Can You Get Social Security if Your Husband or Wife Dies? A lot of you found this post because your are trying to find out if you will receive your husband’s or wife’s Social Security benefits if he or she dies. This is especially important if your spouse made more money than you, or if your spouse was the sole earner and you did not work. Many worry that if they cannot receive Social Security based on their spouse’s earnings, they may not be able to get Social Security on their own. So, let’s get right to it. The short answer is no. Social Security benefits are not transferable to the surviving spouse. So, if your husband dies, you do not get his Social Security benefits. However, a spouse may be entitled to survivor’s benefits based on the deceased spouse’s earnings record. So, there may be Social Security available to the surviving spouse. However, it is not simply a direct transfer of the deceased spouses benefits to the surviving spouse. Your local Social Security office should be able to help you determine the benefits you may qualify for if your spouse dies. You can also get information at the toll free Social Security phone line: 1- 8. If that was all you were looking for, I am glad I could help. Please share this post. Thanks! If you need more information about what you need to qualify to receive surviving spouse benefits, read on: For most people, here is what you need to know to answer the question whether you can get Social Security survivors’ benefits after your spouse dies. Most survivor’s benefit claims depend on meeting one of two requirements: You have to be 6. You have to be at least 5. Social Security. There are additional requirement, such as the duration of the marriage, or the disability starting within 7 years of the spouses death. These are outlined below. Note: Even if you do not meet either of the Survivor’s Benefits criteria above, you still may be eligible for Social Security Parent’s Benefits if you are taking care of a child. This post reviews the benefits available for widows/ers and children. Below is the entire text of “How do I become entitled to widow’s or widower’s benefits?” I have reformatted it to make for easier reading. We will find you entitled to benefits as the widow or widower of a person who died fully insured if you meet the requirements in paragraphs (a) through (e) of this section: (a) You are the insured’s widow or widower based upon a relationship described in . The death is accidental if it was caused by an event that the insured did not expect, if it was the result of bodily injuries received from violent and external causes, and if, as a direct result of these injuries, death occurred not later than 3 months after the day on which the bodily injuries were received. An intentional and voluntary suicide will not be considered an accidental death.(ii) At the time of your marriage the insured was reasonably expected to live for 9 months, and the death of the insured occurred in the line of duty while he or she was serving on active duty as a member of the uniformed services as defined in . During the period of the prior spouse’s institutionalization, the insured, as determined based on evidence satisfactory to the Agency, would have divorced the prior spouse and married you, but the insured did not do so because the divorce would have been unlawful, by reason of the institutionalization, under the laws of the State in which the insured was domiciled at the time. Additionally, the prior spouse must have remained institutionalized up to the time of his or her death and the insured must have married you within 6. You and the insured were the natural parents of a child; or you were married to the insured when either of you adopted the other’s child or when both of you adopted a child who was then under 1. In the month before you married the insured, you were entitled to or, if you had applied and had been old enough, could have been entitled to any of these benefits or payments: widow’s, widower’s, father’s (based on the record of a fully insured individual), mother’s (based on the record of a fully insured individual), wife’s, husband’s, parent’s, or disabled child’s benefits; or annuity payments under the Railroad Retirement Act for widows, widowers, parents, or children age 1. Search the world's information, including webpages, images, videos and more. Google has many special features to help you find exactly what you're looking for.You apply, except that you need not apply again if you meet one of the conditions in paragraphs (b)(1) through (4) of this section: (1) You are entitled to wife’s or husband’s benefits for the month before the month in which the insured dies and you have attained full retirement age (as defined in . The waiting period may begin no earlier than the 1. On Biography.com, learn about the life and music of gangster rapper Ice-T, known for albums like Rhyme Pays and for playing a detective on Law & Order: Special. Drama: Second Time Twenty Years Old (literal title) Revised romanization: Doobunzzae Seumoosal Hangul: We groom young performers for success in Hollywood and in LIFE! If you were previously entitled to widow’s or widower’s benefits based upon a disability, no waiting period is required.(3) Exception: For monthly benefits payable for months after December 1. State supplementary payments, as specified in subparts B and T of part 4. We will include as months of the 5- month waiting period the months in a period beginning with the first month you received supplemental security income or a federally administered State supplementary payment and continuing through all succeeding months, regardless of whether the months in the period coincide with the months in which your waiting period would have occurred, or whether you continued to be eligible for supplemental security income or a federally administered State supplementary payment after the period began, or whether you met the nondisability requirements for entitlement to widow’s or widower’s benefits. However, we will not pay you benefits under this provision for any month prior to January 1. You have not previously received 3. An oral history of Airplane! Club. Imitation is considered the sincerest form of flattery, but when it comes to parody, that’s a bit more hit- or- miss. This is particularly evident within the parody- film genre, which has been watered down by movie studios looking for ways to cash in on the latest pop culture phenomenon without having any particular comedic aspirations, resulting in critically- maligned efforts which have a limited shelf life and rarely rise above the level of lowbrow. But it wasn’t always this way. In 1. 98. 0, a trio of gentlemen from Wisconsin - Jim Abrahams and brothers David and Jerry Zucker - took a cast of predominantly non- comedic actors, put a parodic spin on the disaster- film genre, and created a film which not only made moviegoers howl with laughter but also earned critical acclaim. In an effort to increase awareness of the screening as well as apply salve to the wound of those who aren’t able to attend, we spoke with as many people involved in Airplane! Sadly, Otto declined to go on the record with his reminiscences, but those who were willing to open up had quite a story to tell, which you can read straight through or use the section guide on the right to flip around. By nature or personal choice, they are rich and famous and yet. As you can see from the original video, the Trump is clearly fake, and even agrees with the young girl that he’s a disgrace. There’s some question as to whether. Zero Hour!“Looks like I picked the wrong week to quit smoking..”Jim Abrahams (director/co- writer): The way we used to get material for Kentucky Fried Theater was like seining for fish: We’d throw our net out at night and just record stuff—whatever was on TV, it didn’t matter—so that we’d have grist to make fun of. And one morning we just got to work and there was Zero Hour! Jerry Zucker (director/co- writer): We’d never heard of Zero Hour! And, you know, Zero Hour! It was written by Arthur Hailey, who also wrote Airport. You could teach film structure using Zero Hour. It’s a perfectly classically structured film. Abrahams: It’s like a classic three- act play: You meet a guy in the first act, you throw stones at him in the second act, and in the third act everything is resolved. David Zucker (director/co- writer): Since we did Airplane! It was after we had done our first live show. We used to have a theater on Pico Boulevard called Kentucky Fried Theater, and I think after the first show, which was called “Vegetables,” we did a second show and cast other people so we didn’t have to be onstage, and that’s when we started writing Airplane! That would’ve been ’7. I think. J. Zucker: We had an early script before we made Kentucky Fried Movie, but. Zucker: I think it featured Beaver and Wally flying down the plane. Zucker: Something like that. It had some of the great jokes from the movie, but it really was nowhere near what it needed to be. Abrahams: Our first draft of Airplane! We weren’t screenwriters at all—we were joke writers—so we really stuck to the plot of Zero Hour! In fact, we actually ended up optioning the rights to the film. I guess we must’ve gotten some advice from our attorney. But we were so close to Zero Hour! Zucker: Actually, it’s funny: we bought the rights to do a remake or whatever, and now it’s getting harder and harder to do that, but even though we didn’t have a lot of money at the time—this was before we were at Paramount—they gave it to us for very little. D. Zucker: It was probably $2,5. J. But Warners owned Zero Hour! But it turned out that the studio that owned the other half was Paramount! Abrahams: I know we didn’t appreciate it at the time, but over the years we found that the jokes in the scenes that stayed closest to the plot of Zero Hour! Meanwhile, some of the other jokes that we thought were great but which didn’t have that much to do with the plot, they just sort of fell by the wayside. J. Zucker: It was a major struggle to get Airplane! There was a little bit of interest here and there, but nobody was biting. And then we made Kentucky Fried Movie. As soon as the check cleared for that, we stopped doing the live show and we got a little bungalow up in Santa Monica and wrote Airplane! And then we took it out and shopped it, at which point we got turned down by all the studios until we finally got to Paramount. Abrahams: We were sort of credible after Kentucky Fried Movie, but we attached ourselves as directors, so that was a dealbreaker in most places. But we shopped it everywhere. Somebody told me that they’d read a copy of the screenplay. Where’d you find it?” And they said, “I found it on a bus.” . Zucker: It was really only one person who saved us and got Airplane! Zucker: Well, Eisner and . Zucker: Eisner and Katzenberg, yeah. Eisner heard about the script, called Katzenberg, and asked him to call these guys who did this Airplane! And that’s how we ended up at Paramount. J. Zucker: Eisner was having dinner with a woman named Susan Baerwald, who at the time was a reader for United Artists, and they were friends. And he asked her, “So what have you read that you liked?” And she said, “Well, there’s this one script that United Artists passed on, but I thought it was really, really funny.” And she told them a little bit about it, and I think Eisner just thought, “A comedy on an airplane? That’s a good idea!” So they immediately had it tracked down, and then we got a call from Katzenberg, saying, “Come on in, we want to hear about this.”Abrahams: Even when Paramount were expressing interest and were willing to take a shot on us as directors, at the same time there was a company called Avco Embassy—I think Bob Rehme ran it back then—and they were equally interested and actually offered us a little more money for it. So one weekend, David and Jerry and I kind of decided we’d take off in order to make the decision whether we were going to go with Avco and Paramount, and we just anguished over it. We spent a lot of time weighing pros and cons of both the companies. In fact, at one point, we said, “We’re definitely going with Avco.” It just seemed like the better decision. So we called up Jeffrey Katzenberg to tell him, and I don’t think the conversation was five minutes. But at the end of the conversation, we were at Paramount. Zucker: Landing at Paramount turned out to be such a great thing. I remember at the time we had a lot of fears that the studio would try to rewrite it and ruin it, but instead they really helped us. Katzenberg took us through a rewrite, and it was at Paramount that we added all of those flashbacks. They also helped us develop the love story. Abrahams: I’m not sure when the commercials from the original draft went away, but the Paramount executives were very helpful in making sure we stuck to the plot while trimming away some of the excess stuff. J. Zucker: We were so fortunate to have had Zero Hour! We were funny guys, but we knew nothing about crafting a movie. The people at Paramount really taught us about making plot points into jokes, about making jokes into plot points, and showed us places where we were probably taking too much time with plot and needed to make cuts. We were influenced by many things, but certainly by MAD magazine. There was a regular feature in MAD – I think it still may be today – called “Scenes We’d Like to See,” and the way they’d do it was to have each panel leading up to the final panel be completely straight, nothing was silly, and the characters weren’t caricature- y, and then in the last panel they’d make the joke and sort of pull the rug out from under you. We always felt we’d learned subliminally from that. So we cast straight actors and used serious music, and instead of having silly sets, we put it on a real airplane. That kind of stuff allowed us to get more ridiculous with the jokes. Zucker: With the music, we told Elmer Bernstein, “Look, we don’t want any of this Magnificent Seven garbage.” . The thing about Elmer that we loved was that he had a great sense of humor, and he would watch scenes when we would, just to talk about the music. Abrahams: We screened it for a preview audience when we were cutting it, when there was a temp score on it, but when we showed it to Elmer, I remember him laughing through the whole movie. Zucker: But on the 1. He was a comedy writer’s dream, in a sense. He understood the tone of the film, and I think he wrote a fantastic score. Abrahams: The way it was cast, the way it looked, the way it was shot, the whole B- movie attitude. Zucker: He’d done so many serious films, but then suddenly he does Animal House and Airplane! Zucker: Paramount wanted. But they were so great that we tried to compromise with them as much as we felt we could. Oh, but one thing that we didn’t want to bend on was that we had originally written the movie to be on a prop plane, because that was Zero Hour! Zucker: We also wanted to shoot it in black and white. J. Zucker: Yeah, originally. But Eisner said, “If you do it at Paramount, it’s got to be on a jet plane and in color.” That’s where he put his foot down. That, and color versus black and white—I might be wrong, but my recollection is that that one wasn’t as big a deal. D. Zucker: Yeah, that wasn’t as big a deal as the prop plane. J. Zucker: But if you can believe it, there was actually a moment where the three of us were kind of going, “God, should we do it? I mean, will it work?” And he was completely correct. D. Zucker: The most amazing thing is the way Eisner handled the situation. We had this meeting with him on Friday where we really put our foot down, and we explained why it was correct to have this thing on a prop plane and in black and white.” And he listened very politely, and when we were done, he said, “Well, you’ve stated your case very well. In fact, you may be right, and you may go on to make this movie in black and white and on a prop plane, and it may be very successful. But it won’t be at this studio.” That’s what he said. And so there’s this silence, and then I think he broke it. He said, “Why don’t you guys think it over, and then we’ll talk again on Monday.” He was so good at handling us. Of course, on Monday, we said, “Okay, we’re fine.”J. Zucker: The amazing thing is how young and naive we were.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
September 2017
Categories |