For weeks, Prime Minister Narendra Modi had cautioned voters in rallies that a vote for the opposition party, the Indian National Congress, would be a vote for Pakistan. This was his bid to make the Congress look like a party that is in cahoots with an enemy state.
Then on Wednesday, with but one day to go before the start of this month's general elections, Pakistan Prime Minister Imran Khan threw what cricketers call a googly, a surprise delivery. He said that Pakistan's chances of negotiating peace with India would be better with a right-wing government in New Delhi.
While opposition parties went to town pointing out the immense irony of Khan appearing to endorse Modi, there's no doubt that Pakistan is a major factor in India's elections. This is so in even more ways than are suggested by the obvious campaign references made by all key political parties in the fray.
The February 14 terror strike at Pulwama in the troubled northern state of Jammu and Kashmir and the February 26 retaliatory strikes by the Indian Air Force at Balakot in Pakistan are already dominant themes. But there is a lot more to the Pakistan factor.
In the state of Rajasthan – which sends 25 members to the Lok Sabha, India's lower house of Parliament – the electoral discourse has usually been fashioned by the political winds wafting in from Pakistan.
In the last national elections, in 2014, senior leaders of the Bharatiya Janata Party (BJP) including its Rajasthan vice president, Onkar Singh Lakhawat, went big on the alleged "meddling by Pakistan" in Indian polls.
They accused Pir Pagaro VIII, spiritual head of the Pakistan-based Sufi Muslim Hur community, of backing the candidacy of Jaswant Singh, a former external affairs minister. Singh in 2006 had led a 36-member delegation on a pilgrimage visit to the Hinglaj Mata – a Hindu temple – in Pakistan's Baluchistan province. Along the way he was reported to have met the Hur holy man.
During last year's elections to the 200-member Rajasthan assembly, the Congress fielded Saleh Mohammed as its candidate for the Pokhran seat. Mohammed, the son of Ghazi Fakir, the India representative of the Hur sect, won the election and is now minister of minority affairs in the Congress government led by Chief Minister Ashok Gehlot.
It's unsurprising, therefore, that – amid the raging debate over the nationalism question – the long simmering and potentially polarizing set of issues concerning the future of displaced citizens has once again reignited political discourse in hustings this year.
In order to escape religious persecution or on account of matrimony or family links or just a search for greener pastures, waves of migrants headed to India from the adjoining Sindh district of Pakistan following partition in 1947.
Settling mainly in the states of Rajasthan, Gujarat and Madhya Pradesh, the displaced either have been living on short- or long-term visas or have been granted Indian citizenship.
In Rajasthan, 140,000 of the Pakistan-displaced have so far been granted Indian citizenship, while applications of 25,000 others are pending. The majority of the refugees are Hindus – with a sprinkling of other sects including Sikhs, Parsis, Jains and even Muslims. Many are engaged in contractual jobs in the construction industry.
"Migrations are continuing to happen; sometimes they come in as trickles, sometimes as torrents," said Hindu Singh Soda of the Seemant Lok Sangathan, a voluntary organization fighting for the rights of displaced people from Pakistan. "Families of this community have also continued to expand, as children are born.
The parties have no choice but to pay attention. In a move seen as having explicit political connotations, the Narendra Modi government approved citizenship rights of another group of 12 refugees at a function presided over by Barmer District Collector Himanshu Gupta on Tuesday.
Congress candidate from Jodhpur Vaibhav Gehlot – who is incumbent Chief Minister Gehlot's son – in a written handout has committed himself to setting up a rehabilitation board to work out a legal, institutional and administrative framework to accommodate the displaced from Pakistan.
In their rallies across the dusty districts of their desert state, Rajasthan BJP leaders have been vowing to enact and implement the proposed Citizenship (Amendment) Bill, 2016, which states that Pakistani migrants having valid proof of stay in India for a continuous period of seven years can become eligible for citizenship.
Pakistani migrants are mainly concentrated in Jodhpur, but some are spread out across other bordering districts including Jaisalmer, Barmer, Sri Ganganagar and Bikaner. Because such groups can make the critical difference between victory or loss of a candidate in a keen contest, the group's standing has assumed political heft over the years.
This was evidenced in the events following a February 18 order by the Bikaner district magistrate, instructing Pakistani citizens to vacate the geographical boundaries of the district within 48 hours.
Less than 24 hours after the order had been issued, the Gehlot-headed state government issued a press release stating that the order did not apply to displaced people from Pakistan.
In the 2013 elections to the state assembly, the BJP fielded Tarun Rai Kaga – a Pakistani displaced person – as a candidate for the Chauthan assembly seat in Barmer. Kaga won with a big margin. This time, Congress candidates in bordering districts have been photographed visiting camps of the Pakistani-displaced to seek their votes.
Muslims and Hindus have largely lived in a state of peaceful co-existence. The attire and food habits of the Hindu Rajput or the Meghwal communities are identical to those of the Mangniars or Langas, who are Muslim tribals. It is quite common in border areas to find the Mangniars and Langas singing Hindu religious songs at Rajput weddings.
Tensions have increased, however, and a sustained ideological campaign by the Rashtriya Swayamsevak Sangha (RSS) – the ruling BJP's mother organization – is often blamed for a worsening of social rifts.


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text:
Q: Spectrum and Bases of Eigenspaces $f: F_3^2 \to F_3^2$, given by
$f(a, b) = (b, -a-b)$
Spectrum: roots of $\det(f-xI)$

*

*$A = [f(1,0), f(0,1)]$

*$A=[(0,-1), (1,-1)]$

A: The matrix associated to the linear map is
$$
A=\begin{bmatrix}
0 & 1 \\
-1 & -1
\end{bmatrix}
$$
because $f(1,0)=(0,-1)$ and $f(0,1)=(1,-1)$.
The eigenvalues are the roots of the characteristic polynomial:
$$
\det(A-xI)=\det\begin{bmatrix}
-x & 1 \\
-1 & -1-x
\end{bmatrix}=
x^2+x+1=x^-2x+1=(x-1)^2
$$
since we're in the three element field.
There is only one eigenvalue, that is, $1$; for the eigenvectors, we want to solve the linear system $(A-I)v=0$, which has as matrix
$$
A-I=\begin{bmatrix}-1&1\\-1&-2\end{bmatrix}
$$
so the vectors in the eigenspace are those of the form $(k,k)$, because if $v=(v_1,v_2)$, both equations reduce to $v_1=v_2$.

redpajama_set_name: RedPajamaStackExchange


text:
Latinovits Zoltán (Budapest, 1931. szeptember 9. – Balatonszemes, 1976. június 4.) Jászai Mari-, Balázs Béla- és posztumusz Kossuth-díjas magyar színész. A legnépszerűbb magyar színészek egyike, sokan úgy emlegetik: a színészkirály. Anyai ágon testvérei Bujtor István Balázs Béla-díjas színész és Frenreisz Károly Kossuth-díjas zenész.

Élete

A színésszé válás útján
1931. szeptember 9-én Budapesten született, saját elmondása szerint nagyapja, Gundel Károly éttermében, "éppen Krúdy Gyula bácsi asztala fölött". Édesapja Latinovits Oszkár földbirtokos (Zombor, 1905. április 19. – Budapest, 1954. szeptember 20.), édesanyja Gundel Katalin, a legendás vendéglátós família sarja. Az édesapa gyermeke születése után nem sokkal elhagyta a családot, ami élete végéig fájdalommal töltötte el Latinovitsot. Édesanyja 1941-ben férjhez ment Frenreisz István orvoshoz, akitől még két gyermeke született: István (1942), aki Bujtor István néven színész, és Károly (1946), aki Frenreisz Károly néven zenész lett.

A konyhaművész Gundel unokájaként a tizenhárom nagybácsi, a gyermeklélek számára csodás-misztikus állatkert, és a nevezetes étterem alkotta hangulatos légkörben nevelkedett. "Tört fényű kagylókkal érkeztem a világra, babonás füvekkel, virágszirmokkal, ördögfintorral, gömbölyű boszorkánykavicsokkal. Felhők, napok, csillagok szikráinak barlanghomályos rajzát hurcoltam magammal, elkezdett kanyaros vonalakat, kis görcsös köröket, befejezetlen görbéket" – vallja. Bár évvesztes lett volna, de már tudott olvasni, hatévesen ezért beíratták a Damjanich utcai elemi iskolába.

1949-ben érettségizett a budapesti Állami Szent Imre Gimnáziumban. Osztálytársai többek között Abody Béla, Györgyi Géza, Töttössy Csaba és Vajda Miklós voltak. A gimnázium önképzőköre bemutatta Sárközi György Dózsa György című drámáját. Ebben egy epizódszerepet alakított. Szövegét a nézőknek félig háttal, lámpalázasan, beszédhibával mondta el. Az előadás után – a vendégként jelen levő – Bajor Gizi csak őt kereste meg, és a következő szavakkal inspirálta: "Maga menjen színésznek!". Ez eddig sem Latinovitsnak, sem másnak nem jutott eszébe.

1952-ig "bizonyos koráramlat" következtében asztalostanonc, majd hídépítő munkás lett, de hamarosan beiratkozott a Budapesti Műszaki Egyetemre, és 1956-ban építészmérnökként vörös diplomát kapott. Mindeközben 1951-től már NB I-es (tartalék) játékos volt a Haladás SE kosárlabdacsapatában, ezenkívül nagyon jó vitorlásversenyző. Az egyetemi évek alatt is folyamatosan szavalt, Lehotay Árpád és Galamb Sándor tanítványaként, valamint tbk. a MÁVAG színjátszó csoportjának tagjaként ismerkedett a színészmesterség fortélyaival, s mint később bevallotta: igencsak nehezen ment neki. 1956-ban mégis szerződtették Debrecenbe segédszínésznek; többek között Andaházy Margit, Csáki Magda, Hegedűs Ágnes, Lőrinczy Éva, Medgyesi Mária, Szabó Ildikó, Márkus László, Angyal Sándor, Harkányi Endre, Simor Ottó, Lőte Attila, Tréfás György. Tyll Attila, Selmeczi Mihály és Novák István mellett tanulhatta a színészmesterséget.

Pályájának alakulása
 1959-től kezdve egészen haláláig filmezett.
 1957–1959. Debreceni Csokonai Színház
 1959–1961. Miskolci Nemzeti Színház
 1961–1962. Debreceni Csokonai Színház
 1962–1966. Vígszínház. Bemutatkozó előadása 1962. szeptember 26-án volt, a Várkonyi Zoltán által rendezett, "Különös találkozó" című darabban
 1966–1968. Thália Színház. Benne: Örkény István: Tóték
 1969–1971. Vígszínház
 1972–1973. Veszprémi Petőfi Színház
 1974–1975. Irodalmi Színpad
 1976. február 27. Fővárosi Operettszínház, az utolsó színházi bemutatója. A darab címe: A kutya, akit Bozzi úrnak hívtak. A szerzők: Fényes Szabolcs-Békeffi István és G. Dénes György, az előadást Vámos László rendezte.

Szerepei
Latinovits Zoltán modern játékstílusát intellektuális szerepértelmezés, az indulatok aprólékos ábrázolása, kivételes ironizáló hajlam jellemezte. Művészi pályáján elsősorban klasszikus hősöket, valamint torz lelkű gonoszokat formált meg kivételes találékonysággal, alázatos, tiszta alakításokkal. Színházi munkáinak sorából kiemelkedik a Rómeó és Júlia címszerepe (Júlia Ruttkai Éva volt), a Játék a kastélyban (Ádám), a Mario és a varázsló (Cipolla), a Tóték (Őrnagy), Az ügynök halála (Willy Loman). Jelentős kései alakítása fűződik a Ványa bácsi c. Csehov-darabhoz, amelynek címszerepét játszotta. Veszprémben megvalósíthatta régi álmát: rendezhetett. Németh László Győzelem c. drámáját valósíthatta meg. Első rendezése az év nagy színházi eseménye volt.

Bár a színházi színészetet sokkal előbbre sorolta, a magyar filmművészet számára is maradandót alkotott: először Krisztyán Tódorként az 1962-es Aranyember-feldolgozásban, majd a Pacsirta, a Szegénylegények, az Alfa Rómeó és Júlia, a Szindbád, A Pendragon-legenda, Az ötödik pecsét szerepeiben. Az Utazás a koponyám körül filmadaptációjáért a San Sebastián Nemzetközi Filmfesztivál legjobb férfiszínésznek járó díját vihette haza.

Először 1957-ben találkozhattunk nevével egy debreceni színlapon. Heltai Jenő, Tündérlaki lányok című darabjában Pázmán Sándor szerepét adta. Az előadást Thuróczy György rendezte; játszótársai voltak: Timár Ila, Fényes Márta, Csengeri Edit, Schaff Ibolya, Tikos Sári, Ujvárosi Katalin, Petróczky Irén, Bán Elemér, Dánffy Sándor, Puskás Ferenc. Ebben az időszakban – kisebb-nagyobb szerepekben – havonta voltak bemutatói.

Latinovits, az előadóművész
Már 3 éves kora óta szavalt, majd az egyetem évei alatt folyamatosan mondott verset. Színészként a magyar előadó-művészet talán legnagyobb alakjává vált. Ady Endre, József Attila, Illyés Gyula, Kosztolányi Dezső és más költők verseinek ihletett előadójaként összetéveszthetetlen, fülsimogató baritonján senki máshoz sem fogható művészi elevenséggel élte meg a magyar sors minden aspektusát. "Gondolatom az, hogy az előadóművésznek magát a költőt kell megjátszania, vagyis az alkotás hosszú folyamatát kell olyan röviden összefoglalnia, mint maga a vers, a költőt kell életre keltenie úgy, ahogy ő a költőt a mű első élményében, az alkotás küzdelmében elképzeli" – vallotta. Újfajta látásmódjával szakított az egyoldalú, távolságtartó versmondói stílussal, és ezerárnyalatú, hajlékony előadóművészetével hű folytatója lett Ascher Oszkár és Egressy Gábor versmondói munkásságának. Szavalatainak hangulata, csengő-bongó rímei előre kimunkált hangsúlyozással és artikulációval párosultak.

Latinovits, a magánember

Összeférhetetlennek, "rendszerellenesnek" tartották egyéni véleménye, meg nem alkuvó életszemlélete, nehéz természete miatt. Mindenkinek az igazat mondta, ha néha kíméletlenül és túlzottan szigorúan is, de mindenképpen találóan és bátran. Alkatából kifolyólag élete utolsó éveiben alig kapott szerepeket, és folytonos zaklatásoknak volt kitéve. Latinovits azonban – a néha-néha felbukkanó, de mindenképpen pejoratív ítéletekkel ellentétben – nem volt botrányhős, csupán tudatos, felelősségteljes művész, aki színészi érzékenysége, kompromisszumoktól való irtózása folytán került összetűzésbe "ellenfeleivel". Ellenkezőleg: az örök idealisták és meg nem alkuvók nagy családjának tagja volt. Alázatos, nem csak a színpadon becsületes, elvhű ember, aki életérzéssé merte és kívánta artikulálni a korabeli színházi és politikai viszonyok ellen meggyőződésből lázadó ember (jobbító szándékú) haragját.

Halála után Pilinszky János, Illyés Gyula, Örkény István és a magyar irodalom számos jeles alakja búcsúztatta. Illyés Gyula Búcsú L.Z.-tól c. expresszionista versében emlékezik a magyar nemzet színészóriására. A hatvanas években Latinovits igazi ikercsillagra lelt Ruttkai Éva személyében. Regényesen nagy, szenvedélyes szerelmük számos, közös filmalkotásukba és színházi produkciójukba átviharzott.

Halála

Sokat viaskodott az akkori hatalom képviselőivel, szeretett volna másfajta színházat létrehozni a hozzá hasonló szemléletű színészek, színházi szakemberek részvételével. "…összeférhetetlen vagyok. Mindazokkal szemben, akik nem értenek a szakmájukhoz, mégis gyakorolják, sőt vezető helyen gyakorolják – azokkal én nem tudok egyetérteni. Nem is fogok. Erre engem nem lehet rávenni." Sokan, sokféleképpen hallgatták a Magyar Rádióban 1967 karácsonyán elhangzott nyilatkozatát.

Harcait, igazságkeresését, jobbító szándékát írásban is megfogalmazta a Ködszurkáló című (1973) önéletrajzi kötetében. Azonban a kortársak meg nem értése felőrölte idegeit, és hosszabb ideig depresszióval küzdött. Utolsó munkája a Rádiószínházban egy rádiófelvétel volt, ahol Bárdos Pál Rákóczi-induló című dokumentumjátékában Ady Endre Két kuruc beszélget című versét mondta el, 1976. június 3-án.

Másnap, június 4-én már Balatonszemesről napközben levelet írt Cserhalmi Györgynek: "A depresszió vagy vélt depresszió ellustított, teljesen elpuhított […] Tegnap még fél napot ágyban töltöttem. Ma végre nekiláttam a jógázásnak, favágásnak. Ezért ma jobban érzem magam. Most már mindennap háromszor megcsinálom a gyakorlatokat." Majd késő délutáni sétája alkalmával a megérkező Nagykanizsa-Budapest gyorsvonat halálra gázolta.

Latinovits Zoltán 1976. június 4-én – 44 éves korában – a balatonszemesi vasúti átjáróban veszítette életét. Máig vitatott, hogy öngyilkossági szándék vagy véletlen baleset következtében hunyt el, és erre a halála körülményeit részletesen vizsgáló Szigethy Gábor Anatómiai vázlat c. értekezése sem nyújtott megbízható választ. Jóval később, a 2010-es években a Kossuth Rádió egyik műsorában a vonatot vezető masiniszta az öngyilkosságot erősítette meg: "Föltartott kezekkel, szemben velem lépett a mozdony elé, jóval féktávolságon belül…".

1976. június 6-án vasárnap – akkor még vasárnap is megjelentek a napilapok – mind a négy újságban megjelent a hír Latinovits Zoltán haláláról. Mind a négy napilapban (Magyar Hírlap, Magyar Nemzet, Népszava, Népszabadság) megjelent a Kulturális Minisztérium és a Színházművészeti Szövetség kommünikéje. Nem címoldalon, nem feltűnően nagy betűkkel, gyászkeretben is csak a Népszabadságban.

Az egyenszöveg ez volt: "Latinovits Zoltán érdemes művész 45 éves korában – hosszan tartó, súlyos betegség után – véget vetett életének. A mai magyar színházművészet kiemelkedő egyénisége volt. Halála kulturális életünknek súlyos vesztesége. Temetéséről később történik intézkedés."

Tarics Péter oknyomozó könyvében cáfolja, hogy Latinovits Zoltán öngyilkos lett volna. A rendőrségi jegyzőkönyvek, vasúti dokumentumok felkutatása és összevetése, a halál körülményeinek részletes feltárása és szemtanúk megszólaltatása alapján, szerinte szerencsétlen és tragikus baleset történt: a vonat vezetője könyvében a jegyzőkönyvi "hivatalos verzió" helyett azt mondja, hogy Latinovits a NOHAB mozdony elhaladtával a vonat oldalának csapódott. A színészkirály az édesanyjával tervezett vacsora előtt elment a "fejét kiszellőztetni"; útközben a Bozzi úr szerepét gyakorolta színpadias gesztusokkal. Eközben túl közel állt meg a vasúti átjáróban a vágányokhoz a gyorsvonat elhaladtára várva, s annak légörvénye beszippantotta. A három perc alatt kiérkező mentők még életben találták a negyedik vagon alatt. Haláláról Varga Tamás és S. Nagy István szerzett dalt, melyet Csongrádi Kata adott elő.

Anekdoták róla
A Latinovits-Komlós affér
A művészkörökben közismert anekdota szerint 1976-ban egy alkalommal Latinovits bement a fiatalon rabbinak tanuló, majd ÁVH-s kihallgató tiszti múltjáról hírhedt Komlós János által vezetett Mikroszkóp Színpadra megnézni egy előadást. Találkozásukkor Komlós így szólt Latinovitshoz: "Nem tudom, miként üdvözöljem itt Önt: mint Latinovits Zoltánt, a híres színészt, mint Latinovits földbirtokos fiát vagy mint a legidősebb Gundel unokát?" Latinovits így válaszolt: "Én sem tudom, kinek köszönjem meg, Komlós Jánosnak, a Mikroszkóp Színház igazgatójának, az egykori ÁVO-s katonatisztnek vagy a zsidó rabbi (fiá)nak?

Színházi szerepeiből
A Színházi adattárban regisztrált bemutatóinak száma: színész-75, rendező-3;ugyanitt nyolcvanhat színházi felvételen is látható.

Filmszerepei
Számos filmben szerepelt, először 1959-ben a Gyalog a mennyországba címűben.

 Gyalog a mennyországba – Imre (1959)
 Kertes házak utcája – János (1962)
 Az aranyember – Krisztyán Tódor (1962)
 Pacsirta – Miklós (1963)
 Oldás és kötés – Járom Ambrus dr. (1963)
 Fotó Háber – Csiky Gábor (1963)
 Az aranyfej (1963)
 Karambol – Weber István (1964)
 Szegénylegények – Veszelka Imre (1965)
 Sellő a pecsétgyűrűn – Borsy Kálmán (1965)
 Iszony – Takaró Imre (1965)
 Fény a redőny mögött (1965)
 Sok hűség semmiért – szobrász (1966)
 Az orvos halála – narrátor (1966)
 Minden kezdet nehéz (1966)
 Egy magyar nábob – Szentirmay Rudolf (1966)
 Hideg napok – Büky őrnagy (1966)
 És akkor a pasas… – a főnök (1966)
 Aranysárkány – Fóris – tanár (1966)
 Kárpáthy Zoltán – Szentirmay Rudolf (1966)
 Máglyák Firenzében – VI. Sándor pápa (1967) (TV)
 Mélyrétegben (1967)
 Mocorgó (1967) (TV) – Iric
 Tanulmány a nőkről – Balogh Sándor (1967)
 Fiúk a térről – Somos doktor (1967)
 Egy szerelem három éjszakája – Menyhért (1967)
 Ninocska, avagy azok az átkozott férfiak – Vaszilij barátja/utas (1967) (TV)
 Csend és kiáltás – Kémeri (1968)
 Bánk bán – Bánk bán (1968) (TV)
 Kártyavár – Dr. Bán (1968)
 Egri csillagok – Varsányi Imre (1968)
 Falak – Ambrus László (1968)
 Keresztelő – Gócza Menyhért (1968)
 A régi nyár – Báró Pataky János (1969) (TV)
 A nagy kék jelzés – Abay – költő (1969)
 Komédia a tetőn – Géza (1969) (TV)
 Hazai pálya – Köves Béla, csapatkapitány (1969)
 Az örökös – Geréb Róbert (1969)
 Alfa Rómeó és Júlia – Vili (1969)
 Kéktiszta szerelem (1969)
 Az alvilág professzora – Gálffy alezredes (1969)
 Isten hozta, őrnagy úr! – őrnagy (1969)
 Utazás a koponyám körül – Karinthy Frigyes, az író (1970)
 Szerelmi álmok – herceg (1970)
 Az utolsó ítélet (1970) (TV)
 Hálóban (1970) (TV)
 Szemtől szemben (1970)
 Mindannyiotok lelkiismerete megnyugodhat… (1970)
 Szindbád – Szindbád (1971)
 Bözsi és a többiek (1971) (TV)
 Lujzi (1971) (TV)
 Csárdáskirálynő – Miska (1971) /a német nyelvű verzióban is/
 A legszebb férfikor – Alker Tamás (1972)
 Volt egyszer egy család – Géza (1972)
 Híres szökések – Le baron de Kempelen (1972) (tévésorozat)
 A lámpás – pap (1972)
 Harminckét nevem volt (Ságvári Endre emlékfilm)- Juhos csendőrőrnagy (1972)
 És mégis mozog a föld – Bálvándy báró (1973)
 Trójai nők – Menelaosz (1973) (TV)
 III. Richárd (1973) (TV)
 A magyar ugaron – Zilahy Kálmán – Tanár (1973)
 A dunai hajós – Monsieur Boris (1974)
 A Pendragon legenda – Dr. Bátky János (1974)
 Kaputt (1974) (TV)
 141 perc a befejezetlen mondatból – Wavra tanár (1975)
 Az áruló (1975) (TV)
 Az öreg – öreg(1975)
 Ballagó idő – Huszártiszt (1976)
 Az ötödik pecsét – Civilruhás (1976)
 Ki látott engem? (1977) (csak hang)

Rendezései
 Németh László: Győzelem (Veszprémi Petőfi Színház, 1971/1972. évad)
 Makszim Gorkij: Kispolgárok (Veszprémi Petőfi Színház, 1972/1973. évad)

Szinkronszerepei

 Rómeó és Júlia (Romeo and Juliet) [1936] – Rómeó (Leslie Howard)
 Férfiszenvedély (The Lost Weekend) [1945] – Don Birnam (Ray Milland)
 A gyilkosok köztünk vannak (Die Mörder sind unter uns) [1946] – Dr. Hans Mertens (Ernst Wilhelm Borchert)
 Amíg mellettem vagy… (Solange Du da bist) 1953 – Frank Tornau (O.W. Fischer)
 A hősök elfáradtak (Les héros sont fatigués) 1955 – Wolf Gerke (Curd Jürgens)
 Fieszta (The Sun Also Rises) 1957 – Jake Barnes (Tyrone Power)
 Az édes élet (La dolce vita) 1960 – Marcello Rubini (Marcello Mastroianni)
 Éjféli csipke (Midnight Lace) 1960 – Anthony Preston (Rex Harrison)
 Ki volt dr. Sorge? (Qui êtes-vous, Monsieur Sorge?) 1961 – Richard Sorge (Thomas Holtzmann)
 Gyűlölet kegyelem nélkül (Haß ohne Gnade) 1962 – Rasan (Horst Frank)
 Hamlet (Gamlet) 1964 – Hamlet, dán királyfi (Innokenti Smoktunovsky)
 Rigócsőr királyfi (König Drosselbart) 1965
 A háborúnak vége (La guerre est finie) 1966 – Diego Mora (Yves Montand)
 Halálfejesek (The Born Losers) 1967 – Daniel `Danny` Carmody (Jeremy Slate)
 A mű (L'oeuvre) 1967 – Claude Lantier (Bernard Fresson)
 Virinea (Virineya) 1968
 Légyfogó (Polowanie na muchy) 1969
 Ragyogj, ragyogj, csillagom! (Gori, gori, moya zvezda) 1969 – Kapitány (Vlagyimir Naumov)
 Menekülés (Beg) 1970 – Hludov tábornok (Vladislav Dvorzhetskiy)
 A Regina Krause-ügy (Fall Regine Krause) 1970 – Barton biztos (Erich Auer)
 Vizsgálat egy minden gyanú felett álló polgár ügyében (Indagine su un cittadino al di sopra di ogni sospetto) 1970 – Főfelügyelő (Gian Maria Volonté)
 Kardiogram 1970
 A Mattei-ügy (Il caso Mattei) 1972 – Enrico Mattei (Gian Maria Volonté)
 A rendőrség csak áll és néz (La polizia sta a guardare) 1973 – Cardone (Enrico Maria Salerno)
 Az utolsó szolgálat (The Last Detail) 1973 – Billy `Büdös Segg` Buddusky (Jack Nicholson)
 Gyorsított eljárás (Processo per direttissima) 1974 – Antonelli felügyelő (Eros Pagni)
 Miért ölnek meg egy bírót? (Perché si uccide un magistrato) 1974 – Alberto Traini bíró (Marco Guglielmi)
 Amerikai anzix (Amerikai anzix) 1974 – Fiala János hangja
 Columbo: Képek keret nélkül (1971) ~ Dale Kingston (Ross Martin) (első szinkron, 1976)

Hanglemezek, rádiófelvételek

 Shakespeare, William: Rómeó és Júlia (1961)
 Schiller, Friedrich: Ármány és szerelem (1963)
 Buzzati, Dino: Hét emelet (1964)
 Gyárfás Miklós: A hűség útvesztőiben (1964)
 Schneider: Az ember, aki Angliából jött (1964)
 Eich, Günther: A viterbói lányok (1965)
 Az emberség gyönyöre (1965)
 Hegedűs Géza: Martinuzzi (1965)
 Shakespeare: Szentivánéji álom (1965)
 Sós György: Köznapi legenda (1965)
 Mihail Solohov: Csendes Don (1967)
 Graham Billing: Forbush és a pingvinek (1968)
 Nowitzky, Andrzej: Antik óra (1968)
 William Faulkner (1968)
 Capek: Az ellopott 139/VII. c. üo. sz. irat (1969)
 Eötvös József: Magyarország 1514-ben (1970)
 Hildesheimer, Wolfgang: Heléna, az áldozat (1970)
Homérosz: Odüsszeia (1970)
 Dosztojevszkij, Fjodor: A Karamazov testvérek (1971)
 Erle Stanley Gardner: A Bedford-gyémántok (1971)
 G. B. Shaw: Don Juan a pokolban (1971)
 Lev Tolsztoj: Hadzsi Murat (1971)
 Lope de Vega: A hős falu (1971)
 Az utolsó utáni éjszaka (1971)
 Ambrus Tibor: Középnap (1972)
 Könyvet mindenki kezébe! (1972)
 Karinthy Frigyes: Egy nőt szeretni (1973)
 Karinthy Frigyes: E korban, melynek mérlege hamis (1973)
 Karinthy Frigyes: Kiáltvány (1973)
 Karinthy Frigyes: Megnyomok egy gombot (1973)
 Karinthy Frigyes: Minden másképp van (1973)
 Örkény István: Tóték (1973)
 Pausztovszkij: Útközben (1973)
 Karinthy Frigyes: Hannibál és társai (1974)
 Krúdy – Fantázia Török Tamás rádiókompozíciója (Magyar Rádió, 1974)
 Száraz György: A megközelíthetetlen (1974)
 Görgey Gábor: Komámasszony, hol a stukker? (1975)
 Horowitz, Israel: Az indián a Bronxba vágy (1975)
 Mocsár Gábor: Riasztólövés (1975)
 Bulgakov: A Mester és Margarita (1976) – Pilátus, hangjáték (Hungaroton 1978, 2005)
 Giles Cooper: Őrség a hegyen (1976)
 Karinthy Frigyes: Utazás a koponyám körül (Az Év Hanglemeze, 1979)
 Hangosversek
 Hungaroton – Arany János versei, elmondja Latinovits Zoltán (1986)
 A rádióban közölt utolsó interjú Baló Júlia közreműködésével (Baló Júlia: Utolsó interjú Latinovits Zoltánnal, Retro Media, 2008)
 Latinovits verset mond – (a verseket Vészabónoémi válogatta), Kossuth, Budapest, 2006 (CD-ROM-on is megjelent)

Könyvei
 Ködszurkáló; Magvető, Budapest, 1973; POKET Zsebkönyvek, Budapest, 2020
 Verset mondok. Tanulmányok, nyilatkozatok, műsorok; dokumentum gyűjt., összeáll. Surányi Ibolya; NPI, Budapest, 1978 (Szkénetéka)
 Emlékszem a röpülés boldogságára. Összegyűjtött írások; szerk., előszó, jegyz. Szigethy Gábor; Magvető, Budapest, 1985
 Németh László–Latinovits Zoltán: Győzelem. Szövegek, legendák, dokumentumok; összegyűjt., szerk., kísérőtanulmány, jegyz. Szigethy Gábor, fotók Benkő Imre; Országos Színháztörténeti Múzeum és Intézet, Budapest, 1991
 Magasból a mélybe. Latinovits Zoltán levelei Beke Alberthez; Mundus, Budapest, 1996
 Verset mondok. Tanulmányok, nyilatkozatok, műsorok; dokumentumgyűjt., összeáll. Surányi Ibolya; Holnap, Budapest, 2002
 Drága jó Mamikám! Levelek Édesanyjához; szerk., jegyz. Balatoni Monika; Kairosz, Budapest, 2003 (Magyar Thália)

Kitüntetései
 1966 – Jászai Mari-díj
 1970 – Balázs Béla-díj
 1970 – Magyar Filmkritikusok Díja – Legjobb férfi alakítás díja (több alakításért)
 1975 – Érdemes művész
 1990 – Kossuth-díj (posztumusz)
 1996 – Magyar Örökség díj (posztumusz)
 2015 – Ferencváros díszpolgára (posztumusz)

Egyéb érdekességek

A Gundel családból származott, ennek kapcsán megérte a rendszer származás szerinti diszkriminatív politikáját. Személyes tragédiája az volt, hogy apja röviddel a születése után elhagyta a családot. Emiatt egész életében e méltatlan sorssal szemben a "szeretetre érdemesség" bizonyítási kényszere fűtötte.

Sok vetélytársa, irigye volt, akik ott próbálták kikezdeni, ahol lehetett, és ahol abban az időszakban szokás volt. Ruttkai Évával való együttléte mellett egyszer azt mondta: "az összes díjamat, szerepet és sikeremet elcserélném két kisgyerekre".

Ezt nem adta meg neki a sors. Élete vége felé még Bagó nevű pulikutyájában találhatott barátot, és halála után hirtelenül sok-sok "barátja" lett, noha életében tehetetlen volt a politikai köntösbe bújtatott vagy egyéb módon álságos rágalmazásokkal szemben, amelyek gyakran érték.

Latinovits Zoltán családja és testvérei véleménye szerint Molnár Gál Péter színikritikus jelentései – aki III/III-as ügynökként megfigyelte Latinovitsot – hozzájárulhattak a színész halálához. Molnár G. Péter ezeket a vádakat, miközben Latinovitsról szóló könyvét dedikálta, "marhaságnak" nevezte. Korábban ő jelentette ki: "csak önmaga lelkiismeretével kell elszámolnia, a 90 besúgott színésszel szemben nem". A Latinovits és Gundel család tagjai mélységesen felháborodtak e nyilatkozaton.

Budaörs városi színházát, a Budaörsi Játékszínt 2013. szeptember 11-én róla nevezték el: Budaörsi Latinovits Színháznak.

2002-ben kisbolygót neveztek el róla (132874 Latinovits).

Származása

Irodalom
 Latinovits Zoltán: Bagó story (Vigilia, 1976. 2-3. szám)
 Latinovits Zoltán; szerk. Ablonczy László, Szendrey Júlia; Mokép, Budapest, 1977 (A színész arca)
 Koltai Tamás: Színházfaggató (Gondolat Kiadó, 1978)
 Abody Béla: Emlékezetem pályája (Gondolat Kiadó, 1981)
 Bános Tibor: Pályák és sorsok (Kozmosz könyvek, 1981)
Kelecsényi László: Latinovits Zoltán; Magyar Filmtudományi Intézet és Filmarchívum–NPI, Budapest, 1981 (Filmbarátok kiskönyvtára) utánnyomások: 1984, 1985, 1986 és 1987.
 Mezey Mária: Vallomástöredékek (A Magyarországi Református Egyház zsinati irodájának kiadása, 1981)
 Hegyi Béla: Latinovits. Legenda, valóság, emlékezet (Gondolat Könyvkiadó, Budapest, 1983)  (373 oldal illusztráció)
 Latinovits Zoltán hangarchívum; összeáll. Kelemen Tamás; Fővárosi Szabó Ervin Könyvtár, Budapest, 1985
 Latinovits Zoltán Hang- és Filmarchívum. 1986-1987; összeáll., szerk., előszó Kelemen Tamás; Fővárosi Szabó Ervin Könyvtár, Budapest, 1987
 Latinovits Zoltán tekintete. Dokumentumok, tűnődések, beszélgetések; Minerva, Budapest, 1987
 Latinovits; képanyag vál., szerk., előszó Szigethy Gábor; Officina Nova, Budapest, 1988
Kelecsényi László: Latinovits Zoltán; 2. bőv. kiad.; Múzsák, Budapest, 1989 (Filmbarátok kiskönyvtára)
 Ruttkai Éva: Parancsolj, Tündérkirálynőm (Zeneműkiadó Vállalat, 1989)
Molnár Gál Péter: Latinovits (Szabad Tér, 1990)
 Beke Albert: Magasból a mélybe – Latinovits Zoltán levelei Beke Alberthez (Mundus Magyar Egyetemi Kiadó, 1996)
 Szigethy Gábor: Latinovits (Gabo Kiadó, 1999)
Molnár Gál Péter: Latinovits (Budapest-Print, 2005.)
 Szindbád, a halhatatlan. Krúdy Gyula, Huszárik Zoltán, Sára Sándor, Latinovits Zoltán; szerk., fotók B. Müller Magda, graf. Huszárik Zoltán; Magyar Filmtörténeti Fotógyűjtemény Alapítvány, Budapest, 2006
 Baló Júlia: Utolsó interjú Latinovits Zoltánnal (Retro Media, 2008)
 Szigethy Gábor: Győzelem, diadal nélkül. A rendező Latinovits Zoltán; Balaton Akadémia, Keszthely, 2011 (Balaton Akadémia könyvek)
 Ablonczy László: Latinovits Zoltán élete, halála és feltámadásai; Kairosz, Budapest, 2011
 Tarics Péter: (I)gazság és lehetőség között – Hogyan élt és halt meg Latinovits Zoltán? Hungarovox, Budapest, 2012
 Aki az életével játszott – Latinovits, (összeállította: Kelecsényi László), Noran Libro, Budapest, 2016 (2. javított kiadás), 2021 (3. javított és bővített kiadás)
 Nagy László: Gyászom a Színészkirályért (1977)

Jegyzetek

Források
 Sulinet életrajz
 Latinovits Zoltán – Magyar életrajzi lexikon 1000–1990
 Színházi Adattár

 Tarics Péter: (I)gazság és lehetőség között – Hogyan élt és halt meg Latinovits Zoltán?, Hungarovox, Budapest, 2013, , könyvadatok a moly.hu-n, könyvismertető a Magyar Teátrum Online-on
Dömötör Adrienne: A művészet antisors. Irodalmi mozaik Latinovits Zoltánról. TINTA Könyvkiadó, 2003.

További információk
 Latinovits Zoltán oldal
 Versek Latinovits előadásában
 A nemzet legnagyobb színésze
 A veszprémi ködszurkáló (mult-kor.hu)
 Szerzői adatlapja a Molyon
 Magasból a mélybe – Latinovits Zoltán levelei Beke Alberthez

Magyar színészek
Posztumusz Kossuth-díjasok
Jászai Mari-díjasok
Balázs Béla-díjasok
1931-ben született személyek
1976-ban elhunyt személyek
Öngyilkos színészek, színésznők
A Magyar Népköztársaság Érdemes Művésze díjasok
Magyar Örökség díjasok
Budapesten született személyek
Magyar szinkronszínészek
Budapest IX. kerületének díszpolgárai
Magyarok, akikről kisbolygót neveztek el

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We facilitate for the reclaiming of narratives. Through production and promotion, we partner with filmmakers to produce films that authentically represent their society in the most entertaining of ways. We project their stories onto the big screen and show them across the world. Here, cinema is used as a means of social change.
Wahenga is an Afro Jazz documentary, a first in East Africa, illuminating the genre of music known as 'Zilipendwa'. More than just the soothing 'golden era' of dance music it is known as, Zilipendwa characterises a post-independence era common in Africa, where state-sponsored recordings served to unite people and create a common national identity.
John Kitime, an energetic musician in his 60s, puts together a band to revive the dying sound of Tanzanian Zilipendwa, music from the early independence era. Weaving memories of the past and dreams for the future, John and his bandmates revisit the era of gleaming horns and packed dance halls as they struggle to keep the music alive in a passionate argument for "the ones that were loved". Will they succeed?


text:
Een ster in de familie is een Vlaams televisieprogramma dat uitgezonden wordt in het voorjaar van 2011 op VTM. De presentatie is in handen van Johan Terryn. In het programma worden ouders beetgenomen door hun kind en een Bekende Vlaming. Alles wordt gefilmd met verborgen camera.

Inhoud
Een Vlaming maakt zijn/haar ouders wijs dat hij/zij een nieuw lief heeft en nodigt hen uit om dat lief te ontmoeten in diens luxueuze loft in hartje Brussel. Daar ontdekken de ouders dat het lief een BV is. Tijdens een gezellig etentje komen de vreemde trekjes van de BV naar boven wat de ouders aan het twijfelen brengt over de relatie...

Presentator Johan Terryn houdt via een oortje alles onder controle en helpt de BV om zich door het etentje te loodsen. Af en toe heeft hij ook zelf een (kleine) rol in het verhaal. Op het einde wordt bekendgemaakt dat het om een grap gaat en overhandigt Johan de ouders een cadeaubon.

Afleveringen

Seizoen 1

Seizoen 2

Vlaams televisieprogramma
Programma van VTM
Verborgencameraprogramma
Komisch televisieprogramma


text:
BTWi
UV UniVersity
WordPress With WooCommerce Or Salesforce Commerce Cloud: Which Is Better for Your Online Store?
ArganoUV
Salesforce Commerce Cloud
I've written dozens of articles for United Virtualities and this one is the emotionally hardest for me. I am a long-time WordPress lover. I've created and hosted hundreds — no exaggeration — of sites. My decision (self-imposed!) to compare WordPress envisioned as an ecommerce platform (that is, using the WooCommerce plugin, since that is overwhelmingly far and away the only ecommerce platform for WordPress worth considering; heck, it is made by WordPress itself!) to Salesforce Commerce Cloud is a bit like someone asking me to do a musical analysis of your favorite singers since childhood. How could I even analyze Pink Floyd with an open mind? That's just not possible. There is and never will be a group better than Pink Floyd… objectively!
But I gave myself that task anyway, promising myself to be as objective as possible, no matter how many "gulps" I would have to do. Here is my conclusion.
WordPress (considering use with WooCommerce as the ecommerce engine) has a few major benefits.
The first is that it is free — both WordPress itself and the WooCommerce plugin. Free, as they say, is hard to compete with. And not just the product, but the design. There are tens of thousands of high quality themes/designs to use — many of which are paid, but many more are free. Good design, click, install, and it works!
The second benefit is that WordPress power 35% of the entire internet. As a result, there is a very, very sophisticated and well developed universe around it. There are hosting companies that specialize in it. And endless software developers (the fact that it's written in PHP makes this doubly true). As well as nearly an unlimited number of plugins that do almost anything you can imagine.
And that lets you sleep easy at night. In 10 years, will Salesforce Commerce Cloud even exist? Or will Shopify? Or Magento? We don't know, but WordPress will still be around. It ain't no Moveable Type (the first mainstream open source blogging platform).
The third benefit of WordPress is: it is the best-in-breed content management system — the core of its popularity. And with last year's introduction of Gutenberg, even more so. You don't need to worry about content being integrated into your site or not.
The fourth benefit of WordPress is full and absolute control. You want to use the .htaccess file to set up any rule whatsoever under the sun regarding anything that happens on a page? You can do that. You want to go into the core code and change something fundamental? You can do that. You want to SSH into a server? You can do that. You want to be able to just export your entire friggin' site and thus you can do anything with it or reimport it anywhere, or back it up in the way you want in case the world explodes? You can do that. There are no random limitations of the sort that you get with any cloud type commerce system. (Note that this appeals to control freaks like, ahem, ahem, yours truly.)
But WordPress does have a few downsides, as well.
First, it scales like a….(Insert a not nice word here). The bigger your userbase is, the harder it is. You want speed? Okay, use a caching plugin — but then you can't cache all the unique custom changes you want just for this or that person to see. It's hard to do WordPress right, at scale, from the purely technical side of things.
And the reason for that leads to the second problem: WordPress wasn't built to be an ecommerce platform. It was built to be a blog, or content platform. It does content amazingly well but as a result, no matter how well WooCommerce is integrated, and the fact that it is built by Automattic (the creators of WordPress), it can't compensate for the fact that it is, to be very blunt, hacked onto WordPress.
The next series of reasons are less problems with WordPress and more things that are uniquely powerful about Salesforce Commerce Cloud:
The marketing functionality built into it from the ground-up is something that no other ecommerce platform can compete with. You can create any type of sale on any product for any audience triggered under any conditions. (Well, almost.) If you want only people in Los Angeles to see "11% off" on Pink Products between 11:11am and 11:22am but this sale is visible only to people who have spent more than $137 on your site within the last 322 minutes — you can do that. Neither WordPress (with WooCommerce) nor any other platform can even come close to this.
WordPress's plugins are great — you can find or buy one to do almost anything — but are notoriously high risk, high reward, with the risk happening far too often. (I've had to remove many beloved plugins from my WordPress sites because their 10,000-character-long attempted queries crashed the poor MySql database every time, as the sites grew.)
A/B testing is built into Salesforce Commerce Cloud. While there are various plugins to do this for WordPress, they all test out content on the "section" level (just one sentence or part of a page) or on the "page" level (some people see this version of the page, some people see another). But with Salesforce Commerce Cloud, you can test completely different experiences, just as though they're different sites.
There is a mandatory staging environment, so that changes to the site don't go live. This is notoriously not the case for WordPress, although many of the dedicated hosts like WPengine include this functionality. But even when they do, it is still complex, since the content and software is so deeply integrated into WordPress. It's hard, or impossible, to do a true staging environment. Please try synchronizing your database from your ad-hoc staging server to your production server, while preserving your Gravity Forms and a zillion other plugin data on production, after complex plugin dates. Go ahead, just try that, I dare you!
Taken together, what all this boils down to is the following. WordPress is awesome if you're already deeply familiar with it; if you're doing a content-first strategy; if you're small and intend to stay small, like if you're a niche site; if you're a control freak and don't like your site being in the hands of a random company or like tweaking every thing possible with no limitations beyond the feasible; if you prioritize long-term stability.
But these tend to be the edge cases. What's much more common is everything that is just not on the previous list: you expect your store to grow and scale. You don't want to deal with the hassle and cost and white hairs of hosting it yourself. You want world class A/B testing functionality. You want to do really complex but serious-for-sales things like show different versions of the site to different people. You have the budget so you don't need to use the free templates and lowest cost developers — and all the challenges and limitations that come with both. You're willing to pay not upfront but as a percentage of sales. With these cases, and with a tear in my eye, I would recommend Salesforce Commerce Cloud above WordPress. Give me a hug, I need one.
PS: UV is one of the world's leading Salesforce Commerce Cloud specialists. Contact us to see how we can work together.
Morgan Friedman
Morgan Friedman is the #1 fan of ArganoUV (aka, United Virtualities), excluding the other #1 fans. Morgan is an expert on growing ecommerce sites, having built & grown various ecommerce companies, having led the generation of over $311 million in ecommerce revenue for various ecommerce sites. In his sleep, Morgan sometimes dreams about new ways to integrate subtle ecommerce functionality into clever marketing schemes... and then sometimes does it. He's also written various best-selling books (published by Penguin) and--saving the best for last--run digital for multiple winning presidential-level political campaigns (no, not in the USA.)
Find out more about this author:
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redpajama_set_name: RedPajamaCommonCrawl


text:
BY KEFEI WU
Many scholars around the world have been studying China's currency regime and have labeled China as a currency manipulator. Tracing its history, the RMB "has seen many different policy regimes, has been pegged to the U.S. dollar, allowed to float, and intentionally devalued by the Chinese government1." However, under the definition of "currency manipulator" by the U.S. Department of Treasury, the IMF Articles, and the WTO rules, China cannot be considered a currency manipulator due to insufficient evidence. Regardless of the label, it is undeniable that the Chinese government's intervention on exchange rate already causes the effects of currency devaluation. Such action poses negative impacts on the U.S., other foreign countries, and even China.
Due to the devaluation of the RMB, many U.S. policymakers contend that China is making its exports less expensive and U.S. exports to China more expensive2. In fact, U.S. trade deficits with China grew from $84 billion in 2000 to $347 billion in 20163. Some argue that it was the Chinese government's intervention on the exchange rate that contributed to the significant trade deficit. As a result, many have also charged China for the high unemployment rate in the U.S.4.
To cope with these problems, some legislative proposals seek to apply to U.S.'s anti-dumping and countervailing duty measures to address China's undervalued currency5. Nevertheless, disputes over whether such action would comply with the WTO rules and would be challenged by China impede the implementation of such measures6. Others propose to enact bills that identify countries with currency manipulation without taking "intent" into consideration, and impose proper actions (including punitive actions) to induce China to appreciate its currency more rapidly7. However, opponents of this proposal suggest that the bills could antagonize China, stimulating China to slow the rate of RMB appreciation further, and even lead China to retaliate against U.S. exports to China and/or U.S. firms in China8.
Other Foreign Countries
Other foreign countries could also economically suffer from a devalued Chinese currency. For instance, in 2016, the exchange rate of U.S. dollars to RMB surged from 6.52 on January 5 to 6.59 on January 7, a 7% increase in two days9. The devaluation of the RMB worried many countries including South Korea, Japan, and Mexico. Because these countries were competing with China on exports and Chinese exports suddenly became cheaper, out of a fear of losing market, they also lowered the values of their currencies. The finance minister of Mexico warned that the Chinese currency actions could lead to a new round of competitive devaluations, while the Korean Won was down 5 percent10.
Scholars have suggested the IMF to take actions against China's currency devaluation. However, the IMF lacks any enforcement mechanisms11, and China could easily argue against any complaint by stating that China's goal is merely to foster domestic development through stabilizing the value of its currency12. Compensating the disadvantage of the IMF, policymakers also recommend the WTO to solve the problem because the WTO has a dispute resolution system and enforcement capabilities13. Nonetheless, Article XV(2) of the GATT explicitly indicates that currency manipulation issues belong to the IMF14. Thus, the WTO lacks jurisdiction even though it has enforcement power.
An undervalued RMB could also have negative impacts on Chinese economy and the standard of living of Chinese citizens. Since the RMB is relatively cheaper than projected market equilibrium, China is overly dependent on exports, which makes it more vulnerable if the global economy suffers from another slowdown15. Also, an undervalued currency conversely makes imports more expensive, forcing Chinese citizens and firms to pay more on imported products16. Facing these potentialities, China faces the option to rebalance its currency by gradually withdrawing government intervention on the exchange rate. The potential setback is that China would lose its economic advantage in exporting, and the U.S. debts would be worth less to China.
In conclusion, even without considering China as a currency manipulator, the devaluation of the RMB has a widespread impact on global economy and individual countries including China itself. However, current proposals are incompetent to solve the problem. From a future perspective, a change may require the IMF or the WTO to gradually gap ambiguities in their rules or China to reform its exchange regime further to allow a more liberal currency market.
Image source: cnn.com
Kefei Wu is an intern with the Eurasian Conflicts Studies Project (formerly Armed Conflicts Project) at the ERA Institute.


As part of our outreach to strengthen local preservation groups, Indiana Landmarks provides loans and offers a variety of grants that help save and restore historic places. We keep the paperwork to a minimum, and in most programs we welcome applications as needs arise.
You can review the types of grants we offer below or download our guide to grants and loans from Indiana Landmarks.
Be registered as a nonprofit corporation in the state of Indiana.
Be classified by or have applied to the Internal Revenue Service for status as a 501(c)(3) public charity.
Be enrolled as a nonprofit member or affiliate organization of Indiana Landmarks.
Possess a charter that identifies preservation of the built environment as a primary organizational purpose.
Have a clearly defined organizational structure that includes regular meetings and an ongoing program.
Have been in existence for three years and/or have demonstrated responsible fiscal management.
Learn about grants awarded in 2018.
Application forms for Indiana Landmarks' financial programs are easy to complete and may be submitted at any time unless otherwise noted. Also unless otherwise indicated, your first stop in the application process is the the Indiana Landmarks regional office that serves your county.
Indiana Landmarks awards Efroymson Family Endangered Places Grants to nonprofit organizations for professional architectural and engineering studies and restoration cost estimates—often the first step in saving a historic structure—as well as for organizational development. The grants may not be used for brick-and-mortar restoration work.
The grants offer a favorable four-to-one matching requirement—four dollars from Indiana Landmarks matches each local cash dollar up to 80% of the total project cost or a $2,500 maximum or $3,500 for affiliate organizations. For more information, contact the Indiana Landmarks regional office nearest you.
Indiana Landmarks' African American Landmarks Committee awards grants ranging from $500 to $2,500 to assist nonprofit organizations in the preservation and promotion of historic African American properties. The grants may be used for a variety of purposes: organizational development, architectural or engineering studies, or programs promoting preservation, interpretation, or visitation of a historic African American place.
We make the grants on a four-to-one matching basis, funding 80% of the total project cost up to $2,500, whichever is less. You may submit a grant application at any time after first consulting with Mark Dollase, Vice President of Preservation Services, 800-450-4534, 317-639-4534, or mdollase@indianalandmarks.org.
Indiana Landmarks and Indiana Humanities make grants up to $2,500 for educational projects related to historic places in Indiana. Eligible projects include lectures, workshops, exhibits, digital productions, heritage and cultural tourism programs, and educational publications. Applicants must be an Indiana-based tax-exempt organization, but 501(c)3 status is not required.
Applications for Historic Preservation Education Grants are due February 28, 2019 or August 31, 2019. Organizations are eligible for one grant per year. Download an application here.
For more information, contact Suzanne Stanis, Director of Heritage Education and Information, 317-639-4534 or 800-450-4534 or sstanis@indianalandmarks.org.
While Indiana Landmarks regards legal action as a last resort, we recognize that it is sometimes required to save endangered structures and reinforce preservation laws. Nonprofit preservation organizations may request grants to pay for legal fees to defend or compel conformance with a local preservation ordinance, enforce protective covenants, or seek an injunction to prevent the demolition of a historic building.
Indiana Landmarks' Legal Defense Grants cover 80% of the cost of legal counsel up to $2,000. For more information, contact the Indiana Landmarks regional office nearest you.
Through a special fund we established in partnership with The Indianapolis Foundation, an affiliate of the Central Indiana Community Foundation, Indiana Landmarks makes grants to support nonprofit organizations working to preserve historic buildings and neighborhoods in Marion County.
We accept applications year round and consider grant requests on a monthly basis. The grants range from $1,000 to $10,000, with the average grant $5,000.
For more information about the Marion County grants, contact Mark Dollase, Vice President of Preservation Services, 800-450-4534, 317-639-4534, or mdollase@indianalandmarks.org.
When a property is listed in the National Register of Historic Places, it gains honorific status, a degree of protection in certain circumstances and, if it is income-producing, eligibility for restoration tax credits.
Indiana Landmarks' Partners in Preservation National Register Grants—we call them PIP for short—provide matching assistance to hire professional consultants to complete National Register nominations. We also supervise the nomination through the review process at the state level.
Download guidelines for PIP grants.
Nonprofit preservation organizations may apply to Indiana Landmarks for Endangered Places loans to buy and/or restore historic properties. The loans have a $75,000 limit and low-interest terms for the first three years. The recipient of a loan must attach Indiana Landmarks' protective covenant to the property deed.
In making loan decisions, we give special consideration to projects that will save buildings listed in or eligible for the National Register of Historic Places or located in a National or State Register historic district.
For more information, contact the Indiana Landmarks regional office nearest you.
To save vacant and endangered buildings, Indiana Landmarks sometimes buys the place. We attach protective covenants to the property's deed when we resell to a buyer who agrees to restore the landmark within a specified time. When the property sells, the revenue returns to our Endangered Places fund.


text:
'use strict';

define(["app"], function(app) {
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Then we will see step by step how to make an attractive and strategic resume to submit applications for the job. During the process of sending, receiving and subsequent call for interview must have patience because it is normal that this last several months. Sending your personal data in a proper way is important for achieving good first impression that we seek in our future employers.
The first thing to do is gather all the information you'll need; dates of entry and exit to educational institutions and courses that we find done, language skills (hopefully all backed by a course or official test), and extracurricular activities or hobbies (these activities say a lot about a person, their willingness to work in Team, achieving goals, etc …).
Some recommend that once you have all the above information, we devote ourselves on doing a SWOT (strengths, weaknesses, opportunities and threats) that is normally applied to companies; the truth is that this personal analysis in practice it is more important to do for personal interviews, as it will prepare us to respond seamlessly to those "questions like" who are seeking our skills for the position basis. It is important once performed this exercise in introspection prepare for the highlight those qualities in us that would be helpful for the post in question (such as leadership, teamwork, excel, etc …). We can remember and record situations in which we find demonstrated these qualities (which may vary from office to office) to be able to respond with eloquence when the time comes. All this geared more to the interview, so we continue with ours.
The third step, once gathered information and made personal analysis is the elaboration of curriculum itself. White letter or A4 size paper is recommended; the important thing is to be consistent and flawless. With respect to photography, this usually goes to the right side up on the first page; if you have the possibility to "scan" our image and print on the sheet along with our curriculum this gives an extra touch of professionalism to our presentation, whenever high print quality. Now type format, in order to give an example because the requirements and information to be included may vary from job to job; the truth is that if we seek to answer how to make a resume because we have not had a need and it is our first time, this assistance comes as a glove. If you must add a special section just for example insert between the fourth and fifth sections.
Now that our resume is ready, we have to do is attach all relevant certificates and documents photocopies of the same size (it does not hurt to say never send originals). Must include certificates of titles, school, language courses and more. No need to exaggerate this point and just add pertinent.
Finally, we must decide on their final presentation. If you need to mail it, the most practical option is to fold it in such a way that conforms to a normal size envelope, usually in three folds; a larger envelope is not better, just the size we have at hand. Now if we are able to deliver hand to hand, suggested in a presentation in a clear and simple folder, not banded; this gives a neat and tidy appearance. By no means apply to stapled sheets. In the case of hand delivery by hand, but only have contact with the reception of the company, it is important to make a good impression dressing formally. Now that we have completed our tutorial on how to make a resume, is just wishing the best of luck with the job.


text:
Q: Interrupt and Resume Code I have queue with objects, wich are executed sequentially. There is no operating system, I'm just using the hardware and my code:
while(true) {
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}

Now I want to suspend the code which is executed at next->do_stuff(), based on some hardware interrupts (there are no more details needed about the hardware interrupts). This suspend should save the state (current instruction) and enqueue the next back to the queue, so that the next do_stuff of this next starts at the last instruction, before suspending it. I know, how to safe the state, but I have no idea, how to return from do_stuff. I think, this should be done with assembly.
Some Buzzwords what to search for, would be really nice. Thanks :)


Home » Frequently Asked Questions » How does a DUI "work release" work in California?
Like most states California allows some individuals convicted of a crime to go on "work release" rather than serve jail time. Work release is a program where the offender does hard work to benefit the community and receives time off of jail for it. Unlike many states, California also gives credit for activities such as educational classes and alcohol/drug abuse treatment. This allows many DUI convicts to get back on their feet more quickly and to potentially avoid being put in jail.
Not every DUI conviction will include the possibility of a work release. If you're facing a DUI charge, you should understand how work release works and how you can enter a work release program.
Traditionally, work release programs involved difficult manual labor. Today, labor is usually oriented to improve the community in some way. For example, many work release programs will involve cleaning up local parks or roadways. The work remains challenging—often an 8-10 hour day working outside.
However, since 2012, an amendment to the California Penal Code has allowed other activities to count as "work" for a work release program. The idea behind this amendment is not to use work release as a punishment but as a way to help convicted offenders prepare themselves to be productive members of society. As a result, a wide range of positive activities now get work release credit.
Under current law, one full day of any of these activities is the same as one eight-hour work day or one day in jail. So, for example, five days of substance abuse counseling could take five days off your jail sentence. The specific activities available to you will depend on your local jurisdiction.
Unlike a work furlough, a work release does not typically involve any kind of confinement. You will not have to spend nights in a jail or a dormitory. You'll be free to live at home during the work release, as long as you show up for every scheduled session and document your attendance.
Be aware that you will need to pay an administrative fee, often $100 or more. If you're unable to afford this you may be able to qualify for a reduced rate.
Many work release programs offer both a full time and part time version. The part time version is generally "weekends only" and designed to fit around your existing full time job. If you're able to choose, choose the one that's best for you.
Plan your transportation. Being late or missing a session could mean going back to jail. If your driver's license has been suspended for DUI, you may need to apply for a restricted license or find alternate transportation.
Many DUI sentences include mandatory substance abuse treatment. If that's the case, you may be able to work off jail time by attending your court ordered treatment program.
Even if your DUI sentence does not include treatment, you may want to voluntarily enroll in treatment as a work release rather than go to jail. Be aware that there are a wide variety of treatment programs available and you should choose the one that's right for you.
Work release is a common and popular alternative for DUI offenders. Most drivers convicted of DUI are not violent, making them good candidates for release in the community. And California courts are focused on DUI penalties that are a deterrent to repeat offenses. Work release is an ideal solution.
That doesn't mean it's always offered, however. Sentences for DUI are complex. Sometimes a judge will explicitly tell you to seek treatment instead of jail; sometimes it's only offered if you request it; and other times the judge wants hard, firm jail time. The best way to get an outcome that works for you is to have a reputable DUI defense lawyer at your side.
Our site exists to connect you with the best DUI attorneys in Los Angeles. We have pre-screened top local attorneys and feature only those who devote 100% of their practice to DUI law. Most importantly, every lawyer we work with offers a FREE consultation.
Don't go to jail if you don't have to. Let us help. Fill out the form to the right or call (310) 862-0199 and get your FREE consultation today.


I began to think about the kids who come through my ministry who need to hear those words but never do. That's why ministry matters.
My one year old received a toy dog for Christmas. It's one of those that talks incessantly and threatens to mock your sanity as your child repeatedly pushes the same button over and over.
It sings the alphabet, Head and Shoulders, and many other annoying songs. It also says things like "you're wonderful" and "you're my friend."
For those kids who are never told they are wonderful......how will they know how wonderful their Creator thinks they are? I've got to tell them.
For those kids who are told that they're valuable....how will they know how they're valued in the eyes of the Lord? I've got to tell them.
For those kids who will never know the love of an earthly father.....how will they know that their Heavenly Father longs to be in relationship with them? I've got to tell them.
For those kids who will never know what friendship and healthy relationships look like....how will they know that God designed us to be in relationship with each other within His community? I've got to tell them.
There are many who will enter our ministries who will never know.....unless we tell them. They don't need stuffed animals that spout off pre-recorded messages. They need real life people who are there waiting for them to arrive and will tell them the life changing news of Jesus because He think they're wonderful and He wants to be their friend.
What message does a child in your ministry need to hear from you because, otherwise, they may never hear it?


Paola (P.J.) Corso is a community activist and an award-winning author of seven books of fiction and poetry set in her native Pittsburgh where her Italian immigrant grandfather and father worked in a steel mill.
Her most recent poetry books are The Laundress Catches Her Breath (CavanKerry Press, 2012), winner of the Tillie Olsen Creative Writing Award, and Once I Was Told the Air Was Not for Breathing  (University of Wisconsin–Madison's Parallel Press, 2012). She is the author of a novel in stories, Catina's Haircut (University of Wisconsin Press, 2010), a Sons of Italy National Book Club Selection included on Family Tree Magazine's "Recommended Genealogy Reading List." Corso's short story collection Giovanna's 86 Circles (University of Wisconsin Press, 2005, 2007) is a John Gardner Fiction Book Award Finalist and on the Pennsylvania School Librarian Association's "Top 40 Young Adult Fiction Titles List." Her other poetry collections are Death by Renaissance  (Bottom Dog Press, 2004) and A Proper Burial  (Pudding House, 2003). Her unpublished poetry collection Oxygen for Two was a first runner-up in the Bordighera Poetry Prize judged by Donna Masini. She is co-editor along with Dr. Nandita Ghosh of Politics of Water: A Confluence of Women's Voices  (International Feminist Journal of Politics, Routledge Press, 2007).
Among her other publication credits are The New York Times, Christian Science Monitor, The Progressive, Women's Review of Books, Writer's Digest, The Writer, USA Today, U.S. Catholic, and Editor & Publisher.
Corso's work has appeared in numerous anthologies, including New Hunger for Old: 100 Years of Italian American Poetry, Days I Moved Through Ordinary Sound: The Teachers of WritersCorps in Poetry and Prose, Wild Dreams: The Best of Italian Americana, The Best Travel Writing of 2006, Getting By: Narratives of Working Lives, and Sudden Stories.
Honors include a New York Foundation for the Arts Poetry Fellowship, a Sherwood Anderson Fiction Award, The Jerome Lowell Dejur Award for Creative Writing and The Stark Short Fiction Prize, both from City College of New York, inclusion on Pennsylvania Center for the Book's Literary Map, a Pennsylvania Council on the Arts artist grant, and a Poets Out Loud Finals Judge.
She has read her work at venues across the country such as American Labor Museum, Carnegie Library of Pittsburgh, Calandra Institute for Italian American Studies, New York University's Casa Italiana, New York Public Library, Northeastern University, Montclair State University, Oregon State University's Water Institute, Poetry Project at St. Mark's Church, PEN American Writing Institute, Penn State University, State University of New York, and University of Pittsburgh.
She has presented workshops and participated in panel discussions at conferences of Associated Writing Programs, Center for Working Class Studies, Italian American Studies Association, Keystone State Reading Association, Pennsylvania Council for the Teachers of English, and New Jersey Library Association.
Corso has taught writing in the community with the National Endowment for the Arts WritersCorps administered by the Bronx Council on the Arts, the National Writers Union New York Local, and at the university level as a writer-in-residence in Western Connecticut State University's Low-Residency MFA Program in Creative and Professional Writing and as a lecturer in Chatham University's MFA Program.
She is co-founder and resident artist for Steppin Stanzas, a grant-funded performing arts project celebrating Pittsburgh city steps. She curates an annual poetry event for The Thomas Merton Center for Peace and Social Justice, writes a "Greening Your Bookshelf" column for Group Against Smog and Pollution, and "Authors in the Community" for CavanKerry Press. Her community service has earned her a place on the Mid-Atlantic Arts Foundation Artist & Communities Short List.
Corso earned her bachelor's degree from Boston College, master's degrees in creative writing from The City College of New York–City University of New York and in public administration/community organizing from San Francisco State University. She is a graduate of the University of Denver's Publishing Institute.
She splits her time between New York City and Pittsburgh.


The General Motors (GM) subsidiary recently showcased a few pictures teasing enthusiasts with what looks like a full-blown electric SUV.
General Motors' luxury brand Cadillac is beginning a full-on assault on brand identification in order to take back America's hearts as a status symbol for opulence. Those details will be revealed closer to launch, we're told. However, these are mere speculations, with no official confirmation given by the company.
The new electric Caddy SUV will be GMs first electric auto to use GM's new third-generation electric-car architecture, with a versatile "skateboard" chassis and a battery-pack design that can accommodate different capacities in the same format.
That led us to wonder whether our readers would be likely to buy an electric vehicle from Cadillac. This will be the first model based on GM's future EV platform (BEV3, earlier post).
Cadillac's EV will be offered in both two- and all-wheel drive configurations globally and will use a rather unique battery architecture. He also said that the production model will be sold globally and will be the vanguard of new product range following the current three-year product plan. "It will represent the height of luxury and innovation while positioning Cadillac as the pinnacle of mobility". We're told this platform will feature battery and drive units designed for "maximum usability" throughout GM cars across different countries.
So, our Twitter poll for this week asks readers simply: "Would you buy an electric vehicle from Cadillac?".
In a letter to Pelosi on Thursday, Trump said the shutdown would have to delay her trip, which was to begin Thursday. Pelosi left unclear what would happen if Trump insisted on coming despite the welcome mat being pulled away.
Zhang Dongshuo, Schellenberg's lawyer, told reporters that his client is likely to appeal the court's decision, according to SCMP. Days after Meng's arrest, Kovrig and Canadian businessman Michael Spavor were detained on vague national security allegations.
But, Calla said, "we are taking these seriously because she's our responsibility and so we want to be sure she's protected". The United Nations High Commission on Refugees (UNHCR) granted her refugee status, and Canada agreed to take her in .
He was also named to the PFWA's all-rookie team alongside Mayfield and fellow top 10 draft picks Bradley Chubb and Roquan Smith . Murray has a unique amount of leverage for a college player, but it isn't totally unprecedented.
The names of those killed in the blast will not be released until 24 hours after next-of-kin are notified, per military policy. Vice President Mike Pence made no mention of the attack, instead telling U.S. diplomats, "we're bringing our troops home".
Giving her reaction afterwards, she was barely able to contain her frustration. "After months of negotiation we found a solution". Now, almost 3 years after the fateful referendum and with just over two months to go, Britain still can not decide what to do.
He also served as an offensive coordinator in the National Football League for more than a decade during his rise up the ranks. Donatell will not simply be a "yes' man, but likely will have the chance to have a much more expanded role in game-planning".
The Nuggets have a very strong defense, allowing just 105.5 points per game while limiting opponents to 33.2 percent from the arc. With the win, Denver improved to 29-13 overall and 18-3 at home where they are now riding a 12-game win streak.
This is Her Royal Highness's first official visit to Mayhew in her new role as Patron of the charity. Meghan, Markle , Duchess of Sussex visits "Mayhew" animal welfare charity, London, Jan. 16, 2019.
Bolton also told CNN that month that the U.S. would hold Iran responsible for the actions of militias in Iraq, Iran's close ally. It's not true that the state Department and the Pentagon had been caught off guard by the request, he said of the dpa.
He has, however, failed to bring about the economic turnaround. "We believe this crisis requires all hands on the deck". According to Fin24, online paper, the new prices will thus only affect those using the local currency to buy fuel.
She later told reporters that Australia was assessing Al-Qunun's request for resettlement. Her case has drawn attention to Saudi Arabia's restrictive social rules.
Last year, Faris opened up about her relationship with Pratt now, revealing that they are still close friends. Pratt, 39, shared a photo of his 29-year-old fiancée wearing an engagement ring on Instagram Monday.
Jon Snow's real mother Lyanna Stark is the first voice we hear as a feather falls from her statue before landing on the ground. She is, overall, a good person with a massive flaw (for some) and a POV that is not always the most fulfilling to read.
The president tweeted that if her "husband had dressed in full Indian garb it would have been a smash". Warren took the test and released DNA results suggesting she has some Native American heritage.


One of my favorite funding stories of all time is how Formlabs' co-founders, Natan Linder and Maxim Lobovsky secured an investment from Mitch Kapor, the founder of Lotus Development Corp. It all started with a tweet from Kapor as he overheard Linder and Lobovsky pitching a VC over dinner... to landing a meeting with Kapor and getting stuck in an elevator... read the full story here.
Since then, the company has raised over $50M in funding including a $35M Series B round of funding last August. Their latest product, the Form 2 brings professional-quality desktop 3D printing to the masses.
We connected with Jory Block, who is part of the People Operations team at Formlabs in Somerville to get the inside scoop on the company's engineering team.
Formlabs is hiring! Check out its BIZZpage.
Keith Cline: How has Formlabs revolutionized the 3D printing industry?
Jory Block: In order to understand how Formlabs has revolutionized the 3D printing industry, you really have to go back to 2011 and survey the landscape. The 3D printing craze was in full swing and the market became flooded with low-cost FDM machines. These consumer-level printers were great for small projects and hobbyists. But there really weren't any options available for small businesses, entrepreneurs and professionals who needed high resolution, low-cost manufacturing in-house. Formlabs was the first company to bring an SLA 3D printer to people's desktops and allow them to prototype real-world products without shelling out tens of thousands of dollars. This was a massive game changer for medical researchers, jewelers, film makers and so many other professions who were suddenly able to produce things in-house that were never before possible due to cost and quality. Starting off as an MIT afterschool project, we've swelled over the past few years to a now 200+ person company. I think it's safe to say that we struck a cord in the market!
KC: How do you view Formlabs' culture and what qualities do you look for in potential candidates to join your team? What are the team's core values?
JB: Culture is extremely important at Formlabs and in the early days (when there were only 10 of us) everyone was naturally very close. We were a pirate crew of friends, out solving interesting and challenging problems. As Formlabs became larger, we knew we wanted to try and preserve the small-company culture that made our team like a family. With now over 200 people combined in our Boston and Berlin offices, the goal is to "keep Formlabs weird," which is really just a fun way of saying, "let's keep things interesting." Since we are trailblazing the way for a new era of low-cost manufacturing, keeping things interesting isn't difficult. Most of the things we work on have never existed before, which opens the doorway for individuals to contribute their own new ideas to the future of Formlabs.
Potential candidates at Formlabs have to be autonomous problem solvers who are extremely self-motivated and not afraid to take risks. You are given a lot of freedom here and we like curious people who can push themselves without being told what to do and how to do it constantly.
KC: Formlabs is developing an affordable high-resolution 3D printer to enable designers, engineers and makers to easily realize their dreams in beautiful physical form. What are some of the interesting projects the engineering team is tackling?
JB: Everything we produce is an ongoing project and a big focus for us here has always been to improve upon our existing products relentlessly. We release regular updates to our software, printer and materials. We even just released a new line of engineering resins to expand the possibilities of what users are able to make.
Ongoing R&D is also a top priority and I'm aware that's very vague. But you'll just have to keep an eye on our blog to see all the exciting things we have planned for 2017!
JB: Formlabs regularly attends meetups and we've just started hosting technical talks at our Boston HQ every Thursday. We also travel to technology trade shows all over the world and strive to stay in touch with young engineers through our involvement with programs such as BU Artemis and the Women in Technology Program at MIT, just to name a few.
KC: What has your union with Pinshape earlier this year done for the future of Formlabs?
JB: Our union with Pinshape has allowed Formlabs to give our community a place to share and collaborate. The Pinshape site is a playground of creativity where newcomers and professionals alike can go to meet like-minded individuals and be inspired to make something amazing. We're very excited that Pinshape has joined Formlabs and we can't wait to see how the site grows this year.
KC: How does your engineering team keep up with your rapidly-growing user base?
JB: Well first off, we are hiring like crazy. The Form 2 has been extremely popular and so we are sprinting to expand our team to accommodate our growing user base. We have an incredibly talented community of customers and we take their feedback very seriously. Feedback from the community has a huge impact on how we continue to improve and expand our materials library (e.g. our new engineering resins) and which features we end up adding to our Preform software. Our engineers also frequent our online forum and work closely with our customer team to make sure we have a pulse on what's going on.
KC: What types of activities do members of your team take part in outside the office?
JB: One thing I really love about Formlabs is that everyone here is extremely active. We regularly have people organizing everything from whiskey tastings to ice climbing in some of the nearby mountain ranges. The interest-diversity here is vast and people are quick to jump in and learn something new. Just to name a few of my favorite internal "clubs" and groups, we have Booklabs, Filmlabs, Whiskeylabs, ping pong tournaments, Fitness Bootcamp, yoga, Ragnar, summer camps, hackathons, karaoke nights, soup groups, hikes and so many other things. If there's something you are interested in doing outside the office, there's a pretty good chance you'll find a bunch of people here willing to do it with you.
Quick story, when I joined Formlabs about 4 years ago, I really wanted to put together a Tough Mudder team...but wasn't really sure if it was something people here would be interested in doing. Fast forward to today and it's not only become an annual tradition...but even Max (our CEO) joined up for the 2015 race. It was a ton of fun.
KC: Complete this sentence for our audience: "I love working at Formlabs because…"
"I get to build things that build things and I get to do it with a fantastic group of people."
"Even though we're so much bigger than when I started, everyone I work with feels like one of my closest friends. More importantly, I now have some of the smartest and brightest close friends out of anyone that I know."