text:
Hazard symbol

Hazard symbols or warning symbols are recognisable symbols designed to warn about hazardous or dangerous materials, locations, or objects, including electromagnetic fields, electric currents; harsh, toxic or unstable chemicals (acids, poisons, explosives); and radioactivity. The use of hazard symbols is often regulated by law and directed by standards organizations. Hazard symbols may appear with different colors, backgrounds, borders, and supplemental information in order to specify the type of hazard and the level of threat (for example, toxicity classes). Warning symbols are used in many places in place of or in addition to written warnings as they are quickly recognized (faster than reading a written warning) and more universally understood, as the same symbol can be recognized as having the same meaning to speakers of different languages.

Navigational hazards are generally marked on nautical charts, and are also often marked by moored buoys, and changes are published in notices to mariners.

List of common symbols
Tape with yellow and black diagonal stripes is commonly used as a generic hazard warning. This can be in the form of barricade tape, or as a self-adhesive tape for marking floor areas and the like. In some regions (for instance the UK) yellow tape is buried a certain distance above buried electrical cables to warn future groundworkers of the hazard.

Generic warning symbol

On roadside warning signs, an exclamation mark is often used to draw attention to a generic warning of danger, hazards, and the unexpected. In Europe and elsewhere in the world (except North America and Australia), this type of sign is used if there are no more-specific signs to denote a particular hazard. When used for traffic signs, it is accompanied by a supplementary sign describing the hazard, usually mounted under the exclamation mark.

This symbol has also been more widely adopted for generic use in many other contexts not associated with road traffic. It often appears on hazardous equipment, in instruction manuals to draw attention to a precaution, on tram and train blind spot warning stickers and on natural disaster (earthquake, tsunami, hurricane, volcanic eruption) preparedness posters and brochures, as an alternative when a more-specific warning symbol is not available.

Poison symbol
The skull-and-crossbones symbol, consisting of a human skull and two bones crossed together behind the skull, is today generally used as a warning of danger of death, particularly in regard to poisonous substances.

The symbol, or some variation thereof, specifically with the bones (or swords) below the skull, was also featured on the Jolly Roger, the traditional flag of European and American seagoing pirates. It is also part of the Canadian WHMIS home symbols placed on containers to warn that the contents are poisonous.

In the United States, due to concerns that the skull-and-crossbones symbol's association with pirates might encourage children to play with toxic materials, the Mr. Yuk symbol is also used to denote poison.

This symbol has also been more widely adopted for generic use in many other contexts not associated with poisonous materials. It used for denoting number of dead victims caused by natural disasters (e.g. earthquakes) or armed conflicts on event infographics.

Ionizing radiation symbol
The international radiation symbol is a trefoil around a small central circle representing radiation from an atom. It first appeared in 1946 at the University of California, Berkeley Radiation Laboratory. At the time, it was rendered as magenta, and was set on a blue background. The shade of magenta used (Martin Senour Roman Violet No. 2225) was chosen because it was expensive and less likely to be used on other signs. However, a blue background for other signs started to be used extensively. Blue was typically used on information signs and the color tended to fade with weathering. This resulted in the background being changed on the radiation hazard sign. The original version used in the United States is magenta against a yellow background, and it is drawn with a central circle of radius R, an internal radius of 1.5R and an external radius of 5R for the blades, which are separated from each other by 60°. The trefoil is black in the international version, which is also used in the United States.

The symbol was adopted as a standard in the US by ANSI in 1969. It was first documented as an international symbol in 1963 in International Organization for Standardization (ISO) recommendation R.361. In 1974, after approval by national standards bodies, the symbol became an international standard as ISO 361 Basic ionizing radiation symbol. The standard specifies the shape, proportions, application and restrictions on the use of the symbol. It may be used to signify the actual or potential presence of ionizing radiation. It is not used for non-ionizing electromagnetic waves or sound waves. The standard does not specify the radiation levels at which it is to be used.

The sign is commonly referred to as a radioactivity warning sign, but it is actually a warning sign of ionizing radiation. Ionizing radiation is a much broader category than radioactivity alone, as many non-radioactive sources also emit potentially dangerous levels of ionizing radiation. This includes x-ray apparatus, radiotherapy linear accelerators, and particle accelerators. Non-ionizing radiation can also reach potentially dangerous levels, but this warning sign is different from the trefoil ionizing radiation warning symbol. The sign is not to be confused with the fallout shelter identification sign introduced by the Office of Civil Defense in 1961. This was originally intended to be the same as the radiation hazard symbol but was changed to a slightly different symbol because shelters are a place of safety, not of hazard.

On February 15, 2007, two groups—the International Atomic Energy Agency (IAEA) and the International Organization for Standardization (ISO)—jointly announced the adoption of a new ionizing radiation warning symbol to supplement the traditional trefoil symbol. The new symbol, to be used on sealed radiation sources, is aimed at alerting anyone, anywhere to the danger of being close to a strong source of ionizing radiation. It depicts, on a red background, a black trefoil with waves of radiation streaming from it, along with a black skull and crossbones, and a running figure with an arrow pointing away from the scene. The radiating trefoil suggests the presence of radiation, while the red background and the skull and crossbones warn of danger. The figure running away from the scene is meant to suggest taking action to avoid the labeled material. The new symbol is not intended to be generally visible, but rather to appear on internal components of devices that house radiation sources so that if anybody attempts to disassemble such devices they will see an explicit warning not to proceed any further.

Biohazard symbol
The biohazard symbol is used in the labeling of biological materials that carry a significant health risk, including viral and bacteriological samples, including infected dressings and used hypodermic needles (see sharps waste).

History
The biohazard symbol was developed by the Dow Chemical Company in 1966 for their containment products.

According to Charles Baldwin, an environmental-health engineer who contributed to its development: "We wanted something that was memorable but meaningless, so we could educate people as to what it means." In an article in Science in 1967, the symbol was presented as the new standard for all biological hazards ("biohazards"). The article explained that over 40 symbols were drawn up by Dow artists, and all of the symbols investigated had to meet a number of criteria: "(i) striking in form in order to draw immediate attention; (ii) unique and unambiguous, in order not to be confused with symbols used for other purposes; (iii) quickly recognizable and easily recalled; (iv) easily stenciled; (v) symmetrical, in order to appear identical from all angles of approach; and (vi) acceptable to groups of varying ethnic backgrounds." The chosen scored the best on nationwide testing for memorability.

Geometry
All parts of the biohazard sign can be drawn with a compass and straightedge. The basic outline of the symbol is a plain trefoil, which is three circles overlapping each other equally like in a triple Venn diagram with the overlapping parts erased. The diameter of the overlapping part is equal to half the radius of the three circles. Then three inner circles are drawn in with $2/3$ radius of the original circles so that it is tangent to the outside three overlapping circles. A tiny circle in center has a diameter $1/2$ of the radius of the three inner circles, and arcs are erased at 90°, 210°, and 330°. The arcs of the inner circles and the tiny circle are connected by a line. Finally, the ring under is drawn from the distance to the perimeter of the equilateral triangle that forms between the centers of the three intersecting circles. An outer circle of the ring under is drawn and finally enclosed with the arcs from the center of the inner circles with a shorter radius from the inner circles.

Chemical symbols
A chemical hazard symbol is a pictogram applied to containers and storage areas of dangerous chemical compounds to indicate the specific hazard, and thus the required precautions. There are several systems of labels, depending on the purpose, such as on the container for transportation, containers for end-use, or on a vehicle during transportation.

GHS symbols and statements
The United Nations has designed GHS hazard pictograms and GHS hazard statements to internationally harmonize chemical hazard warnings under the Globally Harmonized System of Classification and Labelling of Chemicals. These symbols have gradually replaced nation and region specific systems such as the European Union's Directive 67/548/EEC symbols, Canada's Workplace Hazardous Materials Information System. It has also been adopted in the United States for materials being sold and shipped by manufacturers, distributors and importers. The USA previously did not mandate a specific system, instead allowing any system, provided it had met certain requirements.

Europe

The European Union aligned its regulations with the GHS standards in 2008 with the adoption of CLP Regulation, replacing its existing Directive 67/548/EEC symbols during the mid-2010s, and requiring use of GHS symbols after 1 June 2017. Since 2015, European standards are set by:
 * CLP regulation (2008) for chemical containers, following international GHS recommendations for pictograms, hazard statements, and precautionary statements.
 * European Agreement concerning the International Carriage of Dangerous Goods by Road (ADR) for additional packaging for transportation. Vehicles carrying dangerous goods must be equipped with orange signs, where the upper code number identifies the type of hazard, and the lower code number identifies the specific substance. These symbols cannot be readily interpreted without the aid of a table to translate the numerical codes.
 * Directive 92/58/EEC sets out standards for safety signage in workplaces, including signage that marks storage areas for hazardous substances. This was amended to remove the 'Harmful/Irritant' sign in 2015, along with a few clarifications and technical updates related to CLP Regulation.

Canada
The Workplace Hazardous Materials Information System, or WHMIS, is Canada's national workplace hazard communication standard, first introduced in 1988, and included eight chemical hazard symbols. This system was brought into alignment with GHS in 2015, with a gradual phase in of GHS symbols and label designs through 15 December 2025. The WHMIS system does deviate from GHS by retaining the former WHMIS symbol for Class 3, Division 3, biohazardous infectious materials, as GHS lacks a biological hazard symbol.

United States

The US-based National Fire Protection Association (NFPA) has a standard NFPA 704 using a diamond with four colored sections each with a number indicating severity 0–4 (0 for no hazard, 4 indicates a severe hazard). The system was developed in the early 1960s, as a means to warn firefighters of possible dangers posed by storage tanks filled with chemicals. The red section denotes flammability. The blue section denotes health risks. Yellow represents reactivity (tendency to explode). The white section denotes special hazard information, not properly covered by the other categories, such as water reactivity, oxidizers, and asphyxiant gases.

Non-standard symbols
A large number of warning symbols with non-standard designs are in use around the world.

Some warning symbols have been redesigned to be more comprehensible to children, such as the Mr. Ouch (depicting an electricity danger as a snarling, spiky creature) and Mr. Yuk (a green frowny face sticking its tongue out, to represent poison) designs in the United States.

title: Hazard symbol


text:
Maxie Rosenbloom

Max Everitt Rosenbloom (November 6, 1906 – March 6, 1976) was an American professional boxer, actor, and television personality. Nicknamed "Slapsie Maxie", he was inducted into The Ring's Boxing Hall of Fame in 1972, the International Jewish Sports Hall of Fame in 1984, the World Boxing Hall of Fame in 1985, and the International Boxing Hall of Fame in 1993. He was sometimes billed as Slapsie Maxie Rosenbloom for film appearances.

Early life and boxing career
Born in Leonard Bridge, Connecticut, Rosenbloom was nicknamed "Slapsie Maxie" by a journalist due to his open-gloved style of boxing. As a professional boxer, Rosenbloom relied on hitting and moving to score points. He was very difficult to hit cleanly with a power punch and his fights often went the full number of required rounds. In his boxing career, he received thousands of punches to the head, which eventually led to the deterioration of his motor functions.

Legendary trainer Cus D'Amato later recalled that watching Rosenbloom's ring performances inspired him for a quest to create a perfect fighter, and to develop a unique boxing technique, later known as the peek-a-boo style: "Rosenbloom was probably the cleverest fighter I've ever seen, defensively. You just couldn't hit the man. He developed a sort of a radar, a sense of anticipation of blows, and ability to react to that, and act on it."

Light Heavyweight Champion
On June 25, 1930, Rosenbloom won the NYSAC and vacant Ring Magazine light heavyweight titles when he faced off against Jimmy Slattery at Bison Stadium for the undisputed title. Slattery, being the reigning NYSAC champion and Rosenbloom being listed by some sources as the incumbent NBA light heavyweight champion. Since the fight was between the number one and number two fighters in the division, the vacant The Ring light heavyweight title was also on the line. He reigned as the NYSAC and Ring magazine champion until he was defeated by Bob Olin on November 16, 1934. Throughout his reign, he made 7 defenses of his titles and held the undisputed crown two separate times as he had been stripped by the National Boxing Association, a title which he was awarded outside the ring in September 1930 during the NBA's yearly meeting. On June 6, 1931, Rosenbloom was stripped for failing to defend the title in a timely manner. After being stripped in 1931, he went on to continue defending his NYSAC and Ring titles, eventually defeating Bob Godwin via fourth-round technical knockout in Madison Square Garden on March 24, 1933. His second reign as the undisputed champion was just as short lived. He was subsequently stripped by the National Boxing Association on September 17, 1934, during their annual meeting. "The delegates ruled that Maxie Rosenbloom, generally recognized as champion of the class, had violated every law of boxing by his slapping and flicking tactics in the ring."

Films, radio, and television
In 1937, two years before he announced his permanent retirement from boxing, Rosenbloom accepted a role in a Hollywood film. He became a character actor, usually portraying comical or sympathetic "big guys" in movies such as Each Dawn I Die starring James Cagney and George Raft. He continued acting in films as well as on radio and television, where he again portrayed big, clumsy, often punch-drunk-but-lovable characters. In 1950 producer-director Jules White hired Rosenbloom to team with another veteran champ, Max Baer, for a brief series of slapstick-comedy short subjects. The Baer & Rosenbloom shorts were released by Columbia Pictures through 1952, and reissued to theaters in 1959–60. In 1955 Rosenbloom was featured in Abbott and Costello Meet the Keystone Kops.

Maxie Rosenbloom appeared as himself in a number of radio episodes of The Fred Allen Show, including in a skit with Marlene Dietrich. He was also cast in an important part in television's first 90-minute drama, Requiem for a Heavyweight. Written by Rod Serling and starring Jack Palance, Keenan Wynn and Ed Wynn, that teleplay presents the story of a boxer at the end of his career. Rosenbloom portrays a character whose life revolves around his retelling old boxing stories night after night to other ex-boxers who gather in a down-and-out bar. That life looms as the same fate for "Mountain" McClintock (Palance's character) if he cannot adjust to a new way of life outside the ring.

Slapsy Maxie's, Rosenbloom's nightclub, is prominently featured in a 2013 crime film, Gangster Squad, which is set in 1949. The original club operated in San Francisco. The club moved to 7165 Beverly Blvd in Los Angeles. From 1943 to 1947 it was located at 5665 Wilshire Blvd.

Death
Rosenbloom, at age 69, died of Paget's disease of bone on March 6, 1976, at the Braewood Convalescent Hospital in South Pasadena, California. His gravesite is at the Valhalla Memorial Park Cemetery in North Hollywood, California.

Accolades

 * The Ring Boxing Hall of Fame (1972)
 * International Jewish Sports Hall of Fame (1984)
 * World Boxing Hall of Fame (1985)
 * International Boxing Hall of Fame (1993)

Selected filmography

 * Mr. Broadway (1933) – 'Slapsy' Maxie
 * King for a Night (1933) – Maxie
 * Muss 'em Up (1936) – Snake
 * Kelly the Second (1936) – Butch Flynn
 * Two Wise Maids (1937) – Max Handler, Champ
 * Marry the Girl (1937) – Boxer (uncredited)
 * Big City (1937) – Himself
 * Nothing Sacred (1937) – Max Levinsky
 * The Kid Comes Back (1938) – Stan Wilson
 * Mr. Moto's Gamble (1938) – Horace Wellington
 * Gangs of New York (1938) – Tombstone
 * The Amazing Dr. Clitterhouse (1938) – Butch
 * The Crowd Roars (1938) – Himself (uncredited)
 * Submarine Patrol (1938) – Marine Sentry Sgt. Joe Duffy
 * His Exciting Night (1938) – 'Doc' McCoy
 * Slapsie Maxie's (1939, short) – Himself
 * Women in the Wind (1939) – Stuffy McInnes
 * The Kid from Kokomo (1939) – Curley Bender
 * Naughty but Nice (1939) – Killer
 * Each Dawn I Die (1939) – Fargo Red
 * 20,000 Men a Year (1939) – Walt Dorgan
 * Private Detective (1939) – Brody
 * Grandpa Goes to Town (1940) – Al
 * Passport to Alcatraz (1940) – Hank Kircher
 * Public Deb No. 1 (1940) – Eric
 * The Lady and the Lug (1940, Short) – Himself
 * Ringside Maisie (1941) – Chotsie
 * The Stork Pays Off (1941) – 'Brains' Moran
 * Harvard, Here I Come! (1941) – Maxie
 * Louisiana Purchase (1941) – The Shadow aka Wilson
 * Slick Chick (1941)
 * To the Shores of Tripoli (1942) – Okay Jones
 * Smart Alecks (1942) – Butch Brocalli
 * The Boogie Man Will Get You (1942) – Maxie – the Powder Puff Salesman
 * The Yanks Are Coming (1942) – Butch
 * My Son, the Hero (1943) – Kid Slug Rosenthal
 * Here Comes Kelly (1943) – Trixie Bell
 * Swing Fever (1943) – 'Rags'
 * Follow the Boys (1944) – Himself
 * Allergic to Love (1944) – Max
 * Three of a Kind (1944) – Maxie
 * Irish Eyes Are Smiling (1944) – Stanley Ketchel
 * Crazy Knights (1944) – Maxie
 * Night Club Girl (1945) – Percival J. Percival
 * Trouble Chasers (1945) – Maxie
 * Penthouse Rhythm (1945) – Health Spa Proprietor
 * Men in Her Diary (1945) – Moxie Kildorff
 * The Perils of Pauline (1947) – Maxie (uncredited)
 * Hazard (1948) – Truck Driver
 * Mr. Universe (1951) – Big Ears, the Trainer
 * Skipalong Rosenbloom (1951) – Skipalong Rosenbloom
 * Abbott and Costello Meet the Keystone Kops (1955) – Hinds
 * Requiem for a Heavyweight (1956, TV Series) – Steve
 * Hollywood or Bust (1956) – Bookie Benny
 * I Married a Monster from Outer Space (1958) – Max Grady – Bartender
 * The Beat Generation (1959) – The Wrestling Beatnik
 * The Bellboy (1960) – Maxie – Gangster
 * Two Guys Abroad (1962) – Nightclub co-owner
 * Don't Worry, We'll Think of a Title (1966) – Foreign Agent (scenes deleted)
 * The Spy in the Green Hat (1967) – 'Crunch' Battaglia
 * Cottonpickin' Chickenpickers (1967) – Maxie the Mailman
 * My Side of the Mountain (1969) – Flint Seller (final film role)

Professional boxing record
All information in this section is derived from BoxRec, unless otherwise stated.

Official record
All newspaper decisions are officially regarded as "no decision" bouts and are not counted in the win/loss/draw column.

Unofficial record
Record with the inclusion of newspaper decisions in the win/loss/draw column.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Maxie Rosenbloom


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Angelus-Rosedale Cemetery

Angelus-Rosedale Cemetery is a cemetery at 1831 West Washington Boulevard in the West Adams neighborhood of Los Angeles, southwest of Downtown.

History
Located in the West Adams neighborhood of Los Angeles,   the cemetery was founded as Rosedale Cemetery in 1884, when Los Angeles had a population of approximately 28,000, on 65 acre of land running from Washington to Venice Boulevard (then 16th Street) between Normandie Avenue and Walton and Catalina Streets. It is often used by California politicians, notably former Mayors of the City of Los Angeles.The interments include pioneers and members of leading families in Los Angeles and the state.

Rosedale was the first cemetery in Los Angeles open to all races and creeds, and was the first to adopt the design concept of lawn cemeteries. This is where the grounds are enhanced to surround the graves with beautiful trees, shrubs, flowers, natural scenery and works of monumental art. Among the more traditional structures, headstones and mausoleums, the cemetery also has several pyramid crypts. In 1887, the second crematory in the US was opened at Rosedale Cemetery. It was also the first crematory west of the Rocky Mountains. The initial cremation took place on June 16, when the body of Mrs. Olive A. Bird (c. 1845–1886), wife of prominent physician O.B. Bird, was cremated. By 1913, there had been 2,392 cremations performed at Rosedale. Next to the cemetery at 1605 S. Catalina Street is another cremation facility, the domed, observatory-shaped Chapel of the Pines Crematory.

In 1993, Rosedale was bought by the Angelus Funeral Home on Crenshaw Boulevard and renamed Angelus-Rosedale Cemetery.

Events
On numerous occasions, the West Adams Heritage Association, in conjunction with the Los Angeles Historical Society, has sponsored a "Living History tour" featuring grave site portrayals of historic figures. In 1994, the Los Angeles Times noted that the annual event began 4 years earlier.

Notable interments
Sources not listed here can be found in the articles referenced.

A

 * George Alexander (1839–1923), politician, 28th Mayor of Los Angeles
 * Allen Allensworth (1842–1914), Lt. Colonel of the U.S. Army, founder of Allensworth, California
 * Ivie Anderson (1905–1949), jazz singer and actress
 * Henry Armstrong (1912–1988), champion boxer

B

 * Edward L. Baker, Jr. (1865–1913), U.S. Army officer, Medal of Honor recipient during Spanish–American War
 * Phineas Banning (1830–1885), financier, known as the "Father of the Port of Los Angeles"
 * Felice Bauer (1887–1960), twice fiancée (1914 and 1917) of Prague writer Franz Kafka, in 1919 married to Moritz Marasse (1873–1950)
 * Thomas Bones (1842–1929), farmer and land developer
 * Emmer Bowen (1830–1912), Medal of Honor recipient during the American Civil War
 * Tod Browning (1880–1962), film director and screenwriter, known as "The Master of the Macabre"
 * David Burbank (1821–1895), dentist, businessman and landholder. Burbank, California, was named for him
 * Rose Talbot Bullard (1864–1915), medical doctor and professor
 * Betty Burbridge (1895–1987), actress

C

 * Eric Campbell (1879–1917), actor
 * Rita Carewe (1909–1955), actress
 * Harry Carr (1877–1936), writer, newspaper columnist and editor
 * Frank Chance (1877–1924), Hall of Fame baseball player
 * Sadie Chandler Cole (1865–1941), singer, civil rights activist
 * Florence Cole Talbert (1890–1961), opera singer
 * Cleota Collins (1893–1976), singer and voice teacher

D

 * Eric Dolphy (1928–1964), American jazz musician

E

 * Herschel Evans (1909–1939), Afroamerican jazz saxophonist

F

 * Jessie Benton Frémont (1824–1902), writer, wife of Lieutenant Colonel John C. Frémont
 * Willie Fung (1896–1945), Chinese film actor

G

 * John Reynolds Gardiner (1944–2006), author
 * William Thornton Glassell (1831–1879), Confederate Naval officer and a founder of Orange, California; grand-uncle of George S. Patton
 * Louise Glaum (1888–1970), actress
 * George E. Goodfellow (1855–1910), physician, medical pioneer, known as the "Gunfighter's Surgeon"
 * Lewis Grigsby (1867–1932), real estate investor and philanthropist

H

 * Arthur C. Harper (1866–1948), politician, 36th Mayor of Los Angeles
 * Theresa Harris (1909–1985), actress
 * Katharine Putnam Hooker (1849–1935), travel writer, socialite
 * Sherman Otis Houghton (1828–1914), lawyer, politician

K

 * Harry Kellar (1849–1922), American magician who influenced Harry Houdini

L

 * Fernando Lamas (1915–1982), Argentinian-born actor/director, husband of Esther Williams, was cremated at Rosedale

M

 * Joseph Maier (1851–1905), brewer, businessman and owner the Maier-Zobelien Brewery in Los Angeles
 * John Mansfield (1822–1896), politician, lieutenant governor of California from 1880 to 1883
 * Joe Marshall (1876–1931), Major League Baseball player
 * William B. Mayes (1837–1900), Union Army soldier, Medal of Honor recipient
 * Owen McAleer (1858–1944), politician, Canadian-born 35th mayor of Los Angeles
 * Hattie McDaniel (1895–1952), actress, first African American female to win an Academy Award
 * Spencer G. Millard (1856–1895), politician, 20th lieutenant governor of California
 * Mable Monohan (1888–1953), murder victim; her death sent Barbara Graham, Emmet Perkins and Jack Santo to the gas chamber
 * Gideon C. Moody (1832–1904), American politician, congressman and senator
 * Tim Moore (1887–1958), vaudevillian; comic actor, stage, screen and television. Known for his role as The Kingfish of Amos 'n' Andy fame.

N

 * Remi Nadeau (1819–1887), French Canadian pioneer who arrived in Los Angeles in 1861
 * Marshall Neilan (1891–1958), director, actor, motion picture pioneer
 * John G. Nichols (1813–1898), 3rd and 10th Mayor of Los Angeles

O

 * Henry Z. Osborne (1848–1923), politician, served in the House of Representatives from California

P

 * John Henry Patterson (1867–1947), Anglo-Irish soldier, hunter, author and Zionist, best known for his book The Man-Eaters of Tsavo (1907); exhumed and re-interred in Avihayil, Israel, in 2014.
 * William Anthony Polkinghorn (1851–1906), noted real estate developer (Venice, Santa Monica), civic leader (Los Angeles, Leadville, CO)
 * Louise Peete (1880–1947), notorious multiple murderer, executed in the gas chamber at San Quentin
 * Stanley Price (1892–1955), actor

R

 * Frank Rader (1848–1897), politician, 31st Mayor of Los Angeles
 * Andy Razaf (1895–1973), lyricist, composer, wrote "Ain't Misbehavin'" and "Honeysuckle Rose"
 * Frederick H. Rindge (1857–1905), American businessman, philanthropist and writer
 * Anthony A. C. Rogers (1821–1899), politician, served in the House of Representatives from Arkansas
 * Maria Rasputin (1898–1977), daughter of Russia's notorious "mad monk", Grigori Rasputin

S

 * Monroe Salisbury (1876–1935), actor
 * Caroline Severance (1820–1914), social reformer, suffragette
 * Herman Silver (1831–1913), superintendent of the United States Mint in Colorado, a collector of internal revenue, a railroad official and Los Angeles City Council member
 * Everett Sloane (1909–1965), actor, was in Orson Welles' Mercury Theatre, played Mr. Bernstein in Citizen Kane
 * Robert Stewart Sparks (1871–1932), Los Angeles City Council member
 * Hannah Judkins Starbird (1832–1922), American Civil War nurse
 * William Stephens (1859–1944), 24th California Governor

T

 * Art Tatum (1909–1956), jazz pianist (has cenotaph; originally interred here, he was removed to Forest Lawn Cemetery, Glendale)
 * William I. Traeger (1880–1935), lawman, politician, football coach, sheriff of Los Angeles County from 1921 to 1932, served term in the House of Representatives from California
 * Wayland Trask, Jr. (1887–1918), American stage and silent film comedian
 * John Q. Tufts (1840–1908), politician, served in the House of Representatives from Iowa

W

 * Ernestine Wade (1906–1983), actress, played Sapphire Stevens on radio and TV's Amos 'n' Andy
 * Olin Wellborn (1843–1921), politician, served in House of Representatives from Texas
 * Franz Werfel (1890–1945), Austrian writer (whose body was transferred in 1975 to the Zentralfriedhof, Vienna)
 * Ernest Whitman (1893–1954), actor, played the Carpetbagger's friend in Gone with the Wind
 * Robert M. Widney (1838–1929), American lawyer, judge, a founder of the University of Southern California
 * Harvey H. Wilcox (1832–1891), owned a ranch northwest of Los Angeles, which his wife, Daeida, named Hollywood. Originally interred in Rosedale, alongside his mother, Azubah (Mark) Wilcox (c. 1804–1888); he was removed to Hollywood Cemetery in 1922
 * Dooley Wilson (1886–1953), actor, musician, played Sam in Casablanca
 * Valentin Wolfenstein (1845–1909), Swedish-American photographer
 * Anna May Wong (1905–1961), actress, the first Chinese American movie star
 * Frederic T. Woodman (1872–1949), politician, 41st mayor of Los Angeles

title: Angelus-Rosedale Cemetery


text:
Rogue Nation

Rogue nation or rogue state is a term applied to countries perceived to be threaten world peace.

Rogue Nation may also refer to:

 * Rogue Nation (book), by Clyde Prestowitz
 * Mission: Impossible – Rogue Nation, the fifth instalment of the film series

title: Rogue Nation


text:
Ravenswood

Ravenswood may refer to:

Film, TV and literature

 * Ravenswood, the name of a Swedish forest in Beowulf, the setting of a battle between Geats and Swedes
 * Ravenswood (film), a 2006 Australian thriller, starring Stephen Moyer, Travis Fimmel and Teresa Palmer
 * Ravenswood (TV series), a spin-off of Pretty Little Liars
 * Ravenswood: The Steelworkers' Victory and the Revival of American Labor, a book by Kate Bronfenbrenner and Tom Juravich
 * Ravenswood Castle, a fictional setting in the Scottish Lowlands, featured in Sir Walter Scott's 1819 classic, The Bride of Lammermoor

Australia

 * Ravenswood, Queensland, a town
 * Ravenswood Mining Landscape and Chinese Settlement Area, a heritage-listed area within the town
 * Ravenswood, Tasmania, suburb of Launceston, Tasmania
 * Ravenswood, Victoria, a locality near Bendigo
 * Ravenswood, Western Australia, a town

New Zealand

 * Ravenswood Road, a road in St Clair, a suburb of Dunedin, New Zealand

United Kingdom

 * Ravenswood, Cumbernauld, the largest town in North Lanarkshire, Scotland
 * Ravenswood, Ipswich, a district within the city of Ipswich, Suffolk, England
 * Ravenswood, Berkshire (alias Bigshot), an estate in Wokingham Without, Berkshire, England

United States
(by state)
 * Ravenswood (Livermore, California), listed on the NRHP in California
 * The Ravenswood, Hollywood, California, a 1930s landmark apartment building, longtime home of Mae West
 * Ravenswood Winery in Sonoma County, California
 * The former Ravenswood High School (East Palo Alto), operated 1958-1976
 * Ravenswood, Chicago
 * Ravenswood (Indianapolis), Indiana, a neighborhood along the White River
 * Ravenswood Place, 19th century plantation in Concordia Parish, Louisiana; belonged to the parents of the Duchess of Manchester
 * Ravenswood, Louisiana, an unincorporated community in Pointe Coupee Parish, Louisiana
 * Ravenswood (Bunceton, Missouri), listed on the NRHP in Missouri
 * Ravenswood, Queens, in Queens, New York
 * Ravenswood (Brentwood, Tennessee), listed on the NRHP in Tennessee
 * Ravenswood, West Virginia
 * Ravenswood Generating Station, including "Big Allis", in Queens, New York
 * Ravenswood Line, former name of the Brown Line of the Chicago "L" system
 * Ravenswood station, a Chicago Metra railroad station

Schools

 * Ravenswood School (disambiguation), several schools

Prizes

 * Ravenswood Australian Women's Art Prize, a group of art prizes

title: Ravenswood


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Artyom, Russia

Artyom (Артём) is a city in Primorsky Krai, Russia, located in the north of the Muravyov-Amursky Peninsula. Population:

History
It was founded in 1924 near the Zybunny pit mine, named after revolutionary Fyodor Sergeyev who was better known by his nickname Artyom. On October 26, 1938, it was granted town status. In 2004, the amalgamation of surrounding former urban-type settlements of Uglovoye, Zavodskoy, and Artyomovsky into the city saw its official population rise from around 60,000 to over 100,000.

Administrative and municipal status
Within the framework of administrative divisions, it is, together with five rural localities, incorporated as Artyom City Under Krai Jurisdiction—an administrative unit with the status equal to that of the districts. As a municipal division, Artyom City Under Krai Jurisdiction is incorporated as Artyomovsky Urban Okrug.

Economy
Half of the able-bodied population of Artyom is engaged in the production of materials.

Artyom has twenty-nine industrial enterprises, half of which are private. Among the consumer goods produced in the town are furniture, china, sewing production. The companies employing the largest number of workers in Artyom are Primorskoye Mine Administration (3,500 people) and Artyom-Mebel Furniture Factory (1,100 people). Fifteen joint ventures have been registered in Artyom.

Coal mining has always been the basis of the local economy, although the existing coal reserves have practically been exhausted. The forecasts are that transport will be the most productive industry for Artyom's economic development.

The Vladivostok International Airport is located near Artyom, and to the southwest, the Uglovoye military airfield. The largest Primorsky Krai railway junction is also found here. Annually, 12 million tons of cargo pass through Artyom to Vladivostok, and 24 million tons to Nakhodka. In 1994, the airport served 500,000 passengers. This number represented no more than 28% of its potential.

Miscellaneous
Artyom is built mainly with one-, two-, and five-story panel buildings, though a comparatively large number of wooden private houses can be seen.

Notable people

 * Andrey Ryabov (born 1969), professional association football coach and a former player

title: Artyom, Russia


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Ravenwood

Ravenwood may refer to:

 * Ravenwood, a neighborhood in Langford, British Columbia
 * Ravenwood, Missouri
 * Ravenwood High School, a high school in Brentwood, Tennessee
 * Ravenwood Plantation, a historic rice plantation in Colleton County, South Carolina
 * Ravenwood, a fictional private military company owned by Jennings & Rall in the TV series Jericho
 * Ravenwood Fair, a Facebook game
 * "Ravenwood, Stepson of Mystery", a short-lived occult detective series by Frederick C. Davis that ran in Secret Agent X pulp magazine.
 * Marion Ravenwood, a fictional character in the 1981 film Raiders of the Lost Ark

title: Ravenwood


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Outfielder

An outfielder is a person playing in one of the three defensive positions in baseball or softball, farthest from the batter. These defenders are the left fielder, the center fielder, and the right fielder. As an outfielder, their duty is to catch fly balls and ground balls then to return them to the infield for the out or before the runner advances, if there are any runners on the bases. As an outfielder, they normally play behind the six players located in the field. By convention, each of the nine defensive positions in baseball is numbered. The outfield positions are 7 (left field), 8 (center field) and 9 (right field). These numbers are shorthand designations useful in baseball scorekeeping and are not necessarily the same as the squad numbers worn on player uniforms.

Outfielders named to the MLB All-Century Team are Hank Aaron, Ty Cobb, Joe DiMaggio, Mickey Mantle, Willie Mays, Stan Musial, Pete Rose, Babe Ruth, Ted Williams, Carl Yastrzemski, and Ken Griffey Jr.

Strategy
Players can be characterized as either corner outfielders or a center fielder. Corner outfielders are often slower and have less defensive value than the center fielder. However, there are some important differences between right fielders and left fielders. Right fielders tend to have the best throwing arms of the outfield so they can make the long throw to third base, but often are not as fast as left fielders. Center fielders are generally the fastest and most athletic of the three, because they have to run the farthest in order to field balls in the gaps and back up the other outfielders when balls are hit to them. Outfielders should also be able to read where the ball may be placed based on what the pitcher is throwing. They can tell what the pitcher is throwing by the middle infielders, second base and short stop, in which they show the numbers the catcher is giving to the pitcher behind their back to determine the pitch and tell where the ball could possibly be hit to.

Many of the best power hitters in baseball play in the outfield, where they do not have as constant involvement in fielding plays as other positions, especially before the institution of the designated hitter. For example, Babe Ruth was moved from pitcher to the outfield. Left fielders and right fielders are more often slow power hitters, and center fielders are usually fast base-runners and good defensive players. Center field is often considered the most difficult outfield position, requiring both a good throwing arm and speed. Center fielders on many teams often bat lead off.

Players who do not routinely start games, but often substitute as a pinch hitter or defensive replacement in the outfield are referred to as fourth outfielders or even fifth outfielders. These players can usually play any of the three outfield positions.

Corner outfielders
Corner outfielders are outfielders who play the corner positions of right field and left field. Corner outfielders often have less speed than center fielders, but make up for this deficiency with their offensive play. The main differences between left and right fielders are, first, that left fielders handle more chances because right-handed pull hitters tend to hit balls to left; second, that right fielders typically have stronger arms; third, that right fielders are frequently (not always) slower and less agile defensively. Many left fielders have had the speed to play center field, but have lacked the throwing ability required.

An example of an ultra-fast left fielder is Rickey Henderson (Ben Oglivie and Lou Brock can fit this description too), whereas the slow-footed but very strong-armed Carl Furillo, "The Reading Rifle", sets a standard for right fielders in the terms specified here.

title: Outfielder


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Madhubala

Madhubala (born Mumtaz Jehan Begum Dehlavi; 14 February 1933 – 23 February 1969) was an Indian actress who worked in Hindi-language films. Regarded as one of the greatest actresses in the history of Indian cinema, Madhubala was the highest-paid Indian star in the early 1950s. In a career spanning more than 20 years, Madhubala had appeared in over 60 films by the time of her death in 1969.

Born and raised in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family when she was 8 years old and shortly after appeared in minor roles in a number of films. She soon progressed to leading roles in the late 1940s, and earned success with the dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a brief setback, Madhubala found continued success with her roles in the comedies Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958) and Half Ticket (1962), the crime films Howrah Bridge and Kala Pani (both 1958), and the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in the historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and her only nomination for the Filmfare Award for Best Actress; her performance has since been described by critics as one of the finest in Indian cinematic history. She worked sporadically in film in the 1960s, making her final appearance in the drama Sharabi (1964). Additionally, she produced three films under her production house Madhubala Private Ltd., which was co-founded by her in 1953.

Despite maintaining strong privacy, Madhubala earned significant media coverage for performing actively in charity, and for her relationships with actor Dilip Kumar, which lasted seven years, and with actor-singer Kishore Kumar, whom she eventually married in 1960. From the beginning of her thirties, she suffered from recurring bouts of breathlessness and hemoptysis caused by a ventricular septal defect, ultimately leading to her death in 1969.

Early life
Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, British India, on 14 February 1933. She was the fifth of eleven children of Ataullah Khan and Aayesha Begum. At least four of Madhubala's siblings died as infants; her sisters who survived until adulthood were Kaneez Fatima (b. 1925), Altaf (b. 1930), Chanchal (b. 1934) and Zahida (b. 1949). Khan, who belonged to the Yusufzai tribe of Pashtuns from Peshawar valley, originating from Swabi District, North-West Frontier Province was an employee at the Imperial Tobacco Company. Unknown to her family members, Madhubala was born with a ventricular septal defect, a congenital heart disorder which had no treatment at the time.

Madhubala spent most of her childhood in Delhi and grew up without any kind of health issues. Owing to the orthodox ideas of their Muslim father, neither Madhubala nor any of her sisters except Zahida attended school. Madhubala nevertheless learnt Urdu, Hindi, as well as her native language, Pashto, under her father's guidance. An avid movie viewer since the beginning, she used to perform her favourite scenes in front of her mother and spend her time dancing and imitating film characters to entertain herself. In spite of her conservative upbringing, she aimed to become a film actor—which her father strictly disapproved of.

Khan's decision changed in 1940 after he got fired from his job for misbehaving with a senior officer. Madhubala's mother feared ostracism if they allowed their young daughter to work in the entertainment industry, but Khan remained adamant. Soon Madhubala was employed at the All India Radio station to sing compositions of Khurshid Anwar. The seven-year-old continued working there for months, and became acquainted with Rai Bahadur Chunnilal, the general manager of the studio Bombay Talkies, situated in Bombay. Chunnilal took an immediate liking towards Madhubala and suggested Khan to visit Bombay for better employment opportunities.

Early work and switch to adult roles (1942–1947)

In the summer of 1941, Khan along with Madhubala and other family members relocated to Bombay and settled down in a cowshed present in the Malad suburbs of Bombay. Following an approval from the studio executives, Chunnilal signed Madhubala to a juvenile role in Bombay Talkies' production, Basant (1942), at a salary of ₹150. Released in July 1942, Basant became a major success commercially, but although Madhubala's work garnered appreciation, the studio dropped her contract as it did not require a child actor at that time. Disappointed, Khan had to once again return his family to Delhi. He subsequently found low-paid temporary jobs in the city, but continued to struggle financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to summon Madhubala for role in Jwar Bhata (1944). Madhubala did not get the role but Khan now decided to settle permanently in Bombay seeing a prospect in films. The family again returned to their temporary residence in Malad and Madhubala along with her father began paying frequent visits to film studios throughout the city in search of work. She was soon signed to a three-year contract with Chandulal Shah's studio Ranjit Movietone, on a monthly payment of ₹300. Her income led to Khan shifting the family to a neighbouring rented house in Malad.

In April 1944, the rented house was destroyed in a dock explosion; Madhubala and her family survived only because they had gone to a local theatre. After shifting into her friend's house, Madhubala continued her film career, playing minor roles in five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" in all of them. She faced numerous problems in these years; during the shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her illness that was slowly taking root. In 1946, she had to borrow money from a film producer for the treatment of her pregnant mother. Eager to establish a foothold in the industry, in November 1946, Madhubala began shooting for two of Mohan Sinha's directorial ventures, Chittor Vijay and Mere Bhagwaan, which were supposed to be her introduction to the silver-screen in adult roles.

Madhubala's first project in a lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until the next year). Her debut as a leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor and Begum Para. She was offered the film after Sharma's first choice, actress Kamla Chatterjee, died. Released in March 1947, Neel Kamal was popular with audience and garnered wide public recognition for Madhubala. She then reteamed with Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the following year. These films were unsuccessful ventures that failed to propel her career ahead. During this period, she had to charge a relatively lesser amount than her usual fee to attract more offers. To secure her family financially, Madhubala quickly signed 24 films. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested her to take up "Madhubala" as her professional name.

Rise to prominence and stardom (1948–1957)
Madhubala found her first critical and commercial success in the drama Lal Dupatta, which The Indian Express mentioned as a breakthrough for her. Baburao Patel described the film as "the first milestone of her maturity in screen acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played a femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema. Several actresses including Suraiya were considered for the role but Amrohi insisted on casting Madhubala. Her character was that of Kamini, a servant girl in an ancient mansion, whose pretensions of an apparition lead to disastrous consequences. The film was produced on a modest budget due to financial constraints, with trade analysts predicting it to be a failure owing to its unconventional subject. Mahal was released in October 1949 and proved to be an immensely popular film among audience. In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's ignorance among audience added to the mysterious nature of her character. The film, which would be Madhubala's first of many collaborations with actor and brother-in-law Ashok Kumar, emerged as the third biggest box-office success of the year, resulting in her signing a string of starring roles opposite the leading actors of the time.

Following another box office hit in Dulari (1949), Madhubala played Ajit's love interest in K. Amarnath's social drama Beqasoor (1950). The feature received positive reviews and ranked among the year's top-grossing Bollywood productions. Also in 1950, she appeared in the comedy-drama Hanste Aansoo, which became the first Indian film to be awarded an Adult certification. The following year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), a remake of The Adventures of Robin Hood. Her portrayal of a princess who ignorantly falls in love with Prem Nath's character received mixed reviews; a critic praised her looks but advised her to "learn to speak her dialogue slowly, distinctly and effectively instead of rattling through her lines in a monotone." She subsequently played the titular part in M. Sadiq's romance Saiyan, which Roger Yue of The Singapore Free Press commented was played "to perfection". Both Badal and Saiyan proved to be major box-office successes. Madhubala then collaborated with actor Dilip Kumar twice in a row, on the 1951 comedy Tarana and the 1952 drama Sangdil. These films also performed well financially, popularizing the on and offscreen couple among wide audience. Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the best performance of her screen career in this picture. She seems to have discovered her soul at last in Dilip Kumar's company."

Madhubala was cast in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her. In April 1953, Madhubala founded a production company called Madhubala Private Ltd. The following year, while shooting in Madras for S. S. Vasan's Bahut Din Huwe (1954), she suffered a major health setback due to her heart disease. She returned to Bombay after completing the film and took a short-term medical leave from work, which led to her replacement (by Nimmi) in Uran Khatola (1955). Madhubala later starred in another film of 1954—Mehboob Khan's Amar, portraying a social worker involved in a love triangle along with Dilip Kumar and Nimmi. Madhubala improvised a scene from the film. It was unsuccessful at the box-office. Nevertheless, Rachit Gupta of Filmfare stated that Madhubala overshadowed her co-stars and "floored her role with a nuanced performance." Writing for Rediff.com in 2002, Dinesh Raheja described Amar as "arguably Madhubala's first truly mature performance" and particularly praised a dramatic scene featuring her and Dilip. Madhubala's next release was her own production venture, Naata (1955), in which she co-starred with her sister Chanchal. The film met with a tepid response and lost a lot of money, compelling Madhubala to sell her bungalow Kismet to recover the loss.

Madhubala made a comeback in 1955 with Guru Dutt's comedy Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her biggest success at that point of time. The film saw her playing Anita Verma, a naive heiress who is forced by her aunt into a sham marriage with Dutt's character. Harneet Singh of The Indian Express called Mr. & Mrs. '55 "a great ride" and acknowledged Madhubala's "impish charm and breezy comic timing" as one of its prime assests. In mid-1956, a conflict broke out between Madhubala–Khan and director B. R. Chopra over the location shoot of Naya Daur, in which Madhubala was cast to play the female protagonist. Citing her as uncooperative and unprofessional, Chopra replaced Madhubala with Vyjayanthimala and further sued the former for ₹30,000 in damages. The lawsuit continued for about eight months amidst public scrutiny before Chopra withdrew it after Naya Daur got released.

Subsequently in the years 1956–57, Madhubala reduced her workload due to the lawsuit and health issues. She and Nargis were approached by Guru Dutt to play either of the two female leads (an unfaithful girlfriend or a hooker with a heart of gold) in his production, Pyaasa (1957). Unable to choose between the two leading roles, the actresses passed over the film to the newcomers Mala Sinha and Waheeda Rehman. Madhubala appeared in two period films in 1956, Raj Hath and Shirin Farhad, both critical and commercial successes. The following year, she portrayed a runaway heiress in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot believed to be one of the finest performances of her career. Madhubala then starred in the drama Ek Saal (1957), which follows the love story of a terminally-ill ingenue.

Mughal-e-Azam and continued commercial success (1958–1962)
Madhubala began the year 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing an intrepid journalist investigating a 15-year-old murder. She was then cast as Edna opposite Ashok Kumar in Howrah Bridge (1958), her first collaboration with director Shakti Samanta. Madhubala waived her fees to play the role of an Anglo-Indian cabaret dancer, which marked a departure from her previous portrayals of sophisticated characters. Both Howrah Bridge and Kala Pani begot positive reviews for her and became two of the year's top-grossing films. She followed this success with the box office hit Phagun (1958). In her final release of 1958, Madhubala portrayed a wealthy city woman involved in a love affair with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one of the biggest money-making films of the 1950s. Dinesh Raheja of Rediff.com referred to it as the "fifties jest-setter", adding that Madhubala "exudes oodles of charisma and her giggles are infectious." Writing for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's character in Chalti Ka Naam Gaadi as "a top favourite": "Her breezy performance stands out as that rare example of an independent, urban woman. [...] For me, Madhubala is the face of the original celluloid diva."

Her second collaboration with Samanta, Insan Jaag Utha (1959), was a social drama film in which the protagonists work on the construction of a dam. A modest success, its critical reception has improved over years. Rachit Gupta of Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance as Gauri, a village belle, as one of her finest works. Further in 1959, she received praise for playing dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Life, Her Films (1997), called her turn as "a polished performance, particularly in the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed by the second film of Madhubala Private Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the box office.

Journalist Dinesh Raheja has described K. Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career. Co-starring Dilip Kumar and Prithviraj Kapoor, the film revolves around a 16th-century court dancer, Anarkali (Madhubala), and her affair with the Mughal prince Salim (Kumar). Since the mid-1940s, Asif had rejected numerous actresses for the part of Anarkali. Madhubala had joined the cast in 1952 with an advance payment of Rs. 1 lakh—the highest for any actor or actress until then. The filming period proved to be taxing. Her relationship with Kumar ended amidst shooting and there were reports of animosity between the actors. Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to avoid. She fell under the weight of iron chains, extinguished candles with her palm, starved herself for days to depict anguishness in particular scenes and had continuous water flung at her face and whole body painted. The decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both physically and mentally, to a point that she began considering a retirement.

Mughal-e-Azam was first of Madhubala's two films in colour; it had four reels shot in Technicolor. The film had the widest release of any Indian film up to that time, and patrons often queued all day for tickets. Released on 5 August 1960, it broke box office records in India and became the highest-grossing Indian film of all time, a distinction it would hold for 15 years. At the 1961 National Film Awards, Mughal-e-Azam won the National Film Award for Best Feature Film in Hindi and led the 8th Filmfare Awards ceremony with 11 nominations, including Best Actress for Madhubala. A reviewer for The Indian Express commented, "Scene after scene bears testimony to the outstanding gifts of Madhubala as a natural actress [...] The way she presents Anarkali's changing moods as she passes through the lightning vicissitudes in her life is superb."

The success of Mughal-e-Azam resulted in a string of offers in major roles, but Madhubala had to refuse them owing to her heart condition. She further withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and an untitled film with Kishore Sahu. She did, however, have a few more releases, which were completed either by body doubles or by Madhubala herself. In late 1960, Madhubala was seen in Shakti Samanta's crime film Jaali Note, based on the theme of counterfeit money; it was successful financially. However, Karan Bali of Upperstall.com mentioned her role as "sketchy" and found the romance between her and Dev Anand's characters unconvincing. Madhubala's starring role in the musical Barsaat Ki Raat (1960) was better received. The feature was the year's second-highest-grossing film, trailing only Mughal-e-Azam. A critic for The Indian Express found her "enchanting", while Venkat Parsa of The Siasat Daily noted the rebellious nature of her character, Shabnam, who elopes with her lover (played by Bharat Bhushan) after her parents object to the relationship.

The back-to-back blockbuster successes of Mughal-e-Azam and Barsaat Ki Raat established Madhubala as the most successful leading lady of 1960. She subsequently discontinued her career and only preferred starring as love interests in a few films, including the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), and the dramas Passport (1961) and Sharabi (1964). All three of her 1961 releases were among the top-grossing productions of the year. Half Ticket, her last collaboration with husband Kishore Kumar was a critical and commercial success as well. Sukanya Verma called the film one of her most favourite comedies of all time, praising the "palpably fond chemistry" between Madhubala and Kishore. Also released in 1962 was Madhubala Private Ltd.'s third and last presentation, Pathan, which turned out to be a box office flop.

Sabbaticals and final work (1964–69)
Following a sabbatical of two years, Madhubala completed Sharabi in 1964; the film would go on to become her final release in her lifetime. Baburao Patel, writing for Mother India, praised Madhubala's performance for "reviv[ing] the old heartache". An editor for Rediff.com called Sharabi a "fitting finale to a luminous career, showing the actress at her most beautiful and her most effective, a heroine destined not to age in any of our eyes."

Two years after Madhubala's death, one of her incomplete works, Jwala (1971) was released. Co-starring Sunil Dutt and Sohrab Modi, the film was mainly completed with the help of body doubles. It marked Madhubala's final screen role.

Personal life
Born in an orthodox family, Madhubala was deeply religious and practiced Islam since her childhood. After securing her family financially in the late 1940s, she rented a bungalow on Peddar Road in Bombay and named it "Arabian Villa". It became her permanent residence until death. She learnt driving at the age of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Town & Country (which was owned by only two people in India at that time, Maharaja of Gwalior and Madhubala). As a native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the language in three months. She also kept eighteen Alsatian dogs as pets at Arabian Villa.

In mid-1950, Madhubala was diagnosed with an incurable ventricular septal defect in her heart during a medical checkup; the diagnosis was not made a public information as it could jeopardize her career.

Philanthropy
She performed actively in charity, which led editor Baburao Patel to call her the "queen of charity". In 1950, she donated ₹5,000 each to children suffering from polio myelitis and to the Jammu And Kashmir relief fund, and ₹50,000 for the refugees from East Bengal. Madhubala's donation sparked off a major controversy due to her religious beliefs and received wide coverage in the media at that time. Subsequently, she kept her charity work guarded and donated anonymously. In 1954, it was revealed that Madhubala had been regularly giving monthly bonuses to the lower staff of her studios. She also gifted a camera crane to the Film and Television Institute of India in 1962, which is operational even today.

Friendships
When she was a minor and in Delhi, Madhubala had a close friend named Latif, to whom she left a rose before her family relocated to Bombay. While working as a child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child actor of that time, who later grew up as actress Meena Kumari. Despite their professional rivalry, Madhubala shared a cordial relationship with Kumari as well as other female stars, such as Nargis, Nimmi, Begum Para, Geeta Bali, Nirupa Roy and Nadira. In 1951, following a major conflict with the press, Madhubala established a friendship with journalist B. K. Karanjia, who became one of the few people of his profession to be allowed inside Arabian Villa. Sarla Bhushan, the wife of Bharat Bhushan, with whom Madhubala had a special bond, died of labour complications in 1957, much to her distress. Madhubala was also close to three of her earliest directors—Kidar Sharma, Mohan Sinha, and Kamal Amrohi—and while there have been rumours regarding her being emotionally involved with them, her younger sister Madhur Bhushan has refuted such claims. On the sets of Mughal-e-Azam (1960), Madhubala often ate lunch with Zulfiqar Ali Bhutto, a Pakistani barrister who later served as the country's Prime Minister. He used to visit the sets especially for Madhubala, and according to Sushila Kumari was Madhubala's one-sided lover.

Relationships and marriage
Madhubala's first relationship was with her Badal co-star Prem Nath, in early 1951. They dated for six months before differences figured out due to religion—Nath was a Hindu. Although the relationship fizzled out soon, Nath nevertheless remained close to Madhubala and her father Ataullah Khan for the rest of their lives. Also in 1951, Madhubala began a romance with actor Dilip Kumar, whom she had earlier met working on Jwar Bhata (1944). Their affair went on to receive wide media attention throughout the decade. It had a positive impact on Madhubala and her friends have recalled the following few years as the happiest of her life.

As their relationship progressed, Madhubala and Dilip got engaged but could not marry as Khan had some objections. Khan wanted Dilip to act in his production house's films, which the actor refused. Also, Dilip specified to Madhubala that if they were to marry, she will have to sever all ties with her family. She parted ways with him in 1957 amidst the court case over the production of Naya Daur (1957). Dilip testified against her and Khan in court, which left Madhubala devastated. In the meantime, Madhubala was proposed marriage by three of her co-stars: Bharat Bhushan, a widower, Pradeep Kumar and Kishore Kumar, both of whom had previously been married.

On the sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship with Kishore Kumar, who was a childhood acquaintance. They went on to date for two years and had a court marriage on 16 October 1960. There are reports suggesting that Kumar, a Hindu, had converted to Islam to marry her, but these claims have been refuted by her sister. The union was disliked by her father, as well as her in-laws who had not expected their son to marry a Muslim. Madhubala and Kishore also came to be considered a mismatch in the industry due to their contrasting personalities.

Health deterioration and final years
Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled to London along with her doctor Rustom Jal Vakil, combining their honeymoon with the specialised treatment of Madhubala's heart disease, which was aggravating rapidly. In London, doctors refused to operate on her, fearing complications, and instead advised Madhubala to avoid any kind of stress and anxiety. She was dissuaded from having any children and given a life expectancy of two years. Madhubala and Kishore subsequently returned to Bombay and she shifted to Kishore's home in Bandra. Her health continued declining and she now frequently quarrelled with her husband. Ashok Kumar (Kishore's elder brother) recalled that her sickness turned her into a "bad-tempered" person and she spent most of her time in her father's house. To escape the bitterness of her in-laws due to religious differences, Madhubala later moved into Kishore's newly bought flat at Quarter Deck in Bandra. However, Kishore stayed in the flat only for a short period and then left her alone with a nurse and a driver. Although he was bearing all her medical expenses, Madhubala felt abandoned and returned to her own house in less than two months of her marriage. For the rest of her life, he visited her occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach himself from her so that the final separation wouldn't hurt." In late June 1966, Madhubala seemed to have partly recovered and decided to return to film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the industry. Her comeback was welcomed by the media, but Madhubala immediately fainted as the shoot began; the film was thus never completed. She was subsequently hospitalized in the Breach Candy Hospital, where she met her former boyfriend Dilip Kumar and returned home after being discharged. To alleviate her insomnia, Madhubala used hypnotic on Ashok's suggestion, but it further exacerbated her problems.

Madhubala spent her final years bedridden and lost a lot of weight. Her particular fascination was Urdu poetry and she regularly watched her films (particularly Mughal-e-Azam) on a home projector. She grew very reclusive, meeting only Geeta Dutt and Waheeda Rehman from the film industry in those days. She had to undergo exchange transfusion almost every week. Her body began producing excess blood that would spill out of her nose and mouth; Vakil had to thus extract the blood to prevent complications, and an oxygen cylinder had to kept by her side as she often suffered from hypoxia. After the Chalaak incident, Madhubala turned her attention to film direction and began preparing for her directorial debut, titled Farz aur Ishq, in February 1969.

Death
By early 1969, Madhubala's health was in serious and major decline: she had just contracted jaundice and on urinalysis was diagnosed as having hematuria. Madhubala suffered a heart attack in the midnight of 22 February. After struggling for few hours amongst her family members and Kishore, she died at 9:30 a.m. of 23 February, only nine days after turning 36. Madhubala was buried at Juhu Muslim Cemetery in Santacruz, Bombay along with her personal diary. Her tomb was built with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's absence from the social scene for almost a decade, her death was perceived as unexpected and found wide coverage in the Indian press. The Indian Express recalled her as "the most sought-after Hindi film actress" of her times, while Filmfare characterized her as "a Cinderella whose clock had struck twelve too soon". A number of her co-workers including Premnath (who wrote a poem dedicated to her), B. K. Karanjia and Shakti Samanta expressed their grief over her premature death. Gossip columnist Gulshan Ewing commented in a personal farewell titled "The Passing of Anarkali", writing, "She loved life, she loved the world and she was often shocked to find that the world did not always love her back. [...] To her, all life was love, all love was life. That was Madhubala—loveliest of the shining stars."

In 2010, Madhubala's tomb along with those of other industry stalwarts was demolished to make way for newer graves. Her remains were placed at an unknown location.

Public image
Madhubala was one of the most celebrated film stars in India from the late 1940s to early 1960s. In 1951, James Burke photographed her for a feature in the American magazine Life, which described her as the biggest star in the Indian film industry at that time. Her fame reached beyond India as well: director Frank Capra offered her a break in Hollywood (which her father declined) and in August 1952, David Cort of Theatre Arts Magazine wrote of her as "the biggest star in the world—and she's not in the Beverley Hills." Cort estimated Madhubala's Indian and Pakistani fan base equal to the combined population of the contemporary United States and western Europe, and also reported her popularity in countries such as Myanmar, Indonesia, Malaysia and East Africa. Along with Nargis, she also had large fan following in Greece.

Dilip Kumar described Madhubala as "the only star for whom people thronged outside the gates." Her fame was acknowledged by Time magazine also, which went on to call her a "cash and curry star" in its January 1959 issue. In films, she was often billed before the leading man, and web portal Rediff.com mentioned her as a more powerful celebrity than her male contemporaries. For Mahal (1949), her first film under a major production company, Madhubala was paid a sum of ₹7,000. The film's success established her career as a leading lady, and she subsequently became one of the highest-paid Indian stars of the upcoming decade. In 1951, filmmaker and editor Aurbindo Mukhopadhyay reported that Madhubala charges ₹1.5 lakh per film. She received an unprecedented amount of ₹3 lakh for her decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Box Office India's list of top actresses from 1949 to 1951, and from 1958 to 1961. Madhubala's beauty and physical attractiveness were widely acknowledged, and led the media to refer to her as "The Venus of Indian cinema" and "The Beauty with Tragedy". In 1951, Clare Mendonca of The Illustrated Weekly of India called her "the number one beauty of the Indian screen". Several of her co-workers cited her as the most beautiful woman they ever saw. Nirupa Roy said that "there never was and never will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a sleepless night after her first meeting with Madhubala. In 2011, Shammi Kapoor confessed to falling in love with her during the shoot of the 1953 film Rail Ka Dibba: "Even today ... I can swear that I have never seen a more beautiful woman. Add to that her sharp intellect, maturity, poise and sensitivity ... When I think of her even now, after six decades, my heart misses a beat. My God, what beauty, what presence." Due to her perceived appeal, Madhubala became one of the brand ambassadors of beauty products by Lux and Godrej. However, she stated that happiness matters more to her than physical beauty.

From the beginning of her career, Madhubala gained a reputation for avoiding parties and refusing interviews, leading her to be labeled recluse and arrogant. On an unusual instance in 1958, her father even wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, for disallowing Madhubala to attend Nehru's private function where she was invited. Having been a part of the film industry since childhood, Madhubala saw the social scene as superficial and expressed her despise of "the kind of functions where only the current favourites are invited and where a decade or two hence I would not be invited." In a two decade-long career, Madhubala was seen at the premieres of only two films—Bahut Din Huwe (1954) and Insaniyat (1955)—both for personal reasons. Her regular photographer, Ram Aurangbadakar complained that she "lacked warmth" and "was very detached", which is also reflected in Ashokamitran's statement describing her as an inarticulate and pitiful person. Gulshan Ewing, one of Madhubala's closest associates, however, differed and stated that her friend "was none of these." Nadira added that Madhubala "had not a strain of pettiness, of anything small. That girl did not know anything about hate," and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in her thinking and particular about her way of life and her position in the film industry."

Madhubala's refusal to grant interviews or to interact with the press drew in extreme reactions from its members. By early 1950, Khan had begun asserting in her film contracts that no journalists would be allowed to meet her without his permission. When shortly after Madhubala declined to entertain a set of visiting journalists on set, they started vilifying her and her family and further placed a bounty to behead and kill her. For self-protection, Madhubala was given the permission to carry a revolver and move around under armed protection by the state government, until Khan and other journalists ultimately made a settlement. Her relationship with the press remained bitter, nevertheless, and she was regularly pointed out by it for her religious beliefs and perceived arrogance. Another major controversy she faced during her career was the Naya Daur civil war fought against B. R. Chopra, which Bunny Reuben mentions in his memoir as "the most sensational court case ever to be fought in the annals of Indian cinema."

Regardless of all these dissensions, Madhubala was known in the media as a disciplined and professional performer, with Kidar Sharma (director of the 1947 film Neel Kamal) recalling her early days in the industry, "She worked like a machine, missed a meal, travelled daily in the over-crowded third-class compartments from Malad to Dadar and was never late or absent from work." Anand said in a 1958 interview, "When Madhubala is on the set, one often goes much ahead in the schedule." Except for the filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never allowed Madhubala to work in nights. Despite medical precautions, she performed even exhausting scenes by herself, such as doing complicated dances, wearing iron chains twice of her body weight and getting wet in water.

Acting style and reception
In a 22-year-long career, Madhubala acted in almost every film genre, ranging from romantic musicals to slapstick comedies, and crime thrillers to historical dramas. The author of Celebrities: A Comprehensive Biographical Thesaurus of Important Men and Women in India (1952), Jagdish Bhatia noted that Madhubala turned her disadvantages into advantage and despite her non-filmy background "rose to be one of the most talented female stars of the industry." Baburao Patel, writing for Filmindia, called her "easily our most talented, most versatile and best-looking artiste." A number of her directors including Sharma, Shakti Samanta and Raj Khosla spoke highly of her acting talents on different occasions. Ashok Kumar described her as the finest actress he ever worked with, while Dilip Kumar wrote in his autobiography that she was "a vivacious artiste ... so instantaneous in her responses that the scenes became riveting even when they were being filmed ... she was an artiste who could keep pace and meet the level of involvement demanded by the script."

Writing retrospectively for The New York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing the limits of traditions". Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing more than just looking good and crying buckets." Madhubala was acknowledged in the media for her unconventional roles, such as a flirtatious cabaret dancer in Howrah Bridge (1958)—which led Filmfare to compare her with Rita Hayworth and Ava Gardner —a rebellious and independent woman in Chalti Ka Naam Gaadi (1958), and a fearless court dancer in Mughal-e-Azam (1960). Her roles in Amar (1954), Gateway of India (1957), and Barsaat Ki Raat (1960) have also been noted by modern-day critics for being offbeat and significantly different from the usual portrayals of female characters in Indian cinema. Madhubala has also been credited for introducing several modern styles, such as trousers (for females) and strapless dresses in Bollywood. Her distinctive wavy hairstyle was referred to as "the out-of-the-bed look" and further established her screen persona as a liberated and independent woman. David Cort summarized her as "the ideal of the free Indian woman or what India hopes the free Indian woman will be."

Madhubala had the shortest career among her contemporaries, but by the time she quit acting, she had already successfully featured in over 70 films. Her screen time in leading roles was always equal to her male co-stars—which has otherwise been a rarity—and she has also been credited for being one of the earliest personalities who, in the era of mass communication, took the position of Indian cinema to global standards. Moreover, with Bahut Din Huwe (1954), Madhubala became the first Hindi actress to have a career in south Indian cinema. Jerry Pinto has cited Madhubala as one of the earliest Bollywood actresses who created a 'distinct sex symbol' by "merg[ing]" "the vamp and the virgin", and publications including Rediff.com and Hindustan Times mentioned her among the topmost sex symbols of Bollywood. A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number of votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, I guess, it's about beauty. And there weren't many who could match up to the ethereal Madhubala."

Although Madhubala appeared in almost all film genres during her career, her most notable films included comedies. She gained recognition for her comic timing after her performance in Mr. & Mrs. '55 (1955), which Iqbal Masud of India Today call "a marvellous piece of sexy-comic acting." However, despite her success and fame, she neither received any acting award nor critical acclaim. Several critics have stated that her perceived beauty was an impediment to her craft to be taken seriously. Madhubala wished to play more dramatic and author-backed roles, but was often discouraged. According to Dilip Kumar, audience "missed out on a lot of her other attributes." Biographer Sushila Kumari said that "people were so mesmerised by her beauty that they never cared for the actress", and Shammi Kapoor thought of her as "a highly underrated actress in spite of performing consistently well in her films."

Madhubala's talents were first acknowledged after the release of Mughal-e-Azam (1960), but it turned out to be one of her final films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances by Upperstall.com and by Filmfare in general —established her as an enduring figure in Indian cinema. One of the romantic scenes from the film, in which Dilip Kumar brushes Madhubala's face with a plume, was declared the most erotic scene in Bollywood's history by Outlook in 2008, and by Hindustan Times in 2011. Her critical reception improved in the 21st century, with Khatija Akbar noting that Madhubala's "brand of acting had an underplayed and spontaneous quality. Anyone looking for heavy histrionics and laboured 'acting' missed the point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her delicately raised eyebrows than most performers could with a raised voice" and "knew the knack of conveying her character's inner-most feelings." Priya Ramani of Mint added: "You only had to slip her into a wet sari, ask her to lean invitingly into the camera or hand her co-star a feather, and you could comfortably forecast that the cinematic sigh would resonate for at least a hundred years." Journalist Rauf Ahmed added Madhubala on his "Biggest stars in Hindi filmdom" list and noted: "Madhubala symbolised ultimate beauty. Which in a way undermined her merit as an actress. She imparted a lot of sizzle and impishness to her performances in films like Chalti Ka Naam Gadi and Mughal-e-Azam."

Legacy
In recent years, Madhubala's legacy has maintained fans of all different ages, both younger and older. She is recognized even by those who are unfamiliar with vintage cinema and has dozens of fan sites dedicated to her on the social media. Modern magazines continue to publish stories on her personal life and career, often promoting her name heavily on the covers to attract sales. Her legacy has extended to fashion also: she has been acknowledged as the creator of many iconic fashion styles, such as wavy hairstyle and strapless dresses, which are widely followed by many celebrities. In accordance with her enduring popularity, News 18 wrote, "the cult of Madhubala is a difficult thing to match up to." Several modern-day celebrities, including Aamir Khan, Hrithik Roshan, Shah Rukh Khan, Madhuri Dixit, Rishi Kapoor and Naseeruddin Shah rank Madhubala among their favorite artistes of Indian cinema. Research analyst Rohit Sharma has studied narratives about Madhubala and surmised the reason behind her continued relevancy among new generation: "Today, teenagers identify with the insecurities she lived with in her youth, like acne and hair issues. Others relate to her for being the poster-girl of an era when curvy bodies were considered normal and even sensuous. Some, simply, love her for being an excellent actress—one who will never be matched by the here-today-gone-tomorrow Bollywood heroines." On the occasion of her eighty-fifth birthday, Nivedita Mishra of Hindustan Times described Madhubala as "by far, the most iconic silver screen goddess India has produced." In the decades following her death, she has emerged as one of the most celebrated personalities in the Indian cinematic field, and her reputation has endured. Also in polls and surveys, she is described as one of India's finest and most beautiful actresses of all-time. Khatija Akbar, Mohan Deep and Sushila Kumari have also written books about her.

Works and accolades
Madhubala appeared in 72 films between 1942 and 1964, including Basant (1942), Neel Kamal (1947), Mahal (1949), Badal (1951), Tarana (1951), Amar (1954), Mr. & Mrs. '55 (1955), Kala Pani (1958), Howrah Bridge (1958), Chalti Ka Naam Gaadi (1958), Mughal-e-Azam (1960), Barsaat Ki Raat (1960), Half Ticket (1962) and Sharabi (1964). Her seventy-third and last film was the posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) and Pathan (1962). For her work in Mughal-e-Azam, Madhubala was nominated for Filmfare Award for Best Actress; it was the only nomination she ever received.

Tributes and honours
As a tribute to Madhubala, Mandoubala, a Greek song dedicated to her, was performed at the closing ceremony of the 2004 Athens Olympics. Digitally-colorized versions of two of Madhubala's films—Mughal-e-Azam (in 2004) and Half Ticket (in 2012)—have been released theatrically. In March 2008, Indian Post issued a commemorative postage stamp featuring Madhubala, that was launched by her surviving family members and co-stars; the only other Indian actress that was honoured in this manner was Nargis, at that point of time.

In 2010, Filmfare included Madhubala's performance as Anarkali in Mughal-e-Azam in its list of Bollywood's "80 Iconic Performances". Her introduction scene in Mughal-e-Azam was included by Sukanya Verma in Rediff.com's list of "20 scenes that took our breath away". The film itself has been considered one of the greatest films ever made in polls by British Film Institute and News18. In August 2017, the New Delhi center of Madame Tussauds unveiled a statue of Madhubala inspired by her look in the film as a tribute to her. In 2018, The New York Times published a belated obituary for Madhubala, comparing her life to that of Marilyn Monroe. On 14 February 2019, her 86th birth anniversary, search engine Google commemorated her with a doodle; Google commented: "While her breathtaking appearance earned comparisons to Venus, Madhubala was a gifted actor with an understated style well suited for comedies, dramas, and romantic roles alike. [...] Appearing in over 70 films over the course of a tragically brief career, Madhubala—who would have turned 86 today—was called "The Biggest Star in the World" in 1952 by Theatre Arts Magazine."

Biographies

 * In 1996, Mohan Deep wrote the first biography of Madhubala, titled The Mystery and Mystique of Madhubala.
 * In 1997, Khatija Akbar wrote another biography, titled Madhubala: Her Life, Her Films.

In film

 * The 1950 film Madhubala was named after the actress as a tribute to her stardom.
 * In the 1958 film Chalti Ka Naam Gaadi, Manmohan (Kishore Kumar), on seeing Renu (Madhubala) in his garage, excitedly says, "Hum samjha koi bhoot-woot hoga" ("Oh I thought it was a ghost"). The dialogue was a reference to Madhubala's portrayal of a ghostly woman in Mahal (1949).
 * Actress Nishi parodied Madhubala in the 1960 film Parakh.
 * In the 1970s, Greek singer Stelios Kazantzidis produced the song "Mandoubala" as a tribute to Madhubala.
 * In the 1990 film Jeevan Ek Sanghursh, the characters of Madhuri Dixit and Anil Kapoor imitated a dance sequence featuring Madhubala and Kishore Kumar from Chalti Ka Naam Gaadi (1958).
 * Madhuri Dixit parodied Madhubala in the 1990 film Kishen Kanhaiya.
 * In the opening credits of the 1995 film Rangeela, a tribute to the Hindi film industry, each name is accompanied with an image of a vintage film star, including Madhubala, Dev Anand and Amitabh Bachchan.
 * Madhubala's Anarkali look has inspired Madhuri Dixit in Lajja (2001) and Mallika Sherawat in Maan Gaye Mughal-e-Azam (2008).
 * Priyanka Chopra parodied Madhubala, Meena Kumari and Nargis in the 2007 film Salaam-e-Ishq.
 * In 2017, actress Mouni Roy dressed herself as Madhubala's Anarkali for a dance performance.
 * Madhubala has served as the inspiration behind the characters of actresses Soha Ali Khan, Kangana Ranaut and Deepika Padukone in Khoya Khoya Chand (2007), Once Upon a Time in Mumbaai (2010), and Bajirao Mastani (2015), respectively.

In July 2018, Madhubala's sister Madhur Bhushan, announced that she was planning to make a biopic on her sister. Bhushan wants Kareena Kapoor to play Madhubala, but as of 2018, the project remains in its initial stages. In November 2019, filmmaker Imtiaz Ali was considering a biopic of Madhubala, but later dropped the idea after her family denied permission. Actresses including Kriti Sanon, Kangana Ranaut, Kiara Advani, and Janhvi Kapoor, and Yami Gautam have expressed their wish to play Madhubala in a biopic.

In March 2024, Sony Pictures International announced their collaboration with Brewing Thoughts and Madhubala Ventures (the vehicle of her sister, Madhur Bhushan) to produce a biopic on Madhubala. It will be directed by Jasmeet Reen.

title: Madhubala


text:
Ravinia

Ravinia may refer to:

 * Ravinia (fly), a genus of flesh flies
 * Ravinia, South Dakota, U.S., a town
 * Ravinia Festival, a music festival in Highland Park, Illinois, U.S.
 * Ravinia station, a Metra railway station in Highland Park, Illinois, U.S.

title: Ravinia