of Burgenland, and moved from the various provisional estates throughout the country to the newly built "Landhaus" in 1929.


title: Burgenland

text: The first Austrian census in 1923 registered 285,600 people in Burgenland. The ethnic composition of the province had changed slightly: the percentage of German speakers increased compared to 1910 (227,869 people, 80%) while the percentage of Hungarian speakers rapidly declined (14,931 people, 5%). This was due mainly to the emigration of the Hungarian civil servants and intellectuals after the territory was ceded to Austria.


title: Burgenland

text: In 1923, emigration to the United States of America, which started in the late 19th century, reached its climax; in some places up to a quarter of the population went overseas.


title: Burgenland

text: After the Nazi German "Anschluss" of Austria, the administrative unit of Burgenland was dissolved. Northern and central Burgenland joined the district of Niederdonau (Lower Danube) while southern Burgenland joined Styria. The Jews of Burgenland were forced to emigrate in the immediate aftermath of the "Anschluss".


title: Burgenland

text: The policy of Germanization also affected other minorities, especially Burgenland Croats and Hungarians. Minority schools were closed and the use of their native language discouraged.


title: Burgenland

text: In 1944, the Nazis began to build the "Südostwall" (South-east wall) with the help of mostly Jewish forced labor and collaborating inhabitants. Soviet troops crossed the Hungarian–Austrian border during the Vienna offensive and were only somewhat delayed by the unfinished fortifications. In the last days of the Nazi regime many executions and death marches of Jewish forced laborers took place.


title: Burgenland

text: As of 1 October 1945 Burgenland was reestablished with Soviet support and given to the Soviet forces in exchange for Styria, which was in turn occupied by the United Kingdom.


title: Burgenland

text: Under Soviet occupation, people in Burgenland had to endure a period of serious mistreatment and an extremely slow economic progress, the latter induced by the presence of Soviet troops which discouraged investment. The Soviet occupation ended with the signing of the Austrian Independence Treaty of Vienna in 1955 by the Occupying Forces.


title: Burgenland

text: The brutally crushed Hungarian Revolution on 23 October 1956 resulted in a wave of Hungarian refugees on the Hungarian-Austrian border, especially at the Andau Bridge (Brücke von Andau). They were received by the inhabitants of Burgenland with overwhelming hospitality.


title: Burgenland

text: In 1957, the construction of the "anti-Fascist Protective Barrier" resulted in a complete sealing off of the area under Soviet influence from the rest of the world, turning the Hungarian-Austrian border next to Burgenland into a deadly zone of minefields and barbed wire (on the Hungarian side of the border), referred to as the Iron Curtain. Even during the era of the Iron Curtain, local trains between the north and south of Burgenland operated as "corridor trains" ("Korridorzüge") – they had their doors locked as they crossed through Hungarian territory.


title: Burgenland

text: Between 1965 and 1971, the minefields were cleared because people were often harmed by them, even on the Austrian side of the border. This could well be taken as a sign of the Soviet Union leaning towards opening the borders to the West starting in the late 1970s.


title: Burgenland

text: Despite Burgenland (especially the area around the Neusiedler See) always producing excellent wine, some vintners in Burgenland added illegal substances to their wine in the mid-1980s. When this was revealed, Austria's wine exports dwindled dramatically. After recovering from the scandal, vintners in Austria, and not only in Burgenland, started focusing on quality and mostly stopped producing low-quality wine.


title: Burgenland

text: On 27 July 1989, the Foreign ministers of Austria and Hungary, Alois Mock and Gyula Horn, cut the Iron Curtain (in German: "Eiserner Vorhang") in the village of Klingenbach in a symbolic act with far-reaching consequences. At the same time, the border crossing at Nickelsdorf (Austria) / Hegyeshalom (Hungary) was opened by the Hungarian border patrol and this enabled the escape of East Germans. Directly behind the wires special medic troops of the Austrian Red Cross awaited them and provided first assistance. Thousands of East Germans used this possibility to flee to the West. Again, the inhabitants of Burgenland received them with great hospitality. Later, this was often referred to as the beginning of German reunification.


title: Burgenland

text: After 1990 Burgenland regained its traditional role as a bridge between the western and eastern parts of Central Europe. In 2003 it joined an Interreg project Centrope. Cross-border links were further strengthened when Hungary, Slovakia and Slovenia joined the European Union in 2004. All three countries became part of the Schengen zone in late 2007, and border controls finally ceased to exist in the region.


title: Burgenland

text: In 2021, Burgenland grew by about 6.000m. This was because the river Lafnitz, which forms a part of the border between Burgenland and Styria, had been regulated in the late 1970s. As an effect the border did not follow the river anymore. In 2021 the border was corrected to match the river and Burgenland grew.


title: Burgenland

text: The Croats arrived after the devastating Ottoman war in 1532, when the Ottoman army destroyed some settlements in their ethnic territory. The emigration in great haste of the Catholic remained population of western Slavonia into Burgenland was – as far as possible – organized by the estate owners. The archives of the Sabor (the Croatian parliament) from this period contain numerous references to such resettlements. As reported in the spring of 1538 by the Ban of Croatia, Petar Keglević, who himself owned large estates in western Slavonia, that the country's population at the Ottoman border was preparing to emigrate. Their resettlement by estate owners was finished only in 1584. They have preserved their strong Catholic faith and their language until today, and in the 19th century their national identity grew stronger because of the influence of the National Revival in Croatia. Between 1918 and 1921 Croats opposed the planned annexation of West-Hungary to Austria, and in 1923 seven Croatian villages voted for a return to Hungary. The Croatian Cultural Association of Burgenland was established in 1934. In the Nazi era (1938–45) the Croatian language was officially prohibited, and the state pursued an aggressive policy of Germanization. The Austrian State Treaty of 1955 guaranteed minority rights for every native ethnic minority in Austria but Croats had to fight for the use of their language in schools and offices even in the 1960s and 1970s. In 2000 51 new bilingual village name signs were erected in Burgenland (47 Croatian and 4 Hungarian).


title: Burgenland

text: The Burgenland Croatian language is a 16th century dialect which is different from standard Croatian. In minority schools and media the local dialect is used, and it has had a written form since the 17th century (the Gospel was first translated to this dialect in 1711). Today the language is endangered by assimilation, according to the UNESCO's Red Book of Endangered Languages. The Croats of Burgenland belong to the same group as their relatives on the other side of the modern-day border with Hungary.


title: Burgenland

text: Hungarians live in the villages of Oberwart/Felsőőr, Unterwart/Alsóőr and Siget in der Wart/Őrisziget. The three villages together are called Upper Őrség (Hun: "Felső-Őrség", German: "Wart"), and they have formed a language island since the 11th century. The other old Hungarian language island in Oberpullendorf/Felsőpulya has almost disappeared today. The Hungarians of Burgenland were ""őrök"", i.e. guards of the western frontier, and their special dialect is similar to the Székelys in Transylvania. Their cultural centre is Oberwart/Felsőőr. Another distinct Hungarian group were the indentured agricultural workers living on the huge estates north of Neusiedler See. They arrived mainly from the Rábaköz region. After the dissolution of the manors in the mid-20th century this group ceased to exist.


title: Burgenland

text: In addition to Germans, Croats and Hungarians, Burgenland used to have substantial Roma and Jewish populations, but these were wiped out by the Nazi regime. Before their deportation during 1938, the traditionally very religious Burgenland Jews were concentrated in the famous "Seven Communities" (Siebengemeinden/Sheva kehillot) in Eisenstadt, Mattersburg, Kittsee, Frauenkirchen, Kobersdorf, Lackenbach and Deutschkreutz, where they formed a substantial part of the population: e.g. in Lackenbach, 62% of the population was Jewish as of 1869. After the war, Jews from Burgenland founded the Jerusalem haredi neighbourhood of Kiryat Mattersdorf, reminding of the original name of Mattersburg, once a centre of a famous yeshiva.


title: Burgenland

text: According to 2021 figures of Statistics Austria, Burgenland's population is mostly Christian (80.3%), with the highest proportion of Protestants in Austria (11.4%). 65.5% of the population are Roman Catholic, and further 3.4% are adherents of other Christian denominations (mostly Orthodox Christians). Islam is practiced by 2.2%, while 0.7% profess another religion. 16.8% of Burgenland's inhabitants profess no affiliation with any religion or denomination.


title: Burgenland

text: In Croatian, Burgenland is known as "Gradišće"; in Hungarian as "Őrvidék", "Felsőőrvidék" or "Várvidék"; in Slovene as "Gradiščanska"; and in the Prekmurje dialect as "Gradišče".


title: Burgenland

text: As the region was not a territorial entity before 1921, it never had an official name. Until the end of World War I the German-speaking western borderland of the Kingdom of Hungary was sometimes unofficially called "Deutsch-Westungarn" (German West Hungary). The historical region included the border city of Sopron in Hungary (known as Ödenburg in German).


title: Burgenland

text: The name Vierburgenland (Land of Four Castles) was created in 1919 by Odo Rötig, a Viennese resident in Sopron. It was derived from the name of the four "vármegye" of the Kingdom of Hungary (in German "Komitate", 'counties') known in Hungarian as Pozsony, Moson, Sopron and Vas, or in German as Pressburg, Wieselburg, Ödenburg and Eisenburg. After the town of Pozsony/Pressburg (Bratislava) was assigned to Czechoslovakia, the number "vier" was to be changed to "drei" (=three), but after it became clear that none of the "Burgen" would be part of the Burgenland, the number was dropped completely but the name Burgenland was kept because it was deemed to be appropriate for a region with so many old frontier castles. The "Burgenland" name was adopted by the first provincial Landtag in 1922.


title: Burgenland

text: In Hungarian the German name is generally accepted but there are three modern alternatives used by minor groups. The Hungarian translation of the German name, "Várvidék", was invented by László Juhász, an expert of the region in the 1970s, and it is becoming increasingly popular especially in tourist publications. The other two names "Őrvidék" and "Felső-Őrvidék" are derived from the name of the most important old Magyar language island, the Felső-Őrség. This microregion is around the town Felsőőr/Oberwart, so these new names are a bit misleading; however they are sometimes used.


title: Burgenland

text: The Croatian and Slovenian names "" and "" are translations of the German name. The village of Jennersdorf is no more than 5 kilometers from the Slovenian and Hungarian borders (see the United Slovenia movement).


title: Burgenland

text: Alternatively, the Serbs, Czechs and Slovaks call the western shores of the Neusiedler See, the lake adjoining the town of Rust, Luzic or Lusic. However, the descendants of Luzic Serbs, Bosniaks, Croats, Czechs and Slovaks were eventually assimilated into the ethnic German or Hungarian cultures over four centuries.


title: Burgenland

text: The province has a long history of Slavic, as well Austrian-German and Hungarian-Magyar settlement. The province's easternmost portion (the shores of the Neusiedler See) carried its own topographical term "Seewinkel" in Austrian-German. This is the area least influenced by Austrian-German since the Hungarian and Slovak borders are less than 10 kilometers away.


title: Burgenland

text: The arms were introduced in 1922 after the new province was created. They were composed from the arms of the two most important medieval noble families of the region, the counts of Nagymarton and Fraknó (Mattersdorf-Forchtenstein, eagle on the rock) and the counts of Németújvár (Güssing, three bars of red and white fur).


title: Burgenland

text: The flag of the province shows two stripes of red and gold, the colours of the coat-of-arms. It was officially confirmed in 1971.


title: Burgenland

text: The cultural offerings are diverse and especially in the summer famous for the Seefestspiele Mörbisch and the Nova Rock Festival with numerous international rockbands.


title: Burgenland

text: The permanent exhibition at Forchtenstein Castle shows an impressive collection of the dukes of Esterházy, at whose court at Esterházy Palace worked the world-famous musician Joseph Haydn, who composed from the Burgenland Croatian folk-song ""V jutro rano se ja stanem"" ("In the morning I rise up early") the melody of ""Gott erhalte Franz den Kaiser"" ("God save Franz the Emperor"), which became the melody of today's national anthem of Germany. There are also cultural events organized by the minorities such as Croatian or Hungarian folk evenings.


title: GAU-19

text: The GAU-19/A (GECAL 50) is an electrically driven, three-barrel rotary heavy machine gun that fires the .50 BMG (12.7×99mm) cartridge.


title: GAU-19

text: The GAU-19/A is designed to accept standard NATO .50 caliber M9-linked ammunition. The rate of fire is selectable to be either 1,000 or 2,000 rounds per minute. The Humvee armament kit version fires at 1,300 rounds per minute. The average recoil force when firing is 1.7 kN, 2.2 kN or 2.8 kN depending on firing rate. In January 2012, General Dynamics announced they would be delivering a new version designated GAU-19/B. It provides the same firepower in a lighter platform, weighing and optimized for a firing rate of 1,300 rounds per minute and an average recoil force of 2.5 kN.<ref name="GAU-19/B">GD delivers GAU-19/B - General Dynamics</ref> Both variants can be configured for an ammunition capacity of 500–1,200 rounds. Both variants are reliable to 40,000 mean rounds between failure.


title: GAU-19

text: The "GECAL 50" was first manufactured by General Electric, then by Lockheed Martin, and now by General Dynamics. Design work began in 1982. Early prototypes had six barrels, but a three-barreled configuration is now standard. The GAU-19/A was originally designed as a larger, more potent version of the M134 Minigun. Due to the loss of nine helicopters in Grenada, GE started building prototypes of the weapon in both a three-barreled and a six-barreled configuration. The six-barreled version was designed to fire 4,000 rounds per minute, and could be adapted to fire up to 8,000 rounds per minute. The GAU-19 takes 0.4 seconds to reach maximum firing rate. Soon it was recommended as a potential armament for the V-22 Osprey. The magazine would be located underneath the cabin floor and could be reloaded in-flight. However, plans to mount the gun were later dropped. In December 1992 the US Navy issued a letter of qualification for GAU-19/A integration and use on naval aircraft. In 2005, the GAU-19/A was approved to be mounted on the OH-58D Kiowa helicopter. It also could have been used on the Army's now cancelled ARH-70.


title: GAU-19

text: In 1999, the United States sent 28 GAU-19s to Colombia. Oman is known to use the GAU-19/A mounted on their HMMWVs. The Mexican Navy uses MDH MD-902 series helicopters with the GAU-19/A system mounted for anti-narcotics operations.


title: GAU-19

text: In October 2010 General Dynamics began developing the lighter weight GAU-19/B in response to an urgent needs statement issued by the Armed Scout Helicopter Program Office. By April 2011 flight testing had begun and by January 2012, the U.S. Army ordered 30 GAU-19/B versions for use on helicopters. All were delivered by the next month. In August 2012 the GAU-19/B received a safety confirmation from the US Army Evaluation Center for use on the OH-58D Kiowa Warrior.


title: GAU-19

text: Both GAU-19 variants have been integrated on naval vessels (tripod and remote weapons station), vehicles (turret and remotely operated), and on both rotary and fixed wing aircraft (externally mounted under wing fixed forward and man fired from the aircraft door or cargo ramp). Most recently a self-contained gun pod was developed by Fulcrum Concepts LLC


title: Disney's Nine Old Men

text: Disney's Nine Old Men were Walt Disney Productions' core animators, some of whom later became directors, who created some of Disney's most famous animated cartoons, from "Snow White and the Seven Dwarfs" (1937) onward to "The Rescuers" (1977), and were referred to as such by Walt Disney himself. They worked in both short films and feature films. Disney delegated more and more tasks to them in the animation department in the early 1950s when their interests expanded and diversified their scope. Eric Larson was the last to retire from Disney, after his role as animation consultant on "The Great Mouse Detective" in 1986. All members of the group are deceased, and are acknowledged as Disney Legends.


title: Disney's Nine Old Men

text: The nine were all hired by Disney in the 1920s and 1930s, working initially on Disney's shorter productions, and later on theatrical projects. All nine were present by the release of "Snow White and the Seven Dwarfs" (1937). According to researcher Neal Gabler and animator Frank Thomas, a board was formed to study all possible problems affecting the company in relation to its work between 1945 and 1947. One day in the early 1950s, Disney named the nine members on the board "Nine Old Men". Disney delegated more and more tasks to them in the field of animation as the work of the company diversified. As well as being honored as Disney Legends in 1989, all of the Nine Old Men were separately honored with the Winsor McCay Award (the lifetime achievement award for animators) during the 1970s and 1980s.


title: Disney's Nine Old Men

text: They began to retire one by one from the 1970s, with Eric Larson's 1986 animation consultancy for "The Great Mouse Detective" being the group's last animation work at Disney. Frank Thomas and Ollie Johnston in particular continued on outside of Disney for some time, and were credited on several films in the 1980s and 1990s, including "The Chipmunk Adventure" (1987), "" (1992) and "The Iron Giant" (1999). A documentary which interviewed the duo, entitled "Frank and Ollie" was released by Disney in 1995. They were honoured with a final voiced cameo in "The Incredibles" in 2004, which was produced by Disney but animated by a then-independent Pixar. Ollie Johnston, the last surviving member of the group, died in 2008.


title: Disney's Nine Old Men

text: In 2012, Frank Thomas' son, Theodore Thomas, produced a documentary featuring the children of the animators remembering their fathers, "Growing up with Nine Old Men" (included in the Diamond edition of the "Peter Pan" DVD).


title: Disney's Nine Old Men

text: In 1982, after retiring, Johnston and Thomas published the book "", which sets out the 12 basic principles of animation and helps to preserve the animation techniques that the Disney company created.


title: Disney's Nine Old Men

text: Another important component of the Nine Old Men's legacy are the many animators in the contemporary animation industry who can directly or indirectly trace their training to someone who was either their apprentice at Disney Animation or their student at CalArts. For example, Wayne Unten, the supervising animator for Elsa in Disney's "Frozen", has noted that he apprenticed with John Ripa, who in turn apprenticed with Glen Keane, who in turn apprenticed with Johnston.


title: Demography of the Roman Empire

text: Demographically, as in other more recent and thus better documented pre-modern societies, papyrus evidence from Roman Egypt suggests the demographic profile of the Roman Empire had high infant mortality, a low marriage age, and high fertility within marriage. Perhaps half of the Roman subjects died by the age of 5. Of those still alive at age 10, half would die by the age of 50.


title: Demography of the Roman Empire

text: During the 1st and 2nd centuries, the Roman Empire had a population estimated in the range of 59 to 76 million. The population likely peaked just before the Antonine Plague. Harper provides an estimate of a population of 75 million and a population density of about 20 people per square kilometre during its peak. In contrast to other ancient and medieval societies, the Roman Empire appears to have had unusually high urbanization rates. During the 1st and 2nd centuries CE, the population of the city of Rome is conventionally estimated at one million inhabitants. Ian Morris estimated that no other city in Western Eurasia would have as many again until the 19th century.


title: Demography of the Roman Empire

text: For the lands around the Mediterranean Sea, and their hinterlands, the period from the second millennium BCE to the early first millennium CE was one of substantial population growth. What would become the territory of the Roman Empire saw an average annual population growth of about 0.1 percent from the 12th century BCE to the 3rd century CE, resulting in a quadrupling of the region's total population. Growth was slower around the eastern Mediterranean, which was already more developed at the beginning of the period, on the order of about 0.07 percent per year. This was stronger growth than that seen in the succeeding period; from about 200 CE to 1800 CE, the European half of the empire only saw about 0.06 to 0.07 percent annual growth (Europe as a whole saw 0.1 percent annual growth rates), and the north African and west Asian parts of the empire saw almost no growth at all.


title: Demography of the Roman Empire

text: By comparison, what is now the territory of China experienced 0.1 percent annual growth from 1 CE to 1800 CE. After a population decline following the disintegration of the western half of the Roman state in the fifth and sixth centuries, Europe probably re-attained Roman-era population totals in the twelfth and thirteenth centuries and, following another decline associated with the Black Death, consistently exceeded them after the mid-15th century.


title: Demography of the Roman Empire

text: There are no reliable surviving records for the general demography of the Roman Empire. There are no detailed local records, such as underlie the demographic study of early modern Europe, either. Large numbers of impressionistic, moralizing and anecdotal observations on demography survive from literary sources. They are of little use in the study of Roman demography, which tends to rely instead on conjecture and comparison, rather than records and observations.


title: Demography of the Roman Empire

text: When the high infant mortality rate is factored in (life expectancy at birth) inhabitants of the Roman Empire had a life expectancy at birth of about 22–33 years. When infant mortality is factored out (i.e., counting only those who survived the first year, 67-75% of the population), life expectancy is around 34-41 more years (i.e., expected to live to age 35–42). When child mortality is factored out (i.e., counting only those who survived to age 5, 55–65% of the population), life expectancy is around 40–45. The ~50% that reached age 10 could also expect to reach ~45-50. The 46-49% that survived to their mid-teens could, on average, expect to reach around 48–54, although of course many lived much longer or shorter lives for varied reasons, including wars for males and childbirth for females. Although these figures rely more on conjecture than ancient evidence, which is sparse and of dubious quality, it is a point of general consensus among historians of the period. It originates in cross-country comparison: given the known social and economic conditions of the Roman Empire, we should expect a life expectancy near the lower bound of known pre-modern populations. Roman demography bears comparison to available data for India and rural China in the early 20th century, where life expectancies at birth were also in the low 20s.


title: Demography of the Roman Empire

text: About 300 census returns filed in Egypt in the first three centuries CE survive. R. Bagnall and B. Frier have used them to build female and male age distributions, which show life expectancies at birth of between 22 and 25 years, results broadly consistent with model life tables. Other sources used for population reconstructions include cemetery skeletons, Roman tombstones in North Africa, and an annuities table known as "Ulpian's life table". The basis and interpretation of these sources is disputed: the skeletons cannot be firmly dated, the tombstones show non-representative sample populations, and the sources of "Ulpian's life table" are unknown. Nonetheless, because they converge with low Roman elite survival rates shown in the literary sources, and because their evidence is consistent with data from populations with comparably high mortality rates, such as in 18th century France, and early 20th century China, India, and Egypt, they reinforce the basic assumption of Roman demography: that life expectancies at birth were in the low 20s.


title: Demography of the Roman Empire

text: As no population for which accurate observations survive has such a low life expectancy, model life tables must be used to understand this population's age demography. These models, based on historical data, describe 'typical' populations at different levels of mortality. For his demographic synopsis of the Roman Empire, Bruce Frier used the Model West framework, as it is "the most generalized and widely applicable". Because it is based on only one empirical input, the model life table can provide only a very approximate picture of Roman demography. On two important points, the table may seriously misrepresent the Roman situation: the structural relationship between juvenile and adult mortality, and the relative mortality rates across the sexes. In any case, Roman mortality should be expected to have varied greatly across times, places, and perhaps classes. A variation of ten years would not have been unusual. A life expectancy range of between 20 and 30 years is therefore plausible, though it may have been exceeded in either direction in marginal regions (e.g., malarious urban districts on one end; high-altitude, low-density settlements on the other).


title: Demography of the Roman Empire

text: The specifics of any ancient age distribution, moreover, would have seen heavy variation under the impact of local conditions. In pre-modern societies, the major cause of death was not the chronic, end-of-life conditions that characterize mortality in industrialized societies, nor primary malnutrition, but acute infectious disease, which has varied effects on age distributions in populations. Pulmonary tuberculosis, for example, characterized much of the Roman region in antiquity; its deaths tend to be concentrated in the early twenties, where model life tables show a mortality trough. Similarly, in pre-modern societies for which evidence is available, such as early modern England and early eighteenth-century China, infant mortality varies independently of adult mortality, to the extent that equal life expectancies at age twenty can be obtained in societies with infant mortality rates of 15% to 35% (life table models omit this; they depend on the assumption that age-specific mortality ratios co-vary in uniform, predictable ratios). No ancient evidence can gauge this effect (the sources have a strong tendency to overlook infant death), and the model life tables might overstate it, but comparative evidence suggests that it is very high: mortality was strongly concentrated in the first years of life.


title: Demography of the Roman Empire

text: With the prevalence of debilitating diseases, the number of effective working years was even worse: health-adjusted life expectancy (HALE), the number of years lived in good health, varies from life expectancy by no more than 8% in modern societies; in high-mortality societies such as Rome, it could be as much as one-sixth (17%) beneath total life expectancy. A HALE of less than 20 years would have left the empire with very depressed levels of economic productivity.


title: Demography of the Roman Empire

text: To maintain replacement levels under such a mortality regime—much less to achieve sustained growth—fertility figures needed to be very high. With life expectancies of twenty to thirty, women would have to give birth to between 4.5 and 6.5 children to maintain replacement levels. Given elevated levels of divorce, widowhood, and sterility, however, the birth rate would have needed to be higher than that baseline, at around 6 to 9 children per woman. Fertility could not long have either fallen below or outstripped replacement levels. A population which maintained an annual growth or decline of 0.7% would double or halve itself every century. Such rates are feasible locally or over a short period of time, and deaths could consistently outstrip births during epidemics, but, in the long term, convergence to maintenance levels was the rule.


title: Demography of the Roman Empire

text: The surviving census returns from Roman Egypt speak to a population that had not yet undergone the "fertility transition"; artificial fertility controls like contraception and abortion were not widely used to alter natural fecundity in the Roman period. Only family limitation, in which couples ceased procreating after they had attained an acceptable level of children, could have been widespread. There is no indication that even this limitation was widespread, however; the recorded distribution shows no evidence of being governed by parity or maternal age.


title: Demography of the Roman Empire

text: Imperial Rome largely conforms to what is known as the "Mediterranean" pattern of marital fertility: men married late and women married early. The evidence on marriage age is fairly robust for Roman elites: men in the senatorial class were expected to marry in their early twenties; women were expected to marry in their early teens. According to the most plausible interpretation of the evidence from funerary commemoration, in the lower classes, women married in their late teens or early twenties, and men married in their late twenties or early thirties.


title: Demography of the Roman Empire

text: The Roman pattern thus stands in contrast to the "Eastern" (i.e., East Asian) pattern, in which both men and women married young. China, the major example of the "Eastern" pattern, also had lower levels of fertility than Rome. This was apparently achieved by a combination of prolonged breastfeeding, female infanticide, and male celibacy, though the details are controversial. Roman families share some features of the "Eastern" pattern. Roman Egypt, for example, had a custom of extended breastfeeding, which may have lengthened birth spacing. Egyptian fertility levels are comparable to those recorded in the early modern Japanese village Nakahara, where about half the population practiced family limitation. On the historian Walter Scheidel's judgment, this speaks to the incidence of family limitation even in what are supposedly "natural fertility" regimes.


title: Demography of the Roman Empire

text: Roman and Greek literary and legal tradition also makes frequent reference to the "Eastern" demographic features infanticide and child exposure. Although the extent of these practices is unlikely to have been small, it is nonetheless impossible to quantify (nor can reported gender ratios permit judgment on the prevalence of femicide). These "Eastern" features did not prevail in medieval or modern Europe, where there were cultural and structural factors directly discouraging them or diminishing their effects on childhood mortality (religious doctrine, legal enforcement, institutions of foundling care, child labor, wet-nursing, etc.). These constraints were weak or absent in Greek and Roman society.


title: Demography of the Roman Empire

text: According to the Cavalli–Sforza reconstruction of genetic history, there was little migration in Europe after the Iron Age. Most population growth can therefore be ascribed to the gradual expansion of local populations under conditions of improving fertility, rather than inter-regional transfer. That said, local migration from village to village may have been substantial; for the successful dedication and expansion of new settlements, it would have been necessary. The geography of the Mediterranean made this fairly convenient; at the beginning of the empire, about 750,000 Italians lived in the provinces. Julius Caesar, Mark Anthony and Octavian–Augustus settled many of their veterans in colonies, in Italy, and the provinces. Those established in Italy up to 14 BCE have been studied by Keppie (1983). In his account of the achievements of his long reign ("Res Gestae"), Augustus stated that he had settled 120,000 soldiers in twenty colonies in Italy in 31 BCE, then 100,000 men in colonies in Spain and southern Gaul in 14 BCE, followed by another 96,000 in 2 BCE. Brian Campbell also states "From 49 to 32 BCE about 420,000 Italians were recruited" – which would thus be the Veteran (citizen) stock that was largely sent to the provinces (colonies) during Augustus; The Lex Calpurnia however also allowed citizenship to be granted for distinguished bravery – as example the 1,000 Socii from Camerinum after Vercellae 101 BCE (Plutarch Mar. XXXVIII) or the auxiliary (later Legio XXII Deiotariana) after Zela. By the time of Augustus the legions consisted mostly of ethnic Latins/Italics and Cisalpine Gauls. Historian Theodore Mommsen estimated that under Hadrian nearly 1/3 of the eastern Numidia population (roughly modern Tunisia) was descended from Roman veterans.


title: Demography of the Roman Empire

text: Modern estimates of the population of the Roman Empire started with the fundamental work of 19th-century historian Karl Julius Beloch. His estimates of the area of different components of the empire, based on planimetric estimates by contemporary military cartographers, have not been challenged by any more modern analyst. By providing a check to population densities, these area figures compel a baseline level of plausibility. Beloch's 1886 estimate of the population of the empire in 14 CE has withstood contemporary and more recent criticism, and underlies modern analysis (his 1899 revision of those figures is less esteemed). Only his estimates for Anatolia and Greater Syria required extensive revision; Beloch estimated population figure, 19 million, produced population densities not otherwise achieved in those areas until the 20th century. Bruce Frier, in a recent estimate of the population of the empire, suggested a figure of 12 million as "considerably more plausible". Beloch's figures for Spain and Africa have also been revised downwards. In a more recent publication, Kyle Harper suggests 75 million for the empire as a whole with 16 million for Anatolia and Greater Syria.


title: Demography of the Roman Empire

text: This estimate produces a population density of ca. 20 inhabitants per square kilometer a low figure by modern standards (the United Kingdom, for example, has a population density of 254.7/km). The population density in the Greek East was 24/km, denser than the Latin West at 17/km; only the Western provinces of Italy and Sicily had a density higher than the average of the East.


title: Demography of the Roman Empire

text: Harper estimates the population at the time of Augustus at 60 million, a discrepancy of 10% from Beloch's 1886 estimate, and suggests a population growth rate of 0.1% per year, reaching 75 million after nearly two centuries of growth. Current estimates suggest that slaves constituted about 15 percent of the Empire's total population; the proportionate figure would be much higher in Italy and much lower in Africa and Egypt.


title: Demography of the Roman Empire

text: Bruce Frier's estimate produces a population density of 13.6 inhabitants per square kilometer. The population density in the Greek East was 20.9/km, twice as dense as the Latin West at 10.6/km; only the Western provinces of Italy and Sicily had a density comparable to the East.


title: Demography of the Roman Empire

text: There are few recorded population numbers for the whole of antiquity, and those that exist are often rhetorical or symbolic. Unlike the contemporaneous Han dynasty, no general census survives for the Roman Empire. The late period of the Roman Republic provides a small exception to this general rule: serial statistics for Roman citizen numbers, taken from census returns, survive for the early Republic through the 1st century CE. Only the figures for periods after the mid-3rd century BCE are reliable, however. Fourteen figures are available for the 2nd century BCE (from 258,318 to 394,736). Only four figures are available for the 1st century BCE, and are feature a large break between 70/69 BCE (910,000) and 28 BCE (4,063,000). The interpretation of the later figures—the Augustan censuses of 28 BCE, 8 BCE, and 14 CE—is therefore controversial. Alternate interpretations of the Augustan censuses (such as those of E. Lo Cascio) produce divergent population histories across the whole imperial period.


title: Demography of the Roman Empire

text: The enfranchisement of the Cisalpine provinces and the Italian Allies after the Social War would account for some of the population growth of the 1st century BCE. Alternate readings of the Augustan census both accept the basic accuracy of the figures, but assume different methods on the part of the census-takers. The standard interpretation assumes that the census-takers included all citizens—men, women, and children—in the Augustan censuses; the revised interpretation assumes that the census-takers only counted adult men, as they had during the Republican period. The standard interpretation is not supported by any evidence internal to the text, but reduces the implied population totals for 28 BCE Italy from 10 million to a more plausible 4 million. The high total earns support from recorded conflict over land in the late Republic and other indications of population pressure, but does not accord well with comparative evidence from other periods and other parts of the empire.


title: Demography of the Roman Empire

text: Recent demographic studies have argued for a population peak ranging from (comparable to the contemporaneous and


title: Demography of the Roman Empire

text: According to recent work, there are at least 1,388 identified urban sites in the Roman world dated from the Late Republican and Early Imperial period. At its peak, the city of Rome had at least one million inhabitants, a total not equaled again in Europe until the 19th century. As the imperial capital, Rome was sustained by transfers in kind from throughout the empire; no other city could be sustained at this level. The other major cities in the empire (Alexandria, Antioch, Carthage, Ephesus, Salona etc.) had populations of over a hundred thousand, with Alexandria having a population estimated at around half a million. Most of these 1,388 cities were small, usually possessing around 5,000 inhabitants. Out of the 885 cities whose build-up area has been estimated, slightly less than half, 405 cities, have an area that suggests a population larger than 5,000, and approximately 8% (69 out of 885) of the sites have an area that suggests a population larger than 30,000. Using a population threshold of 5,000 individuals and extrapolating from the sample of 885 cities with estimated build-up area to all 1,388 cities, the cumulative urban population of the empire can be estimated at around 14 million in the ca. 600 cities with over 5,000 inhabitants, given the conventional estimates for the total population of the empire at 50 to 60 million this implies an urbanization rate of 25–30%, a rate of urbanization that is twice as high as that of Europe at the turn of the 19th century.


title: Demography of the Roman Empire

text: High mortality rates and pre-modern sanitary conditions made urban regions net population sinks, with more local deaths than births. They could only be sustained by constant immigration. The large cities provided a major stimulus to demand, and not only for agricultural products but for manufactured goods and luxury items as well.


title: Demography of the Roman Empire

text: Russell (1958) produced estimates for the urban population in Late Antiquity, these estimates are much lower than more recent estimates which refer to the Early Imperial Period, they are as follows.


title: The Dating Game

text: The Dating Game is an American television game show that first aired on December 20, 1965, and was the first of many shows created and packaged by Chuck Barris from the 1960s through the 1980s. ABC dropped the show on July 6, 1973, but it continued in syndication for another year (1973–1974) as "The New Dating Game". The program was revived three additional times in syndication afterward, with the first from 1978 to 1980 as "The All-New Dating Game", the second from 1986 to 1989, and the third from 1996 to 1999.


title: The Dating Game

text: Jim Lange hosted "The Dating Game" for its entire ABC network run and for the 1973 and 1978 syndicated editions. The 1986 revival was hosted by Elaine Joyce for its first season and Jeff MacGregor for its remaining two seasons. When the show was revived with a different format in 1996, Brad Sherwood was named as its host. Chuck Woolery took over for the two final seasons, with the original format reinstated, in 1997 after he had left "The Home and Family Show."


title: The Dating Game

text: Beginning in 1966, "The Dating Game" was often paired with "The Newlywed Game". This was especially true when the two shows entered syndication, and in 1996, the revivals of "The Dating Game" and "The Newlywed Game" were sold together as a package called "The Dating-Newlywed Hour".


title: The Dating Game

text: The program was originally broadcast in black-and-white, but when a prime-time version began in October 1966, both versions were broadcast in color, making the daytime version the first ABC daytime series to be regularly broadcast in color.


title: The Dating Game

text: In February 2021, it was reported that ABC and current distributor Sony Pictures Television would revive the show as "The Celebrity Dating Game", with actress Zooey Deschanel and singer Michael Bolton as hosts, which premiered on June 14, 2021. It ran for eight episodes until August 16, 2021, and was canceled in April 2022.


title: The Dating Game

text: Typically, a bachelorette would question three bachelors, who were hidden from her view; at the end of the questioning period, she would choose one to accompany her on a date, with expenses paid by the show. Occasionally, the roles would be reversed with a man questioning three ladies; other times, celebrities would question three players for dates for themselves, co-workers or relatives.


title: The Dating Game

text: Before becoming famous, Farrah Fawcett, Suzanne Somers, Yvonne Craig, Lindsay Wagner, Leif Garrett, Tom Selleck and Lee Majors appeared as contestants on the show in the 1960s and early 1970s. Other contestants who appeared before becoming famous included the Carpenters, Jackson Bostwick, Michael Richards, Joanna Cameron, Andy Kaufman (who went under the pseudonym Baji Kimran), Steve Martin, Burt Reynolds, John Ritter, Phil Hartman, Jennifer Granholm (governor of Michigan from 2003 to 2010), Arnold Schwarzenegger and Alex Kozinski. Serial killer Rodney Alcala's episodes were shown during his murder spree and after he had been convicted of assault in California.


title: The Dating Game

text: Some contestants appeared even after they were fairly well known, including a young Michael Jackson, Burton Cummings, Dusty Springfield, Ron Howard, Maureen McCormick, Barry Williams, Sally Field, Richard Dawson, Jay North and Paul Lynde.


title: The Dating Game

text: A trademark of the show was that at the end of each episode, the host and winning contestants would blow a kiss to the viewers.


title: The Dating Game

text: Generally, the bachelorette would ask questions, written in advance on cards, to each of the three hidden bachelors. The same question could be asked to multiple bachelors. This continued until time ran out. The bachelorette would make her choice based solely on the answers to her questions. Occasionally, the contestant was a bachelor who would ask questions to three bachelorettes. Certain kinds of questions were "off-limits", such as name, age, occupation and income.


title: The Dating Game

text: For the first season of the 1996 revival, a different format was used. A notable change was that the prospective bachelor/bachelorette knew the first names of the three contestants at all times.


title: The Dating Game

text: Instead of asking questions of the contestants, the bachelor/bachelorette was presented with two pun-laden statements, each pertaining to one of the contestants. When chosen, a new statement replaced the old one and the potential date explained the reason why that fact pertained to him or her. Play continued until time expired, and then the bachelor/bachelorette would announce his or her choice.


title: The Dating Game

text: In several weeks of episodes that aired at various times throughout the season, another format was used. This format had the players choose a potential date based on appearance and another based on personality. To decide the "looks" portion, the bachelor/bachelorette would observe each contestant (another change not seen on any "Dating Game" series beforehand) for several seconds, with the contestants wearing noise-canceling headphones to prevent them from hearing the bachelor/bachelorette talking about them. The statement round was used to determine the "personality" portion. After the game ended, the bachelor/bachelorette would select one contestant based on appearance and one based on personality, then would be prompted to choose between the two. If the bachelor/bachelorette was to select the same contestant for both looks and personality, the contestant would win a $500 cash prize.


title: The Dating Game

text: The remaining two seasons reverted back to the original format, but there was more of a variety between bachelors and bachelorettes.


title: The Dating Game

text: Various episodes from the ABC daytime run have aired on Game Show Network. The remaining ABC versions of the show, which were made for primetime and for syndication, are assumed to exist in their entirety.


title: The Dating Game

text: After the syndicated finale in 1980, repeats of the 1978–1980 version were seen on KHJ-TV (now KCAL-TV) in Los Angeles from September 26, 1983, to September 12, 1986 (when The All-New Dating Game with Elaine Joyce premiered on September 15, 1986), as well as in some other cities. In another variation of the final year in reruns, some episodes from ABC daytime, ABC primetime and weekly syndication were shown.


title: The Dating Game

text: Some of the celebrities that appeared on "The Dating Game" appeared as a bachelor or bachelorette before becoming famous, or as a special guest star, include:


title: The Dating Game

text: The show used many contemporary songs, ranging from those of Herb Alpert and the Tijuana Brass from the 1960s to pop music used for celebrity guest and band appearances. For the first few episodes at the beginning of the ABC run, live music was provided by the Regents (unrelated to the doo-wop band of the same name who were famous for their song "Barbara Ann"), a house band from Jack Martin's A.M-P.M. on La Cienega Boulevard Starting in 1966, the show used recorded music, with the main theme provided by the Mariachi Brass, featuring trumpeter Chet Baker. The show used cover songs made by Skip Battin & the Group (1967, Aurora 159) and the Challengers (196?, Triumph 64).


title: The Dating Game

text: In 1972, "The Dating Game" added a Dixieland-style closing theme called "Little Rosie" to its ABC daytime version; the tune was used also on the first two syndicated versions, through 1980. The song, along with some of the show's other cues, was featured on the 1973 album "Themes from TV Game Shows", produced by Chuck Barris. The show continued to use the 1966 opening theme until 1974; during the 1978-80 version, the show used a rearranged version of it. The 1978 opening theme is found on the Barris album's first track and is credited to Barris and David Mook.


title: The Dating Game

text: The 1980s reboot of the show used music composed by Milton DeLugg, while later editions featured a re-recording of the original theme by Steve Kaplan.


title: The Dating Game

text: In his first autobiography, "Confessions of a Dangerous Mind" (1988), Chuck Barris claimed that "The Dating Game" was a cover for his CIA activities, and was promoted by the CIA. However, his second memoir, "The Game Show King: A Confession" (1993), mentions neither the CIA nor his previous book. A CIA spokesman has categorically denied that Barris ever worked for the agency in any capacity.


title: The Dating Game

text: The show's popularity in the 1960s inspired a Baskin-Robbins ice cream flavor called "Dating Game". It was pink ice cream with diced dates and butter-toasted pecans.


title: The Dating Game

text: "The Dating Game" was parodied by Steve Jobs during a 1983 Macintosh pre-launch event. The three "contestants" were Mitch Kapor of Lotus Software, Fred Gibbons of Software Publishing Corporation and Bill Gates of Microsoft.


title: The Dating Game

text: A recurring parody featured in the current version of "Let's Make a Deal" called "The Dealing Game" features Wayne Brady and Jonathan Mangum (both as different characters in each appearance), but instead of a date, each represents a curtain and tries to convince the contestant to pick his curtain. Model Tiffany Coyne plays the role of the "hostess".


title: The Dating Game

text: Hasbro released three home games based on the original 1965 version of "The Dating Game" from 1967 to 1968, while Pressman Toy Corporation released a home game based on the late 1980s version in 1987.


title: The Dating Game

text: In 1968, a 33⅓ rpm party record called "The Dating Game Party Pak", narrated by Jim Lange, was released; it included postcard invitations, name tags and scorecards for six people to play.


title: The Dating Game

text: A video slot machine based on the original 1965 version with an animated Jim Lange was released by IGT in 2004 in both nickel and quarter versions.


title: The Dating Game

text: In March 2011, a new virtual version of "The Dating Game" was launched on Facebook, Twitter and other social media network sites. The game was developed by 3G Studios, under license from Sony Pictures Entertainment.


title: Suraiya

text: Suraiya Jamal Sheikh (15 June 1929 – 31 January 2004), popularly known by the mononym Suraiya, was a popular actress and playback singer in India's Hindi-language films. She was active from 1936 to 1963, and was the most celebrated actress between the mid- to late 1940s, before she was surpassed in fame by Madhubala and Nargis.


title: Suraiya

text: In a career spanning from 1936 to 1963, Suraiya acted in 67 films and sang 338 songs. She was one of the greatest actresses of the Hindi cinema and a leading lady in Hindi language films in the 1940s and 1950s. She was also a renowned playback singer, who mostly sang for herself, starting from a song in "Nai Duniya" (1942) when she was only 12 years old.


title: Suraiya

text: She was known for her North Indian Muslim feudal style acting or "adakari" in many of her films. Suraiya made her first appearance as a child artist with the film "Madame Fashion" (1936), directed by Jaddan Bai. She made her acting debut with the film "Taj Mahal" in which she played the role of Mumtaz Mahal. In her heyday, she was known as "Malika-e-Husn" (queen of beauty), "Malika-e-Tarannum" (queen of melody) and "Malika-e-Adakari" (queen of acting).


title: Suraiya

text: Suraiya was born Suraiya Jamal Sheikh on 15 June 1929 in Lahore to Aziz Jamal Sheikh and Mumtaz Sheikh. She was one year old, when her family moved to Mumbai (then called Bombay) to reside at 'Krishna Mahal' at Marine Drive. Soon they were joined by her maternal uncle, M. Zahoor, who became a well known villain in the 1930s Bombay film industry. She attended New High School, now known as J.B. Petit High School for Girls, in the Fort district of Bombay. Suraiya's childhood friends included Raj Kapoor and Madan Mohan, with whom she used to sing in children's radio programmes at All India Radio.


title: Suraiya

text: Suraiya made her debut as a child actor in Jaddan Bai's "Madame Fashion" in 1936 as Miss Suraiya. Later, she got a prominent role with the help of her uncle, M. Zahoor. During a holiday from school in 1941, she accompanied him to Bombay's Mohan Studios to see the shooting of the film "Taj Mahal", which was being directed by Nanubhai Vakil. Vakil noticed the charm and innocence of young Suraiya and selected her to play the role of Mumtaz Mahal.


title: Suraiya

text: While she was singing for children's programs for All India Radio (AIR) in Bombay, as a six-year old, Raj Kapoor and Madan Mohan were her co-artists. In fact, they first introduced her to AIR. Both were associated with her later as an adult, as her hero and as her music director respectively in films. At AIR, Zulfiqar Ali Bukhari was at that time the station director at the Bombay radio station. As soon as music director Naushad Ali heard Suraiya's voice, he chose her to sing (at age 13) for Mehtab in Abdul Rashid Kardar's film "Sharda" (1942). He became Suraiya's mentor and she sang some of the best songs of her career under his baton. Later, he gave hit after hit when Suraiya became a full-fledged singing star in "Anmol Ghadi" (1946), "Dard" (1947), "Dillagi" (1949) and "Dastaan" (1950).


title: Suraiya

text: As a child artist, she acted and also sang in "Tamanna" (1942), "Station Master" (1942), and "Hamari Baat" (1943). Devika Rani, who headed the Bombay Talkies production company, seeing her blooming brilliance as an actress and as a singer signed her on a five-year contract at Rs. 500 per month with her role in "Hamari Baat" (1943). In the film she had a duet dance and her song with Arun Kumar, " Bistar Bicha Diya Hai Tere Ghar Ke Samne" became very popular.


title: Suraiya

text: This five-year contract was revoked by Devika Rani on Suraiya's request, when K. Asif offered Suraiya Rs. 40,000 for his film 'Phool'. As an adult, Suraiya initially played as Prithviraj's sister in K. Asif's "Phool" as Shama, with Prithviraj Kapoor as hero. At the age of 14 in 1943, Suraiya appeared as a heroine in J.K. Nanda's film "Ishara", opposite Prithviraj Kapoor.


title: Suraiya

text: She played a heroine in the film "Tadbir" (1945) on the recommendation of K. L. Saigal, who liked her voice during a rehearsal of a song for Jayant Desai's film "Samrat Chandragupt" (1945) in which she was acting. He recommended her to Desai, opposite himself in "Tadbir" (1945). She went on to co-star with K. L. Saigal in "Omar Khayyam" (1946) and "Parwana". Although by then she had a few hit songs, the four solo songs which she sang in "Parwana" for music director Khwaja Khurshid Anwar made her a genuine singer-film star.


title: Suraiya

text: She acted as a co-star in Mehboob Khan's "Anmol Ghadi" (1946) with Noor Jehan as the lead actress and Surendra as the hero and in "Dard" (1947) with Munawwar Sultana as the lead actress and Nusrat as the hero. When "Pyar Ki Jeet" (1948) was released, with her as the heroine and Rehman as the lead actor, it caused large crowds outside Suraiya's house that had to be controlled by posting an inspector and four constables. Along with this, Suraiya also acted in the movie "Gajre" (1948). During the premiere of "Badi Behen" (1949), again with Rehman as her lead actor, there was a very large crowd outside the cinema hall and the police had to baton-charge when Suraiya was walking into the hall. People even pulled at her clothes, so that after that, Suraiya stopped going to the premieres of her films.


title: Suraiya

text: In the late 1940s, she worked with Dev Anand. While shooting the film "Vidya" (1948), she became romantically involved with him. The two of them were paired in seven films together; "Vidya" (1948), "Jeet" (1949), "Shair" (1949), "Afsar" (1950), "Nili" (1950), "Do Sitare" (1951) and "Sanam" (1951).


title: Suraiya

text: From the late 1940s to the early 1950s, Suraiya was the highest-paid and most popular star of the Indian cinema.


title: Suraiya

text: In "Mirza Ghalib" (1954), which won the 1954 National Award for Best Feature Film in India, Suraiya shone both as an actress and as a singer for her rendition of Ghalib's lover, 'Chaudvin'. Jawaharlal Nehru, commented on seeing the film, "Tumne Mirza Ghalib kii ruuh ko zindaa kar diyaa," ("You have brought the soul of Mirza Ghalib back to life").


title: Suraiya

text: After "Mirza Ghalib", she acted in movies such as "Bilwamangal" (1954), "Waris" (1954), "Shama Parwana" (1954), "Kanchan" (1955), which was released in 1949 as "Amar Kahani" and re-released as "Kanchan", "Inam" (1955), "Mr. Lambu" (1956), "Trolly Driver" (1958), "Miss 1958" (1958), "Maalik" (1958) and "Shama" (1961). In the mid-fifties, Suraiya told Lata Mangeshkar once that she would soon be cutting down on her films. Lata told her not to do so. She also worked with then newcomer Shammi kapoor in Shama Parwana (1954). "Rustam Sohrab" (1963) was her last film. Suraiya in an interview said that during the shooting of the film, she suffered from low blood pressure, which was the reason for her giving up her acting career.


title: Suraiya

text: Her film "Jaanwar" in the early 1950s with Dilip Kumar as the leading star (and K. Asif as director), was left incomplete by her, as she refused to act in the film, because of rough behaviour by Dilip Kumar during the shooting of the film, when he tore her blouse and bruised her back so badly that it took a month to heal. Later, director-producer K. Asif wanted a kissing scene. Suraiya knew that censors would not pass it. When she asked Asif how he would get it through the censors, he could not satisfy her and she withdrew from the film. There was another story also, that Dilip Kumar and K. Asif were hand in glove to exploit and humiliate Suraiya, because Suraiya had earlier ignored Dilip Kumar's plea to act with her. So they did some torrid scene and kept on repeating it for four days. Fed up with this ghastly behaviour of the two, Suraiya refused to act for them and withdrew from the film. In 1953, she refused the film "Anarkali" as heroine, a role which went to Bina Rai.


title: Suraiya

text: Two other of her films were left incompleted, one of which was "Pagalkhana" (also, in early 50s), with Bharat Bhushan as lead actor, which was abandoned by the producer director P.L. Santoshi after eight reels, because of financial constraints. The other was an English version of "Wajid Ali Shah", starring Suraiya and Ashok Kumar in 1953, being filmed by British film director Herbert Marshall, was shelved after being made for some time. A number of her films were announced with advertisements in film magazines, but were partially made or did not take off. These were "Palken" with Shekhar, to be produced and directed by Devendra Goel, for Goel Cine Corporation; "Gumrah" by Globe Pictures, Bombay; "Nigah" by CB Films; "Sanwri" by Kundi Art Productions, produced and directed by Niranjan and "Ching Chow" to be produced by Nigaristan (producers of "Moti Mahal").


title: Suraiya

text: Suraiya's first song as a child-singer was "Boot karun main polish babu" (as a playback singer) in the film "Nai Duniya" (1942), composed by Naushad. She went on to sing playback for actress Mehtab for "Sharda" (1942), "Kanoon" (1943) and "Sanjog" (1942–43) for Naushad and A.R. Kardar (director-producer), when her principal, Miss P.F. Puttack, took a strong view of her truancy from school, and her 'adventure' came to an abrupt halt. When Mehtab first saw baby Suraiya, she was hesitant to have her as her playback singer, but on hearing her, she wanted Suraiya to sing all her songs in her films.


title: Suraiya

text: Even in later years, in 1946, Mehtab was so attached to Suraiya's singing, that she requested Suraiya to record disc versions of her songs in her film "Shama" (1946), produced by Sohrab Modi, when Suraiya had become a busy heroine and had left singing playback in films for Mehtab. Suraiya then sang for Mehtab, in her own disc versions which were recorded by Shamshad Begum in the film.


title: Suraiya

text: Suraiya debuted with Manna Dey in his first Hindi film song, and their only duet 'Jago ayee usha' in "Tamanna" in 1942, was directed by his uncle, the famous K. C. Dey. Again in 1942, Suraiya paired with Rajkumari in "Station Master" ( with music director Naushad) for the song 'Sajan ghar aye'. Suraiya acted in both these films.


title: Suraiya

text: In 1943, Suraiya sang a song "Ek Tu Hoo, Ek Main Hoon", music composed by Naushad, in the film "Kanoon", which was the first song in Bombay music industry, which had characteristics of Latin American music.


title: Suraiya

text: The song "Bistar Bicha Liya Hai Tere Dar Ke Samne Ghar Hum Ne Le Liya hai Tere Ghar ke Samne", which Suraiya sang in duet with Arun Kumar for the film "Hamari Baat" (1943) was a major success.


title: Suraiya

text: A few years later, the singer-actor, K.L. Saigal was so impressed by the singing of the 16-year-old Suraiya, that he agreed to have her opposite him in the film "Tadbir" as a heroine and a singer in 1945. The music was directed by Lal Mohammad in the film. "Rani khol de dawar milne ka din aa gaya" is a memorable song from the film, she sang it with Saigal. Saigal again opted for Suraiya as his heroine and a singer in the films "Omar Khayyam" (1946) (with music director Lal Mohammad) and "Parwana" (1947) (with music director Khurshid Anwar). "Parwana" was Saigal's last film and was released after his death.


title: Suraiya

text: Later, Suraiya continued to work with music director Naushad in a few films, and in 1946, she appeared with actress Noor Jehan in "Anmol Ghadi" as a co-star, with Naushad as the music director. She sang three songs in the film which became popular, of which 'Man leta hai angdai' went viral throughout the country. The musical film "Dillagi" (1949), under Kardar's direction, with Naushad's music, became a silver jubilee hit, with Suraiya becoming a national rage with her songs and acting. In a span of 22 years, she gave a number of hits. She sang about 51 songs for Naushad.


title: Suraiya

text: In her honey-rich voice, songs like "Woh paas rahein, ya door rahein", "Tere naino ne chori kiya", "Tu mera chaand, main teri chandni", "Yaad karun tori batiya" and the rare classical number "Man mor hua matwala" became an all-time favourite, along with "Nain dewane, ek nahin mane".


title: Suraiya

text: Khurshid Anwar was the music director in three films of Suraiya, viz. "Ishara" (1943), "Parwana" (1947) and "Singaar" (1949). Suraiya sang 13 songs in these films.


title: Suraiya

text: With the music director duo, Husnlal Bhagatram, Suraiya sang in 10 films and recorded the most songs (58, excluding 6 repeat songs for the film "Kanchan") for any music director from 1948 to 1958. The films were "Pyar Ji Jeet" (1948), "Aaj Ki Raat" (1948), "Naach" (1949), "Balam" (1949), "Bari Behen"(1949), "Amar Kahani"(1949), "Sanam" (1951), "Shama Parwana"(1954), "Kanchan" (1955) and "Trolley Driver" (1955). Her song "O, door janewale, wada na bhul jana" in "Pyar Ki Jeet" in 1948 became a hit all over India.


title: Suraiya

text: Suraiya did only three films with music composer Sachin Dev Burman "Vidya" (1948) (with Dev Anand), "Afsar" (1949) (with Dev Anand) and "Lal Kunwar" (1952), as she was associated with other composers, and S.D. Burman came late into the scene in Bombay. Yet, most of their songs are memorable. "Man mor hua matwala" (in "Afsar"), "Nain Deewane", "Layi khushi ki dunia" (with Mukesh in 'Vidya') and "Preet sataye teri yaad na" in "Lal Kunwar" being some of them.


title: Suraiya

text: Ghulam Mohammad gave music for the National Award-winning film "Mirza Ghalib" (1954), in which she sang memorable songs of Mirza Ghalib. "Kajal", "Shair" and "Shama" were other films for which he composed music for Suraiya.


title: Suraiya

text: Other directors who composed music for her in her film songs, include C. Ramchandra in the film "Dewana", Roshan in the film "Masuka", K. Dutta (in the films, "Rang Mahal" and "Yateem"), Krishen Dayal (in the film, "Lekh" for songs, such as, "Dil ka qarar lut gaya" and "Badra ki chaon tale"), S. Mohinder (in "Nilli"), Sardul Kwatra (in "Goonj"), Madan Mahan (in "Khubsoorat"), Roshan (in "Mashuqa" for songs, such as, "Mera bachpan wapas aya"), S.N.Tripahi (in "Inaam"), O.P. Nayyar (in "Mr. Lamboo") and N. Dutta (in "Miss 58"). The music for her film, "Main kya karoon" (1945) was composed by Nino Mujamdar, for the film "Shakti" by Ram Prashad. Hansraj Behl composed music for the films "Khilari" (songs, such as, "Chahat ka bhulana mushkil hai" and Dil nashad na ro"), "Shaan" (songs, such as, "Tarap ae dil"), "Rajput", "Moti Mehal" and "Resham". Her music director in the film "Shokian" (songs, such as, "Ratoon ki neend chheen li") was Jamal Sen and Bilo C. Rani directed music in the film "Bilwamangal" (songs, such as, "Parwano se preet sekh le"), Shyam Sunder gave music for her films, "Char Din" and "Kamal ke Phool". Sajjad Husain was her music director in two films, viz. "1857" and "Rustom Sohrab".


title: Suraiya

text: Suraiya had an affair with Dev Anand for four years from 1948 to 1951. Dev Anand nicknamed Suraiya "Nosey", while to Suraiya, Dev Anand was "Steve", a name chosen from a book Dev Anand had given her. Suraiya also called Anand "Devina" and he called her "Suraiyana", while faking an Italian accent. Suraiya was so much in love with Dev Anand that she let Lata sing some of the songs picturized on her in her films, in order to get more time to be with Dev Anand. Her love for Dev Anand was so intense that she was ready to forgo her singing star career for Dev, who was even more passionate about her.


title: Suraiya

text: At the height of their romance in the late forties, Suraiya created a furore in film-world, when she and Dev Anand walked hand in hand at the dashing hero Shyam's marriage.


title: Suraiya

text: Kamini Kaushal, who worked with Suraiya and Dev Anand in "Shair" (1949), said in an interview to "Filmfare" in January 2014, that Suraiya would pass on her letters to her to be delivered to Dev Anand, when her grandmother started keeping an eye on their love-affair. She said that Dev Anand was non-aggressive, not someone to put his foot down and say, "I'll marry her".


title: Suraiya

text: During the shooting of director Rana Pratap's film "Jeet (1949)", both Dev Anand and Suraiya, with the help of the film cast and crew, namely Durga Khote (actress), Dwarka Divecha (cinematographer) and others, had made plans for marriage in a temple, and elopement, but at the last minute, an assistant director, jealous of their marriage, informed Suraiya's grandmother, who dragged her home from the scene. In the 'Star and Style' interview, Suraiya said that she gave in only when both her grandmother and her maternal uncle threatened to get Dev Anand killed. During the shooting of the film "Neeli" (1950), Dev Anand asked her final decision about their marriage, after their failed eloping incident. When Suraiya told Dev Anand that she did not want her to be the cause of his death, as both her grandmother and her maternal uncle opposed their marriage, he slapped her across the face and called her a "coward". Dev Anand later kept on apologising for days about his behaviour.


title: Suraiya

text: During the shooting of the film "Afsar (1950)", Dev Anand again formally proposed to her and gave her an engagement diamond ring worth rupees 3000. When her grandmother found about it, she was furious and threw the ring into the sea. After Suraiya's death in January 2004, Dev Anand revealed that Suraiya, who had gladly accepted his ring at first, never told him the reason for her later refusal of the marriage proposal, and that she was coerced to say "no" to him by her grandmother. However, in one of his subsequent interviews Dev Anand did say that Suraiya alluded to "my family, my religion".


title: Suraiya

text: Suraiya's maternal grandmother, Badshah Begum, who controlled the family, was fiercely opposed to Suraiya marrying Dev Anand. She was also supported by Suraiya's maternal uncle Zahoor and some film persons, viz. composer Naushad, director-producer A.R. Kardar, lyricist Naqshab (Nadira's first husband) and director M. Sadiq. During the shooting of Dev Anand's own production "Afsar" (1950), Suraiya's grandmother started to oppose their romance openly and started interfering even in the shooting of their love scenes.


title: Suraiya

text: Her grandmother had opposed the relationship, mainly because they were Muslims and Dev Anand was a Hindu.


title: Suraiya

text: Although the principal reason for the opposition was religion, the covert one was that Suraiya was the only earning member of the family. Naqshab even brought a copy of the Koran to make her swear that she would not marry Dev Anand (February 1987, 'Star and Style' interview of both Dev Anand and Suraiya by Sheila Vesuna). The film people had also their own professional and personal interests in opposing an early marriage of their popular singing star. Suraiya's parents wanted her to marry Dev Anand, but being a mellow couple, their voice was ignored by the grandmother. Suraiya and Dev Anand were stopped from acting together after their last film in 1951 by her grandmother. Thereafter, Suraiya remained unmarried by her own choice for the rest of her life.


title: Suraiya

text: In an interview with 'Stardust', June 1972, Suraiya revealed that she lacked the courage to resist her family and that Dev Anand truly loved her. Dev Anand wanted her to be bold and marry him in a civil court. But Suraiya refused.


title: Suraiya

text: The painful experience with Dev Anand left her bruised emotionally, a phase from which many said she never recovered. She deliberately cut down her assignments after 1952. A retreat from the public atmosphere was followed by a return in films such as "Mirza Ghalib" (1954), for which she received praise even from the Prime Minister, Jawahar Lal Nehru, but she never attained the dizzy public popularity she had attained earlier on. Suraiya refused to marry anyone in future, in spite of efforts by her family to persuade her to marry certain film directors and businessmen of their community. Film director M. Sadiq, who was a married man, and actor Rehman were some of the film persons who were interested in marrying Suraiya.


title: Suraiya

text: Dev Anand, who was very depressed on her reluctant refusal to marry him, was counselled by his brother Chetan Anand to recover and stand up from the break up, and he went on to marry Kalpana Kartik two years later (1952 & 1953) in 1954 in a hurried simple marriage, but as he said in his auto-biography, Suraiya was his first true love. When Suraiya died in 2004, Dev Anand hid from the media in his terrace, because he wanted to be away from the media. Suraiya's love for Dev Anand was equally intense in 1996, when she was cajoled to come to receive the Lifetime Achievement Award, saying that Dev Anand would be attending the show, but Dev Anand sought pardon to attend, confessing that he was not ready to face his lady love. Suraiya was hugely disappointed when Dev Anand did not turn up and was angry at the lady reporter who had lied to her.


title: Suraiya

text: In 1963, Suraiya retired from acting career, supposedly due to two reasons. Her father Aziz Jamal Sheikh died that year, and because of her health problems.


title: Suraiya

text: Suraiya's maternal grandmother, Badshah Begum, who played a major part in her career and even her personal life, later went to Pakistan to live with her brother and his son, and she was left alone with her mother, Mumtaz Begum. The time with her mother were her happy years, when her mother took care of her daily needs and she would occasionally go to her film world friends. She had a few friends like old-timers Jairaj, Nimmi, Nirupa Roy and Tabassum, with whom she met occasionally. She briefly came into the limelight again in 1979 following publication of an interview with her by Raju Bhartan in "The Illustrated Weekly of India", which she said caused several of her former colleagues in film world to get in contact with her.


title: Suraiya

text: After her mother's death in 1987, Suraiya became lonely in the apartment she rented from Aswin Shah in Krishna Mahal, Marine Drive in Mumbai, where she had lived from the early 1940s. She possessed several apartments in Worli, Mumbai and property in Lonavala, near Pune. She had lived alone for most of the time in her life.


title: Suraiya

text: In December 1998, Suraiya then over 68 years old, while in New Delhi to receive the Sahitya Academy Award during Mirza Ghalib's bi-centenary celebrations, talked in a low voice and declined to sing, saying she had left “mosiqui (music) years ago”. When a reporter mentioned Dev Anand, she avoided the comment, and chose to change the subject by saying that it was getting late and she had to go back.


title: Suraiya

text: Tabassum, who worked with Suraiya in "Bari Behen" and "Moti Mahal" as her younger sister, met her often at her home, or rang Suraiya from home. During Suraiya's last few months, Tabassum said "It's sad that she had shut her doors to the world in her last days. Sometimes when I visited her, I'd find papers and milk collected at her door. She never opened the door. But she'd talk comfortably with me on the phone. I remember our last conversation. I asked her: "Aapa kaisi hain?" (Elder sister, how are you?") She replied in verse: "Kaisi guzar rahi hai sabhi poochte hai mujhse, kaise guzaarti hoon koi nahin poochta."( "Everybody asks me 'how are you', but nobody asks me how I spend my days and nights.") (As told to Farhana Farook in 2012).


title: Suraiya

text: She died at Mumbai's Harkishandas Hospital on 31 January 2004 aged 75, after being admitted there a week previously suffering from various ailments, including hypoglycemia, ischaemia and insulinoma. She had not long since been discharged after a previous hospitalisation. Among her visitors were Sunil Dutt, Naushad and Pratap A. Rana. Actor Dharmendra, who was her ardent fan, attended her funeral. She was buried at Badakabarastan in Marine Lines, Mumbai.


title: Suraiya

text: For the last thirty years of her life, she had a family friend and guide in her lawyer, Dhimant Thakkar and his family, with whom she had very close family relations. During the last six months of her life, Suraiya lived with the Thakkar family, who admitted her to hospital when she was ill.


title: Suraiya

text: After her death, Suraiya's property at Worli and her house at Marine Drive went into legal dispute, as she did not leave behind an explicit will. While the house at Marine Drive was claimed by Thakkar, her lawyer since 1975, and her Pakistani cousin, Mehfooz Ahmed (maternal uncle M. Zahoor's son) in Dubai, her property was claimed by the adopted family of her lawyer (based on his daughter being a nominee in Suraiya's papers and gift to her as 'hiba'), and her cousin. No relatives from her father's side claimed anything from her property. In 2006, Mumbai High Court granted Mehfooz Ahmed the right to administer the estate. In 2008, her maternal cousin brother (Mehfooz Ahmed), who never met her for over 40 years before her death, got the right to the rented house at Krishna Mahal, valued at 7.5 crores rupees, as a tenant by the High Court judgement (according to Mumbai's old rent control laws) over her family lawyer. The house owner Ashwin Shah did not contest the case. The cousin had no objection to the house being sold.


title: Suraiya

text: In 1946, Suraiya's film "Anmol Ghadi" with Noor Jehan and Surendra celebrated 'Silver Jubilee' (25 weeks continuous run in one or more cinema halls) in Bombay (now 'Mumbai') and other cities of India.


title: Suraiya

text: In 1951, the inaugural issue of the film news-weekly "Screen" featured a photograph of Suraiya on its cover.


title: Suraiya

text: In 1954, her film "Mirza Ghalib" was awarded the President's gold medal for the Best Feature Film of 1954 during the 2nd National Film Awards, with the then Prime Minister, Jawaharlal Nehru, remarking at the ceremony that she had brought Mirza Ghalib to life ('Tumne Mirza Ghalib ki rooh ko zindaa kar diyaa'). Suraiya thought his praise more worthy than an Oscar.


title: Suraiya

text: In November 1956, Suraiya was sent as a part of delegate, consisting of Raj Kapoor, Nargis, Kamini Kaushal to the Soviet Union by the Government of India, where her films were screened.


title: Suraiya

text: In December 1998, she was specially honoured for perpetuating Mirza Ghalib's memory by her acting and songs by the then Prime Minister, Atal Behari Vajpayee during the Mirza Ghalib bi-centenary celebrations in New Delhi.


title: Suraiya

text: On 30 April 2003, Suraiya was honoured and awarded a memento by the Dadasaheb Phalke Academy and Screen World Publication at a special function on the 134th birth anniversary of Dada Phalke.


title: Suraiya

text: On 3 May 2013, a postage stamp, bearing her image in various roles, was released by the India Post owned by the Government of India to honour her on the occasion of the '100 Years of Indian Cinema'.


title: Suraiya

text: In 2013, Suraiya was voted as the 'Best On Screen Beauty with the Most Ethnic Look', during the celebrations on the completion of 100 years of the Indian cinema.


title: Suraiya

text: O. P. Dutta, director-writer, the only living director (when she died) to have worked with her (in "Pyar Ki Jeet") remembered her: "Suraiya, Bano to me, was a bundle of unforgettable qualities. A sublime voice, the ring in the voice, the perfect diction, the effortless rendering. But she always insisted that she was no singer... There were congratulations all around (on her success in his film). But Suraiya insisted she was no great shakes as an actress. The argument was over when she gave a sterling performance in "Bari Behen". The success made Suraiya smile that unforgettable smile that could send a thousand hearts aflutter. She was right at the top and I was very happy for her."


title: Suraiya

text: Dilip Kumar said on her death that "She was a caring girl, very affectionate, particularly with junior artistes... Suraiya will be sorely missed, even though she had been a recluse for decades."


title: Suraiya

text: Dev Anand said "I did not go to her funeral because I would have been reminded of her past. I cried from a distance."


title: Suraiya

text: Outlook (magazine) wrote after her death: "She evoked the kind of hysteria [in the late 1940s] that can be compared only with Rajesh Khanna in his heyday from 1969 to 1972. Ask any old-timer and they would confirm that people bunked offices, schools and colleges, even shops closed on the opening day of her films, to see her films first day, first show."


title: Suraiya

text: "The Hindu" newspaper wrote about Suraiya: "What can you say about a lady, who was courted by Dev Anand, respected by Pandit Jawaharlal Nehru, but feared by Lata Mangeshkar! That she was beautiful, talented, adored by millions, but died a lonely single woman? Or, that she was the best ever superstar singer-actress of Indian films, yet walked away to a self-imposed exile at the height of her glory? Yes, Suraiya was all this, plus 'a riddle, wrapped in a mystery, inside an enigma' who resolutely shunned screen and media once she departed from the arc lights."


title: Suraiya

text: Suraiya's songs, as a tribute to her, are played every year on her birth anniversary, 15 June and her death anniversary on 31 January by Radio Ceylon.


title: Mumbai Metropolitan Region

text: Mumbai Metropolitan Region (abbreviated to MMR and previously also as Greater Bombay Metropolitan Area), is a metropolitan area consisting of Mumbai (Bombay) and its satellite towns in the northern Konkan division, of the Maharashtra state in western India. The region has an area of and with a population of over 26 million it is among the most populous metropolitan areas in the world.


title: Mumbai Metropolitan Region

text: Developing over a period of about 20 years, it consists of nine municipal corporations and eight smaller municipal councils. The entire area is overseen by the Mumbai Metropolitan Region Development Authority (MMRDA), a state-owned organisation in charge of town planning, development, transportation and housing in the region.


title: Mumbai Metropolitan Region

text: The MMRDA was formed to address the challenges in planning and development of integrated infrastructure for the metropolitan region. The areas outside Brihanmumbai (Greater Mumbai) and Navi Mumbai have lacked organised development. Navi Mumbai, developed as one of the largest planned cities in the world, was promoted by a state government-owned company, City and Industrial Development Corporation (CIDCO).