text:
Q: Differentiability and convex function If $E\subseteq \mathbb R^d$ is convex and $f:E\to\mathbb R$ is a convex function, is it true that :

*

*For all $x\in E$, if $f$ has partial derivatives at $x$ along all directions $u$ such that $x+tu\in E$ for small enough $t>0$ (i.e., $f$ is Gateaux-differentiable at $x$), then $f$ is differentiable (in the Fréchet sense) at $x$ ?

*If $f$ is differentiable on $E$, then its gradient is continuous on $E$, even at boundary points ?
When $E$ is open, the answer is YES to both, but I am mostly interested in what happens at the boudary.
NB : when I say that $f$ is differentiable (in the Fréchet sense) at $x\in E$, I mean that there exists a vector $g\in\mathbb R^d$ such that
$$\frac{f(y)-f(x)-g^\top (y-x)}{\|y-x\|} \xrightarrow[y\to x]{} 0$$
In that case, there is only one such vector that is parallel to $E$, i.e., in the span of $E-E$, and that's what I call the gradient of $f$ at $x$.

A: This is a counterexample for the first point:
Take $E = [0,\infty)^2$ and set
$$
f(x,y) = \frac{-x\,y}{\sqrt{x^2 + y^2}}.
$$
Then, $f$ is convex and differentiable at all points in $E \setminus \{0\}$. At $0$, all the partial derivatives exist. However, $f$ is not differentiable in $0$.
Edit: And this disproves the second point: Again, $E = [0,\infty)^2$ and
$$f(x,y) = x^2 \, \exp(-y/x^2).$$
Then, $f$ is convex and everywhere differentiable. However,
$$f'(0,0) = (0,0),\quad f'(x,0) = (2\,x, -1)$$
for $x > 0$.

redpajama_set_name: RedPajamaStackExchange


John O'Connor. Single engraving, initialled in pencil by the artist.
The frontispiece illustration from La Vida Breve by Hal Cheetham, printed by Jonathan Stephenson at The Rocket Press.
22 x 15.5 cms., image size 12 x 8 cms. Single print, loose.
Very good. This is one of several prints from this series in stock.


Jilin Agricultural Bank of China Agricultural Bank is the first carried out for the"three rural" financial services pilot provincial branches. In recent years, farmers inthe bank loan business has been rapid development, on the whole maintained ahealthy and stable development momentum, but the associated risks and problems aregradually exposed: First, the gradual increase of non-performing loans. At the end ofthis year, the Bank farmers small loans NPL balance4.5billion poor rate6.8%, andmay rise further. Second violations are increasing. All levels of line audit, inspection,investigation found that business start-up loans to farmers there are moreirregularities and potential risks, such as customer access too loose, the surveyexamined aspects of strict, post-loan formality, client manager violation operation.Three is hard for farmers to circumvent the process of agricultural production andmarket price risk of natural disasters fluctuations is becoming more prominent.Fourth, reputational risk management and control pressure. Governments, the publicand media attention on loans to farmers, or promote any illegal operations explainedmistake could cause serious reputational risk. Loans to farmers to strengthen riskprevention and control, to ensure that loans to farmers healthy and sustainabledevelopment of the agricultural bank to achieve service "three rural" basicprerequisite for sustainable development and the fundamental guarantee.According to farmers operating characteristics of Jilin Agricultural Bank ofChina, from place to place because of the line's needs, through establishing the actualfarmers, targeted and adaptable management model and control means, in the business of promoting loans to farmers to achieve sustainable and healthydevelopment, has been actively exploring and useful practice. However, the bankloans to farmers to carry out its business, can not circumvent faced with thedispersion of loans to farmers, diversification, small-scale, asymmetric informationand uncertainty of use and other factors, it was decided to manage the long-term loansto farmers and complexity.Insist on risk under controlled conditions to achieve operating profit and socialunity, both essential requirements of commercial banks, Agricultural Bank of Chinaand also to achieve the "three rural" Customer mutual benefit and win-win, the onlyway to sustainable development. To further change in the history of extensivefinancial support for agriculture model, adhere commercial operations, the buildsystem risk control system, effective prevention and control of loans to farmers creditrisk, operational risk, reputational risk and other risks arising, good risk managementof loans to farmers, ensure that the farmers loan business healthy and sustainabledevelopment.In recent years, Jilin Agricultural Bank of China Agricultural Bank combinedwith practical, vigorously carry out the " three rural" loans, improve rural financialservices, practicing corporate mission. In the ongoing, in-depth course of business tocarry out loans to farmers, faced with new problems and difficulties: on the onehand, farmers loans to farmers to invest mainly in practice, the amount of small loansto farmers, farmers living geographically dispersed, management radius, asymmetricinformation a general lack of effective collateral loans, natural risks farmers breedingindustry to compensate the lack of effective mechanisms for long-term factors such asweak objective existence; on the other hand, as the main ABC lending operationscontinued to operate in the financial transaction costs facing rural high, long chainmanagement, junior officers overall quality is not high, difficult to manage internalcontrols and other problems. Therefore, building a comprehensive range of risk management, risk management process throughout, and full of risk managementculture, a new risk management tools is the basic characteristic of the riskmanagement system, becoming raise the level of risk prevention and control of loansto farmers, farmers realized loan business services place, an important part ofsustainable development goals.


text:
Gothic 'Hume Castle' in Berkeley Hills hits market at $5 million
Michael Wan/Staff
By Roann Pao and Jennifer Wong
Berkeley tenant fights to preserve garden in ongoing dispute with landlords, property managers
Property on Bancroft Way projected for redevelopment, housing, retail
Mayor Tom Bates speaks on history of Berkeley activism at campus forum
A stunning home overlooking a spectacular view of the Bay Area located at 2900 Buena Vista Way in the Berkeley Hills is now on the market for $5 million, according to the house's real estate agent Bebe McRae.
Nicknamed "Hume Castle," the house's style mimics that of a 13th century French medieval cloister and has been designated as an official landmark since 1985, according to SF Curbed. Most of the original architecture from the 1920s is still intact today, McRae said.
The current owners, who have lived in the home for the past 30 years, are planning to sell the house and move to a smaller place now that their children are grown, according to McRae.
Originally, from 1918 to 1924, the house belonged to Samuel Hume, a former campus professor who taught in the dramatic literature and art departments while also serving as the director of the Greek Theater. His wife Portia was a psychiatrist who also taught at UC Berkeley, according to the Social Network and Archival Context website.
Alongside architect John Hudson Thomas, Hume planned and designed the house and began construction in 1928, said McRae. Thomas, who completed his graduate degree in architecture at UC Berkeley in 1904, later went on to design other Berkeley landmark houses, such as the Captain Maury House on Shattuck Avenue and Loring House on Spruce Street, according to the Berkeley Historical Plaque Project website.
"(This house is a) remarkable piece of Berkeley history," McRae said. "John Hudson Thomas … was so influential in making Berkeley a special place."
The Hume family lived in the house from 1928 until 1975, McRae said. The house was then briefly owned by an architect named Michael Sederin, she added, who remodeled the kitchen. The current owners have lived there since Sederin's departure.
The 5,746 square foot house includes a solar heating system, a koi pond and a grand terrace, according to SF Curbed. The exterior of the house, which is constructed out of stone, surrounds an inner courtyard of Gothic arches. The Gothic motif is also recreated in the interior of the home, resulting in "castle-like imagery" composed of domed ceilings and heavy wood beams.
The average size of homes sold in Berkeley over the past six months have averaged around 1,700 square feet, according to Shahin Tabib, a Berkeley real estate agent. Hume Castle is more than three times this size, though Tabib added that there are other larger, more expensive houses in different parts of the Bay Area.
Contact Jennifer Wong at [email protected] and follow her on Twitter at @jenniferwong_dc.
Contact Roann Pao at [email protected] and follow her on Twitter at @roann_pao.
Bebe McRae, Berkeley Hills, Captain Maury House, John Hudson Thomas, Loring House, Michael Sederin, Samuel Hume, Shahin Tabib, The Berkeley Historical Plaque Project

redpajama_set_name: RedPajamaCommonCrawl


text:
Album review: Rise Against – Nowhere Generation
Socially-conscious U.S. punks Rise Against light the fuse on another incendiary, but thoughtful, device…
It's 20 years, almost to the month, since Rise Against dropped their debut album The Unraveling. 'I live to be alive / I live to always strive/ For something more,' rasped frontman Tim McIlrath on opener Alive And Well and, two decades on, he and his band are still striving against the powers that be.
Where The Unraveling opened with Jack Black asking, 'Are you ready to rock?', Nowhere Generation blares out a snippet of socialist anthem L'Internationale. They might have grown up along the way, smoothing off some of the more chaotic edges, but in 2021 Rise Against are every bit as fervent and dedicated to their cause. They've never sounded so revolutionary as on opener The Numbers, declaring: 'And they have the power/ But we have the numbers now/ It's all just a constant illusion of control.' And somehow they still sound incendiary, exploding from the speakers in a welter of metallic riffs, racing punk rhythms and humungous hooks.
Nowhere Generation isn't a concept album as such, but it does have an overarching theme, with a number of songs touching on the shitty global inheritance being passed down to emerging generations. Its lens shines in part through the death throes of the American Dream, but there are enough shared experiences to extend beyond national borders. There's a looming climate catastrophe, spiralling debts, all the pressures of late-stage capitalism and a sense that any voice that dares to protest all this is diminished, ignored, reduced to snowflake cliché. You could be equally disparaging about a bunch of 40-odd-year-olds claiming, 'We are the nowhere generation / We are the kids that no-one wants,' if not for the fact that they've always stood up for others. Rise Against have fans that are younger than that debut album, and Tim McIlrath himself has kids facing the challenges of Gen Z.
And, as he told K! recently, "What's happening globally to capitalism, progress, automation and industrialisation knows no boundary, border or years. No matter what year you were born, you can very likely become the victim of growing social inequality, growing income disparity, or climate change – those things know no birth date."
Musically they stick largely to their well-honed melodic hardcore. That means plenty of galloping bass runs and fast-paced verses, with huge anthemic choruses blooming like mushroom clouds. There's a melodic sheen with just enough grit to prevent things from sounding too polished and there's also the odd deviation. The lyrically nihilistic Sudden Urge borrows modern rock chops that could almost be the Foo Fighters, while the title-track sounds like an electrified campfire sing-along. Despite its portentous subject matter, Sooner Or Later preaches its environmental message via a superbly poppy hook that swings with pure, unfettered, rebellious joy. The biggest departure, though, is the string-embellished acoustic ballad Forfeit, which demonstrates unequivocally that they're not entirely bound by their own established format.
There's still a lot that will be familiar to longtime fans, but the most impressive thing is how passionate Rise Against remain. Twenty years in, and their revolutionary fire is still as relevant and as sadly needed as ever.
Verdict: 4/5
For fans of: Bad Religion, Anti-Flag, Strike Anywhere
Rise Against's Nowhere Generation is out now via Loma Vista. Get your copy now.
Read this: Rise Against: Tim McIlrath's track-by-track guide to Nowhere Generation
Guns N' Roses, Foo Fighters, KISS, Korn and many more for Welcome To Rockville 2022
Danny Wimmer Presents' 2022 festival season will kick off with Welcome To Rockville in May – and they've delivered on their promise of 'biggest line-up yet'…
"When you lose independent venues, you lose a serious part of underground music culture"
Independent venues are a vital part of rock and alternative music's lifeforce. Rise Against frontman Tim McIrath dives into why they're so important and the difficulties of performing acoustically...
Rise Against's Tim McIlrath on the best new punk, hardcore and emo
Rise Against vocalist/guitarist Tim McIlrath brings you the new bands you need to check out now, including Sincere Engineer, Teenage Wrist and Dead Sara...
Rise Against announce new EP, Nowhere Sessions
Chicago punk legends Rise Against have unveiled details of a 'live expansion' of this year's awesome Nowhere Generation album.
First look: Rise Against team up with Z2 Comics for Nowhere Generation graphic novel
Z2 Comics will tell "the stories of the ones who fight back" in the upcoming Nowhere Generation graphic novel with Rise Against and Loma Vista Recordings.


YSL La Nuit De L'Homme for Men by Yves Saint Laurent Eau De Toilette Spray – 3.4 oz. This exuberant masculine perfume's main accords are aromatic, warm spicy, fresh spicy, woody, and floral.
La Nuit de L'Homme Yves Saint Laurent gives men a rich, fresh fragrance. Making its debut in 2009, this powerful scent from the iconic design house of Yves Saint Laurent is full of contrasts. Unmistakably masculine, it's an eau de toilette fragrance composition that starts with sweet, spicy cardamom and transitions to a heart of citrus-fresh bergamot, woody Virginia cedar and bright lavender. Rich closing notes, including earthy vetiver, deliver a lingering scent that evokes mystery. Wear this fragrance to reflect your strength and complexity.
Yves Saint Laurent La Nuit de l`Homme is a new masculine representative of the house of YSL and it appeared on the market in March 2009. The perfume is announced as one full of contrasts and tensions.
Perfume La Nuit de l`Homme is available in three sizes of bottle – 40ml edt, 60ml edt and100ml edt, along with perfumed deo spray in a collection. The noses behind this fragrance are Anne Flipo, Pierre Wargnye and Dominique Ropion.
Cardamom, Bergamot, Virginia Cedar, Lavender, Vetiver.
Yves Saint Laurent. Fragrance introduced in 2009.


text:
Government introduces new border measures to protect Canadian public health, provides update on travel restrictions
October 2, 2020—Ottawa--Immigration, Refugees and Citizenship Minister Marco E. L. Mendicino, Public Safety and Emergency Preparedness Minister Bill Blair and Health Minister Patty Hajdu today announced that, in addition to the border restrictions that remain in place, the Government of Canada is further strengthening the public health presence at the border and enhancing quarantine monitoring. The government is also increasing the use of digital forms and processes to allow critical information to be shared more quickly with provinces and territories. In addition, a process is being introduced to support enhanced family reunification, including those in long-term exclusive relationships, international students and entry for compassionate reasons.
The government continues to enforce and strengthen travel restrictions and border measures that have been in place since March 2020.
Sunny Yee
Canadian Immigration & Citizenship Consultant
Full-service Canadian Immigration & Citizenship Company
Suite 720 - 999 West Broadway,Vancouver BC V5Z 1K5 | Email: info@blic.ca
2013 Better Life Immigration Consultants Inc. | All Rights Reserved
Disclaimer & Terms of Use | Privacy Policy


text:
+91 9819816908 kooldeep@hotmail.com
T R A I L E R S
M U S I C
Workflow Breakdown of Every Best Picture and Best Editing Oscar Nominee
A Great Write-up About Workflow Breakdown of Every Best Picture and Best Editing Oscar Nominee
Written by DAVID KONG, March 5, 2018
We at Frame.io love getting nerdy about workflows, so when we had the opportunity to speak to a few of the teams behind this year's Oscar nominees, we had to ask about the details. As we spoke to different teams, however, we were struck by several different points of comparison between the films, and that sparked the idea of conducting a broader analysis.
So we reached out to the editorial teams on all 9 Best Picture nominees and all 5 Best Editing nominees, and got the details of their technical workflows. There were 11 films in all, since three films were nominated for both categories. (The Post's editorial team was unfortunately unavailable, so we relied on second-hand reports for that film)
We could have written an article on each of these films, but rather than diving deep into a particular one, we're presenting an overview, highlighting some of the most interesting elements.
This is not an article about the funding of Hollywood films, but I think that it's helpful to keep the relative budgets in mind as we look at things like the length of principal photography in the size of the editorial team.
Here's a look at the budgets for each of these films, from smallest to largest. It's quite extraordinary how diverse the budgets are on this list of Oscar nominees, from $3.5 million on Call Me By Your Name all the way up to $100 million on Dunkirk.
There's a general trend up and to the right again, with a few exceptions. Production is always the most expensive phase of a feature film, and so it's not surprising that the lower-budget films generally had tighter shooting schedules. What's rather shockingly impressive is that the Get Out team shot a four-Oscar-nominated film in just three weeks!
The Post's shooting schedule might have been longer except that the film was made in a very short amount of time. Steven Spielberg wanted badly to make and release The Post quickly, as soon as he read the script, because he felt that it was an important piece of social commentary for our time. The film was finished less than 9 months after Steven first read the script. That kind of schedule means every phase of the film has to be rushed.
Keeping the films in the same order again, let's compare the sizes of the editorial teams. I excluded post supervisors and VFX editors, keeping this list to editors, assistant editors, associate editors, and editorial assistants.
While it's certainly true that the two most expensive films had the largest teams, the rest of the nominated films needed no more than 4 on the editorial team. A large part of Dunkirk's huge editorial team was needed for the various conform processes (keep reading), but even without that, it had a significantly larger team than any other film on our list.
The Post also had a significant added challenge—they were cutting two films at once! When Steven Spielberg decided to fast-track The Post, he was already in the midst of postproduction on Ready Player One, which couldn't simply be put on hold for a year. Michael Kahn and Sarah Broshar, the two editors of The Post, thus had to be able to switch from one film to the other on a daily basis. So, I think we can probably cut them a little extra slack.
The Post © 20th Century Fox
I, Tonya's team had the difficulty of a small budget but over 200 tricky VFX shots. Although Margot Robbie trained hard, a professional skater had to complete the most difficult moves, requiring various tracking techniques to place Margot back into the film, in addition to CG crowds and stadiums. I, Tonya's small independent budget meant that Steve Jacks had to pull double-duty as first assistant editor and VFX editor (he is credited for both titles). He would be cutting in VFX shots in the morning, then in the afternoon he'd switch to doing sound work, and then he'd sometimes stay late to prep shots to turn over to VFX.
In contrast, Three Billboards's workflow was so simple that, even with a two-man editing team through most of production, the first assistant editor Nicholas Lipari spent very little time on the technical details. On a given day, he'd spend around two hours ingesting and processing footage, and then he would be able to spend the rest of the day working with the editor Jon Gregory, which is quite an unusual scenario. It's an unfortunate fact that the duties of the assistant editor are often so different from the duties of the editor that an assistant can perform their job well for years without getting the skills necessary to move up to an editing position.
(Do you agree with that? Disagree? Let us know in the comments or email blog(at)frame.io—we're preparing an article on that topic.)
Postproduction Schedule
You might think that large productions like Dunkirk and The Post would have the luxury of spending as much time in the edit as they need, but the reality is that amount of time allocated to postproduction doesn't correlate very well with budget. I've kept the films in order of budget from left to right, and there isn't a discernible trend at all. Note that I am including only the time spent in postproduction after the end of principal photography, although of course these teams were all hard at work producing assembly edits while the films were being shot.
On studio films, the release date is usually set before they even begin shooting, and the process of jockeying for prime release dates means that a studio film can end up with plenty of time for post, or very little.
The smaller independent films, like Three Billboards and Lady Bird, had a lot more freedom to take as much time as needed in the edit. Even small independent films do sometimes have to hit deadlines of course, which is often a particular film festival that they're targeting. It's interesting to note, though, that even though the independent films generally reported having much more flexibility in their postproduction schedule, they didn't necessarily take the longest.
Sam Rockwell and Frances McDormand, 2018 Best Supporting Actor and Best Actress winners for Three Billboards Outside Ebbing, Missouri. © Fox Searchlight Pictures
In the case of this year's nominees, a number of different factors dictated the amount of time in post: technical complexity of the edit (Baby Driver and Dunkirk), pressing release dates (The Post), complex VFX (The Shape of Water), with several taking whatever time they felt they needed (Three Billboards, Lady Bird, Call Me By Your Name).
Given the huge range of budgets for these films, it's a testament to the amazing democratization of the tools of postproduction that these films were cut on similar hardware. In fact, many of these films were cut on laptops from portable hard drives, as well as in full edit suites.
Tweaks to The Shape of Water in a parking lot, photo courtesy of Doug Wilkinson.
It will come as no surprise that Apple's hardware dominated the list, with most films editing off of Mac Pro "trash cans" in the main edit suites (the new iMac Pros were not available when these films were being edited). Call Me By Your Name's team opted for top-of-the-line iMacs, and some will be surprised that Darkest Hour and The Shape of Water both used old Mac Pro towers, though The Shape of Water actually moved to Mac Pro trash cans in the middle of the shoot. Old habits die hard.
The Edit: Still Standard HD
Given Avid's dominance of the feature film market, it's a given that each of these films was edited using Avid's DNx family of codecs, most using the DNx 115 flavor, though four films (Baby Driver, Lady Bird, Call Me By Your Name, and The Shape of Water) used the DNx 36 flavor. If you're more used to the ProRes family, DNx 36 is comparable to ProRes Proxy, while DNx 115 is comparable to ProRes 422 (you can see a comparison table here).
Comparison of DNx codecs. You can find the full chart here.
Although it's becoming easier and easier to edit in 4K (and these productions certainly had the budgets for high-end computers), all 11 teams chose to edit in standard 1920 x 1080 resolution. For readers who are used to working on smaller productions where the entire postproduction process happens at the same facility, this might be surprising. These films were all captured or scanned at 4K or higher, and the budgets were plenty large enough to pay for top-of-the-line hardware, so why not edit 4K? If people are editing feature films in raw 6K, surely it can be done in 4K without too much trouble.
Why Not 4K?
If you consider the workflows of these types of films, though, a 4K edit still doesn't make much sense. Before we ask why these films wouldn't edit in 4K, we first we have to ask ourselves, "what are the benefits of editing in 4K?"
The primary benefit for most people who edit in 4K is simply the fact that they can skip the offline editing process and do all of their work directly on the camera-original files. Although it's very easy to design a smooth offline workflow, and all of the major editing packages support it, there is some nice simplicity in avoiding the need to transcode for an offline workflow. If you are doing your color correction and finishing inside of your editor (which is increasingly possible), you have the added significant advantage of being able to move fluidly between phases of your postproduction process. You can spend more time on temporary color-correction as you are editing, knowing that you can continue that work later rather than having to start over again. You can also make edits to the film during the finishing phase, without the headaches of a reverse conform process.
But these feature films, even the low budget ones, all used a traditional offline workflow that involved a handoff from the editors to a separate finishing team at another facility. So there was no possibility of the kind of all-in-one workflows that are now becoming feasible.
As amazing as the iMac Pros and Z840s are for renderless 4K editing, there are still plenty of hiccups and slow-downs involved with editing a significant film in 4K. Temp VFX and color-correction can quickly choke playback on a system that's not perfectly tuned, and render times stretch out.
The other significant disadvantage to a 4K edit for these films is the size of the storage required, even if you edit off of proxy files instead of the original camera files. At different points in the process, the teams behind Baby Driver, Three Billboards, and The Shape of Water had a complete copy of the film running off of a single hard drive connected to a portable laptop, which would not have been possible had they edited in 4K.
Baby Driver editor Paul Machliss's laptop and Lacie hard drive on set. Image courtesy Paul Machliss.
A 2-hour feature film might easily have a 50:1 shooting ratio (capturing 50x as much footage as ends up in the final film), which means 6,000 minutes of recorded footage. Using our bitrate formulas, we can quickly calculate the space required.
ProRes 422 at UHD is 503mbps, so we plug our numbers into the top formula:
503mbps * 6,000 minutes * .0075 = 22,635GB, or 22.5TB.
22TB is reasonable to store in a powered RAID, but you're going to have trouble throwing that in your backpack.
So, if you can't take advantage of the primary benefits of a 4K workflow, and it will slow you down and hamper you, it just doesn't make any sense to use cutting-edge 4K workflows purely for their own sake. Even if you're cutting Dunkirk.
The one benefit that these productions would have received from a 4K edit is simply the greater resolution and detail during the editing process. That can be an advantage, but just not a big enough advantage to tempt these teams …yet.
Note that I'm specifically talking about editing in 4K vs 1080p, which is a separate question from whether to capture and master at 4K or 1080p. All of these films used a traditional offline workflow, which allowed them to edit in 1080p but produce a final output at a higher resolution.
Film vs Digital Acquisition
The decision to shoot on film vs. digital is always a fraught one. It can be a question of budget, a question of personal taste, or a question of subject matter. All of the films on this list had enough of a budget to consider film, but it's interesting to note that, of the six movies shot on film (Baby Driver, I, Tonya, Call Me By Your Name, The Post, Phantom Thread, and Dunkirk), five of them were period pieces of some sort. Films set in the past tend to shoot on film more often than films set in the present because we tend to associate the look of older film stocks with the past.
Of course, it's always possible to emulate the look of an older film stock with a digital image, but I'm trying not to take sides too much here
The only non-period-piece to use film was Baby Driver, which is even more surprising given the fact that the film's synchronization to its soundtrack required real-time, on-set editing (more on that later). Shooting digitally could have simplified this workflow, but Edgar Wright is a film purist, and it's pretty hard to argue with a director like Edgar Wright.
Baby Driver: 35mm, Alexa Mini at 2.8K ARRIRAW.
Call Me By Your Name: 35mm.
Darkest Hour: Alexa SXT, Alexa Mini at 3.4K ARRIRAW.
Dunkirk: IMAX 65mm and Standard 65mm film.
Get Out: Alexa Mini at 3.2K ProRes 4444.
I, Tonya: 35mm, Alexa 65 at 6.5K ARRIRAW, Phantom.
Lady Bird: Alexa Mini at 2K ProRes 4444.
Phantom Thread: 35mm film.
The Post: 35mm film.
The Shape of Water: Alexa Mini at 3.2K ARRIRAW.
Three Billboards Outside Ebbing, Missouri: Alexa XT Plus at 2K ARRIRAW, Ursa Mini.
Of these 11 films, Dunkirk was the only film to do an optical print with no digital intermediate. This was again a personal aesthetic choice by Christopher Nolan to avoid the digital color tools and restrict the color treatment to the limited tools of the traditional photochemical color-timing process.
The five other films that shot on physical film all scanned the images and did their color correction and online effects on digital files. They then exported DCPs (digital files) so that the films could be projected digitally, or else printed those digital files back onto film for a film projection (Phantom Thread). Dunkirk, instead, was projected on film using prints made from the original camera negatives where possible.
There are several caveats, however. Dunkirk still did a digital scan of the camera negatives, for several different reasons. In spite of his love of the physical film, not even Christopher Nolan can deny the obvious advantages of digital editing, and so the film had to be scanned and transcoded to a 1080p digital intermediate codec for the editing. Second, although Christopher Nolan tried to do as many effects in-camera as possible, it was still necessary to do some digital VFX on certain scenes. Those scenes were scanned at 8K and delivered to the visual effects house, which worked at 6K. Those 6K files were then printed back to film negative and spliced in with the prints that had come from camera negatives.
Dunkirk. © Warner Bros.
There was also yet a third complete scan in order to provide digital delivery as well, since many theaters have moved to digital projection only. That scan was done after the film had been color-timed photochemically, though, so there was no need to do any digital color manipulation other than what was necessary to match the look of the digital files as closely as possible to the look of the all-analog version.
(I've barely scratched the surface of the extraordinarily complicated workflow on Dunkirk. I recommend this article from the ASC and this interview with Steve Hullfish if you'd like to dive deeper.)
I mentioned above that every film used Avid's DNx offline codecs for editorial, although a couple of these films added a few extra twists to the process.
Most of these films followed a fairly standard dailies process. For those films that shot on 35mm, the negatives were immediately scanned to digital files, and then shown to the production team digitally, either by sending a physical hard drive or via a remote dailies viewing system. For the films that shot digitally, the files were transcoded and then delivered to the production team via hard drive or via the cloud. Processing dailies is never "simple"—color needs to be properly managed, sound synced, and metadata carefully managed—but the process is fairly standardized.
Two of these films had particularly complicated dailies workflows, though for completely different reasons.
For Baby Driver, the challenge came from the fact that the film was timed extremely precisely to the soundtrack. The main character is constantly listening to music on his earbuds throughout the film, and every scene is precisely choreographed to fit the music. Every shot had to be timed in order to match this soundtrack, which was piped to the actors via hidden earpieces.
The cast of Baby Driver wore earpieces in order to move in sync to the music.
That obviously presented as a huge synchronization challenge, which they addressed by referring to detailed animatics, matching the live action footage, shot by shot, to the pre-edited animatics. In order to be sure that they were hitting their beats precisely correctly, it was necessary to edit the film in real-time, dropping each take into the animatic timeline to make sure that everything lined up as planned.
Since the film was shot on 35mm film, they weren't able to use the "real" dailies to do this on-set check. Instead, the film's editor Paul Machliss received a signal from video village, which was captured in real time using Qtake's video assist software. Qtake recorded ProRes files, which could be imported into Avid on Paul's Macbook Pro, but Paul would then transcode those files in the background to DNxHD 36, stored on an external hard drive.
So Paul was building his assembly edits with these temporary dailies, but he was also receiving the dailies that have been scanned from the captured 35mm negatives. Since his temporary dailies were lower quality, he swapped out the 35mm scans as soon as they arrived. Of course, it takes a few days for negatives to be mailed from Atlanta to Los Angeles, scanned, processed, and then sent back to Atlanta, Paul's on-set assistant had to swap out temporary dailies for "real" 35mm-scanned dailies, on a daily basis. (that was a lot of dailies)
Since these temporary dailies were coming from a video tap which recorded independently from the film camera, the clips coming in from the 35mm scans didn't match the temporary dailies precisely. So the new dailies would have to be carefully linked back into the Avid timelines, replacing the temporary dailies without losing sync. Fortunately, reliable time-of-day timecode saved the day, allowing much of the relinking to happen smoothly.
(edit: we earlier reported that the temporary dailies came in at 25fps. That was incorrect: Paul had to work with proxies from a 25fps video tap on The World's End, but not on Baby Driver. We regret the error.)
Dunkirk's dailies workflow was even more complicated than Baby Driver's workflow, though without the real-time component. All of the complications in Dunkirk's workflow were due to the fact that the production was shooting simultaneously in two different non-standard types of physical film, and Christopher Nolan wanted to view his dailies projected by a real film projector using a third non-standard type of film.
In the days before digital capture and digital intermediate, everyone had to view their dailies on film—that element was just a throwback to the old days, nothing particularly new. The tricky part was that Christopher Nolan wanted to shoot part of the film on IMAX 65mm, part of the film on standard 65mm, and to view his dailies at IMAX sizes.
In spite of the similar-sounding names, IMAX 65mm and standard 65mm have different sizes and different aspect ratios. The names are misleading because IMAX 65mm is 65mm tall, while standard 65mm is 65mm wide, resulting in two completely different types of film being known by the same number.
Standard 65mm film is as wide as IMAX 65mm film is tall.
Incidentally, this is exactly the same reason why 35mm cinema film and 35mm still camera film are not the same size or shape. 35mm cinema film is measured by the horizontal side, whereas 35mm still camera film is measured by the vertical side.
Also, you may have heard that the film was projected at IMAX 70mm, not IMAX 65mm. This is another issue of confusing terminology. The image is exactly the same size in both cases—the extra 5mm is used by the soundtrack during projection. So you always capture IMAX at 65mm and display it at 70mm, but the image is not scaled or cropped in the process. Same thing with standard 65mm film—it's projected at standard 70mm (not IMAX 70mm).
Yeah, confusing.
Ok, back to Dunkirk. Christopher Nolan wanted to view his dailies on physical film, and since he was shooting two different formats, he received dailies in two different formats. All of the standard 65mm shots were printed to standard 70mm, requiring the production team to carry around a 70mm projector with them. Given the amount of material shot, it was simply too expensive to create IMAX prints of all of the IMAX footage. Only selected shots were reviewed at IMAX 70mm—most were reduced down to fit onto a standard 35mm print.
Because of the time required to process the 35mm reductions, they had to skip syncing sound on the all of the IMAX dailies. Fortunately, all of the dialogue scenes were shot on standard 65mm, and so they were able to view dailies with sound on the dialogue scenes.
The dailies on The Shape of Water were much simpler technically, but they had to keep a very tight ship because the editorial team worked at the studio where the film was mostly shot. Director and co-writer Guillermo Del Toro would drop in frequently, usually during the lunch break, which meant that the assistants had to work very quickly in order to ingest the previous day's footage, allowing the editor Sidney Wolinsky time to work with the footage and have something to show Guillermo by lunchtime.
Distributed Workflows
There aren't many film labs capable of handling all of the complexities of Dunkirk's workflows (and I've skipped over several other tricky bits), so they had to ship all of the film from Europe, where they shot most of the film, to LA where IMAX and FotoKem processed dailies, mailing copies back to Europe for the production team. With all of that turnaround time, dailies took around a week to return to production. (Can you still call them dailies if they take a week? Not sure.)
Call Me By Your Name's team was also distributed around the world, but where Dunkirk's workflow was complex, theirs was simple, and where Dunkirk's workflow was simple, theirs was complex.
Dailies were much simpler for Call Me By Your Name since they were working with standard 35mm film. They did have to send dailies from Crema in northern Italy to Rome for development and scanning, but the workflow remained entirely digital from that point on, greatly facilitating their distributed postproduction workflow.
Call Me By Your Name © Sony Pictures Classics
The editorial team remained in Crema, but the rest of the postproduction was scattered across the world. The color grading was done remotely in Thailand, the sound mixing was done in France, the VFX and Sound Design in Rome, and the ADR in LA. The director Luca Guadagnino was even able to direct ADR sessions in LA from a suite in Italy, syncing their Pro Tools sessions so that the director and editor were able to listen in live as the actors delivered their performances in LA, viewing the video correctly synced, and give direction as though they were in the same room.
Get Out's team was much less spread out than Call Me By Your Name's team, but they still made use of remote collaboration tools, as did many of the films on our list. Matthew Poliquin at Ingenuity Studios, which produced Get Out's (mostly invisible) VFX used Frame.io's cloud-based review and feedback tools even for internal communication, within the same building.
While it's hard to argue against the benefits of having the director and editor in the same room for the editorial process on a feature film, cloud platforms like Frame.io make it easier to communicate and provide feedback asynchronously. That's especially true for someone like Matthew working on VFX, who needs to coordinate feedback for many artists working separately, using Frame.io as a single, central platform to track feedback on various drafts of each shot.
The "Sunken Place" scene in Get Out was one of the most challenging for the VFX team at Ingenuity Studios. Find out why.
As fulfilling and exciting as it may be to learn about the workflows behind these amazing Oscar-nominated films, at the end of the day, it's not about the awards. Christopher Nolan doesn't watch IMAX-sized dailies and Edgar Wright doesn't meticulously choreograph car chases to music to win an award. I'm sure everyone we talked to on this list (and their collaborators and counterparts on the films not nominated) would all say the same thing—they do what they do for the love of the craft and the pursuit of excellence. That pursuit is what drives every passionate artist. It's what drives us to create amazing software (or coordinate dozens of interviews with hard-to-reach professionals to bring you the best possible blog.) And it's our sincere desire that this information will inspire you to do the same. And if you happen to win an Oscar along the way, that's just icing on the cake.
14th time's a charm! Imagine if Deakins was only in it for the awards. He finally gets best cinematography!
Thank you very much to the busy people who took the time to answer our questions about these films: Paul Machliss, Steve Jacks, Tommaso Gallone, Francesca Addonizio, Mary Juric, Chema Gomez, Doug Wilkinson, Cam McLauchlin, Trevor Lindborg, Nicholas Lipari, Francesca Addonizio, John Lee, Crystal Platas, Nick Ramirez, and Matthew Poliquin.
Written by David Kong
Filmmaker, teacher, coder. Director of Content at Frame.io. You can learn more about my various adventures at www.davidkong.net
Pari Film – Teasers clock in 41 million views!
14 Secrets of Movie Trailer Editors
Oscar-nominated editors clear up the biggest category misconception
Lego City Undercover – Official Trailer
#AnushkaSharma #Pari #TrailerEditor Adobe Premiere Pro Editor Avid Editor Batman: Arkham Knight Gameplay Trailer Best Trailers Editing a trailer Editing Trailers Editing workflow Hollywood How to make a movie trailer job of a trailer editor Kool Deep Shah Los Angeles Movie Trailers Pari-The Film Trailer Companies Trailer Editing Trailer Editor Video Game Trailer
Site Designed & Maintained by Kool Deep Shah


Today's young farmers are up against a world of challenges. The move to educate our children about the impact they can make on our global food system is already beginning.
At 7:18 PM on a recent frosty night, the upstairs floor of Patagonia's SoHo location in New York City grew thick with bodies, city dwellers and rural folk both, many bundled in down coats. A woman played the banjo at the front of the room while onlookers snacked and drank local brews. All awaited the arrival of the evening's panel, which featured four people working to make farming more sustainable for the future.
The lights grew dim for the evening's introduction, a promotional video for Letters to a Young Farmer (Princeton Architectural Press), the anthology organized by Stone Barns Center for Food and Agriculture. The advice, aimed at entry-level farmers, generally acknowledges the challenges they face and then offers the means for empowerment.
Letters to a Young Farmer features 36 letters and essays from many influential farmers, writers and leaders of our time.
Build connections with your neighbors and the larger community.
Work locally, then politically to see that legislation passes to benefit the food system as a whole.
Diversify what you grow on your land, what you eat at your table, and the kinds of people you support on your farms.
Be realistic about what you're up against as a small farmer.
The farmers participating in the panel, which included New York City farmer-activist Karen Washington and Courtney Epton, Director of Education at City Growers, agree that farming can be a tough way to make a living. The hours are long and lonely, the risks often high, and the chance for any profit totally unpredictable.
Numbering among the biggest challenges an entry-level farmer faces is the cost of buying land. It's also expensive to pay for equipment capable of sustaining large-scale production. To help manage, many young farmers rely heavily on government programs to cover basic health and and child-care needs.
So how to encourage young people to choose farming as a profession, not just a spiritual pursuit? This is a topic addressed in many letters.
Mary-Howell Martens, the manager of an organic feed and seed business in upstate New York, writes: "I was young and idealistic, with far more knowledge than experience, as much in love with the idea of being a farmer as I was with the farmer himself," referring here to the choice she made by marrying her farmer husband. "Perhaps that innocent youthful, enthusiasm is necessary to send us into such new, risky territory."
At Lakeview Organic Grain, Mary-Howell Martens ships organic dairy and small-animal feed throughout the Northeast. She also assists her husband, Klaas, and son Peter on their sixteen hundred acres of land where they grow certified-organic grain crops.
Move to learn as much as you can before you take that risk, she advises. Be practical about the challenges you will face. "It's a career in which the variables change each year, as you constantly adapt to climate change, consumer whims, and new technology. It keeps you on the risky but hedgy edge of success and failure for months on end."
In spite of the book's cautionary tone, there's reason to be hopeful that farming isn't losing its allure. A recent report from the U.S. Department of Agriculture reveals that the number of farmers under 35 years old is increasing, despite the challenges. This is only the second time in the last century we're seeing such a trend. What's more, according to The Washington Post, the majority of these individuals are "highly educated, ex-urban, first-time farmers" looking to capitalize on growing demands for local and sustainable food.
This energy was made palpable by the cheers and applause from the audience at Patagonia's crowded event, where the panelists all agreed that we must continue to evolve to survive, and we will.
Takeaway: Watch this video to learn more about what moved Arian Rivera, one of Stone Barns' own, back to the land after pursuing a white-collar career in New York City.
Lydia Chodosh, the Marketing and Editorial Associate for Stone Pier Press, works at the intersection of food and the creative arts.


The section conducts basic as well as applied research within business, microeconomics and macroeconomics with an emphasis on the national and international food and agricultural sector. Our research covers, e.g. production relations, organization, structure, market design, measurement and monitoring of efficiency and productivity, technology assessment, innovation, entrepreneurship, business management, international trade and trade policy, and food and agricultural economics and policy. We address these questions from economic, managerial, institutional and political economy perspectives, using both theoretically and quantitative, qualitative, and mixed method approaches such as statistical analysis, econometrics, non-parametric models and general equilibrium models, as well as case studies, grounded theory, ethnography, and narrative research.
Examples of our applied work include issues like the persistency of agricultural support in EU and the United States, economic and policy consequences of multi and bilateral trade negotiations, the political economy of food price crisis, cost sharing strategies in waste water management, the effect of climate change and adaptation strategies of small-scale farmers in Northern Ghana, the effect of contract farming on the efficiency of small-scale farms in Tanzania, the effects of investments on the productivity of Danish pig farms, decision support systems for investment, and contracts, cooperatives and market design.
Associate professor, Jesper Sølver Schou, is head of the Section for Production, Markets and Policy.


text:
Entertainment & Arts selected
Ewan McGregor latest star to read CBeebies Bedtime Story
Image caption Snuggle up for bed with Ewan McGregor
Ewan McGregor is the latest star to read a CBeebies Bedtime Story.
The actor will read Patricia Hegarty's Everybody's Welcome, illustrated by Greg Abbott, to be broadcast on Friday.
It follows a string of stars who have taken a turn on the kids TV show, including Tom Hardy and Dolly Parton.
The Christopher Robin star said: "It's such an honour and pleasure to join an incredible list of actors to read a CBeebies Bedtime Story to children all over the UK.
"I had a great time filming and I hope everyone enjoys watching it."
The book tells the story of a little mouse who dreams of building a house where everyone can live and work together to feel safe and warm.
Ewan McGregor hit headlines more recently after splitting from his wife of 22 years, Eve Mavrakis.
McGregor thanked his new girlfriend, Fargo co-star Mary Elizabeth Winstead, as well as his estranged wife and their four children: Clara, Esther, Jamyan and Anouk, when he accepted a Golden Globe earlier this year.
Actor Tom Hardy has read five Bedtime Stories including tales broadcast on Valentine's Day and Mother's Day. Other A-listers who have appeared on the show, which closes the channel's daily schedule, include Sir Elton John, George Ezra, Suranne Jones, Eddie Redmayne and astronaut Tim Peake.
CBeebies Bedtime Stories is on daily at 6.50pm.
Tom Hardy is back on CBeebies and mums are very happy
Ewan McGregor in no rush to direct again after American Pastoral
Around the BBC
Tom Hardy on CBeebies is mums' Valentine's Day delight - BBC News


Being an intellectual creates a lot of questions and no answers. You can fill your life up with ideas and still go home lonely. All you really have that really matters are feelings. That's what music is to me.


What if you could read the minds of the people around you? We aren't talking about just reading the minds of women, in the movie "What Women Want," but reading the minds of everyone, where you can predict every single move. Would you use that power, or would you rather get rid of it and wish you never had it? Quantum Conscience, is a new visual novel by Woodsy Studio, who was behind the Fantasy/Romance tale, Serafina's Saga, which was released last year for Android and PC. Come find out for yourself and control how the story goes as you explore the many questions behind this certain power you have. Quantum Conscience is out on PC, Mac, and Linux, but as of today, you can now get the visual novel game on Android. You can get the first chapter for free, but if you are interested in the full game, you can purchase via in-app for just $2.99.
You can find out more information and character bio's on the official page for Quantum Conscience. You follow Woodsy Studio on Twitter for updates on the game and more.


text:
Fred Keller History Museum
Sussex-Lisbon Area Historical Society, Inc.
Sussex-Lisbon Area Historium
Fred H. Keller
Michael R. Reilly
Lannon
Lake Five
Pages from the past
Polka & Dance Bands
Rock N' Roll Bands
Sussex-Hamilton
Other Wisconsin
That 70s Wisconsin Beat
McKerrow
Reilly-Miller
Land Patents
Plat Maps
Antiqibles
Antique Advertising Tins
General Wisconsin
Fred H. Keller – Sussex – Lisbon Area Historian, Museum Curator
Michael Reilly March 24, 2017 March 12, 2018 Comments Off on Fred H. Keller – Sussex – Lisbon Area Historian, Museum Curator
Sussex man hopes to pass on past – Proposed historical society would preserve memorabilia collection
Milwaukee Journal Sentinel (WI) – Friday, September 7, 2001
Readability: 9-12 grade level (Lexile: 1110L)
Author: JACQUELINE SEIBEL, Journal Sentinel staff
A Civil War musket, hundreds of postcards, photos and a Kewpie doll collection all representing the area's rich history soon could come under the care of a group that wants to form a historical society.
"I'm getting old, and where will this stuff go?" asked Fred Keller , the official village historian.
The Sussex native, 69, has been collecting area artifacts and memorabilia since he was 14. Keller decided this year to donate the collection to the village, on the condition that a historical society be formed.
Forty-six people from Sussex , Lisbon and Lannon met in August and voted to form such a society.
Forming a historical society can take six months, said Thomas McKay, local history coordinator for the Wisconsin Historical Society.
The Sussex -area group needs to adopt bylaws, incorporate as a non-profit organization and apply for tax-exempt status, he said.
There are 320 county, local and specialized historical societies in Wisconsin, including 13 in Waukesha County, McKay said.
He said it's important for local historical societies to collect, preserve and display the state's historical treasures.
"Having groups like Sussex provide historical artifacts and programs in their community only strengthens the state's collection," he said.
Size does not determine the success of a historical society, McKay said. Many groups succeed with 20 members; others have hundreds.
"The best (historical) societies are the ones that have all kinds of people from the community," McKay said. "If you have people and the enthusiasm, then the accomplishments will follow."
At the meeting last month, Hank Carlson was elected to head the steering committee that will work the next several months to form the society.
"We need to preserve the history of the area," Carlson said about why he accepted the position as chairman.
Once the society is formed, members will need to find a home for Keller 's collection, Carlson said.
Keller has amassed his collection through auctions, rummage sales and estate sales.
There is typically a story behind each item. He purchased the Civil War musket for $5 from a "local" when he was 14. That began his collection.
He was digging through items another resident intended to throw away when he found a pencil with the Halquist Stone Co. name on it and its two-digit phone number from the 1930s.
He started collecting the Kewpie dolls because the cherub was used as a logo for the Friday Canning Co., a longtime employer for area residents.
The books he has compiled on local history will become part of the collection at the Pauline Haass Public Library. The historical items will be displayed in a museum once the society finds a home.
"I could sell it on the market, but it really belongs to the community," Keller said of his vast collection.
History never gets old for Sussex man
Milwaukee Journal Sentinel (WI) – Sunday, April 7, 2002
Readability: 11-12 grade level (Lexile: 1220L)
Author:LAUREL WALKER, Journal Sentinel staff
Every community needs at least one Fred Keller .
Someone with a keen interest in local history and a deep love of his own community.
Above all, someone who has an unceasing willingness to work on the tangibles compiling books, framing pictures, talking to old-timers, hunting auctions or garage sales for collectibles, even diving into garbage bins for any historic treasure that somebody else considered trash.
Finally, someone with an understanding spouse June, in his case who over the years has watched their house fill with the history of Sussex , Lisbon and Lannon, a good share of which some day will fill a museum.
The Kellers' nicely groomed house on Sussex 's Elmwood Ave. is immediately recognizable for its super-sized Sussex logo painted on the overhead garage door. A signal of his previous role as supervisor of parks and recreation in the village, for one, but also of his gung-ho regard for his community. Inside you'll find a tidy arrangement of what seems to be something about anything and everything Sussex .
Some of Keller 's more striking possessions? An 1893 charcoal drawing of the village's original pioneers. An 1874 hand-drawn map of the Sussex -Lisbon area. An 1886 lithograph listing 28th regiment Civil War infantrymen from the county, nearly a dozen from the Sussex area. An 1879 handwritten note and silver serving spoon from the first Sussex settler woman.
Kewpie collection
He's got an extensive and valuable Kewpie collection started because the village's Mammouth Springs Canning Co. used the doll drawing in its canned goods logo from 1924 until 1965. Keller said he holds one of only two remaining lighted "Kewpie Pop" advertising signs, created when Mammouth canned carbonated water in 1954 only to discontinue it soon after.
There isn't an old-time business or community building that Keller can't put his fingers on somewhere, somehow in his collection of butter crocks, seltzer bottles, horse feed gunny sacks and Lord knows what else.
If he doesn't have an artifact, then he has a book old ones salvaged from somewhere, or bound compilations of materials he's acquired. Hundreds of books and an estimated 20,000 photographs, he said.
If he doesn't have a book, he'll write one, having reached 15 original works so far. The latest was on the history of Lisbon.
He is the expert just about everyone reporters included calls when in need of an answer. In many cases, he's the first one called when someone local has a building about to be abandoned or a piece of history they no longer want. They're betting Fred Keller would, and he usually does.
"You've got to do it when the time presents itself or it's lost," he said. "I'm a great garbage diver."
On one occasion, Keller said, his wife was stopped by a police officer in a squad car, lights flashing, only to find out the officer wondered if Fred was interested in a Kewpie coaster wagon he had.
A local gold mine
Village officials figured out in about 1976 that Keller 's knowledge and collection was an untapped gold mine. They made him the official historian. About the same time, he started writing historic features for what then was a free local newspaper, the Sussex Sun, and hasn't quit since. About 1,250 articles later, "I just never run out of material," he said.
In 1981, Keller added a humor column called "Bald Facts" a title that tells you as much about his hairstyle as it does about his wry observations.
A year ago, he offered his collection to the community provided it form a local historical society and consider creating a museum. The first is already accomplished. The second is well on its way, with an anonymous donor willing to give $100,000 for housing the collection, probably in the Northwestern railroad depot on Main Street.
His interest in history stretches well beyond Sussex . He has long been active in the Waukesha County Historical Society as a member and former board member and currently works on replacing or establishing historical markers. He volunteers as much as 20 hours a week, clipping news articles for the society's archives.
Keller , 70, who was born in Waterford and spent his childhood in Elm Grove, became acquainted with Sussex when his father bought the Sussex Mills in 1946, although he didn't move there until 1959. With one of his early paychecks for shoveling coal, he bought his first artifact a Civil War musket for $4. That and an erudite aunt who encouraged his inquisitiveness helped him cull a love of history.
If history is his first love after June, four children and 10 grandchildren, of course then basketball is a close second.
"I really know my basketball," he said, all 6-feet-five-inches of him.
He was a star player at Marquette High School on a team that went to the state finals twice, lost twice and sadly, he adds, was therefore forgettable. He said he was drafted in 1952 and assigned to a military police unit in the Army in Germany largely because of the basketball skills he could bring to a commander's team.
Three of his four children two boys and two girls were all-conference players at Hamilton High School. Four grandchildren currently play varsity high school basketball, and on any given Thursday or Friday night he'll be at an Oostberg or Waukesha West boys' or girls' game.
They're beneficiaries, no doubt, of the full-court, lighted basketball court Keller built in his backyard for regular workouts. Between his own offspring, their friends and neighbors, "I have six kids who made all-state off my backyard," Keller boasted.
Besides keeping track of history, he's helped make it, too.
Among Fred Keller 's more striking possessions:
— An 1893 charcoal drawing of the village's original pioneers.
— An 1874 hand-drawn map of the Sussex -Lisbon area.
— An 1886 lithograph listing 28th regiment Civil War infantrymen from the county, nearly a dozen from the Sussex area.
Sussex's very own historian
Fred Keller shares his devotion to community
Posted: Aug. 2, 2012
Fred Keller, 1953 in Germany
The red pickup truck bearing license plate SU-6-Sun, parked in front of a garage with the Village of Sussex logo emblazoned across the front of the overhead door, tells you a lot about Fred Keller, the iconic newspaper man who originally crafted the ubiquitous symbol of the village he loves.
Peek around the house into the backyard and you well see a lighted, full-size basketball court that will also tell you about the sport he played in high school and college and how much he loves watching his grand children play.
Keller was born in Burlington on Dec. 20, 1931. In 1946, his family moved from Elm Grove to Sussex after his father purchased the Sussex Mills from the Reinder Brothers.
Three years after graduating from Marquette High School, where he was the starting basketball center at 6-feet-5-inches tall, Keller was drafted into the military during the Korean War.
"One of the great periods of my life was my military career as a military policeman in Germany," he said recently.
Keller returned home and eventually purchased the mill from his father. He later sold it to a business partner.
In the mid 1970s, Keller was managing some local recreational basketball teams. A sports writer, Chuck Delsman, discovered Keller's writing skills when Keller wrote stories for the local weekly newspaper.
Delsman recommended Keller to newspaper owner Jim McCloone who owned a small chain of weekly newspapers in Lake Country, including the Sussex Sun.
Keller has worked part-time for the newspaper for more than 35 years and began his "Bald Facts" column in 1981.
To support his newspaper habit, Keller took a full-time job with the village Department of Parks and Recreation, where he served as director for nearly 17 years.
It was during his tenure as park director that he designed the village logo which depicts a landmark tree and the hills in the village park.
Throughout his career in public service and newspapering, Keller also gained a reputation as the village's historian.
He and his wife, June, are the parents of two adult daughters and sons. Three of their four children were captains on Hamilton High School basketball teams.
The couple has 11 grandchildren. Seven of them have played college sports and two more are expected to play at the college level.
What makes the communities of Sussex, Lisbon and Lannon so unique?
"They are all good people. I had long ago decided that I would not leave Sussex. I would visit Florida and Arizona, but I would always return to Sussex to be close to Lisbon and Lannon and the people of those communities. The communities all have beautiful parks, the Bug Line Recreation Trail and good schools. You can do your shopping in these communities and Sussex has a great library."
What are some of your fondness memories of growing up in Sussex?
"My fondest earliest memories of Sussex-Lisbon was interacting with the area farmers as they came in for grinding and mixing of their rations for their cows, pigs, chickens and horses. It was during this period (at the age of 14) that I decided in the future I would start collecting historical items and stories from Sussex and Lisbon."
How did you get so involved in sports?
"I played basketball at an all-boys school … at Marquette High in Milwaukee. In my junior and senior year, we got to the state finals both years only to lose and finish second. I got a scholarship to the Marquette University basketball program and Sussex had a Land of Rivers League team of former high school players.
In 1951, the Sussex team went through the Land Of Rivers League undefeated and only lost in the state tournament in AAU competitions. Jerry Tetzlaff and I were the one and two high scorers in the league."
How is "newspapering" different today that it was 25 years ago?
"I have an old saying. People like weeklies. A weekly newspaper means that the community is small enough that it takes a week to get enough news to fill it. Then people buy it to make sure we didn't make any mistakes.
"After the Sussex Sun started in 1976, it was successful because Sussex-Lisbon-Lannon were eager for sports stories, local reporting and the historical columns.
"Advertising was the life blood of newspaper publishing and that has been eroded away by new technology, the computer, news on TV, and the internet."
What your biggest accomplishments at village park as recreation director?
"Sussex went from three parks in 1977 to 10 parks when I left in 1994 and retired.
"I transplanted over a 1,000 trees in the parks during my years. I served on the Park Board from 1961 to 1963. I helped build ball diamonds in the park as well as helped get the old engine show in the park."
W hy did you want to become village historian?
"I was always a history buff in grade school. I spent a summer reading the Americana Encyclopedia, all volumes, from cover to cover. This translated to visiting museums and later concentrating on Sussex-Lisbon-Lannon history. Finding it out, acquiring maps, rare books, artifacts and one-on-one talks with the elderly. The village recognized my talent and by official decree, named me in 1976, Sussex Village Historian."
About Us: By-Laws
Membership Honor Roll – Past Members of Note
In the process of rebranding!
We're rebranding our website here to become the Sussex-Lisbon Area Historium at www.slah.online http://www.slahs.org/ is our original site built with Microsoft FrontPage in Dec 2002.
Please help support the Fred H. Keller History Museum with your generous donation!
Historium Location
The Sussex-Lisbon Area Historium is located on the 2nd floor of the Civic Center.
N64 W23760 Main St
Sussex, WI 53089
Bugline Trail
Historium Museum
Reilly Miller
Rock N' Roll Bands
Township of Lisbon, Waukesha, Wisconsin 1891
Township of Lisbon, Waukesha, Wisconsin Plat Map 1859
Township of Lisbon, Waukesha, Wisconsin Land Survey Inventory c1933-1945
Township of Lisbon, Waukesha, Wisconsin Preplat 1836
Copyright Sussex-Lisbon Area Historical Society, Inc., , 2002 - 2017 (more..)
Website Editor & Webmaster: Michael R. Reilly Website Built by: One Click


text:
/ Comments Off on I've Got Your Number
I've Got Your Number
Composer Cy Coleman
Lyricist Carolyn Leigh
About I've Got Your Number
"I've Got Your Number" is from the 1962 Broadway musical Little Me, the second musical that Cy Coleman and Carolyn Leigh wrote (the first being Wildcat, written for Lucille Ball). Little Me starred Sid Caesar and Virginia Martin, both of whom introduced "I've Got Your Number."
I know you inside out
You ain't no Eagle Scout
You're all at sea
Oh yes, you brag a lot
Wave your own flag a lot
But you're unsure a lot
You're a lot like me, oh
And what you're looking for
Just suits me fine
We'll break the rules a lot
We'll be damn fools a lot
But then why should we not
How could we not combine when
And I've got the glow you've got
So go ahead and pick a number
You're losing streak is over
I can't win again
And here's the punchline
You've got mine
"I've Got Your Number" was recorded on October 19, 1962 and released in 1963 on the album I Wanna Be Around. It was arranged by Marty Manning.
I've Got Your Number, a song by Tony Bennett on Spotify
1963: Columbia LP 12″: P 13575 — I Wanna Be Around
1963: Columbia LP 12″ (Mono): CL 2000 — I Wanna Be Around
1963: CBS LP 12″: SBPG 62149 — I Wanna Be Around (UK)
1963: Columbia LP 12″: CS 8800 — I Wanna Be Around
1975: Columbia LP 12″: KG 33376 — Let's Fall In Love With The Songs Of Harold Arlen And Cy Coleman
1995: Columbia CD: CK 66504 — I Wanna Be Around
2006: RPM/Columbia/Legacy CD: 82876 87234 — I Wanna Be Around
2011: Disc #26 in The Tony Bennett Complete Collection (88697874602-JK25) I Wanna Be Around
I've Got the World on a String
I've Gotta Be Me


Photo challenge – with prizes!
We're looking for pictures of paper, and you could win a prize if yours is the best. Like us on Facebook, and post a picture of paper to win a free copy of Paper Trails: From Trees to Trash, the True Cost of Paper, by Mandy Haggith.
The photo can be of anything – toilet rolls, packaging, books, pointless photocopying, paper aeroplanes, passports, you name it, if it's paper, we want a photo of it. Post your pictures here.


text:
SIX People Test Positive For Coronavirus At One Victorian School
A student and five parents have tested positive for CoVid-19 at an elite Victorian school.
Geelong Grammar school has confirmed that a boarding student had returned a positive test at its Corio campus, with the school alerted to the diagnosis earlier today.
In a letter to families principal Rebecca Cody said the Department of Health and Human Services (DHHS) would contact families directly if they were deemed to be at high risk.
"All parents of the Senior School House have been informed of this development by the Head of Campus," she said.
"In order to assist with the required contact tracing for this diagnosis, the school is providing information to the DHHS of the configuration of the boarding arrangements in the House, the classes attended by the student, as well as their co-curricular and sport activities."
Geelong Grammar School closed its campuses earlier this week to try and protect people from the epidemic.
However, Ms Cody said five parents who attended a party on March 6 were also positive.
The principal said the school was working closing with the DHHS.
Corio Campus Coronavirus COVID-19 Geelong Grammar School
The Government Has Banned All Non-Residents Travelling To Australia From 9PM Friday
New Restrictions On Medicine Are Now In Place Due To Unprecedented Demand
2,000 People Stranded Over Coronavirus Fears In Melbourne
Tasmania Shuts It Borders, Non-Essential Travellers To Quarantine Even If They Come From The Mainland


text:
Death Beyond Disavowal: The Impossible Politics of Difference
February 17, 2016 /Events, Research by UCLA Students, Spotlight on Faculty Research at UCLA by
A review by Savannah J. Kilner
In Death Beyond Disavowal: The Impossible Politics of Difference, Grace Kyungwon Hong, Associate Professor in the departments of Gender Studies and Asian American Studies at UCLA, argues that Black and women of color feminist theorizations of life, death, and difference offer incisive diagnoses of power in the contemporary neoliberal moment. Hong mobilizes difference – as theorized by women of color feminists – to archive cultural and epistemological practices that hold "in suspension (without requiring resolution) contradictory, mutually exclusive, and negating impulses."[1] As political and ethical intervention rather than neoliberal celebration, this mode of difference recons with shifts in neoliberal technologies of power that have affirmed and protected selected racialized, gendered, and sexualized subjects at the expense of others. Moreover, Hong reads Audre Lorde's theorization of Blackness as an analytic, deploying Black feminism as a comparative method that "allows us to see the ways in which power puts us all in unequal relation to each other."[2]
Hong defines neoliberalism as an "epistemological structure of disavowal" that is able to narrate racial and gendered violences as historical by inviting select modes of minoritized life into reproductive respectability, "so as to disavow its exacerbated production of premature death."[3] This epistemological structure of neoliberalism, she argues, arose as the latest phase of racial capitalism in response to redistributive, anti-colonial, post-WWII social movements. Crucially, Hong locates contemporary culture as a site through which to examine inheritances of these struggles' challenges to state-sanctioned death. Cautioning against a politics that would fold those vulnerable to death (the unhoused person, the drug dealer) into protected categories of life, Hong rejects recuperation to ask what kind of "knowledges, modes of being, affects, memories, temporalities, and embodiments"[4] they produce, and questions after the (im)possibility of building a politics around them.
One of the ways Hong contributes to scholarship on neoliberalism is by highlighting the centrality of Black women's sexuality, reading the Moynihan Report as "perhaps the clearest symptomatic distillation of the shifts in technologies of power" in the era known as neoliberalism.[5] Engendering a "change in the distribution of respectability," uneven access to gender and sexual respectability renders some deviant and immoral and yet affirms those whose "value to capital has been secured through a variety of norms."[6] Hong argues that women of color feminism emerged out of this moment to articulate the "violences of biopolitical incorporation," lodging critiques of sexism within minority nationalist formations and racism within white feminism, but also crucially diagnosing a historical process that was "incorporating those elements of nationalist and feminist movements into a new modiality of power." [7] Hong asserts that feminist and queer analyses most powerfully describe the contradictory structure of political modernity because eradication through incorporation is best exemplified through the regulation of racialized reproduction. These contradictions, she argues, continue to structure the contemporary moment as "hauntings." As such, erasures of the connections between past and present violences give neoliberalism its power.
Through readings of numerous texts, including foundational women of color feminist theory, novels So Far From God, by Ana Castillo, and Oscar Zeta Acosta's The Revolt of the Cockroach People, in addition to Black queer films including Looking for Langston and Brother to Brother, Hong builds critiques of neoliberalism while also demonstrating the ways these texts perform nationalist memorialization as they disidentify with nationalism through alternate relationships to death. They challenge the remembering of 1960s movements as simply struggling for claims to rights by politicizing racialized death and acknowledging both the power and limitations of nationalist forms of belonging. Cherríe Moraga and Audre Lorde articulate difference as an "affective, embodied and subjectival practice," which in the neoliberal context of racialized surplus, "holds in suspension various, mutually exclusive structures of value, and in so doing, constitutes new political (im)possibilities." [8] Moraga's engagement with Queer Aztlán, lineage, motherhood, life, and death evokes new ways of being beyond, to quote José Esteban Muñoz, "the quagmire of the present."[9] Existentially surplus, they refuse to participate in an economy of abandonment, "rejecting the protection that comes with ascribing to the norms that underlie any definition of belonging."[10]
Turning to contemporary Black queer feminist cultural production, Hong identifies a temporality of blues/jazz improvisation as the "formalist expression of the queerness of Black reproduction and kinship."[11] Alternative temporalities emerge, she argues, out of the conditions of both forced and foreclosed reproduction. Death is both absence and possibility while memory – at times improvised – is a refusal of neoliberalism's disavowals. Lastly, Hong turns to the necropolitical site of the university to question the ethics of deploying Black feminism in a context that has rendered Black feminist life precarious. She asks how the improvised, imagined connections practiced in Black queer cultural productions help to guide an ethical reconstitution of knowledge production in academia. Following Barbara Christian and other Black feminists, Hong asserts that epistemological and embodied politics (that is, who is in the room, often seen as reductionist identity politics) are necessarily connected, thus imploring us all, albeit differently situated, to consider the ethics and stakes of knowledge production.
In conversation with recent scholarship in the fields of women of color feminism, queer of color critique, critical ethnic studies, and comparative racialization, including works by Jodi Melamed, Chandan Reddy, Lisa Marie Cacho, and others, Grace Kyungwon Hong delivers a powerfully generative charge to imagine a politics based not on self-protection that can "threaten to render others precarious," but on the impossible politics of difference.[12]
Savannah J. Kilner is a doctoral student in Gender Studies at UCLA. Her dissertation asks how practices and imaginings of queer space interact with multiple, overlapping modes of dispossession in the U.S. colonial present. Her work has been supported by the UCLA Graduate Division, the UC Humanities Research Institute, UC Humanities Network, and the Center for Study of Women.
[1] Grace Kyungwon Hong, Death beyond Disavowal: The Impossible Politics of Difference (Minneapolis: University of Minnesota Press, 2015), 7.
[4] Ibid., 16.
[9] Muñoz, Cruising Utopia: The Then and There of Queer Futurity. (New York: NYU Press, 1).
[10] Hong, Death beyond Disavowal, 74.
[11] Ibid., 96.
[12] Ibid., 6.
NOTE: Prof Hong will be speaking about her book on March 2. Kara Keeling, USC, will be the respondent. For more info, visit https://csw.ucla.edu/event/death-beyond-disavowal/


text:
Q: JT400 uses QUSER. Is there a way to change this? I´m trying to call a RPG-program in a Java application, using the jt400 lib.
The call itself is working but the problem is, that the RPG-program uses the userid from the program status data structure to resolve the email adress.
Using the JT400 Lib, it shows "QUSER" as userid and not the current user.
How can i change this?

A: That depends on which User ID field the program is using. It probably is using the one at position 254. That is part of the qualified job name, and cannot be changed. If it were using the one at position 358, the Current User, then it should be the user that logged on.
All ODBC/JDBC server jobs are started by the same user 'QUSER'. Even if you changed that to your user profile, assuming your user profile had appropriate authority, then every job would be started with your user profile, and not the one that signed in to the ODBC/JDBC connection.
The only fix is to use the correct field. Otherwise no server job calling this program will ever see the current user's user id.

Here is an example ODBC/JDBC job that I am connected to:

Job:   QZDASOINIT     User:   QUSER          Number:   002766

Status of job . . . . . . . . . . . . . . . :   ACTIVE
Current user profile  . . . . . . . . . . . :   MMURPHY

QZDASOINIT is an ODBC/JDBC server job. User: shows the value in position 254 of the PSDS. Current user profile shows the value in position 358 of the PSDS.
NOTE: This is a pre-start job. When it starts up, and before anyone has connected to it, Current user profile is QUSER. For interactive jobs both the job user, and the current user are the same, so using position 358 of the PSDS vs. position 254 will not break those jobs, it will just fix server jobs (and batch jobs that change the current user).


text:
Q: How to search for special strings in a file using regex in JavaScript? What I would like to do is read through the file like the one below and save all the function names into an array using regex. The function names I would like to save would be 'firstCall', 'SecondCall'. Ive tested the regex pattern and it seems to be working. But the issue is how do I use the regex pattern to search through the data from the text file I read before? If this is impossible would I be able to do the following task using maybe shell script?
function firstCall(){
    some random logic
}

function SecondCall(data){
    some other random logic
}

So far I have the following code where it would take the filename as an argument and then use readFile to search through that file. I wanted to be able to run this script on a terminal, which is why I have the file name passed in as an argument.
const fs = require("fs");

let fileName = process.argv[2];

const reg_pattern = /(?<=function )s*[a-zA-Z]*/g;

console.log(fileName);

fs.readFile(fileName, (err, data) => {
  if (err) throw err;
  let functionName = reg_pattern.exec(data);
  //let functionName_2 = data.match(reg_pattern);
  console.log(functionName);
});

This is what the output looks like as of now. The first position of the array is 'firstCall' but the rest doesn't seem to look right. Im not really sure whats going wrong.
$ node testing.js testing.txt
testing.txt
[
  'firstCall',
  index: 9,
  input: 'function firstCall(){\r\n' +
    '    some random logic\r\n' +
    '}\r\n' +
    '\r\n' +
    '\r\n' +
    'function SecondCall(data){\r\n' +
    '    some other random logic\r\n' +
    '}',
  groups: undefined
]

A: From RegEx to extract all matches from string using RegExp.exec
const fs = require("fs");

let fileName = process.argv[1];

const reg_pattern = new RegExp("(?<=function )s*[a-zA-Z]*");

console.log(fileName);

fs.readFile(fileName, (err, data) => {
  if (err) throw err;

  do {
    m = reg_pattern.exec(data);
    if (m) {
      console.log(m);
    }
  } while (m);
});

Also, you should consider using another library, such as babel to do this query as regular expressions aren't flexible enough for parsing javascript, as well as adding another point of failure into your application.

A: If you are using node.js v12 or newer, then you can use the convenient String.prototype.matchAll() instead of exec().
I don't think that the RegExp you provided will work. It is important to use parenthesis to create a capture group around the part of the pattern that you want to do something with. I also took some liberties to improve it slightly to be slightly more robust.
The below works fine for your sample input, but I would not expect this to work for all possible function declarations. This is fine if you have fairly controlled input, but isn't a general solution for parsing JavaScript. To do that, you'd have to write a proper parser. RegExps are not powerful enough to parse programming languages, you would need to use a grammar with a tool like ANTLR.
const fs = require("fs");
const fileName = process.argv[1];

// shorthand regex syntax
const regex = /\bfunction\s+([a-zA-Z]\w*)\s*\(/g;

fs.readFile(fileName, (err, data) => {
  if (err) throw err;

  // This returns an iterator
  const matches = data.matchAll(regex);

  for (const match of matches) {
    // match is an object containing all info about the matched expression
    // match[1] is the first capture group (the function name)
    console.log(match[1]);
  }
});

Here is a demo on RunKit.


text:
Q: Mac OS X 10.5+ and POSIX I need to program an authentication module that has to work with Mac OS X 10.6 Snow Leopard
and at the same time needs to be POSIX-compliant.
I read here: developer.apple.com/leopard/overview/osfoundations.html
that since Mac OS X 10.5 Leopard, Mac OS X is POSIX-compliant (to POSIX 1003.1),
but working under MAC OS X 10.5 Leopard myself, I can't find any trace of my user name
neither in /etc/passwd nor in its successor /etc/master.passwd, which is mentioned here: developer.apple.com/mac/library/DOCUMENTATION/Darwin/Reference/ManPages/man5/passwd.5.html
Instead it says in both files OpenDirectory Service is used, which should be OpenLDAP
according to the OpenDirectoryService man-page.
Is this still POSIX-compliant ? I guess not. I wonder how Mac OS X would handle my
100% POSIX-compliant code which depends on /etc/passwd ?
I would be gratefull if someone could explain the way this works to me.
Thank you for your time and trouble.
Best regards
Phil.

A: I don't think the way that users and passwords are stored is covered by POSIX (or at least by POSIX 1003.1) - look at the POSIX Wikipedia page for a quick overview of what is covered.

A: You may use getpwuid or getpwnam functions from pwd.h for searching of user name/ID. It is a part of the 1003.1 standard.

A: It looks like POSIX doesn't cover this, but most major Unices seem to use PAM these days.  You could try checking out how to authenticate users using PAM...


text:
Q: Forbidden You don't have permission to access /phpmyadmin on this server Hi I have installed LAMP on my centos machine and when I try to hit phpmyadmin through my browser I get this error :
Forbidden
You don't have permission to access phpmyadmin on this server.
My phpmyadmin.conf file has following content:
Alias /phpMyAdmin /usr/share/phpMyAdmin
Alias /phpmyadmin /usr/share/phpMyAdmin

<Directory /usr/share/phpMyAdmin/>
        Options none
        AllowOverride Limit
        Require all granted
</Directory>

A: Try create symlink  of phpmyadmin in /var/www or /var/www/html (which is your apache document root)
ln -s /usr/share/phpmyadmin /var/www or
ln -s /usr/share/phpmyadmin /var/www/html
 and access to it http://localhost/phpmyadmin
In new versions it's /var/www/html

A: If file /usr/share/phpmyadmin does not exist, run:
ln -s /usr/share/phpMyAdmin /var/www/html


The Hortus Botanicus Amsterdam is one of the few botanic gardens with its own bees. The bees produce their honey with the nectar of a unique collection of rare flowers, resulting in a refined taste and unique texture. The packaging design of the limited edition product reflects the premium character. To show the colour, transparency and texture of the honey, a drop-shaped cutout from the gift box reveals part of the glass. The ball-shaped bottle is also reminiscent of a honey drop.


Jun 7, 2017 That's why these bisexual apps and sites don't require you to specify Whether you're a guy or girl, these top dating sites & apps will help you Free online dating and matchmaking service for singles. 3000000 Daily Active Online Dating Users. contactos hispanidad vigo Best dating sites with apps Feb 3, 2017 We ranked the best dating apps to help you. According to their website, find someone who is already on the app to invite you. Cost: $7.99/ Feb 17, 2016 There's an entire market of elite dating apps where users are vetted based on looks and wealth.
Oct 5, 2018 Dating today is all about apps, but there are more than just Tinder. We round-up the best online dating sites and apps to help you find your Jan 18, 2017 Although our survey found that no dating site or app sweeps online daters off their feet in the satisfaction department, OkCupid is rated highest i'm dating a woman 10 years older than me Best dating sites with apps Official Site- join now and search for FREE! is the Leader in online Asian dating. Find Asian women for love, dating and marriage. Feb 13, 2018 He met his ex-wife online and continues to use apps to connect with who penned a review of dating apps for the website Very Smart Brothas.
The best just got better. The largest matched range of modern cine primes and zooms, as well as top Download the new lighting control app from ARRI.


text:
HomeReportsInvestment Climate Statements...Custom Report - 1925b81f70
Mexican labor law requires at least 90 percent of a company's employees be Mexican nationals. Employers can hire foreign workers in specialized positions as long as foreigners do not exceed 10 percent of all workers in that specialized category. Mexico's 56 percent rate of informality remains higher than countries with similar GDP per capita levels. High informality, defined as those working in unregistered firms or without social security protection, distorts labor market dynamics, contributes to persistent wage depression, drags overall productivity, and slows economic growth. In the formal economy, there exist large labor shortages due to a system that incentivizes informality. Manufacturing companies, particularly along the U.S.-Mexico border and in the states of Aguascalientes, Guanajuato, Jalisco, and Querétaro, report labor shortages and an inability to retain staff due to wages sometimes being less that what can be earned in the informal economy, although the recent increases in the minimum wage are leading to increases in entry level wages which are attracting more workers. Shortages of skilled workers and engineers continue due to a mismatch between industry needs and what schools teach. Mexico has one of the lowest female labor participation rates in the OECD, 45 percent to a 76 percent male participation rate among people legally allowed to work (15 years or older). Barriers for female workers include the culturally assigned role for them as caretakers of children and the elderly. Most Mexican workers work for a micro business (41 percent) and 59 percent earn between USD 8.6 and USD 17 per day. The unemployment rate in Mexico has maintained a stable path ranging from 3.5 percent to 4.9 percent (its highest peak during the pandemic). This rate, however, masks the high level of underemployment (14.8 percent) in Mexico (those working part time or in the informal sector when they want full time, formal sector jobs). For 2020 the informal economy accounted for 22 percent of total Mexican GDP according to the National Institute of Statistics and Geography. Informal businesses span across all economic activities from agriculture to manufacturing. In Mexico labor informality also spans across all economic activities with formal businesses employing both formal and informal workers to reduce their labor costs.
On May 1, 2019, Lopez Obrador signed into law a sweeping reform of Mexico's labor law, implementing a constitutional change and focusing on the labor justice system. The reform replaces tripartite dispute resolution entities (Conciliation and Arbitration Boards) with independent judicial bodies and conciliation centers. In terms of labor dispute resolution mechanisms, the Conciliation and Arbitration Boards (CABs) previously adjudicated all individual and collective labor conflicts. Under the reform, collective bargaining agreements will now be adjudicated by federal labor conciliation centers and federal labor courts.
Labor experts predict the labor reform will result in a greater level of labor action stemming from more inter-union and intra-union competition. The Secretariat of Labor, working closely with Mexico's federal judiciary, as well as state governments and courts, created an ambitious state-by-state implementation agenda for the reforms, which started November 18, 2020, and will end during the second semester of 2022. On November 18, 2020 the first phase of the labor reform implementation began in eight states: Durango, State of Mexico, San Luis Potosi, Zacatecas, Campeche, Chiapas, Tabasco, and Hidalgo. On November 3, 2021 the second phase started in 13 additional states, and the third phase will start during 2022 in 11 states. Further details on labor reform implementation can be found at: www.reformalaboral.stps.gob.mx .
Mexico's labor relations system has been widely criticized as skewed to represent the interests of employers and the government at the expense of workers. Mexico's legal framework governing collective bargaining created the possibility of negotiation and registration of initial collective bargaining agreements without the support or knowledge of the covered workers. These agreements are commonly known as protection contracts and constitute a gap in practice with international labor standards regarding freedom of association. The percentage of the economy covered by collective bargaining agreements is between five and 10 percent, of which more than half are believed to be protection contracts. As of March 7, 2022, 3,267 collective bargaining contracts have been legitimized (reviewed and voted on by the workers covered by them), according to the Secretariat of Labor. The reform requires all collective bargaining agreements to be submitted to a free, fair, and secret vote every two years with the objective of getting existing protectionist contracts voted out. The increasingly permissive political and legal environment for independent unions is already changing the way established unions manage disputes with employers, prompting more authentic collective bargaining. As independent unions compete with corporatist unions to represent worker interests, workers are likely to be further emboldened in demanding higher wages.
The USMCA's labor chapter (Chapter 23) contains specific commitments on union democracy and labor justice which relate directly to Mexico's 2019 labor reform and its implementation. In addition, the USMCA's dispute settlement chapter (Chapter 31) includes a facility-specific labor rapid response mechanism to address labor rights issues and creates the ability to impose facility specific remedies to ensure remediation of such situations.
According to the International Labor Organization (ILO), government enforcement was reasonably effective in enforcing labor laws in large and medium-sized companies, especially in factories run by U.S. companies and in other industries under federal jurisdiction. Enforcement was inadequate in many small companies and in the agriculture and construction sectors, and it was nearly absent in the informal sector. Workers organizations have made numerous complaints of poor working conditions in maquiladoras and in the agricultural production industry. Low wages, poor labor conditions, long work hours, unjustified dismissals, lack of social security benefits and safety in the workplace, and lack of freedom of association were among the most common complaints.
Afghanistan Albania Algeria Andorra Angola Antigua and Barbuda Argentina Armenia Australia Austria Azerbaijan The Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bolivia Bosnia and Herzegovina Botswana Brazil Brunei Bulgaria Burkina Faso Burma Burundi Cabo Verde Cambodia Cameroon Canada Chad Chile China Colombia Costa Rica Côte d'Ivoire Croatia Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Fiji Finland France Gabon The Gambia Georgia Germany Ghana Greece Greenland Grenada Guatemala Guinea Guyana Haiti Honduras Hong Kong Hungary Iceland India Indonesia Iraq Ireland Israel Italy Jamaica Japan Jordan Kazakhstan Kenya Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Mauritania Mauritius Mexico Micronesia Moldova Monaco Mongolia Montenegro Morocco Mozambique Namibia Nepal Netherlands New Zealand Nicaragua Niger Nigeria North Macedonia Norway Oman Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Poland Portugal Qatar Republic of the Congo Romania Russia Rwanda Saint Kitts and Nevis Saint Lucia Saint Vincent and the Grenadines Samoa Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Slovakia Slovenia Somalia South Africa South Korea South Sudan Spain Sri Lanka Sudan Suriname Sweden Switzerland Taiwan Tajikistan Tanzania Thailand Timor-Leste Togo Trinidad and Tobago Tunisia Turkey Turkmenistan Uganda Ukraine United Arab Emirates United Kingdom Uruguay Uzbekistan Venezuela Vietnam West Bank Zambia Zimbabwe