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Albert Hammond Jr.

Albert Louis Hammond Jr. (born Hammond III; April 9, 1980) is an American musician who is a member of the rock band The Strokes. He is best known for his role as rhythm and lead guitarist, as well as occasionally a keyboard player and backing vocalist for the band. Hammond Jr. has released extensive solo work, including five solo albums.

Born in Los Angeles, Hammond Jr. is a first-generation American, his father the songwriter Albert Hammond being of British-Gibraltarian descent, and his mother being of Argentine descent. He attended the same Swiss boarding school as his bandmate Julian Casablancas, where the two became friends. He would move to New York City in 1998 and attended New York University for a year and a half.

Casablancas invited Hammond Jr. to join the Strokes in 1999, being the last member to join the band. He plays rhythm guitar on most songs, and has some songwriting credits on the more instrumental pieces. Hammond Jr. is passionate about fashion and is known for wearing a three-piece suit on tour. Casablancas credits him for influencing the band's style. In 2009, he released a line of men's suits.

In 2006, Hammond Jr. released his debut solo album Yours to Keep. and followed up with ¿Cómo Te Llama? in 2008. Since then, he has released the 2013 EP AHJ, and the albums Momentary Masters, Francis Trouble, and Melodies on Hiatus in 2015, 2018, and 2023 respectively.

Early life
Hammond was born on April 9, 1980 in Los Angeles, California. He is the son of British-Gibraltarian singer-songwriter Albert Hammond, a prolific songwriter best known for his 1972 hit single "It Never Rains in Southern California", and Argentine Claudia Fernández, a former model and beauty pageant winner. He has two older half-sisters. A first generation American, Hammond is of mixed Gibraltarian, Argentine, Austrian, and Peruvian descent; his first language was Spanish. Hammond began playing the guitar at age nine. He was a championship-winning roller skater as a child.

At the age of 12, Hammond Jr. was sent to boarding school Institut Le Rosey in Switzerland. While there, he became friends with future Strokes bandmate Julian Casablancas, a grade above him, whom he connected with as a fellow American. Hammond moved back to Los Angeles where he completed his high school education at the Buckley School. Following graduation in 1998, Hammond moved from Los Angeles to New York City and, having deferred admittance to New York University, took a short-term filmmaking course at the New York Film Academy. He later attended NYU's Tisch School of the Arts, but left after a year and a half.

The Strokes
After moving to New York City in September 1998, Hammond reconnected with his former school friend Casablancas, who later invited him to join the Strokes. Made up of Casablancas' other schoolmates Nikolai Fraiture, Nick Valensi, and Fabrizio Moretti, Hammond Jr. was the last person to join the band in 1999. In the following two years, the band practiced and performed tirelessly, all while Hammond Jr. was also attending NYU and working at Kim's Video. The Strokes released their first demo in January 2001, beginning a record label bidding war and years of critical acclaim. Since 2001, Hammond Jr., as part of the Strokes, has released two EPs and six full-length albums, most recently The New Abnormal in 2020.

Hammond is usually seen playing a 1985 '70s reissue Olympic White Fender Stratocaster or Gibson Les Paul Jr. that is sometimes used by bandmate Nick Valensi. On the majority of the Strokes' songs he plays rhythm guitar, and solos are played by Valensi. The songs in which Hammond does play solos are "Last Nite", "Trying Your Luck", "Take It or Leave It", "Under Control", "The End Has No End", "Ize of the World", "Threat of Joy", "Vision of Division", and "Drag Queen". His solos tend to focus largely on more emotional, "bluesy"-type melodic work, and the guitar tends to have a cleaner, softer tone in comparison to Valensi's (with a notable exception found in "Vision of Division"). He often holds his guitar in a high horizontal position, similar to Buddy Holly, which he says is so that he can dance better.

Although vocalist Casablancas is the primary songwriter in the Strokes, Hammond co-wrote the track "Automatic Stop" with Casablancas for the group's second album Room on Fire. He has been credited with writing three mostly instrumental songs ("Swiss Beats", "Holland", and "By the Way") for the band's 2001 tour video titled In Transit. These songs were reworked for his later solo album and have different titles ("Everyone Gets a Star", "Bright Young Thing", "In Transit"). He wrote "Elephant Song" when he was required to record a song for his Sound 101 class during his freshman year and used the school's recording equipment. The song was played at a few shows before the release of the Strokes' debut album. They later re-recorded the song as a special giveaway for fan club members.

Yours to Keep and ¿Cómo Te Llama? (2006–2013)
In October 2005, Hammond and Ben Kweller released a version of "Wait" on This Bird Has Flown – A 40th Anniversary Tribute to the Beatles' Rubber Soul.

Hammond released a solo album titled Yours to Keep in the U.K. through Rough Trade Records on October 9, 2006 and in North America through New Line Records/Scratchie Records on March 6, 2007. Produced by Thin Lizard Dawn vocalist Lattimer and recorded at the Electric Lady Studios in New York City, the album features several musical guests, such as Sean Lennon, Ben Kweller, The Strokes' manager Ryan Gentles, Jody Porter of Fountains of Wayne, Chris Feinstein, Mikki James, Sammy James Jr. (The Mooney Suzuki) and the Strokes' lead singer, Casablancas. Bassist Josh Lattanzi and drummer Matt Romano serve as the backing band, with Hammond on guitar and vocals. The first single taken from the album, "101," was released exclusively through iTunes on September 4, 2006. "101" was the follow-up single to "Everyone Gets a Star". The music video debuted online in March 2007. It was going to be available in general music stores, unlike "Everyone Gets A Star" which was only available through UK iTunes Music Store. It was released on November 27, 2006. The music video for "In Transit" was directed by Joaquin Phoenix.

Hammond has said to have been "waiting to make a record like this for years". Early support from his bandmates in the Strokes was only evident after Casablancas' role playing bass and back-up vocals on the track "Scared", though all of the members (with the exclusion of Nick Valensi, who was busy taking care of his newborn children) attended his shows in and around New York.

On March 16, 2007, at the South by Southwest festival, Hammond performed a 12-song set including covers of Frank Black's "Old Black Dawning" and Guided by Voices' "Postal Blowfish". Hammond also regularly covered the Cars' "Don't Cha Stop" in live performances. He supported Bloc Party on their world tour before making stops at Montreal's Metropolis and Toronto's Kool Haus. After this, Hammond headlined two North American tours along with a European tour. The North American tour featured his friends, the Mooney Suzuki. In November 2006, Hammond was announced to be joining Incubus on tour during their North American tour for their new album Light Grenades. On August 29, 2007, Hammond announced on MySpace that he was going back into the studio to record his second album in October 2007 for five weeks.

On March 20, 2008, Hammond posted a blog entry on MySpace in which he revealed the title of his second album: ¿Cómo Te Llama? He wrote that it contained 13 songs with a total length of 46 minutes and 30 seconds. He stated he hoped to be touring with the new album until the end of 2008. On May 27, 2008, Hammond released "GfC", the first single off ¿Cómo Te Llama?, on iTunes in the U.S. The song was played extensively live on his 2007 tour. A non-album song titled "& So It Goes" was released as a B-side along with the single. The album was released on July 7, 2008.

On May 29, 2008, Hammond was Myspace's featured artist and exclusively premiered his new album ¿Cómo Te Llama? uploading all the tracks of the album on his official Myspace page. He celebrated the release of his album with a July 8 small show at the Virgin Megastore, Union Square, in New York City. A noted absence from Hammond's band was recording bassist Josh Latzanni. Steve Schiltz of the band Longwave, who toured with Hammond on his first album also was missing. Although Hammond was supposed to play only two or three songs, he ended up playing almost 10, with a selection that included both new and old tracks. This show kicked off his worldwide tour in support of ¿Cómo Te Llama? with the next show being sold-out at the landmark venue Spaceland in the Silver Lake neighborhood of Los Angeles. This was his only appearance on the West Coast. The following month, Hammond's website officially announced that Hammond would be the support act of the British band Coldplay during their European Tour, which kicked off on September 1 in Strasbourg, France.

AHJ EP and Momentary Masters (2013–2017)
In an interview with Har Mar Superstar in July 2013, Hammond revealed that he had recorded a five-song EP to be released via Julian Casablancas' Cult Records. Titled AHJ, it was released on October 8, 2013. Hammond stated in an interview promoting the EP on December 5, 2013, that he would be interested in playing solo as an opening act if the Strokes announced another tour: "I would definitely ask the guys if I could open for them. That'd be amazing."

On June 22, 2014, a photo was posted to Hammond's official Facebook page of himself in a room with other musicians and the caption "the start of something new; LP 3," suggesting that he is working on a third full-length album. Hammond released his third LP Momentary Masters on July 31, 2015 in the U.S. via Vagrant Records. The first single, "Born Slippy", was made instantly available for streaming and download via YouTube and iTunes respectively. Both AHJ and Momentary Masters were produced with Hammond Jr.'s close collaborator Gus Oberg.

Hammond Jr. covered "The Little Boy That Santa Claus Forgot" by Vera Lynn mixed with the chorus from George Harrison's "My Sweet Lord" as part of Amazon's annual music series titled Indie for the Holidays. The song was released on December 1, 2017.

Francis Trouble (2018–present)
Hammond Jr.'s fourth solo album Francis Trouble was released via Red Bull Records on March 9, 2018. The first single "Muted Beatings" was released on February 2, 2018. In 2019 he released a new single, "Fast Times," preceding a brief Western USA tour.  That May, he released the single "More to Life". The following year Albert was featured on the 2020 song "Another Hit of Showmanship" by the rock band the Struts.

Music
Guided by Voices, The Beach Boys, Buddy Holly, Frank Black, John Lennon, Matthew Sweet and The Velvet Underground are cited as Hammond's musical influences.

Albert's main guitar is a Fender Stratocaster Arctic White 1985 Reissue of a 1972. He owns three white Stratocasters, a Gibson Les Paul special single cutaway, a Rickenbacker 325, and a Gretsch hollowbody. His amplifier is a Fender Hot Rod DeVille 2x12. His pedal board is made up of an old version of the MXR Micro Amp, a V1 Jekyll and Hyde Ultimate Overdrive and Distortion, and a BOSS TU-2 tuner. In later shows, he adds another Micro Amp, and Jekyll and Hyde, and a Boss Digital Delay. He now uses a Mad Professor Deep Blue Delay pedal instead of the Boss Digital Delay.

Fashion
Hammond Jr.'s sartorial trademark is wearing formal three-piece suits, and has been said by bandmate Julian Casablancas to be the most influential on the band's style. Hammond Jr. most recently collaborated with designer Amber Doyle for the Strokes' 2019 European tour. In a 2018 interview he stated that he'd had a passion for style from an early age, and has always combined his own designs with retail favorites. While Hammond has been best known for his formal wear, he launched his own range of Francis Trouble t-shirts and sports incorporated classic vintage tees.

In 2009, Hammond released his own line of men's suits which he co-designed with stylist Ilaria Urbinati. The suits were at first only available at Urbinati's soon-to-open Confederacy boutique in Los Angeles. Speaking about the designing endeavor, Hammond Jr. told New York magazine, "I want to make suits that I'm going to have for myself. They're for the person who needs his one suit for a wedding. He'd rather get something like this than go to Men's Wearhouse, pay the same amount, and look like an out-of-date parent." Hammond also collaborated with Elliot Aronow of Jacques-Elliott for a collection of ties in 2015.

Personal life
Hammond Jr. married Polish restaurateur Justyna Sroka in December 23, 2013, with whom he has a daughter, Holiday, born in 2021.

Hammond Jr. previously owned homes in the Nolita neighborhood of Manhattan and in New York's Catskill Mountains; in the late 2000s, he built his recording studio, One Way Studios, near his home in Port Jervis and later moved to the nearby community of Eldred. In the 2000s, he had relationships with British supermodel Agyness Deyn, as well as American musician Catherine Pierce of The Pierces.

In the 2000s, Hammond Jr. suffered from a serious drug addiction that involved cocaine, heroin and ketamine, among other drugs. He entered rehab in 2009 and has been sober since.

title: Albert Hammond Jr.


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Gloria Stuart

Gloria Frances Stuart (born Gloria Stewart; July 4, 1910 – September 26, 2010) was an American actress, visual artist, and activist. She was known for her roles in pre-code films, and garnered renewed fame late in life for her portrayal of Rose Dawson Calvert in James Cameron's epic romance Titanic (1997), one of the highest-grossing films of all time. Her performance in the film won her a Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Supporting Role and earned her nominations for the Academy Award for Best Supporting Actress and the Golden Globe Award for Best Supporting Actress – Motion Picture.

A native of Santa Monica, California, Stuart began acting while in high school. After attending the University of California, Berkeley, she embarked on a career in theater, performing in local productions and summer stock in Los Angeles and New York City. She signed a film contract with Universal Pictures in 1932, and acted in numerous films for the studio, including the horror films The Old Dark House (1932) and The Invisible Man (1933), followed by roles in the Shirley Temple musicals Poor Little Rich Girl (1936) and Rebecca of Sunnybrook Farm (1938). She also starred as Queen Anne of Austria in the musical comedy The Three Musketeers (1939).

Beginning in 1940, Stuart slowed her film career, instead performing in regional theater in New England. In 1945, following a tenure as a contract player for Twentieth Century Fox, Stuart abandoned her acting career and shifted to a career as an artist, working as a fine printer and making paintings, serigraphy, miniature books, Bonsai, and découpage for the next three decades. She produced numerous pieces during this period, many of which are part of collections in the Los Angeles County Museum of Art and the Metropolitan Museum of Art.

Stuart gradually returned to acting in the late 1970s, appearing in several bit parts, including in Richard Benjamin's My Favorite Year (1982) and Wildcats (1986). She made a prominent return to mainstream cinema at age 86 when she was cast as the 100-year-old elder Rose Dawson Calvert in Titanic (1997), which earned her numerous accolades and renewed attention. Her final film performance was in Wim Wenders' Land of Plenty (2004).

In addition to her acting and art careers, Stuart was a lifelong environmental and political activist, who served as a co-founding member of the Screen Actors Guild and the Hollywood Anti-Nazi League.

1910–1929: Early life
Stuart was born Gloria Stewart at 11:00 p.m. on the Fourth of July, 1910 on the family's kitchen table in Santa Monica, California, the first child of Alice (née Deidrick) and Frank Stewart. Through her mother, Stuart was a third-generation Californian; Stuart's maternal grandmother, Alice Vaughan, was born in 1854 in Angels Camp, gold country, two years after her own mother, Berilla (Stuart's great-grandmother), relocated to California from Missouri in a covered wagon. Stuart's father, a native of The Dalles, Oregon, was of Scottish descent, and studied law in San Francisco. At the time of her birth, he was an attorney representing The Six Companies. Stuart had one younger brother, Frank Jr., born eleven months later. Another younger brother Thomas (born two years after Frank Jr.); however, he died due to spinal meningitis at age three.

As a child, Stuart attended a Church of Christ with her mother, and subsequently attended a Catholic school. Her father, originally a Presbyterian, converted to Christian Science during her childhood. When Stuart was nine years old, her father died as the result of an infection from an injury sustained when an automobile grazed his leg. She was also expelled from grade school after kicking her teacher ("to be honest, she deserved it" she recalled). Hard-pressed to support two small children, her mother soon accepted the proposal of local businessman Fred J. Finch.

Stuart attended her schooling using the name Gloria Fae Finch. She had not been given a middle name by her parents and so adopted one, Frances, the feminine of Frank, her father's name.

Stuart attended Santa Monica High School, where she was active in theater and performed the lead role in her senior class play, The Swan. She loved writing as much as acting and spent her last two summers in high school taking short story and poetry writing classes and working as a cub reporter for the Santa Monica Outlook.

While a teenager, she had a tumultuous relationship with her stepfather and sought to attend college in order to leave home. After high school, Stuart enrolled at the University of California at Berkeley, majoring in philosophy and drama. In college, she appeared in plays, worked on the Daily Californian, contributed to the campus literary journal, Occident, and posed as an artist's model. It was at Berkeley that she began signing her name Gloria Stuart.

While a student at UC Berkeley, Stuart wanted to join the Young Communist League. She wrote, "I was told it was for the poor and the oppressed. That appealed to me. But membership wasn't open to anyone under eighteen, so I couldn't join." In Carmel, she notes that her friendship with muckraker Lincoln Steffens gave her "... much deeper insight into the abuses of laborers and blue-collar workers and made me ready to work for liberal causes when I got to Hollywood a few years later."

At the end of her junior year, in June 1930, Stuart married Blair Gordon Newell, a young sculptor who apprenticed with Ralph Stackpole on the facade of the San Francisco Stock Exchange building. The Newells moved to Carmel-by-the-Sea where there was a stimulating community of artists such as Ansel Adams, Edward Weston, Robinson Jeffers and Lincoln Steffens and his wife Ella Winter. In Carmel-by-the-Sea, Stuart performed in productions at the Theatre of the Golden Bough and worked as a staff member on The Carmelite newspaper. She meanwhile made hand-sewn aprons, patchwork pillows and tea linens, and created bouquets of dried flowers for a tea shop, in which she also worked as a waitress. Newell laid brick, chopped and stacked wood, taught sculpture and woodworking, and managed a miniature golf course. They lived in a shack in the middle of a wood yard as night watchmen. Stuart would later reflect on this period of her life as "wonderfully bohemian."

1930–1934: Theatre and early films
Stuart's performance in the theatre in Carmel brought her to the attention of Gilmor Brown's private theater, The Playbox, in Pasadena. She was invited there to appear as Masha in Anton Chekhov's The Seagull. Opening night, casting directors from Paramount and Universal were in the audience. Both came backstage to arrange a screen test, both studios claimed her. Finally the studios flipped a coin and Universal won the toss. Stuart considered herself a serious actress in theater, but she and Newell "were stony broke, living hand to mouth" so she decided to sign the contract with Universal, which paid a bit more than Paramount.

According to Stuart, she began her film career by playing an ingénue confronting her father's mistress in the Warner Bros. film Street of Women, a Pre-Code fallen-women film for which she was loaned by Universal. Stuart's second film, again playing an ingénue, was in the football-hero film, The All-American.

In early December 1932, the Western Association of Motion Picture Advertisers announced that Gloria Stuart was one of fifteen new movie actresses "Most Likely to Succeed"—she was a WAMPAS Baby Star. Ginger Rogers, Mary Carlisle, Eleanor Holm were among the others. Stuart's career advanced when English director James Whale chose her for his film The Old Dark House (1932), playing the glamour role of a sentimental wife who winds up stranded among strangers at a spooky mansion, among the ensemble cast (Boris Karloff, Melvyn Douglas, Charles Laughton, Lilian Bond, Ernest Thesiger, Eva Moore and Raymond Massey). The film was critically praised, and The New York Times called Stuart's performance "clever and charming," with the movie later becoming a cult classic. Stuart's experience filming The Old Dark House also became integral to the formation of the Screen Actors Guild in 1933: "James [Whale] joined all the English actors,' Stuart recalled. 'So on one side of the set they had their 'elevensies' and `foursies,' and Melvyn [Douglas] and I would be sitting together, not invited. One day, Melvyn said to me, `Are you interested in forming a union together?' I said, 'What's a union?' He said, 'Like in New York – Actor's Equity. The actors get together and work for better working conditions.' I said, 'Oh wonderful,' because I was getting up at five every morning; in makeup at seven, in hair at eight, wardrobe at quarter of nine, and then sometimes if production wanted you to, you worked until four or five the next morning. There was no overtime. They fed us when they felt like it, when it was convenient for production. It was really very, very hard work."

After filming completed, Stuart began canvassing for supporters; she became one of the union's first founding members. In June 1936, she helped Paul Muni, Franchot Tone, Ernst Lubitsch, and Oscar Hammerstein II form the Hollywood Anti-Nazi League. That same year she and writer Dorothy Parker helped create the League to Support the Spanish Civil War Orphans.

Stuart was given her first co-starring role by director John Ford in her next film, Air Mail, playing opposite Pat O'Brien and Ralph Bellamy. Of her performance in the movie, The New York Times' Mordaunt Hall wrote: "Gloria Stuart, who does so well in The Old Dark House, a picture now at the Rialto, makes the most of the part of the girl ..." That two Gloria Stuart movies were in theaters simultaneously became the rule rather than the exception in her early career. In 1932, her first year, Stuart had four films released, then nine in 1933, six in 1934. In 1935, Stuart was having a baby, so only four movies were released. Six movies followed in 1936. After Air Mail, Mordaunt Hall's notices for Gloria Stuart came down to a few words. Laughter in Hell: "Gloria Stuart appears as Lorraine ..."; Sweepings: "... played by the comely Gloria Stuart ..."; Private Jones: "Gloria Stuart is charming ..." James Whale called Stuart back for just one scene in The Kiss Before the Mirror, but the critic Hall wrote, "There are those who may think that it is too bad to introduce as one of the players the dainty Gloria Stuart and have her killed off in the first episode of the narrative. Perhaps it is, but a pretty girl was needed for the part and Mr. Whale obviously did not wish to weaken his production by casting an incompetent actress or an unattractive one for this minor role."

After good notices in The Girl in 419, (Mordaunt Hall mentions "... the pleasing acting of the attractive Gloria Stuart), and Secret of the Blue Room ("Miss Stuart gives a pleasing performance."), James Whale cast Stuart opposite Claude Rains in The Invisible Man (1933). Rains was a celebrated import from the London stage, and this was his first Hollywood film. (Mordaunt Hall's review of Stuart's work was a temperate, "Miss Stuart also does well by her role." ) After having appeared in several of Whale's films, Stuart became friends with him and his partner, David Lewis.

Stuart's husband, Gordon Newell, was unhappy with Hollywood life. He and Stuart separated amicably and divorced. In 1933 (on the set of her film Roman Scandals, a comedy starring Eddie Cantor), Stuart met Arthur Sheekman, one of the movie's writers. They were "instantly attracted to each other". Stuart and Sheekman married in August 1934.

In 1934, Universal loaned-out Stuart to Warner Brothers for Here Comes the Navy. Stuart co-starred with James Cagney and Pat O'Brien, the first of nine films featuring this male team. Frank S. Nugent wrote in The New York Times, "Supporting Mr. Cagney--and doing very creditable jobs, too--are Pat O'Brien, Gloria Stuart ..."

1935–1939: 20th Century Fox
In 1935, Stuart was cast as Dick Powell's love interest in Busby Berkeley's Gold Diggers of 1935. It was a musical. Stuart did not dance or sing due to being pregnant, and The New York Times critic commented: "Nor has Gloria Stuart anything of vast import to contribute in the position usually occupied by Ruby Keeler."

Stuart's daughter, Sylvia – named after Princess Sylvia, Stuart's character in Roman Scandals – was born in June 1935.

In that same year, Stuart left Universal and joined Twentieth Century-Fox. Her first assignment from studio head Darryl F. Zanuck was in Professional Soldier, supporting child star Freddie Bartholomew and Victor McLaglen (who, the year before, had won a Best Actor Oscar for his role in The Informer). Frank S. Nugent noted: "There is a minor romance along the way between Gloria Stuart, the king's noble governess, and Michael Whalen, the professional soldier's part-time assistant, but no one should take it seriously." In 1936, John Ford chose Stuart to co-star with Warner Baxter in The Prisoner of Shark Island. Playing the wife of the doctor who treated Lincoln's assassin, Stuart felt privileged to work again with Ford, although The New York Times' Frank S. Nugent wrote of Stuart's "... helpful performance ..." In Poor Little Rich Girl, Stuart again was asked to support a child star — this time Shirley Temple. Frank S. Nugent: "Listing [Temple's] supporting players hastily, then, before we forget them entirely, we might mention Miss Faye [and] Gloria Stuart ... as having been permitted a scene or two while Miss Temple was out freshening her costume."

For the rest of 1936 and through 1937, Zanuck placed Stuart in movies such as The Girl on the Front Page—Frank S. Nugent's note: "Call it mediocre and extend your sympathies to the cast ..." Reviewing Girl Overboard, Nugent begins, "In the definitive words of the currently popular threnode featured by a frog-voiced radio singer, Universal's 'Girl Overboard' ... is 'nuthin' but a nuthin',' and a Class B nuthin' at that." In spite of the films' lukewarm reviews, Stuart had amassed a loyal following of fans by this time in her career, one of whom had her portrait tattooed across his chest. Stuart met with the fan and was photographed with him for a Life magazine profile in the fall of 1937. Stuart later appeared in The Lady Escapes, Life Begins in College and Change of Heart, which did not merit space in The New York Times' movie pages. In 1938, Zanuck again insisted Stuart support Shirley Temple in Rebecca of Sunnybrook Farm (1938). In their review of the film, Variety wrote: "Shirley Temple proves she's a great little artist in this one. The rest of it is synthetic and disappointing ... More fitting title would be Rebecca of Radio City." In 1938, for the fourth time, Stuart was a supporting player to a child star: Jane Withers in Keep Smiling. Stuart but not her performance is noted in The New York Times review.

In Time Out for Murder, Stuart's reviewer said she was "... a pretty bill collector". Then in 1939, the last year in this phase of Stuart's career, in The Three Musketeers, Stuart's billing came after Don Ameche, The Ritz Brothers and Binnie Barnes and again Stuart's work was not reviewed. In Winner Take All, the Times critic wrote, "... the only thing worth seeing in the picture is Tony Martin trying to play a prizefighter. This is positively killing." It Could Happen to You, "a quasi-comedy" co-starring Stuart Erwin, finished the eight years. Again Stuart is not mentioned.

What did give the actress space in the movie pages the previous November was the story: "Gloria Stuart Quits Fox ... Gloria Stuart has terminated her contract with Fox ..." In fact, Darryl Zanuck did not renew Stuart's contract.

1940–1944: Departure from Hollywood
Early in 1939, Stuart and then-husband Sheekman spent four months traveling in Asia, Egypt and Italy, then landed in France just as France and the United Kingdom declared war on Germany. They appealed to the American consul, asking to stay, Sheekman as a war correspondent, Stuart as a hospital volunteer. The consul refused help and told them they had to return to the United States. They caught the SS President Adams, the last American passenger ship to cross the Atlantic, and arrived in New York City in September.

In New York, Stuart sought to return to stage acting, hoping to star on Broadway. "I wanted to be a theater actress," she said, "but I thought it would be easier to get to New York and the theater if I had a name than if I just walked the streets as a little girl from California. When I went back to New York with somewhat of a name, they didn't want movie actresses." Stuart was, however, welcomed into summer stock theater on the east coast and performed in various productions between 1940 and 1942, including Man and Superman, The Animal Kingdom, The Night of January 16th, Accent on Youth, Mr. and Mrs. North, Arms and the Man, and Sailor Beware!. In August 1940, she starred as Emily Webb, opposite Thornton Wilder—under Wilder's own direction—in his play Our Town, which was staged at the University of Massachusetts Amherst.

To help with the war effort in the 1940s, Stuart took singing and dancing lessons; then the USO teamed her with actress Hillary Brooke. The two blonde actresses toured the country, visited hospitals, danced with servicemen in canteens, sold war bonds. Stuart "wanted terribly to volunteer for service overseas with the USO, but Arthur wouldn't hear of it."

On September 16., 1942, Stuart voiced one of the lead rôles, (Claire Winton), in the Suspense (radio drama), episode, ' The Kettler Method '.

Stuart asked her former agents to get her work. Her first movie in four years, Here Comes Elmer (1943), was a comedy with music starring Roy Rogers' wife, Dale Evans. In The Whistler (1944)—an early directing credit of the horror specialist, William Castle—Stuart co-starred with Richard Dix. In her following film, Enemy of Women (1944), a war-themed drama, Stuart was seventh in billing. Two years later, Stuart took one more role: she wore a redhead's wig in She Wrote the Book a comedy starring Joan Davis and Jack Oakie.

1945–1974: Art career
After abandoning her acting career in 1945, Stuart went to New York with husband Sheekman—Paramount sent him to see the new play Dream Girl, wanting him to adapt it for to screen. A friend took Stuart to the studio of a découpage artist. Drawn to the art form, Stuart thought it could replace acting in her life. With Sheekman's encouragement, she opened a shop on Los Angeles's decorators' row, named it Décor, Ltd. Stuart created découpaged lamps, mirrors, tables, chests and other one of a kind objets d'art. Over the next four years, her work gained attention, and her pieces were carried by Lord & Taylor in New York, Neiman Marcus in Dallas, Bullock's in Pasadena and Gump's in San Francisco. But in time, labor involved in "the fine fine cutting, applying sixteen coats of lacquer" to every piece and other costs proved prohibitive, and Stuart closed her shop.

After living in rented spaces for ten years, Stuart and Sheekman bought an old craftsman-style house, where she redesigned the interior, supervised the remodeling, designed all the furniture and had it custom made. In the garden, she planned the landscaping, included a green house for orchids and lath house for grafting fruit trees, spent hours on her knees cultivating and planting. In Stuart's words, "I became a whirling dervish of creative renovation."

Early in 1954, visiting Paris, Stuart first saw the Impressionist paintings at the Jeu de Paume museum. As when she first saw découpage, Stuart wanted to do it, too. The Sheekmans were on their way to Italy. At the time, American artists living abroad for at least eighteen months paid no taxes on income earned during the residency. Sheekman was now very successful. In the eight years since returning from New York, he had been on fourteen movies, mostly writing the screenplays. He wanted to try another play. For the next eighteen months, Stuart painted and Sheekman worked on his play.

Sheekman's comedy about a sorrowful comic, The Joker, had Tommy Noonan for its star and was booked into The Playhouse Theater in New York to open April 5, 1957. April 1, it was announced the play was terminating a pre-Broadway tour of three-and-one-half weeks in Washington, D.C., and was "taken off for repairs." Repairs were never made. Then after seven years of working at her easel every day, Stuart was ready to show her paintings. In September 1961, Victor Hammer gave Stuart a debut one-woman show at his Hammer Galleries in New York. Nearly all of her forty canvases sold. In the following years, Stuart exhibited her primitive-style paintings in many shows, including at the Bianchini Gallery in New York, the Simon Patrich Galleries and The Egg and the Eye in Los Angeles, the Galerie du Jonelle in Palm Springs and the Staircase Gallery in Beverly Hills. Stuart's paintings are in numerous private collections and the permanent collections of the Los Angeles County Museum of Art, the J. Paul Getty Museum, the Metropolitan Museum of Art, the Victoria and Albert Museum, the Museum of New Mexico (Santa Fe), the Desert Museum of Palm Springs and the Belhaven Museum (Jackson, Mississippi).

Stuart had been painting for nearly thirty years when, as she wrote, "... the challenges to me of painting as a primitive had been wearing a little thin, and I had become fascinated by the complex art form of serigraphy—silk screening." Stuart studied with serigrapher Evelyn Johnson, then created vivid serigraphs that are also in private collections.

In the late 1960s, Stuart embraced another art form, the art of bonsai. She took classes from Frank Nagata, colleague of John Naka, a bonsai master in Los Angeles, joined Nagata's bonsai club, Baiko-En, and became one of the first Anglo members of the California Bonsai Society. Eventually Stuart's collection numbered over one hundred miniature trees.

1975–1995: Return to acting; book design
In 1975, after nearly thirty years out of the business, Stuart decided to return to acting. She got an agent and was immediately cast in a small role as a customer in a store in the ABC television film The Legend of Lizzie Borden starring Elizabeth Montgomery. From there, through her agent, Stuart was able to get cast in bit parts, mostly in television— including guest appearances on series such as The Waltons and Murder, She Wrote. Her friend, director Nancy Malone, gave her a leading role in Merlene of the Movies, a quirky film for television, and other friends gave her parts in their shows. In 1982 came My Favorite Year. Although Stuart's scene lasted moments and she had no lines, she was dancing with Peter O'Toole. She wrote, "It was a great privilege to work with him." After that, Stuart was in Jack Lemmon's drama Mass Appeal and Goldie Hawn's comedy Wildcats, then more bits and pieces in television. A vintage publicity photo of her was also used for the image of 'Peg', the sister of butler Alfred Pennyworth, in the 1997 film Batman & Robin.

Stuart's husband Arthur Sheekman died in January 1978. Five years later, Ward Ritchie, a close friend of Stuart's first husband, Gordon Newell, sent Stuart one of his books. Ritchie had become a celebrated printer, book designer and printing historian. With his commercial Ward Ritchie Press and private Laguna Verde Imprenta press, Ritchie produced distinguished books on the arts, poetry, cookery and the American West. Stuart invited him to dinner, and they fell in love. Ritchie was seventy-eight and Stuart seventy-two. When Stuart first followed Ritchie into his studio and watched him pull a printed page from his 1839 English iron Albion hand press, she wanted to do it, too. After studying typesetting at the Women's Workshop in Los Angeles, Stuart bought her own hand press, a Vandercook SP15 and established her own private press, Imprenta Glorias. In 1984, Stuart was diagnosed with breast cancer, but successfully treated the disease with a lumpectomy followed by radiation.

In the late-1980s, Stuart began experimenting with making Artist's books. She designed several, wrote the text (often poetry), set the type—carefully selecting the style of type to match the subject—printed the pages, then decorated the pages with water colors, silk screen, découpage or all three. She created large artist's books and books in miniature. Several of her books took her years to complete. One of them, completed in 1996 with artist Don Bachardy, is owned by the Metropolitan Museum of Art.

Through Ritchie, Stuart was introduced to prestigious librarians and bibliophiles from San Francisco to Paris. Imprenta Glorias books can be found in the Bibliothèque nationale de France, the Huntington Library, J. Paul Getty Museum, the Library of Congress, the Los Angeles Public Library, the Metropolitan Museum of Art, the Morgan Library & Museum, the New York Public Library, the Occidental College Library, the Princeton University library, the UCLA Clark Library, the Victoria and Albert Museum as well as private collections. Stuart and Ritchie were together for thirteen years until his death from pancreatic cancer in 1996.

1996–1998: Titanic; career resurgence
In May 1996, Stuart received a message about a film role: "A female voice said she was calling from Lightstorm Entertainment ... about a movie to be shot on location, maybe Poland ... about the Titanic, directed by James Cameron ..." The next afternoon, Cameron's casting director, Mali Finn, came to Stuart's house "... with her assistant, Emily Schweber, who was carrying a video camera ... Mali and I talked while Emily filmed us." The next morning, Finn brought over James Cameron and his video camera. Stuart wrote, "I was not the least bit nervous. I knew I would read Old Rose with the sympathy and tenderness that Cameron had intended ..." Five days after Stuart's eighty-sixth birthday, Finn phoned again and asked, "Gloria, how would you like to be Old Rose?"

Most of Stuart's filming was completed in Halifax, Nova Scotia, over about three weeks in early summer of 1996. Stuart also filmed and made recordings for several documentaries, did more looping and dubbing for Cameron, and received offers for additional films. Stuart wrote: "On April 7, 1997, the publicity blitz for Titanic kicked off... From that point on, the deluge of publicity never stopped." On December 17, 1997, Stuart was nominated for a Golden Globe Award for Best Supporting Actress for her performance in the film. She was also nominated for an Academy Award for Best Supporting Actress. She was one of the few Golden Age stars to attend the ceremony, with contemporaries Fay Wray, Bob Hope, and Milton Berle also attending. As of 2022, she remains the oldest nominee in the category. Stuart later parodied her role in a music video for the Hanson song "River" alongside "Weird Al" Yankovic who also directed the video.

On March 8, 1998, the Screen Actors Guild awarded Stuart its Founders Award, and also won the award for Best Performance by an Actress in a Supporting Role, tying with Kim Basinger (L.A. Confidential). For both awards, Stuart received a standing ovation from her peers.

The following May, People magazine included Stuart on their list of "The 50 most beautiful people in the World in 1998." Also in May, Stuart was guest of honor at the Great Steamboat Race between the Belle of Louisville and the Delta Queen and then was Grand Marshal of the 1998 Kentucky Derby Festival's Pegasus Parade.

Next, Stuart signed a contract with Little, Brown and Company to write her autobiography, I Just Kept Hoping. Stuart made her debut at The Hollywood Bowl on July 19, 1998, reading the poem, Standing Stone, Paul McCartney's oratorio for orchestra and chorus.

1999–2010: Final years and accolades
Stuart was asked by the producer and star, Kate Capshaw, to join her cast of The Love Letter (1999), which she filmed in Rockport, Massachusetts. In October 1999, Stuart's native Santa Monica issued a Commendation signed by the mayor recognizing Gloria Stuart "... for many contributions world-wide and her inspirational message to always keep hoping. Dated this 16th day of October, 1999. Pam O'Connor, Mayor." In September 2000, Stuart unveiled her star on the Hollywood Walk of Fame, in front of the Pig 'n Whistle café that had opened its doors in 1927 when Stuart was still in high school. She also made guest appearances on several television series, including the 2000 science fiction series The Invisible Man; Touched by an Angel, and General Hospital. Although she was once again reduced to minor roles, Stuart's last two movies were for director Wim Wenders. In 1999, she worked on The Million Dollar Hotel in downtown Los Angeles. In 2004, she appeared in Wenders' Land of Plenty, her final film.

In 2006, Stuart donated her screen printing equipment to Mills College, where an exhibition of her work was held. On June 19, 2010, despite her illness, Stuart appeared in person to be honored by the Screen Actors Guild for her years of service. At a luncheon, she was presented the Ralph Morgan Award by Titanic co-star Frances Fisher. James Cameron and Shirley MacLaine were among the luncheon attendees. On July 22, 2010, The Academy of Motion Picture Arts and Sciences honored Stuart's career with a program featuring film clips and conversations between Stuart and film historian Leonard Maltin, portrait artist Don Bachardy and David S. Zeidberg, the Avery Director of the Huntington Library. One thousand people filled the Samuel Goldwyn Theater.

From the time Stuart was announced in the Titanic cast, she appeared before the camera for interviews on subjects as diverse as Groucho Marx, Shirley Temple, James Whale, horror movies and friends Christopher Isherwood and Don Bachardy.

Stuart was diagnosed with lung cancer at the age of 94, many decades after she had quit smoking. Until that point, she had enjoyed remarkably good health for her advanced age aside from taking cortisone shots for knee pain. She underwent radiation treatment, but in time the cancer returned and she underwent a shorter course of radiation. The malignancy continued to spread, but slowly due to her age. She died six years after her initial diagnosis and reached her centenary.

Stuart celebrated her 100th birthday on July 4, 2010, hosted by James Cameron and Suzy Amis as well as family and friends at the ACE Gallery in Beverly Hills. There Stuart saw many of her paintings and serigraphs, artist's books, samples of her découpage and trees from her bonsai collection exhibited in the gallery.

Culinary interest
Stuart was a skilled amateur chef and hosted frequent dinner parties in Hollywood. She was close friends with the American food writer M.F.K. Fisher, who was godmother to Stuart's daughter Sylvia Vaughn Thompson. Thompson later wrote about Stuart's cooking style: "My mother has never made Just Roast Beef in her life. It wouldn't interest her. Her style is based on the intricacies of composition. It borders on the baroque. Everyone adores it."

After tasting Stuart's goose in Kirschwasser aspic, the writer Samuel Hoffenstein composed a poem, which he comically said was inspired by "hearing the wings of all the poets brush thro' Gloria's kitchen."

Stuart's mother Alice was also an avid cook, producing specialties from the San Joaquin Valley, where Stuart's mother's family lived for generations.

Activism and politics
Stuart was a lifelong Democrat. She was a co-founding member of the Hollywood Anti-Nazi League, which formed in 1936. In 1938, as a member of the Hollywood Democratic Committee, Stuart was on the executive board of the California State Democratic Committee. She was also an avid environmentalist. "I belong to every organization that has to do with saving the environment," said Stuart. "I'm fed up with venal and avaricious forestry people, mining people, oil people, gas people. I think the abuse of the environment is sinful."

Death and legacy
Stuart died from respiratory failure at her home in Los Angeles on September 26, 2010, at age 100. Her body was cremated. At the time of her death, she had four grandchildren and twelve great-grandchildren.

Stuart's great-granddaughter, Deborah B. Thompson, produced an e-book, Butterfly Summers: A Memoir of Gloria Stuart's Apprentice.

For her contributions to the film industry, Stuart has a star on the Hollywood Walk of Fame. It is located on the 6700 block of Hollywood Boulevard.

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

title: Gloria Stuart


text:
Dorchester County

Dorchester County is the name of two counties in the United States:

 * Dorchester County, Maryland
 * Dorchester County, South Carolina

title: Dorchester County


text:
Allium oleraceum

Allium oleraceum, the field garlic, is a Eurasian species of wild onion. It is a bulbous perennial that grows wild in dry places, reaching 30 cm in height. It reproduces by seed, bulbs and by the production of small bulblets in the flower head (similarly to Allium vineale). Unlike A. vineale, it is very rare with A. oleraceum to find flower-heads containing bulbils only. In addition, the spathe in A. oleraceum is in two parts.

Its specific epithet oleraceum means "vegetable/herbal" in Latin and is a form of (oleraceus).

Description
Allium oleraceum grows to a height of about 12 in. The underground bulb is up to 0.8 in in diameter. The main stem is usually rounded, but is occasionally flattened, and bears two to four leaves and a terminal inflorescence composed of a number of small, stalked, pinkish-brown flowers and sometimes a few bulblets. The papery bracts have long points which often much overtop the flowers, the stamens of which do not protrude.

Distribution
Allium oleraceum is widespread across most of Europe, with additional populations in Turkey and the Caucasus. It is sparingly naturalised in scattered locations in North America.

In the United Kingdom, A. oleraceum is found in dry, grassy places, usually steeply sloping and calcareous soils, and on open sunny banks in river floodplains. A. oleraceum is scattered throughout England and very scattered in Wales, Scotland and Ireland. Erosion of coastal areas leads to a reduction in the available habitat for this species, leading to population declines. The highest altitude from which it has been recorded in Britain is 365 m in Dovedale, Derbyshire.

Allium oleraceum subsp. girerdii was formerly included, but is now classified as Allium oporinanthum.

title: Allium oleraceum


text: Template:Featured article candidates

title: Template:Featured article candidates


text:
Zhaozhou Congshen

Zhaozhou Congshen (趙州従諗) (778–897) was a Chán (Zen) Buddhist master who appears frequently in the koans of the Mumonkan and the Blue Cliff Record.

Biography
Zhaozhou became ordained as a monk at an early age. At the age of 18, he met Nánquán Pǔyuàn (南泉普願 748–835; J: Nansen Fugan), a successor of Mǎzǔ Dàoyī (709–788; J. Baso Do-itsu), and eventually received the Dharma from him. Zhaozhou continued to practice under Nanquan until the latter's death.

Subsequently, Zhaozhou began to travel throughout China, visiting the prominent Chan masters of the time before finally, at the age of eighty, settling in Guānyīnyuàn (觀音院), a ruined temple in northern China. There, for the next fourty years, he taught a small group of monks. This temple, now called Bailin Temple, was rebuilt after the Cultural Revolution and is nowadays again a prominent center of Chinese Buddhism.

Influence
Zhaozhou is sometimes touted as the greatest Chan master of Tang dynasty China during a time when its hegemony was disintegrating as more and more regional military governors (jiédùshǐ) began to assert their power. Zhaozhou's lineage died out quickly due to the many wars and frequent purges of Buddhism in China at the time, and cannot be documented beyond the year 1000.

Zhaozhou is remembered for his verbal inventiveness and sense of humor. One of his recorded sayings is:

"A monk asked the Master, 'What is a true statement?'

Zhaozhou replied, 'Your mother is ugly.'"

Many koans in both the Blue Cliff Record and The Gateless Gate concern Zhaozhou, with twelve cases in the former and five in the latter being attributed to him. Mumonkan case (koan) 19 records a dialogue between Nanquan and Zhaozhou, with Jōshū asking Nansen "What is the Way [ Tao ] ?", to which Nansen responds ordinary mind is the way, a famous dictum of Mazu Daoyi (709–788) and the Hongzhou school. He is probably best known for the first koan in The Gateless Gate: "A monk asked Chao-chou, 'Has the dog Buddha-nature or not?' Chao-chou said, 'Wu.'"

Japanese Zen monk Shunryū Suzuki refers to Zhaozhou (as Jōshū) in his book Zen Mind, Beginner's mind. He uses the following saying from Zhaozhou to illustrate the point that Zen practice should not have a particular purpose or goal: "A clay Buddha cannot cross water; a bronze Buddha cannot get through a furnace; a wooden Buddha cannot get through fire".

title: Zhaozhou Congshen


text:
Half-month

The half-month is a calendar subdivision used in astronomy. Each calendar month is separated into two parts: Newly identified small Solar System bodies, such as comets and asteroids, are given systematic designations that contain the half-month encoded as a letter of the English alphabet. For example, an object discovered in the second half of January would be identified with the letter B; if found in the first half of February, the letter would be C. The letter I is not used, to prevent confusion with the number 1. Instead, the letters proceed directly from H (April 16–30) to J (May 1–15). The letter appears in the provisional designation, then when the object is confirmed the letter is incorporated into the comet designation (for comets) or minor planet designation (for asteroids and other minor planets).
 * days 1 to 15
 * day 16 until the end of the month.

title: Half-month


text:
Schuko

Schuko is a plug/socket system used in much (but not all) of Europe and in many countries east of there. It is a registered trademark referring to a system of AC power plugs and sockets that is defined as "CEE 7/3" (sockets) and "CEE 7/4" (plugs). A Schuko plug features two round pins of 4.8 mm diameter (19 mm long, centres 19 mm apart) for the line and neutral contacts, plus two flat contact areas on the top and bottom side of the plug for protective earth (ground). The socket (which is often, in error, also referred to as CEE 7/4) has a predominantly circular recess which is 17.5 mm deep with two symmetrical round apertures and two earthing clips on the sides of the socket positioned to ensure that the earth is always engaged before live pin contact is made. Schuko plugs and sockets are symmetric AC connectors. They can be mated in two ways, therefore line can be connected to either pin of the appliance plug. As with most types of European sockets, Schuko sockets can accept Europlugs. Schuko plugs are considered a very safe design when used with Schuko sockets, but they can also mate with other sockets to give an unsafe result. Schuko is a shortening of the German term Schutzkontakt (literally: protective contact), which indicates that plug and socket are equipped with protective-earth contacts (in the form of clips rather than pins). Schuko connectors are normally used on circuits with 230 V, 50 Hz, for currents up to 16 A, although e.g. South Korea uses them at 60 Hz for historical reasons.

History
The Schuko system originated in Germany. It is believed to date from 1925 and is attributed to Albert Büttner, a Bavarian manufacturer of electrical accessories. Büttner's company, Bayerische Elektrozubehör AG, was granted patent DE 489 003 in 1930 for a Stecker mit Erdungseinrichtung ('plug with earthing device'). Büttner's patent DE 370 538 is often quoted as referring to Schuko, but it actually refers to a method of holding together all of the parts of a plug or socket with a single screw which also provides clamping for the wires; there is no mention of an earth connection in DE 370538. At this time Germany used a 220 V centre tap giving 127 V from current pins to earth, which meant that fuse links were required in both sides of the appliance and double pole switches. Variations of the original Schuko plug are used today in more than 40 countries, including most of Continental Europe.

France, Belgium, Czechia, Slovakia and Poland use the CEE 7/6 plug and CEE 7/5 socket with the same size and spacing of the main pins but with a male protective-earth pin on the socket instead of the earth clips, and without the guiding notches at the sides. Most modern moulded Schuko plugs, and good-quality rewirable replacements, are a hybrid version ("CEE 7/7") with an aperture that accommodates the earth pin of CEE 7/5 sockets. CEE 7/6 plugs that need to be polarised are configured in such a way as to only be inserted correctly in earthed sockets, however the old CEE 7/1 2-pin unearthed socket is inherently dangerous with equipment that should be polarised, for example table lamps with an Edison screw lamp but only a single pole inline cord switch in lieu of a double pole switch. The safety of polarisation was not helped by several years of confusion when the correct connection of sockets was transposed.

CEE 7/7 has now become the de facto plug standard in many European countries, and in some other countries that follow CENELEC standards. European countries that do not use CEE 7/7 are:
 * Denmark (CEE 7/17 and Danish standard 107-2-D1 are widely used, they accept CEE 7/7 plugs but without compatibility for earth connections. CEE 7/5 and CEE 7/3 sockets with child-proof shutters have been allowed since 2008/2011, but are uncommon in buildings constructed before these dates).
 * Ireland (BS 1363 / Equivalent Irish Standard: IS 401) but see below,
 * Italy (CEI 23-50),
 * Malta (BS 1363),
 * Cyprus (BS 1363),
 * The United Kingdom, including Gibraltar (BS 1363)
 * Switzerland (SN 441011)

In Italy, CEI 23-50 is the dominant standard and it also includes Schuko sockets (P 30 = CEE 7/3) and plugs (S 30 = CEE 7/4, S 31 = CEE 7/7, S 32 = CEE 7/17). Appliances are commonly sold with Schuko-type plugs (as well as Europlugs), while Italian-type plugs have become rare today and almost only power strips, cable reels and adaptors are sold with them. Some sockets (P 30 and P 40) accept both types, the remainder accepting one or the other. Schuko sockets are most commonly used for larger-rated appliances such as washing machines, and are particularly common in South Tyrol, with its cultural, economic and tourist connections with Austria.

Although Schuko has never been a standard (or the de facto norm) in Belgium or France, it is sometimes encountered in older installations in eastern regions of Belgium and Alsace.

In Ireland, Schuko was commonly installed until the 1960s. For safety reasons and to harmonize with the UK and thereby avoid having a different outlet type in Northern Ireland and the Republic of Ireland, the Republic standardized on BS 1363 (transposed into Irish Standards as IS 401 (Plug) and IS 411 (Socket outlet). Schuko has been phased out of use in Ireland and will be rarely encountered. Some hotels provide a Schuko outlet alongside BS 1363 outlets for the convenience of visitors from the Continent.

Russia, while maintaining its own mains connector standard, has it largely harmonised with the relevant European regulations since Soviet times. The original Soviet standard was mostly compatible with Europlug (the traditional Soviet plug used straight 4 mm pins with 19 mm spacing and thus Soviet sockets were able to easily accept europlugs), and has been modified to accept 4.8 mm pins, due to the large volume of imported appliances equipped with the Schuko plug. Nowadays most sold and installed sockets in Russia are Schuko ones, though they may lack a connection to earth, especially in older buildings, as this wasn't required by the Soviet wiring regulations.

Denmark gave full permission to install Schuko wall sockets in 2011, and such sockets can be found for sale at some Danish constructionware stores, but the Danish Type K remains the most common earthed socket type in Denmark by far.

Safety features
When inserted into the socket, the Schuko plug covers the socket cavity ( 1 ), thereby preventing users from touching connected pins. It also establishes protective-earth connection through the earth clips ( 2 ) before the line and neutral pins ( 3 ) establish contact. A pair of non-conductive guiding notches ( 4 ) on the left and right side provides extra stability, enabling the safe use of large and heavy plugs (e.g. with built-in transformers or timers).

Some countries, including Portugal, Finland, Denmark, Norway and Sweden, require child-proof socket shutters; the German DIN 49440-1:2006-01 standard does not have this requirement.

Compatibility with other plug/socket types
Schuko sockets can accept two-pin unearthed Europlug (CEE 7/16) and CEE 7/17. Less safely, Schuko plugs can be inserted into many two-pin unearthed CEE 7/1 sockets and into some sockets with a different form of earth connection that will not mate with the earth contacts on the Schuko plug (e.g., some variants of the Danish socket). Many such sockets also lack the cavity required to prevent users from touching the pins whilst inserting the plug. The CEE 7/7 plug is a hybrid which includes both side earthing strips, as in CEE 7/4 Schuko, and an earthing aperture, as in the CEE 7/6 plug. It can therefore achieve an earth contact with both CEE 7/3 (Schuko) and CEE 7/5 sockets.

In Italy, Chile, Peru and Uruguay, hybrid versions of Schuko sockets (called P 30) are seen with an extra hole that will take the smaller variant of Italian CEI 23-50 plugs. There are also hybrid Schuko sockets (called P 40) with three extra holes and a wider cavity that will also accept the larger variant of Italian plugs.

Schuko sockets are unpolarised; there is no way of differentiating between the two live contacts (line which is approximately 230 V to earth and neutral which is approximately 0 V to earth) unless the voltage to earth is measured prior to use.

Although Schuko is incompatible and the pin spacing should not allow it, as the Schuko pins are slightly closer together, it is possible to dangerously force many Schuko round pin plugs (where the plastic is compliant enough) into many UK BS 1363 rectangular pin sockets, using a match or other probe to push into the earth shutter release. Due to the minimal contact area that must transmit high current, there is risk of overheating and thus fire. Where earthing is required, no earth contact will be made as Schuko plugs use side contacts for earthing rather than a third pin, and BS 1363 sockets have shutters that require the longer earth pin to be entered to open the line and neutral shutters, which prevent Europlugs and Schuko plugs from being inserted.

The IEC 60906-1 standard was intended to address some of the issues regarding polarisation and replace Schuko, but the only countries that have adopted it are South Africa and Brazil.

title: Schuko


text:
Gaspard de la nuit

Gaspard de la nuit (subtitled Trois poèmes pour piano d'après Aloysius Bertrand), M. 55 is a suite of piano pieces by Maurice Ravel, written in 1908. It has three movements, each based on a poem or fantaisie from the collection Gaspard de la Nuit – Fantaisies à la manière de Rembrandt et de Callot completed in 1836 by Aloysius Bertrand. The work was premiered in Paris, on January 9, 1909, by Ricardo Viñes. Ravel dedicated the piece to pianist Harold Bauer.

The piece is famous for its difficulty, partly because Ravel intended the Scarbo movement to be more difficult than Balakirev's Islamey. Because of its technical challenges and profound musical structure, Scarbo is considered one of the most difficult solo piano pieces in the standard repertoire.

The manuscript currently resides in the Harry Ransom Center of the University of Texas at Austin.

Etymology
The name "Gaspard" is derived from its original Persian form, denoting "the man in charge of the royal treasures": "Gaspard of the Night" or the treasurer of the night thus creates allusions to someone in charge of all that is jewel-like, dark, mysterious, perhaps even morose.

Of the work, Ravel himself said: "Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words."

Aloysius Bertrand, author of Gaspard de la Nuit (1842), introduces his collection by attributing them to a mysterious old man met in a park in Dijon, who lent him the book. When he goes in search of M. Gaspard to return the volume, he asks, " 'Tell me where M. Gaspard de la Nuit may be found.' 'He is in hell, provided that he isn't somewhere else', comes the reply. 'Ah! I am beginning to understand! What! Gaspard de la Nuit must be...?' the poet continues. 'Ah! Yes... the devil!' his informant responds. 'Thank you, mon brave!... If Gaspard de la Nuit is in hell, may he roast there. I shall publish his book.

I. Ondine

Written in C♯ major and based on the poem "Ondine", an oneiric tale of the water nymph Undine singing to seduce the observer into visiting her kingdom deep at the bottom of a lake. It is reminiscent of Ravel's early piano piece, the Jeux d'eau (1901), with the sounds of water falling and flowing, woven with cascades.

There are five main melodies. The opening melody at bar 2 evokes a line of song and is similar in form and subject to the main theme in Sirènes from Claude Debussy's Nocturnes. This is interrupted by the second theme at bar 10 before opening up a longer melodic passage formed from the latter part of theme 1. Then a short simple melody first heard at bar 23 introduces shimmering harmonic side-shifting. The final distinct melody is a menacing short rising figure first heard at bar 45, which prefaces the menace of Le Gibet and which later provides a bridge to the main climax at bar 66. Ravel prioritises melodic development to express the poetic themes, keeping subordinate the simmering coloration of the right hand. By contrast, Claude Debussy's works such as Reflets dans l'eau tend to treat melody more equally with harmonic and figurative impulsivity, and often position virtuosity more in the foreground.

This piece contains technical challenges for the right hand such as the fast repetition of three-note chords in the opening accompaniment, the double note passages beginning at bar 57, and the disjunct climactic movement of the hands beginning at bar 66.

The duration of Ondine is about 6:30. Recordings vary in tempo, driven perhaps by the tension of keeping the shimmering alternating notes from becoming mechanical, yet giving sufficient space for the lyricism of the melodies.

II. Le Gibet
Written in E♭ minor and based on the poem of the same name, the movement presents the observer with a view of the desert, where the lone corpse of a hanged man on a gibbet stands out against the horizon, reddened by the setting sun. Meanwhile, a bell tolls from inside the walls of a far-off city, creating the deathly atmosphere that surrounds the observer. Throughout the entire piece is a B♭ octave ostinato, imitative of the tolling bell, that remains constant in tone as the notes cross over and dynamics change. The duration of Le Gibet is about 5:15.

III. Scarbo
I wanted to make a caricature of romanticism. Perhaps it got the better of me.

Written in G♯ minor and based on the poem "Scarbo", this movement depicts the nighttime mischief of a small fiend or goblin, making pirouettes, flitting in and out of the darkness, disappearing and suddenly reappearing. Its uneven flight, hitting and scratching against the walls and bed curtains, casting a growing shadow in the moonlight creates a nightmarish scene for the observer lying in his bed.

With its repeated notes and two terrifying climaxes, this is the high point in technical difficulty of all the three movements. Technical challenges include repeated notes in both hands, and double-note scales in major seconds in the right hand. Ravel reportedly said about Scarbo: "I wanted to write an orchestral transcription for the piano." The duration of Scarbo is about 8:30-9:00.

Orchestral versions
Gaspard de la Nuit was orchestrated by Eugene Goossens in 1942, and by Marius Constant in 1990.

title: Gaspard de la nuit


text:
Thomas L. Saaty

Thomas L. Saaty (July 18, 1926 – August 14, 2017) was a Distinguished University Professor at the University of Pittsburgh, where he taught in the Joseph M. Katz Graduate School of Business. He is the inventor, architect, and primary theoretician of the Analytic Hierarchy Process (AHP), a decision-making framework used for large-scale, multiparty, multi-criteria decision analysis, and of the Analytic Network Process (ANP), its generalization to decisions with dependence and feedback. Later on, he generalized the mathematics of the ANP to the Neural Network Process (NNP) with application to neural firing and synthesis but none of them gain such popularity as AHP.

He died on the 14th of August 2017 after a year-long battle with cancer.

Prior to coming to the University of Pittsburgh, Saaty was professor of statistics and operations research at the Wharton School of the University of Pennsylvania (1969–79). Before that, he spent fifteen years working for U.S. government agencies and for companies doing government-sponsored research. His employers at that time included the Operations Evaluation Group of MIT at the Pentagon, the Office of Naval Research, and the Arms Control and Disarmament Agency at the U.S. State Department.

Contributions
Saaty was a Distinguished University Professor at the University of Pittsburgh. He has made contributions in the fields of operations research (parametric linear programming, epidemics and the spread of biological agents, queuing theory, and behavioral mathematics as it relates to operations), arms control and disarmament, and urban design. He has written more than 35 books and 350 papers on mathematics, operations research, and decision making. Their subjects include graph theory and its applications, nonlinear mathematics, analytical planning, and game theory and conflict resolution. According to the Mathematics Genealogy Project, he has had 14 doctoral students. Saaty himself was a student of Einar Hille at Yale.

In line with his long-time interest in peace and conflict resolution, in 1983 Saaty proposed that an International Center for Conflict Resolution needs to be established that would have branches in many countries and would be staffed by retired diplomats, negotiators and conflict analysts. This idea was first published in an article "Center for Conflict Resolution," in the March 1984 issue of the Bulletin of the Atomic Scientists, and it later appeared as an appendix in his 1989 book on Conflict Resolution co-authored with J.M. Alexander. A current revised version of this proposal is posted here with his University of Pittsburgh vita.

A 2002 article listing the most important contributions to operations research from 1954 to date listed four from Saaty: "Parametric Programming" (1954, with S. I. Gass), "Mathematical Methods of Operations Research" (1959), "Elements of Queueing Theory" (1961), and "The Analytic Hierarchy Process" (1980). The book on operations research was the first to summarize the formal mathematical methods in the field of Operations Research and was translated to Russian and Japanese. The comprehensive work on queueing theory was reviewed by D.G. Kendall of Oxford University in Mathematical Reviews who wrote that this book is "a substantial encyclopedia of queueing theory whose scope is indicated by the 910 items in the bibliography at the end of the book." The book "Mathematical Methods of Arms Control and Disarmament" was reviewed in Management Science in April 1969, "This fascinating book is an important contribution to the present task of discovering some valid underlying mathematical structures in politics...highly recommended both because of its numerous fascinating models and because of the deadly importance of its subject." The Analytic Hierarchy Process itself anticipates the PageRank algorithm by more than 20 years, with the same basic idea of using the eigenvector corresponding to the largest eigenvalue of a suitable matrix.

Saaty has been elected to the National Academy of Engineering (2005), and the Real Academia de Ciencias Exactas, Físicas y Naturales (Spanish Royal Academy of Sciences, 1971). In 1973, he received the Lester R. Ford Award from the Mathematical Association of America for expository excellence in his paper "Thirteen Colorful Variations on Guthrie's Four-color Conjecture" on the four color problem, and in 2000 he was awarded the gold medal of the International Society on Multi-criteria Decision Making. He is the 2007 recipient of the Akao Prize of the QFD Institute. In 2008, he received the INFORMS Impact Prize for his development of the Analytic Hierarchy Process. The Impact Prize is awarded every two years to recognize contributions that have had a broad impact on the fields of operations research and the management sciences. Emphasis is placed on the breadth of the impact of an idea or body of research. In 2011 he was awarded, in a, the Doktor Honoris Causa degree by Jagiellonian University in Krakow, Poland. In December 2011 he received the Herbert Simon Award for Outstanding Contribution in Information Technology and Decision Making for the paper "The Possibility Of Group Welfare Functions" coauthored with Professor Luis G. Vargas, published in the International Journal of Information Technology & Decision Making (IJITDM), Most of the university scholars are working on the basis he provided, Anum Bakhtyar.

Saaty died at the age of 91 on August 14, 2017, 14 months after a cancer diagnosis.

Education
PhD, Mathematics, Yale University, 1953 (thesis, under Einar Carl Hille: "On the Bessel Tricomi Equation"). Post-graduate study, University of Paris, 1952–53. MA, Mathematics, Yale University, 1951. MS, Physics, The Catholic University of America, 1949. BA, Columbia Union College, 1948.

Analytic hierarchy process (AHP)

 * 1980 The Analytic Hierarchy Process: Planning, Priority Setting, Resource Allocation, ISBN 0-07-054371-2, McGraw-Hill
 * 1982 Decision Making for Leaders: The Analytical Hierarchy Process for Decisions in a Complex World, ISBN 0-534-97959-9, Wadsworth. 1988, Paperback, ISBN 0-9620317-0-4, RWS
 * 1982 The Logic of Priorities: Applications in Business, Energy, Health, and Transportation, with Luis G. Vargas, ISBN 0-89838-071-5 (Hardcover) ISBN 0-89838-078-2 (Paperback), Kluwer-Nijhoff
 * 1985 Analytical Planning: The Organization of Systems, with Kevin P. Kearns, ISBN 0-08-032599-8, Pergamon
 * 1989 Conflict Resolution: The Analytic Hierarchy Process, with Joyce Alexander, ISBN 0-275-93229-X, Praeger
 * 1991 Prediction, Projection and Forecasting: Applications of the Analytic Hierarchy Process in Economics, Finance, Politics, Games and Sports, with Luis G. Vargas, ISBN 0-7923-9104-7, Kluwer Academic
 * 1992 The Hierarchon: A Dictionary of Hierarchies, with Ernest H. Forman, ISBN 0-9620317-5-5, RWS
 * 1994 Fundamentals of Decision Making and Priority Theory with the Analytic Hierarchy Process, ISBN 0-9620317-6-3, RWS
 * 1994 Decision Making in Economic, Social and Technological Environments, with Luis G. Vargas, ISBN 0-9620317-7-1, RWS
 * 1996 Vol. III and IV of the Analytic Hierarchy Process Series, ISBN 1-888603-07-0 RWS
 * 2001 Models, Methods, Concepts & Applications of the Analytic Hierarchy Process, with Luis G. Vargas, ISBN 0-7923-7267-0, Kluwer Academic
 * 2007 Group Decision Making: Drawing Out and Reconciling Differences, with Kirti Peniwati, ISBN 1-888603-08-9, RWS
 * 2008 Decision making with the analytic hierarchy process, Int. J. Services Sciences, Vol. 1, No. 1, 2008 (http://www.colorado.edu/geography/leyk/geog_5113/readings/saaty_2008.pdf ) - includes a statement of priority scales which measure intangibles in relative terms.

Analytic network process (ANP)

 * 1996 Decision Making with Dependence and Feedback: The Analytic Network Process, ISBN 0-9620317-9-8, RWS
 * 2005 Theory and Applications of the Analytic Network Process: Decision Making with Benefits, Opportunities, Costs and Risks, ISBN 1-888603-06-2, RWS
 * 2005 The Encyclicon, A Dictionary of Decisions with Dependence and Feedback based on the Analytic Network Process, with Müjgan S. Özdemir, ISBN 1-888603-05-4, RWS
 * 2006 Decision Making with the Analytic Network Process: Economic, Political, Social and Technological Applications with Benefits, Opportunities, Costs and Risks, with Luis G. Vargas, ISBN 0-387-33859-4, Springer
 * 2008 The Encyclicon, Volume 2: A Dictionary of Complex Decisions using the Analytic Network Process, with Brady Cillo, ISBN 1-888603-09-7, RWS
 * 2008 ''The analytic hierarchy and analytic network measurement processes: Applications to decisions under Risk', European Journal of Pure and Applied Mathematics, 1 (1), 122–196, (2008)

Neural network process (NNP)

 * 1999 The Brain: Unraveling the Mystery of How it Works, The Neural Network Process, ISBN 1-888603-02-X, RWS
 * 2009 Principia Mathematica Decernendi: Mathematical Principles of Decision Making - Generalization of the Analytic Network Process to Neural Firing and Synthesis, ISBN 1-888603-10-0, RWS

Operations research

 * 1959 Mathematical Methods of Operations Research, no ISBN (translated into Japanese and Russian), McGraw-Hill. 1988 Extended edition, ISBN 0-486-65703-5, Dover (paperback)
 * 1961 Elements of Queueing Theory with Applications, no ISBN (translated into Russian, Spanish and German), McGraw-Hill

Mathematics

 * 1964 Nonlinear Mathematics, with J. Bram, no ISBN, McGraw-Hill. 1981 Reprinted as ISBN 0-486-64233-X, Dover (paperback)
 * 1964-1965 Lectures on Modern Mathematics, Volumes I, II, III (Thomas L. Saaty, Editor), no ISBN (translated into Japanese), John Wiley
 * 1965 Finite Graphs and Networks, with R. Busacker, no ISBN (translated into Japanese, Russian, German and Hungarian), McGraw-Hill
 * 1967 Modern Nonlinear Equations, no ISBN, McGraw-Hill. 1981, reprinted as ISBN 0-486-64232-1, Dover (paperback)
 * 1969 The Spirit and Uses of the Mathematical Sciences, (Thomas L. Saaty, Editor, with F.J. Weyl), no ISBN, McGraw-Hill
 * 1970 Optimization in Integers and Related Extremal Problems, no ISBN (translated into Russian), McGraw-Hill
 * 1977 The Four-Color Problem; Assaults and Conquest, ISBN 0-07-054382-8, with Paul C. Kainen, McGraw-Hill. 1986 Revised edition, ISBN 0-486-65092-8, Dover (paperback)

Applied mathematics

 * 1968 Mathematical Models of Arms Control and Disarmament, ISBN 0-471-74810-2, John Wiley
 * 1973 Topics in Behavioral Mathematics, no ISBN, Mathematical Association of America
 * 1981 Thinking with Models: Mathematical Models in the Physical, Biological, and Social Sciences, with Joyce Alexander, hardback ISBN 0-08-026475-1, paperback ISBN 978-0-08-026474-5, Pergamon

Other topics

 * 1973 Compact City, with George B. Dantzig, hardback ISBN 0-7167-0784-5, paperback ISBN 0-7167-0794-2 (translated into Japanese and Russian), W.H. Freeman
 * 1990 Embracing the Future, with Larry W. Boone, ISBN 0-275-93573-6, Praeger
 * 2001 Creative Thinking, Problem Solving & Decision Making, ISBN 1-888603-03-8, RWS
 * 2013 Compact City: The Next Urban Evolution in Response to Climate Change, ISBN 1-888603-12-7, RWS

title: Thomas L. Saaty


text:
Mohd Kamal Hassan

'''Mohd. Kamal bin Hassan''', PSM (26 October 1942 – 23 February 2023) was a Malaysian academic and Islamic scholar, specializing in contemporary Islamic thought, particularly pertaining to the Southeast Asia region. He was the Rector of the International Islamic University Malaysia (IIUM) from 1998 to 2006.

Education background
Kamal Hassan attended Sultan Ismail School in Kota Bharu. He attained his bachelor's degree in Islamic studies from University of Malaya (UM) in 1965. He furthered his postgraduate studies in Columbia University, where he obtained the degree of Master of Arts in 1970, Master of Philosophy in 1972 and Doctor of Philosophy in 1975.

Career
Kamal Hassan started his academic career at the National University of Malaysia, where he chaired the Department of Usuluddin and Philosophy in 1979 and was later made a full professor. He then joined IIUM, where he founded the Faculty of Islamic Revealed Knowledge and Human Sciences in 1983. He succeeded Professor Emeritus Dato' Abdul Hamid Ahmad Abu Sulayman as the third Rector of IIUM on 5 April 1998 and served in the office before passing it onto Professor Dato' Sri Syed Arabi Syed Abdullah Idid.

To mark his contributions to the country, he was chosen to be a National Academic Figure in 2017. He left IIUM on 30 July 2018 after 42 years of service to Malaysian education, on which IIUM awarded him the title of Professor Emeritus. Before exiting IIUM, he was a Distinguished Professor at its Centre of Islamisation. He was one of three academicians in Malaysia who was promoted to the rank of Distinguished Professor by the Ministry of Higher Education in 2010.

Death
Kamal Hassan died from complications of surgery on 23 February 2023, at the age of 80.

Honours

 * 🇲🇾 Malaysia :
 * Order of Loyalty to the Crown of Malaysia - SSM.svg Companion of the Order of Loyalty to the Crown of Malaysia (JSM) (1988)
 * Order of Loyalty to the Crown of Malaysia - PSM.svg Commander of the Order of Loyalty to the Crown of Malaysia (PSM) – Tan Sri (2006)

title: Mohd Kamal Hassan


text:
Henry Selick

Charles Henry Selick Jr. (born November 30, 1952) is an American filmmaker and animator, best known for directing the stop-motion animated films The Nightmare Before Christmas (1993), James and the Giant Peach (1996), Monkeybone (2001), Coraline (2009), and Wendell & Wild (2022). Selick is also known for his collaborations with the late voice actor and artist Joe Ranft.

Early life
Selick was born in Glen Ridge, New Jersey, the son of Melanie (née Molan) and Charles H. Selick. He was raised in Rumson. Selick did little but draw from ages 3 to 12. His fascination with animation came at a young age, when he saw Lotte Reiniger's stop-motion film The Adventures of Prince Achmed and the animated creatures of The 7th Voyage of Sinbad by Ray Harryhausen. He graduated from Rumson-Fair Haven High School in 1970.

After studying science at Rutgers University in New Brunswick and art at Syracuse University and Central Saint Martins College of Art and Design in London, Selick eventually enrolled at the California Institute of the Arts (CalArts) to study animation. He studied at the Program in Experimental Animation at California Institute of the Arts under the guidance of Jules Engel. His two student films there, Phases and Tube Tales, were nominated for Student Academy Awards.

Disney
After his academic studies, he went to work for Walt Disney Studios as an "in-betweener" and animator trainee on such films as Pete's Dragon and The Small One. During his time at Disney, he met and worked around the likes of Rick Heinrichs, Jorgen Klubien, Brad Bird, John Musker, Dan Haskett, Sue and Bill Kroyer, Ed Gombert, Andy Gaskill, and Tim Burton. Burton served as producer on Selick's first two films as director, the Disney-produced The Nightmare Before Christmas and James and the Giant Peach. Years later, Selick claimed he learned a lot to improve his drawing, animation, and storytelling skills from Disney legend Eric Larson.

Further work
Selick's third feature was Monkeybone, a live-action/stop-motion adaptation of an underground comic, Dark Town by Kaja Blackley, produced by 20th Century Fox. The film was a flop both commercially and critically. Selick, who animated the fictional sea creatures in Wes Anderson's The Life Aquatic with Steve Zissou, signed on as animation director on Anderson's Fantastic Mr. Fox. In February 2006, Selick left the project, to work on Coraline for Laika. Selick, who kept in contact with Anderson, said the director would act out scenes in Fantastic Mr. Fox while in Paris and send them to the animators via iPhone.

Coraline (2009)
Selick's first feature with Laika, LLC was Coraline, based on the novella Coraline by acclaimed fantasy author Neil Gaiman, and released in 2009. It was the first ever stereoscopic 3D stop-motion animated film. The film received generally positive reviews from critics. Coraline was nominated for Best Animated Feature as an Academy Award, a BAFTA, and a Golden Globe.

Work with Pixar
Selick left Laika in 2009. In 2010, Selick joined with Pixar and The Walt Disney Company in a long-term contract to exclusively produce stop-motion films. This not only returned Selick to his original roots, but also reunited Selick with numerous former friends and co-animators. His new studio, called Cinderbiter Productions, was self-described as "a new stop motion company whose mandate is to make great, scary films for young 'uns with a small, tight-knit crew who watch each other's backs."

Selick and Cinderbiter's first film under this deal, a project called ShadeMaker, was set to be released on October 4, 2013. In 2011, the film was green-lit for production and retitled The Shadow King. In August 2012, it was reported that, after spending a reported $50 million, Walt Disney Pictures canceled the project, due to "a creative and scheduling standpoint, the pic wasn't where it needed to be to meet its planned release date." Disney gave Selick the option to shop the project to another studio. Selick revealed in 2022 that the film suffered from interference from then-CCO of Pixar John Lasseter, whom he claimed came in and constantly changed elements of the script and production that ended up ballooning the budget. Selick said that he had reacquired the rights for The Shadow King from Disney and that he may revive the project.

On April 28, 2012, it was announced that Disney had optioned the rights for Neil Gaiman's novel The Graveyard Book. Later that same day, it was announced that Selick would direct the film after work was completed on ShadeMaker. It was unknown if the adaptation would be live-action or stop motion. After the studio and Selick parted ways over scheduling and development, it was announced in January 2013 that Ron Howard would direct the film.

In February 2013, it was reported in a press release by Selick that K5 International would be handling sales for The Shadow King at the European Film Market. It was unknown when the film would actually be released. In August 2016, a rep for Selick said the film was "in turnaround again" while Selick continued work on his other two projects: A Tale Dark and Grimm and Wendell and Wild.

On October 16, 2013, Selick announced a live-action film adaptation of Adam Gidwitz's children's novel A Tale Dark and Grimm. As of 2023, no further updates on the project have been given.

Wendell & Wild (2022)
On November 3, 2015, it was reported that Selick was developing Wendell & Wild, a new stop-motion feature with Jordan Peele and Keegan-Michael Key based on an original story by Selick. In 2018, the film was picked up by Netflix. The film was released on October 28, 2022, on Netflix.

Upcoming projects
In June 2017, Selick was reported to direct the pilot and subsequent episodes of a Little Nightmares TV adaptation produced by the Russo brothers.

In June 2024, it was announced that Selick was developing a stop-motion film adaptation of Neil Gaiman's 2013 novel The Ocean at the End of the Lane, as well as reviving The Shadow King as a graphic novel.

Others

 * Pete's Dragon (1977) (inbetweener)
 * The Small One (1978) (animator)
 * The Watcher in the Woods (1980) (designer of the alien)
 * Twice Upon a Time (1983) (sequence director)
 * Return to Oz (1985) (storyboard artist)
 * Nutcracker: The Motion Picture (1986) (visual adaptation)
 * MTV ID's: "Gravity", "Masks '87", "Dollhouse M", "Bath for Dad", "Haircut M", "Xerox Bug" (1987–1990)
 * Who Framed Roger Rabbit (1988) (inbetweener)
 * The Life Aquatic with Steve Zissou (2004) (animation by)

Preservation
In 2012, the Academy Film Archive preserved several of Selick's short films: Phases, Seepage, and Tube Tales.

title: Henry Selick