text:
Q: How to initialize a JavaScript Date to a particular time zone I have date time in a particular timezone as a string and I want to convert this to the local time. But, I don't know how to set the timezone in the Date object.
For example, I have Feb 28 2013 7:00 PM ET, then I can
var mydate = new Date();
mydate.setFullYear(2013);
mydate.setMonth(02);
mydate.setDate(28);
mydate.setHours(7);
mydate.setMinutes(00);

As far as I know, I can either set the UTC time or local time. But, how do I set time in another timezone?
I tried  to use the add/subtract the offset from UTC but I don't know how to counter daylight savings. Am not sure if I am heading the right direction.
How can I go about converting time from a different timezone to local time in javascript?

A: Background
JavaScript's Date object tracks time in UTC internally, but typically accepts input and produces output in the local time of the computer it's running on. It has very few facilities for working with time in other time zones.
The internal representation of a Date object is a single number, representing the number of milliseconds that have elapsed since 1970-01-01 00:00:00 UTC, without regard to leap seconds.
There is no time zone or string format stored in the Date object itself.
When various functions of the Date object are used, the computer's local time zone is applied to the internal representation.  If the function produces a string, then the computer's locale information may be taken into consideration to determine how to produce that string.  The details vary per function, and some are implementation-specific.
The only operations the Date object can do with non-local time zones are:

*

*It can parse a string containing a numeric UTC offset from any time zone.  It uses this to adjust the value being parsed, and stores the UTC equivalent.  The original local time and offset are not retained in the resulting Date object.  For example:
  var d = new Date("2020-04-13T00:00:00.000+08:00");
  d.toISOString()  //=> "2020-04-12T16:00:00.000Z"
  d.valueOf()      //=> 1586707200000  (this is what is actually stored in the object)

*In environments that have implemented the ECMASCript Internationalization API (aka "Intl"), a Date object can produce a locale-specific string adjusted to a given time zone identifier.  This is accomplished via the timeZone option to toLocaleString and its variations.  Most implementations will support IANA time zone identifiers, such as 'America/New_York'.  For example:
  var d = new Date("2020-04-13T00:00:00.000+08:00");
  d.toLocaleString('en-US', { timeZone: 'America/New_York' })
  //=> "4/12/2020, 12:00:00 PM"
  // (midnight in China on Apring 13th is noon in New York on April 12th)

Most modern environments support the full set of IANA time zone identifiers (see the compatibility table here).  However, keep in mind that the only identifier required to be supported by Intl is 'UTC', thus you should check carefully if you need to support older browsers or atypical environments (for example, lightweight IoT devices).
Libraries
There are several libraries that can be used to work with time zones.  Though they still cannot make the Date object behave any differently, they typically implement the standard IANA timezone database and provide functions for using it in JavaScript.  Modern libraries use the time zone data supplied by the Intl API, but older libraries typically have overhead, especially if you are running in a web browser, as the database can get a bit large.  Some of these libraries also allow you to selectively reduce the data set, either by which time zones are supported and/or by the range of dates you can work with.
Here are the libraries to consider:
Intl-based Libraries
New development should choose from one of these implementations, which rely on the Intl API for their time zone data:

*

*Luxon (successor of Moment.js)

*date-fns-tz (extension for date-fns)

*Day.js (when using its Timezone plugin)

Non-Intl Libraries
These libraries are maintained, but carry the burden of packaging their own time zone data, which can be quite large.

*

*js-joda/timezone (extension for js-joda)

*moment-timezone* (extension for Moment.js)

*date-fns-timezone (extension for older 1.x of date-fns)

*BigEasy/TimeZone

*tz.js
* While Moment and Moment-Timezone were previously recommended, the Moment team now prefers users chose Luxon for new development.
Discontinued Libraries
These libraries have been officially discontinued and should no longer be used.

*

*WallTime-js

*TimeZoneJS
Future Proposals
The TC39 Temporal Proposal aims to provide a new set of standard objects for working with dates and times in the JavaScript language itself.  This will include support for a time zone aware object.
Common Errors
There are several approaches that are often tried, which are in error and should usually be avoided.
Re-Parsing
new Date(new Date().toLocaleString('en', {timeZone: 'America/New_York'}))

The above approach correctly uses the Intl API to create a string in a specific time zone, but then it incorrectly passes that string back into the Date constructor.  In this case, parsing will be implementation-specific, and may fail entirely.  If successful, it is likely that the resulting Date object now represents the wrong instant in time, as the computer's local time zone would be applied during parsing.
Epoch Shifting
var d = new Date();
d.setTime(d.getTime() + someOffset * 60000);

The above approach attempts to manipulate the Date object's time zone by shifting the Unix timestamp by some other time zone offset.  However, since the Date object only tracks time in UTC, it actually just makes the Date object represent a different point in time.
The same approach is sometimes used directly on the constructor, and is also invalid.
Epoch Shifting is sometimes used internally in date libraries as a shortcut to avoid writing calendar arithmetic.  When doing so, any access to non-UTC properties must be avoided.  For example, once shifted, a call to getUTCHours would be acceptable, but a call to getHours would be invalid because it uses the local time zone.
It is called "epoch shifting", because when used correctly, the Unix Epoch (1970-01-01T00:00:00.000Z) is now no longer correlated to a timestamp of 0 but has shifted to a different timestamp by the amount of the offset.
If you're not authoring a date library, you should not be epoch shifting.
For more details about epoch shifting, watch this video clip from Greg Miller at CppCon 2015. The video is about time_t in C++, but the explanation and problems are identical.  (For JavaScript folks, every time you hear Greg mention time_t, just think "Date object".)
Trying to make a "UTC Date"
var d = new Date();
var utcDate = new Date(Date.UTC(d.getUTCFullYear(), d.getUTCMonth(), d.getUTCDate(), d.getUTCHours(), d.getUTCMinutes(), d.getUTCSeconds(), d.getUTCMilliseconds()));

In this example, both d and utcDate are identical.  The work to construct utcDate was redundant, because d is already in terms of UTC.  Examining the output of toISOString, getTime, or valueOf functions will show identical values for both variables.
A similar approach seen is:
var d = new Date();
var utcDate = new Date(d.getUTCFullYear(), d.getUTCMonth(), d.getUTCDate(), d.getUTCHours(), d.getUTCMinutes(), d.getUTCSeconds(), d.getUTCMilliseconds());

This is approach passes UTC values into the Date constructor where local time values are expected.  The resulting Date object now represents a completely different point in time.  It is essentially the same result as epoch shifting described earlier, and thus should be avoided.
The correct way to get a UTC-based Date object is simply new Date().  If you need a string representation that is in UTC, then use new Date().toISOString().

A: This should solve your problem, please feel free to offer fixes. This method will account also for daylight saving time for the given date.
dateWithTimeZone = (timeZone, year, month, day, hour, minute, second) => {
  let date = new Date(Date.UTC(year, month, day, hour, minute, second));

  let utcDate = new Date(date.toLocaleString('en-US', { timeZone: "UTC" }));
  let tzDate = new Date(date.toLocaleString('en-US', { timeZone: timeZone }));
  let offset = utcDate.getTime() - tzDate.getTime();

  date.setTime( date.getTime() + offset );

  return date;
};

How to use with timezone and local time:
dateWithTimeZone("America/Los_Angeles",2019,8,8,0,0,0)

A: For Ionic users, I had hell with this because .toISOString() has to be used with the html template.
This will grab the current date, but of course can be added to previous answers for a selected date.
I got it fixed using this:

date = new Date();
public currentDate: any = new Date(this.date.getTime() - this.date.getTimezoneOffset()*60000).toISOString();

The *60000 is indicating the UTC -6 which is CST so whatever TimeZone is needed, the number and difference can be changed.

A: You can specify a time zone offset on new Date(), for example:
new Date('Feb 28 2013 19:00:00 EST')

or
new Date('Feb 28 2013 19:00:00 GMT-0500')

Since Date store UTC time ( i.e. getTime returns in UTC ), javascript will them convert the time into UTC, and when you call things like toString javascript will convert the UTC time into browser's local timezone and return the string in local timezone, i.e. If I'm using UTC+8:
> new Date('Feb 28 2013 19:00:00 GMT-0500').toString()
< "Fri Mar 01 2013 08:00:00 GMT+0800 (CST)"

Also you can use normal getHours/Minute/Second method:
> new Date('Feb 28 2013 19:00:00 GMT-0500').getHours()
< 8

( This 8 means after the time is converted into my local time - UTC+8, the hours number is 8. )

A: I ran into this issue running a GCP Cloud Function.  Of course it works on a local machine, but running in the cloud makes the OS default (local) for  new Date() irrelevant.  In my case, an api call from the cloud required Eastern Standard Time, in ISO format (without the "Z") with offset as "-0500" or "-0400" depending on DST, for example:
2021-12-01T00:00:00.000-0500
Again, this is not a browser formatting issue, so I am forced into this format for the api call to work correctly.
Using @chickens code as a start, this is what worked:
var date = new Date();
var now_utc =  Date.UTC(date.getUTCFullYear(), date.getUTCMonth(), date.getUTCDate(),
date.getUTCHours(), date.getUTCMinutes(), date.getUTCSeconds());

var dt = new Date(now_utc);

let utcDate = new Date(dt.toLocaleString('en-US', { timeZone: "UTC" }));
let tzDate = new Date(dt.toLocaleString('en-US', { timeZone: "America/New_York" }));
let offset1 = utcDate.getTime() - tzDate.getTime();
let offset2 = offset1/60000;
let o1 = Math.abs(offset2);
console.log(offset2)
var offsetValue1 =  (offset2 < 0 ? "+" : "-") + ("00" + Math.floor(o1 / 60)).slice(-2) + ("00" + (o1 % 60)).slice(-2);
console.log(offsetValue1)
dt.setTime(dt.getTime() - offset1);

console.log(dt.toISOString());
console.log(dt.toISOString().slice(0,-1)+offsetValue1);

A: I ran into a similar problem with unit tests (specifically in jest when the unit tests run locally to create the snapshots and then the CI server runs in (potentially) a different timezone causing the snapshot comparison to fail). I mocked our Date and some of the supporting methods like so:
describe('...', () => {
  let originalDate;

  beforeEach(() => {
    originalDate = Date;
    Date = jest.fn(
      (d) => {
        let newD;
        if (d) {
          newD = (new originalDate(d));
        } else {
          newD = (new originalDate('2017-05-29T10:00:00z'));
        }
        newD.toLocaleString = () => {
          return (new originalDate(newD.valueOf())).toLocaleString("en-US", {timeZone: "America/New_York"});
        };
        newD.toLocaleDateString = () => {
          return (new originalDate(newD.valueOf())).toLocaleDateString("en-US", {timeZone: "America/New_York"});
        };
        newD.toLocaleTimeString = () => {
          return (new originalDate(newD.valueOf())).toLocaleTimeString("en-US", {timeZone: "America/New_York"});
        };
        return newD;
      }
    );
    Date.now = () => { return (Date()); };
  });

  afterEach(() => {
    Date = originalDate;
  });

});

A: I had the same problem but we can use the time zone we want
we use .toLocaleDateString()
eg:

var day=new Date();
const options= {day:'numeric', month:'long', year:"numeric", timeZone:"Asia/Kolkata"};
const today=day.toLocaleDateString("en-IN", options);
console.log(today);

A: As Matt Johnson said

If you can limit your usage to modern web browsers, you can now do the
following without any special libraries:
new Date().toLocaleString("en-US", {timeZone: "America/New_York"})

This isn't a comprehensive solution, but it works for many scenarios
that require only output conversion (from UTC or local time to a
specific time zone, but not the other direction).

So although the browser can not read IANA timezones when creating a date, or has any methods to change the timezones on an existing Date object, there seems to be a hack around it:

function changeTimezone(date, ianatz) {

  // suppose the date is 12:00 UTC
  var invdate = new Date(date.toLocaleString('en-US', {
    timeZone: ianatz
  }));

  // then invdate will be 07:00 in Toronto
  // and the diff is 5 hours
  var diff = date.getTime() - invdate.getTime();

  // so 12:00 in Toronto is 17:00 UTC
  return new Date(date.getTime() - diff); // needs to substract

}

// E.g.
var here = new Date();
var there = changeTimezone(here, "America/Toronto");

console.log(`Here: ${here.toString()}\nToronto: ${there.toString()}`);

A: Try using ctoc from npm.
https://www.npmjs.com/package/ctoc_timezone
It has got simple functionality to change timezones (most timezones around 400) and all custom formats u want it to display.

A: Building on the answers above, I am using this native one liner to convert the long timezone string to the three letter string:
var longTz = 'America/Los_Angeles';
var shortTz = new Date().
    toLocaleString("en", {timeZoneName: "short", timeZone: longTz}).
    split(' ').
    pop();

This will give PDT or PST depending on the date provided.  In my particular use case, developing on Salesforce (Aura/Lightning), we are able to get the user timezone in the long format from the backend.

A: Thanks to @commonpike answer, I wrote a function which takes an ISO String date such as 2020-10-10T08:00:00.000 as input and send an object which contains 2 main properties.
The first one is fromUtc is a Date corresponding to the timeZone entered as parameter.
The second one is toUtc which lets you to format a Date stemming from fromUtc.

const timeZoneTransformer = (stringDate, timeZone = "Europe/Paris") => {
  const now = new Date();
  const serverDate = new Date(stringDate);
  const utcDate = new Date(
    Date.UTC(
      serverDate.getFullYear(),
      serverDate.getMonth(),
      serverDate.getDate(),
      serverDate.getHours(),
      serverDate.getMinutes(),
      serverDate.getSeconds()
    )
  );
  const invdate = new Date(
    serverDate.toLocaleString("en-US", {
      timeZone,
    })
  );
  const diff = now.getTime() - invdate.getTime();
  const adjustedDate = new Date(now.getTime() - diff);
  return {
    toUtc: utcDate,
    fromUtc: adjustedDate,
  };
};
const fromUtc = timeZoneTransformer("2020-10-10T08:00:00.000").fromUtc;
console.log(fromUtc);
const toUtc = timeZoneTransformer(fromUtc).toUtc;
console.log(toUtc);

A: I found the most supported way to do this, without worrying about a third party library, was by using getTimezoneOffset to calculate the appropriate timestamp, or update the time then use the normal methods to get the necessary date and time.
var mydate = new Date();
mydate.setFullYear(2013);
mydate.setMonth(02);
mydate.setDate(28);
mydate.setHours(7);
mydate.setMinutes(00);

// ET timezone offset in hours.
var timezone = -5;
// Timezone offset in minutes + the desired offset in minutes, converted to ms.
// This offset should be the same for ALL date calculations, so you should only need to calculate it once.
var offset = (mydate.getTimezoneOffset() + (timezone * 60)) * 60 * 1000;

// Use the timestamp and offset as necessary to calculate min/sec etc, i.e. for countdowns.
var timestamp = mydate.getTime() + offset,
    seconds = Math.floor(timestamp / 1000) % 60,
    minutes = Math.floor(timestamp / 1000 / 60) % 60,
    hours   = Math.floor(timestamp / 1000 / 60 / 60);

// Or update the timestamp to reflect the timezone offset.
mydate.setTime(mydate.getTime() + offset);
// Then Output dates and times using the normal methods.
var date = mydate.getDate(),
    hour = mydate.getHours();

EDIT
I was previously using UTC methods when performing the date transformations, which was incorrect. With adding the offset to the time, using the local get functions will return the desired results.

A: Try: date-from-timezone, it resolves expected date with help of natively available Intl.DateTimeFormat.
I used that method in one of my projects for few years already, but it's now I decided to publish it as small OS project :)

A: Try something like this,
public static getTimezoneOffset(timeZone: string, date = new Date()): number {
    const localDate = date.toLocaleString('fr', { timeZone, timeZoneName: 'long' });
    const tz = localDate.split(' ');
    const TZ = localDate.replace(tz[0], '').replace(tz[1], '').replace(' ', '');
    const dateString = date.toString();
    const offset = (Date.parse(`${dateString} UTC`) - Date.parse(`${dateString}${TZ}`)) / (3600 * 1000);
    return offset;
}

A: I'm not sure why all these answers are so complicated. Just use YYYY-MM-DD ZZZ when creating a date-only date in the local / desired time zone.
Create a local date:
var myDate = new Date('2022-11-29 CST')

The date will be stored in storage as UTC, great.
Get the date out of storage and display it as local:
myDate.toLocaleDateString()

11/29/2022

A: I know its 3 years too late, but maybe it can help someone else because I haven't found anything like that except for the moment-timezone library, which is not exactly the same as what he's asking for here.
I've done something similar for german timezone,
this is a little complex because of daylight saving time and leap years where you have 366 days.
it might need a little work with the "isDaylightSavingTimeInGermany" function while different timezones change on different times the daylight saving time.
anyway, check out this page:
https://github.com/zerkotin/german-timezone-converter/wiki
the main methods are:
convertLocalDateToGermanTimezone
convertGermanDateToLocalTimezone
I've put an effort into documenting it, so it won't be so confusing.

A: There are several working answers here, but somehow a lot of them seemed to get you to the string, but not back to a date object you started with, so here's my simple non-function take on how to change timezone on JS date:
var TZ='Australia/Brisbane'; //Target timezone from server
var date = new Date();       //Init this to a time if you don't want current time
date=new Date(Date.parse(date.toLocaleString("en-US", {timeZone: TZ})));
//Just a clarification on what happens
// 1) First new Date() gives you a Date object at current time in the clients browser local timezone
// 2) .toLocaleString takes that time, and returns a string if time in the target timezone
// 3) Date.parse converts that new string to a Unix epoch number
// 4) new Date() converts the Unix epoch into a Date object in the new TimeZone.
// Now I can use my usual getHours and other Date functions as required.

Hope that helps others (if you get to this bottom answer!)

A: Simple with Node.JS support
Pass in the amount of hours your timezone is offset from UTC
function initDateInTimezone(offsetHours) {
  const timezoneOffsetInMS = offsetHours * 60 * 60000;
  let d = new Date().getTimezoneOffset() * 60000 + timezoneOffsetInMS;
  const date = new Date(new Date().getTime() - d);
    return date
}

A: Was facing the same issue, used this one
Console.log(Date.parse("Jun 13, 2018 10:50:39 GMT+1"));
It will return milliseconds to which u can check have +100 timzone intialize British time
Hope it helps!!

A: //For Mumbai time difference is 5.5 hrs so
city_time_diff=5.5; //change according to your city

let time_now = Date.now();
time_now = time_now + (3600000 * city_time_diff); //Add our city time (in msec);
let new_date = new Date(time_now);
console.log("My city time is: ", new_date);


text:
Age-related differences in cutaneous warm sensation thresholds of human males in thermoneutral and cool environments
Yutaka Tochihara, Teruyuki Kumamoto, Joo Young Lee, Nobuko Hashiguchi
The purpose of this study was to investigate age-related differences in cutaneous temperature thresholds for warm thermal sensitivity in a thermoneutral (28°C) and in a cool environment (22°C). Peripheral warm thresholds were measured on nine body regions (cheek, chest, abdomen, upper arm, forearm, hand, thigh, shin, and foot) using a thermal stimulator in 12 young (22±1 years) and 13 elderly male subjects (67±3 years). The results showed that: (1) mean skin temperature did not differ by age in both environments; (2) the cutaneous warm thresholds for the hand, shin, and foot were significantly higher for the elderly than for the young in both environments (p<0.01), whereas the remaining body parts showed no age difference; (3) the most insensitive region for elderly males was the shin for both environments (p<0.01), while for young there was no statistical significant difference with Ta 28°C; (4) the shin of the elderly was seven and nine times less sensitive to warmth when compared to those of the cheek at Ta 28 and 22°C, respectively; and (5) warm thresholds were 3-4°C greater at Ta 22°C than at 28°C, only for the elderly males' shin and foot (p<0.05), while for young the difference between Ta 22 and 28°C was not statistically significant. The results indicate that age-related differences in cutaneous warm perception appear to be non-uniform over the body and significant on extremities; there is a greater bluntness of warm sensitivity in the cool environment for elderly males.
Journal of Thermal Biology
https://doi.org/10.1016/j.jtherbio.2010.11.007
10.1016/j.jtherbio.2010.11.007
Fingerprint Dive into the research topics of 'Age-related differences in cutaneous warm sensation thresholds of human males in thermoneutral and cool environments'. Together they form a unique fingerprint.
Elderly Medicine & Life Sciences
Hot Temperature Chemical Compounds
Foot Medicine & Life Sciences
Skin Temperature Medicine & Life Sciences
Temperature Chemical Compounds
hands Agriculture & Biology
Cheek Medicine & Life Sciences
Tochihara, Y., Kumamoto, T., Lee, J. Y., & Hashiguchi, N. (2011). Age-related differences in cutaneous warm sensation thresholds of human males in thermoneutral and cool environments. Journal of Thermal Biology, 36(2), 105-111. https://doi.org/10.1016/j.jtherbio.2010.11.007
Age-related differences in cutaneous warm sensation thresholds of human males in thermoneutral and cool environments. / Tochihara, Yutaka; Kumamoto, Teruyuki; Lee, Joo Young; Hashiguchi, Nobuko.
In: Journal of Thermal Biology, Vol. 36, No. 2, 01.03.2011, p. 105-111.
Tochihara, Y, Kumamoto, T, Lee, JY & Hashiguchi, N 2011, 'Age-related differences in cutaneous warm sensation thresholds of human males in thermoneutral and cool environments', Journal of Thermal Biology, vol. 36, no. 2, pp. 105-111. https://doi.org/10.1016/j.jtherbio.2010.11.007
Tochihara Y, Kumamoto T, Lee JY, Hashiguchi N. Age-related differences in cutaneous warm sensation thresholds of human males in thermoneutral and cool environments. Journal of Thermal Biology. 2011 Mar 1;36(2):105-111. https://doi.org/10.1016/j.jtherbio.2010.11.007
Tochihara, Yutaka ; Kumamoto, Teruyuki ; Lee, Joo Young ; Hashiguchi, Nobuko. / Age-related differences in cutaneous warm sensation thresholds of human males in thermoneutral and cool environments. In: Journal of Thermal Biology. 2011 ; Vol. 36, No. 2. pp. 105-111.
@article{f521584462314d39b7f25cc29b736567,
title = "Age-related differences in cutaneous warm sensation thresholds of human males in thermoneutral and cool environments",
abstract = "The purpose of this study was to investigate age-related differences in cutaneous temperature thresholds for warm thermal sensitivity in a thermoneutral (28°C) and in a cool environment (22°C). Peripheral warm thresholds were measured on nine body regions (cheek, chest, abdomen, upper arm, forearm, hand, thigh, shin, and foot) using a thermal stimulator in 12 young (22±1 years) and 13 elderly male subjects (67±3 years). The results showed that: (1) mean skin temperature did not differ by age in both environments; (2) the cutaneous warm thresholds for the hand, shin, and foot were significantly higher for the elderly than for the young in both environments (p<0.01), whereas the remaining body parts showed no age difference; (3) the most insensitive region for elderly males was the shin for both environments (p<0.01), while for young there was no statistical significant difference with Ta 28°C; (4) the shin of the elderly was seven and nine times less sensitive to warmth when compared to those of the cheek at Ta 28 and 22°C, respectively; and (5) warm thresholds were 3-4°C greater at Ta 22°C than at 28°C, only for the elderly males' shin and foot (p<0.05), while for young the difference between Ta 22 and 28°C was not statistically significant. The results indicate that age-related differences in cutaneous warm perception appear to be non-uniform over the body and significant on extremities; there is a greater bluntness of warm sensitivity in the cool environment for elderly males.",
author = "Yutaka Tochihara and Teruyuki Kumamoto and Lee, {Joo Young} and Nobuko Hashiguchi",
doi = "10.1016/j.jtherbio.2010.11.007",
journal = "Journal of Thermal Biology",
T1 - Age-related differences in cutaneous warm sensation thresholds of human males in thermoneutral and cool environments
AU - Tochihara, Yutaka
AU - Kumamoto, Teruyuki
AU - Lee, Joo Young
AU - Hashiguchi, Nobuko
N2 - The purpose of this study was to investigate age-related differences in cutaneous temperature thresholds for warm thermal sensitivity in a thermoneutral (28°C) and in a cool environment (22°C). Peripheral warm thresholds were measured on nine body regions (cheek, chest, abdomen, upper arm, forearm, hand, thigh, shin, and foot) using a thermal stimulator in 12 young (22±1 years) and 13 elderly male subjects (67±3 years). The results showed that: (1) mean skin temperature did not differ by age in both environments; (2) the cutaneous warm thresholds for the hand, shin, and foot were significantly higher for the elderly than for the young in both environments (p<0.01), whereas the remaining body parts showed no age difference; (3) the most insensitive region for elderly males was the shin for both environments (p<0.01), while for young there was no statistical significant difference with Ta 28°C; (4) the shin of the elderly was seven and nine times less sensitive to warmth when compared to those of the cheek at Ta 28 and 22°C, respectively; and (5) warm thresholds were 3-4°C greater at Ta 22°C than at 28°C, only for the elderly males' shin and foot (p<0.05), while for young the difference between Ta 22 and 28°C was not statistically significant. The results indicate that age-related differences in cutaneous warm perception appear to be non-uniform over the body and significant on extremities; there is a greater bluntness of warm sensitivity in the cool environment for elderly males.
AB - The purpose of this study was to investigate age-related differences in cutaneous temperature thresholds for warm thermal sensitivity in a thermoneutral (28°C) and in a cool environment (22°C). Peripheral warm thresholds were measured on nine body regions (cheek, chest, abdomen, upper arm, forearm, hand, thigh, shin, and foot) using a thermal stimulator in 12 young (22±1 years) and 13 elderly male subjects (67±3 years). The results showed that: (1) mean skin temperature did not differ by age in both environments; (2) the cutaneous warm thresholds for the hand, shin, and foot were significantly higher for the elderly than for the young in both environments (p<0.01), whereas the remaining body parts showed no age difference; (3) the most insensitive region for elderly males was the shin for both environments (p<0.01), while for young there was no statistical significant difference with Ta 28°C; (4) the shin of the elderly was seven and nine times less sensitive to warmth when compared to those of the cheek at Ta 28 and 22°C, respectively; and (5) warm thresholds were 3-4°C greater at Ta 22°C than at 28°C, only for the elderly males' shin and foot (p<0.05), while for young the difference between Ta 22 and 28°C was not statistically significant. The results indicate that age-related differences in cutaneous warm perception appear to be non-uniform over the body and significant on extremities; there is a greater bluntness of warm sensitivity in the cool environment for elderly males.
U2 - 10.1016/j.jtherbio.2010.11.007
DO - 10.1016/j.jtherbio.2010.11.007
JO - Journal of Thermal Biology
JF - Journal of Thermal Biology

redpajama_set_name: RedPajamaCommonCrawl


text:
'A Moral Obligation': In William Middleton's 'Double Vision,' a Superb Portrait of Dominique and John de Menil, Patrons Who Funneled Oil Fortune Into Art, Social Justice
By Andrew Russeth Posted 04/23/18 3:52 pm
A demonstration against racism outside the Rothko Chapel in Houston, after the vandalization of Barnett Newman's Broken Obelisk, January 1979. The de Menils had opened the chapel in 1971.
HICKEY-ROBERTSON/ROTHKO CHAPEL ARCHIVES
In the 80 years since the art historian Clement Greenberg noted that the upper class and the avant-garde are connected by "an umbilical cord of gold," few art patrons have proved to be as generous, adventurous, and freethinking as the French couple Dominique and John de Menil and their children, who for decades plowed a fortune derived from the Schlumberger oil-services company into art as well as political, religious, and social causes.
An erudite and vigorously researched new biography of the couple, Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (Knopf; 800 pp.; $35), by William Middleton, takes the full measure of their achievements, the well-known apotheosis of which is the Menil Collection, the masterpiece of a museum designed by Renzo Piano that opened in their adopted hometown of Houston in 1987. Free to all and utterly tranquil, the museum is the main stage for a collection now comprising more than 17,000 pieces of modern and contemporary art, plus antiquities, Byzantine art, and pieces from throughout the non-Western world.
"What I admire I must possess," Dominique once said, but Double Vision is about more than just the amassing of objects. It is a tale about two lives lived very well, and with more than a little glamor. Their love affair—sparked in 1930 at a party in Versailles, almost nixed by her parents, and sustained through letters they wrote while separated for a stretch of the Second World War—is one of a few threads that would make for a good movie. The couple's work for the French Resistance—John performing sabotage in Romania, Dominique raising funds through a little store in Caracas—is another. And the example they later set as philanthropists and collectors is vitally important to recount now: indefatigable, uninterested in trends, and committed to social justice.
Middleton has dug through archives, read voluminous correspondence, and interviewed scores of friends and acquaintances, and he provides an intimate look at the essential role that patrons can play in shaping history while fueling artists and activists. The de Menil style of patronage could be quite discreet. Hearing that Robert Rauschenberg was having cash-flow issues at one point in the 1960s, John gave him a call and asked him how much he needed to borrow. A check for $10,000 was sent over sent over straightaway. ("I never worked harder to repay a loan in my life!" the artist later quipped.)
Wanting to support Merce Cunningham's dance company in 1967, John helped arranged a fundraiser at the Glass House in New Canaan, Connecticut, the home of architect Philip Johnson, who had designed the couple's Houston home. "We'll have dinner on cushions under the trees, fireworks and dancing to Andy Warhol's Velvet Underground," John wrote, and he arranged a special train from Grand Central to bring supporters to the event. Rauschenberg designed costumes, John Cage handled the music, and Jasper Johns was artistic director. It sounds like it was quite a time.
Dominique de Menil, in the early 1950s, wearing Charles James on a Charles James
chaise longue in the de Menil house in Houston.
F. WILBUR SEIDERS/COURTESY THE MENIL ARCHIVES, THEMENIL COLLECTION, HOUSTON
One day in 1967 a chauffeur arrived at the headquarters of civil-rights organizers in Houston, on a mission to buy tickets to an upcoming fundraiser at the Coliseum with Martin Luther King, Jr., Aretha Franklin, and Harry Belafonte. He handed over a check for $25,000 and explained, "Mr. de Menil told me to tell you to give away all the tickets." (As it happened, and apparently unbeknownst to John, King had already directed the team to do just that, since the ticketing company had pulled out of the event after an office had been smoke-bombed.)
The book is filled with such tales—the de Menils providing support at just the right time and changing lives in the process. What ignited their passion? Religion, intriguingly, and especially a Dominican friar named Marie-Alain Couturier whom Dominique met in progressive Catholic circles in Paris in 1936. Couturier became a close adviser to the couple, arguing that, as their wealth grew, they should give back, in part by acquiring art for others to enjoy. Dominique explained, "He made it an obligation for us—a moral obligation—to buy good paintings, if and when we could afford it."
Neither grew up with the vertiginous wealth that they would later amass. Born as Jean in 1904 (he changed his name after settling in the U.S.), John came from a high-ranking military family titled by Napoleon in 1813 but fallen on hard times. Dominique was born in 1908 into the Schlumberger family, a well-off Protestant clan with roots in Alsace going back at least to 1400. Her father, Conrad, and uncle, Marcel, helped develop oil-prospecting technology in the 1920s that would prove indispensable to the rapidly expanding energy industry. (However, Middleton begins her story in earnest even earlier with her great-great-grandfather, the French historian and statesman François Guizot, so the book also serves as a condensed history of post-Revolution France.)
Outside the Menil Collection.
HICKEY-ROBERTSON/MENIL ARCHIVES, THE MENIL COLLECTION, HOUSTON
John and Dominique married in 1931, and after some time as a banker, John joined the Schlumberger firm, throwing himself into his work and taking an interest in oil that one might assume to be at odds with loftier artistic pursuits. But no: after visiting oil fields one day, he wrote that he "communed with the din and the brutality, taken in by this drilling industry, one of the few remaining that still has a sense of poetry." (He later coined a company slogan: "Wherever the drill goes, Schlumberger goes.")
John was the more gregarious of the pair, and more eager for the spotlight. But Dominique was formidable in her own right. (One character-building exercise enacted during her youth involved her father strapping her to the front of his car with a lantern—since automobiles did not have headlights in those days.) After John died in 1973, of cancer, at the age of 69, she continued their philanthropic quests while expanding further into the realm of human rights and collaborating on a joint prize in the field with former President Jimmy Carter. (He enjoyed working with her, though he said, noting her wealth and background, "I did feel a little like a peanut farmer in the presence of some kind of semi-royalty.")
After her husband's death, Dominique conceived and oversaw the building of the Menil Collection, scouting numerous architects before finally settling on Piano after a single meeting. "Before we begin, I have to tell you, Monsieur Piano, that I don't like the Pompidou Center at all," she told him, referring to the building he had recently received plaudits for co-designing. (As it happened, she was also a major supporter of the Pompidou.) After he accepted the commission, she told him, "Welcome to hell!" Nevertheless, they apparently got along famously.
Interior view of the Menil Collection's Oceanic galleries in the 1980s.
By the time of John's passing, the couple had lived in Houston for more than 30 years while maintaining homes in New York and France, with their steadily growing collection scattered among those locations as well as the corporate offices of Schlumberger. They had not initially planned to settle in Texas, but after the oil business and World War II delivered them there, they grew attached to the place. John once wrote to Museum of Modern Art curator Dorothy Miller that "our first responsibility is in Houston. And that is where our efforts must be concentrated because here we are almost alone."
So they brought people to town and into their lives. A fascinating cross-section of players in art history flit through Double Vision, among them Marcel Duchamp, stopping by University of St. Thomas in Houston, which the de Menils helped support for a while; filmmaker Michelangelo Antonioni, wanting to "meet a lot of rich Texans"; Marlene Dietrich, who Dominique met while interning on Josef von Sternberg's film The Blue Angel (1930); and the courtier Charles James, who designed the interior of their modernist home, to Johnson's chagrin.
Just as remarkable as the stars involved with the de Menils, though, were the lower-profile figures that are now legends in art circles. Middleton offers up succinct biographies of figures like the Jermaine MacAgy, a renowned and colorful curator who worked at the school. (Walter Hopps, another one of those people, remembered her saying, while insisting that artworks art be lower than convention: "I want my tits right in the center of the work. Hit the tits!"). Still another is the dealer Alexandre Iolas, a major supplier for the de Menils. One day he had the wily idea of closing a sale to them of a Matisse by asking the Philadelphia collector Albert Barnes to sign his guestbook. ("This is one of the greatest Matisse ever painted," Barnes wrote, and the de Menils decided to buy.)
The 20th-century galleries of the Menil Collection in 1987, with paintings visible by Georges Braque, Joan Miró, Henri Matisse, and Pablo Picasso.
Those seeking scandal will find little in Middleton's balanced book. The author lightly touches on rumors that John had an affair, notes that he and his wife were rather hands-off as parents (Dominique: "I will burn in hell for the way I treated my children"), and writes about some imperious behavior by Dominique when it came to managing the Menil Foundation's finances in its later years and, in the mid-'80s, the financially teetering Dia Art Foundation, started by one of their five children, Philippa (later Fariha Friedrich). But in those last two instances, Middleton essentially argues that Dominique made the tough-minded but ultimately correct decisions. And lest one get the wrong impression, she was not without a self-aware sense of humor. She kept a painting of a dollar sign by Warhol in her bedroom, and once told Hopps, "That is a very special icon for me. One of my most important jobs is to make sure that we always have dollars."
"Hers is one of the noblest and most heroic lives lived this century," the scholar Leo Steinberg remarked of Dominique, and indeed, one could list at length the works that she and John fostered. There is the ecumenical Rothko Chapel they built in Houston, with a Barnett Newman sculpture at its front dedicated to the civil-rights work of King. There are the books they funded—catalogues raisonnés for René Magritte and Max Ernst, plus The Image of the Black in Western Art, a multivolume tome published in conjunction with Harvard University. There are buildings in Houston dedicated to the art of Cy Twombly, a Dan Flavin installation, and 13th-century Cypriot frescoes acquired on the black market. (A bulletproof vest was commandeered for Dominique for those negotiations.)
But what shines through most in Middleton's telling is the boundless curiosity of the two French visionaries—and their willingness to operate by their own rules. "What I loved about the collection is that it was utterly unconventional," the Picasso scholar John Richardson said, noting how "how terribly conformist" most other collections he saw at the time were by comparison. That remains a problem today, with so many collectors buying up the same few artists and building seemingly interchangeable museums to display their wares. (The de Menils' support for civil rights and humanitarian causes also contrasts rather sharply with the interests of some of today's leading patrons and collectors, which include backing right-wing politicians, opposing efforts to mitigate climate change, and working to cut public-sector pensions.)
Dominique and John de Menil were immigrants who fell in love with the United States—its people and its spirit. (Not to mention its food: describing the rituals of barbecue, a new discovery for him in the 1930s, John wrote to Dominique, "C'est très sympathique.") Prior to his death, the French baron opted to be buried in a Houston cemetery, rather than be sent back to France. Dominique would join him there about a quarter-century later, after passing away on New Year's Eve of 1997 at the age of 89.
For his funeral, John specified his pallbearers, listed songs he hoped Bob Dylan might perform (a record player served as a substitute), asked that his funeral director be black, and requested that there be no eulogy. He wanted to be buried in a coffin of the "cheapest wood" and delivered to his grave by a pickup or flatbed truck. "These details are not inspired by a pride, which would be rather vain, because I'll be a corpse for the meat wagon," he wrote. "I just want to show that faith can be alive."
Dominique de Menil
John de Menil
William Middleton


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Daniel Terna, Brooklyn NY
I first met Daniel Terna through his father, painter and Holocaust survivor Fred Terna. The Ripple Project has worked with Fred on several projects, including the multimedia exhibition Mirrors, and Shared Memory, a short film about his life of survival through art and creativity. At the premier of Shared Memory, Fred revealed to me he had a 20 something year old son named Daniel — whose photography work was transitioning into the pursuit of film. Upon meeting Daniel at their brownstone in Brooklyn, I was surprised to learn this aspiring filmmaker was interested in making a film about his father's road trips across the United States with his first wife Stella some 40 years ago. Inspired by images taken by Fred and Stella, Daniel set out fo retrace their travels, retake their images and frame the story of a woman who died before he was born. The short film Daniel Terna documents this journey of discovery for The Ripple Project's Vignettes Series.
Excutive Producers: Micheal McDevitt and Liron Unreich
Directed by Dylan Angell
Director of Photography Tal Unreich
Edited by Joe Morgan
Additional footage shot by Daniel Terna
Photos by Fred Terna
Music by Phantom Fauna
Daniel Terna . Dylan Angel . NY . Ripple Project Vignettes . The Ripple Project Series One: Share Memory
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Daniela Schiller featured on Studio 360
Daniela Schiller who is featured in Reconsolidation, a segment of The Ripple Project: One was recently featured on Studio 360 performing a monologue about her experience of being filmed by the Ripple Project. Listen to it here.
Daniela Schiller . Series One / Reconsolidation: Israel . Series One / Reconsolidation: New York
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Halloween, Lower Mahattan 2012
This short film is in no way trying to give a sense of the scale of destruction that Hurricane Sandy caused NYC- compared to Redhook, the Rockaways and other parts of the city the destruction cause to lower Manhattan was comparitively slight but residents still had to endure days without power or access to basic needs as most businesses were closed beneath 34th street. This is simply a document of some of the things we saw while biking around 2 days after the storm and an attempt to capture the strange quiet mood that engulfed the city. -Dylan Angell
Directed by Dylan Angell Camera by Daniel Terna Edited by Joe Morgan Music by Jeff Tobias
Executive Producers Liron Unreich and Michael McDevitt
Lower Manhattan 2012
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Muse Films
The Ripple Project is very excited to announce our partnership with Muse Films and Television who are now working as our fiscal sponsor.
MUSE Film and Television is a non-profit executive production company that uses film and digital media to create quality films on visual art and culture. MUSE initiates projects, manages production and distribution, and disseminates films to the broadest possible audience.
MUSE coordinates and manages the production of films from inception to completion by creating partnerships with independent filmmakers, technical consultants, content advisors, broadcasters, and distributors. Using the most advanced technologies MUSE enriches its film projects through parallel productions, which include books, study-guides, DVDs, and websites.
MUSE's mission is based on the belief that film is one of the most important ways to appreciate and understand art. By examining art through historical and cultural contexts, MUSE documentaries seek to enhance the art experience.
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This week marks the one year anniversary of Occupy Wall Street. The May Day protests were one of the last major Occupy related protests to take place under the banner of the movement. After a relatively quiet winter May Day highlighted the crossroads that the movement was at, there were many questions to if the movement was growing too divided or if it could substain itself in any form and it's hard to say if any of those questions were answered on May 1st. I felt disoriented throughout the day, unsure of what to make of the events that took place. I tried to create a video that matched the feeling I had.
-Dylan Angell
Shot by Ryan Hunter
Music by Gabe Celestino
Voices sampled from May Day Radio
May Day . The Ripple Project Vignettes
The Ripple Project ONE Promo 2012
Like a stone dropped into a pond, the Shoah created ripples. Radiating outward through the lives of individuals and communities, each one contains a story that continues to impact our lives. The Ripple Project:One is a film consisting of six 20-minute chapters, each documenting the lives of ordinary people living the ripple effect of extraordinary circumstances.
The film will introduce audiences to a sharp-minded poet in Maryland who has dedicated his life to recording the stories of fellow Shoah survivors; a grandfatherly painter in Brooklyn whose art provided a means of expressing, processing and sharing experiences beyond words; a New York-based Holocaust scholar and artist who visits a Jerusalem-based painter, survivor and friend hoping to encounter a living example of the courage of clandestine artists in the camps; a Rwandan genocide survivor documenting her journey as she seeks out the wisdom and guidance from a fading generation of Holocaust survivors; a Terezin survivor and star of the children's opera Brundibar whose granddaughters in Florida who know little of their grandmother's strength and nothing of her fame; A daughter discovers synchronicity between her scientific career and her father's method of coping with his traumatic past.
While putting a human face on familiar, yet unfathomable, statistics, this character-driven narrative documentary highlights the multigenerational effect of genocide by giving audiences glimpses into the lives of survivors and their families living in communities much like our own in the United States, Europe and Israel. Each of the characters profiled conveys the responsibility of survivors and younger generations to pass on the lessons and experiences of the Shoah. Although the chapters are very much connected as present-day acts of historical remembrance, they are most basically human tales of the inheritance of creativity and the drive to share and preserve one's own legacy and family story.
The Ripple Project: One
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Miriam Friedman Morris
David Friedman(n) [1893-1980] was a renowned painter and graphics artist in Berlin renowned for his portraits drawn from life. His quick-sketching talents led to an additional career as a leading press artist of the 1920's. However, almost his complete works were looted by the Gestapo in 1941. David depicted human fate as a refugee in Prague, as a prisoner in the Lodz Ghetto, in the Gleiwitz I sub-camp of Auschwitz, and as a survivor. He survived the Lodz Ghetto by sketching portraits of officials in exchange for provisions. In Gleiwitz I, his artistic skills were recognized and his life spared by the whims of the SS. His wife and little daughter were ultimately killed despite his efforts to save them. Though David eventually remarried and built a new life first in Czechoslovakia, then Israel, Chicago, and finally in St. Louis, Missouri, he continued painting scenes from his tortured past. The responsibility of bearing witness weighed heavily on his conscience, even before his liberation. To give form to all that misery, to show it to the world – this was always his intent. Torn from his memories, he created the powerful series, Because They Were Jews!
David's daughter Miriam from his second marriage has spent her life consumed by a drive to rescue his legacy from oblivion and ensure its rightful place in history. Knowing that his work would best survive through her own perseverance, Miriam has found herself on her own journey which has led to personal discovery unveiling lost history and prewar works. David's art weaves a tapestry of the joys and horrors that he experienced, witnessed and chronicled. Significant exhibitions of her father's art resulting from her successful pursuits have created a stronger conviction to preserve the legacy of David Friedmann for future generations.
Miriam Friedman Morris . Ripple Project Vignettes
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A Day At Zuccotti Park
I first went to Zuccotti park on day three of the occupation. I biked over mid-morning and there were maybe 200 people present who had camped out from the night before. Their purpose was unclear, but their determination was apparent and their presence raised the question: Why is there not a bigger movement taking place across the United States?
Soon the movement was growing, and as it grew- it began to encompass more issues, drawing attention to more and more of the countries problems. As I spoke to people involved I realized that any one person's opinion on these issues may clash completely with the next. I realized that OWS was serving as a platform for many, a podium for anyone and everyone to voice their frustrations with the government.
There is no telling how this movement will grow and what change it will inspire- to document it seems almost to do it a disservice, to attempt to turn it into something static, to try to contain it.
I decided to film what I saw and not focus on any one person's agenda, to put politics aside and try to capture the energy of the spectacle that has inspired so many. To show the frustrations, the anger, joy, excitement, knowledge; unity that I saw on people's faces, emotions that we all share even if our opinions ultimately differ.
-Dylan
dylan@therippleproject.com
A Day at Zuccotti


I'll be putting on my 5" lift this weekend. It comes with coils and rear blocks.
I've done lifts before...but never on a 2500 SFA.
Only quick tip I know of is for realigning the track bar. Once you got all your new stuff under the front end just bolt on side up & you can start the truck and use the power steering to line the other hole up..
I used a ratchet strap to line the track bar up with the bolt location. Worked good for pulling the axle over easy. Everything else is pretty easy.
Damn...didn't know the trac bar would be the tough part. Good info tho...thanks guys.
Good luck man! We are expecting pics!
Nice! Cant wait to see it!


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Home > Blog > FIFA 22 Starts Soon | A Closer Look at FUT 22 Cheap Gems
FIFA 22 Starts Soon | A Closer Look at FUT 22 Cheap Gems
by Pavo Jurkic in Sports Games | Sep, 22nd 2021
FIFA 22 is just about to start! The all-new football simulation will officially hit the shelves on October 1st, though EA Play Pro members will start playing it a bit earlier. There's already a ton of FUT 22 content available online. Players can't wait to get their hands on the game and start building their ultimate teams.
Despite the PC version not being next-gen, PC players will still be able to get the full experience before everyone else through the EA Play Pro program. And, mind you, we're not talking about just ten hours but full experience through and through!
With everyone slapping together their first teams, our FUT 22 cheap gems ought to come in handy too! The game isn't out yet so we have no concrete prices to back our claims, but considering the overall ratings of these players, they should be relatively cheap to obtain during the first month of gameplay.
Cheap FUT 22 Gems
Here are fifteen exceptional FUT 2 cheap gems which should help you out across a variety of formations and league/nation systems.
We're talking about base cards here, which shouldn't make too big of a dent in your starting budget!
FSV Mainz's Jeremiah St. Juste has an amazing card. It's rated at just 76 overall so it should be relatively easy to obtain. It shouldn't be too expensive either, but it could be around 5-10k at the very start. How come – it's just a 76 OVR central back, right?
Well yeah, but St. Juste's card has 91 pace, 78 dribbling, 73 defense, and 74 dribbling. I know the latter isn't that important for a CB, but it' still nice to know he can get out of sticky situation with his footwork.
Gvardiol
Josko Gvardiol is a young hope of Croatian football. Even though his real-life form isn't that off the charts, his card is going to be pretty viable early on. 82 pace, 83 physique – enough said! 75 overall with such strong base stats is not to be taken for granted.
Gvardiol has some good viability early on (credit transfermarkt)
Unfortunately, the only viable connections outside of the Bundesliga are Modrić, Kovačić, and Brozović… though these cards might not be that good in terms of price/performance.
Wolfsburg's Lacroix had a majestic card last season. It was so easily connectable with top tier defenders and midfielders across the table, making it one of the cheapest yet strongest late-game defenders. His new card definitely falls under the FUT 22 cheap gems category with 88 pace, 80 defending, and 77 physique. He's 79, though – a Frenchman from Bundesliga! He might be expensive during the first week so watch out!
Klostermann can be nicely connected with either Gvardiol or Lacroix. Pick two out of these three and connect them with Mbabu – you'll be tough to beat, for sure! He's 80 OVR, though, meaning the price might be pretty high during the first week.
Mbabu is looking OP yet again (credit Wikipedia)
Mbabu's base card is, once again, looking pretty OP! Right backs are always difficult to find, especially good ones, and especially early on. Mbabu's 88 pace set him in front of his peers. He's good on his feet with 73 dribbling, is an imposing figure with 80 physique, and can defend pretty well. 74 defending; not great, not terrible!
Let's move from the Bundesliga to the Italian Serie A! We have an Englishman with 82 pace, 80 defending, and 79 physique. Not too shabby, especially for early game. If you're going to be building Serie A first eleven right off the bat, Tomori is a no-brainer!
Shiver me timbers! No jokes, Timber is going to be overused in early game. This card is the epitome of FUT 22 cheap gems. If you're going to be building a team around Dutch or Eredivisie players, Timber should be on your list.
Renato Sanches
Here we have an all-around midfielder with excellent base stats. His lowest attributes are 72 defending, 74 shooting, and 77 passing. Everything else (pace, dribbling, and physique) are at 84, rounding off an extremely well-built 80OVR package.
If Renato Sanches is too expensive at the start, you can always give Onyeka a go! Brentford's central defensive midfielder has sick 87 pace and 81 physique. 72 dribbling and 72 defending combination will give you the ability to build from the back and wrestle off the opposition's players. I'd like to see more passing, though – 66 is just too low in my books.
Mwepu
Brighton's Mwepu is a common gold player with amazing stats. A central midfielder with all stats over 70 means buinsess! His top stats are 82 pace and 79 physique. Onyeka and Mwepu could be the fiery central midfield tandem during the first week of FIFA 22.
Want to build a La Liga squad right off the bat? Or, perhaps you're interested in a French roster, perhaps even a hybrid… Camavinga, at least early on, will be on of your key players. Even though he can't shoot, he's going to be a real menace for the opposing players. He's well-rounded, can easily be connected with lots of options, and should be dirt cheap right away.
Camavinga is key to an early La Liga squad (credit Eurosport)
Gravenberch
Ajax's central midfielder Gravenberch should be a fine early game midfielder. He's Dutch, though, meaning you have very limited connectivity options. But, as a super sub, he'll do you a world of good. Price-wise, he's 78 OVR and plays in the Dutch Eredivisie, meaning dirt cheap price tag is almost guaranteed!
Southampton's Adam Armstrong has 90 pace, 77 shooting, 76 dribbling, and 71 physique. Sure, the latter isn't exactly perfect, but it's viable… especially for a 76 overall card. He's going to be expensive early on, though, not just because he's from the Premier League but because he's from England too.
Inaki Williams was a beast in FIFA 21. I remember using him heavily right off the bat, and then playing him as a supersub right up until Christmas. I just loved his card. Luckily, we have basically the same card here again!
Inaki Williams is a great striker to slot into your squad (credit AS)
He's got 94 pace, 81 physique, and 79 shooting. His passing and dribbling aren't to be taken for granted either. All in all, if you need someone who can consistently put the ball behind the opponent's goalie, Inaki is the man!
Last but not least, West Ham's Antonio! The man has been making waves in the Premier League this season, scoring four goals in as many matches, and looking absolutely terrifying. He's strong on the ball, he's fast, he can dribble, and he can finish! All of his stats (except defending) are above 73, with pace and physique being at 83. Not bad for a cheap FIFA 22 gem with just 79 overall rating!
What do you guys think about our FIFA 22 cheap gems? Are you going to use some of these players? Perhaps you have other cheap gems on your mind? Tell us more in the comments section down below!
Pavo Jurkic - Author
Pavo Jurkic is a 25-year-old esports enthusiast living in continental Croatia. Yep, you've guessed it – apart from esports, Pavo is a huge soccer fan and will never forget that dreamy July night of 2018. Esports-wise, he is in love with CS:GO, although Valorant switch seems rather inevitable at this point. As far as his writing style is concerned, Pavo is often plagued by the so-called Imposter Syndrome. His pieces are never good enough for his perfectionistic eyes and he spends more time proofreading than writing. He's also the best MGE there is… and yeah, he did pay me to write that. Come to think of it, I should've demanded more money for such a blatant lie…
Das Race Goal Premiering on Twitch: Here's What You Need to Know
LVL, a leading esports and gaming content brand, are presenting us with a unique combination […]


In this sequence cut from the hour-long version of TV Family, we hear about changes in TV families in the sixties and seventies, including fantastic sitcoms and the documentary series An American Family, as well as changes in Amarillo and in the Robertson family.
Big Change Outtake Part 1 from Ethan Thompson on Vimeo.
Part Two: In the second part, we here more about changes in the sixties and seventies, and continue on further into the dawn of the reality TV era and families on The Osbournes, Duck Dynasty, and shows like Survivor.
Big Change Outtake Part 2 from Ethan Thompson on Vimeo.
TV FAMILY will be screening Friday, April 29, at the Art Museum of South Texas. The film will start at 6 pm, followed by a discussion with the filmmaker (me!) and several of the family members who star in the documentary.
Very much looking forward to sharing the film with so many who supported it in South Texas!


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Home News Critically injured wild elephant succumbs to its injuries
Critically injured wild elephant succumbs to its injuries
By Kushan Jayawardene
The wild elephant which was found lying in a abandoned paddy field in a critical condition due to serious gunshot injuries died yesterday despite attempts of wildlife officers to save its life.
The Nikaweratiya Veterinary Surgeon for the North Western Wildlife Zone Dr. Isuru Hewakottage said the jumbo was about ten years old and about six feet tall. He said that he had rushed to the scene last Sunday (21) on information from the public and provided treatment to the jumbo but to no avail.
Dr. Hewakottage said the jumbo had been shot in the chest causing serious injuries in the internal organs and that he found several lead pellets in the lungs. The officials said the wild elephant from the Pallekele sanctuary had roamed into the village and had been shot by an unidentified individual. The carcass was handed over to the Grama Niladhari of the area for burial.
The wildlife conservators in Galkiriyagama range are conducting investigations with the assistance of the police to arrest the individual who shot the jumbo.
Power outage after 5 p.m.?
Hand grenade found at Borella All Saints' Church premises


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ACCEPTED

#### According to
Index Fungorum

#### Published in
Brittonia 19: 328 (1967)

#### Original name
Stereum macrocystidiatum A.L. Welden

### Remarks
null

redpajama_set_name: RedPajamaGithub


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Q: KNN algorithm implementation I'm creating my own implementation of KNN. Although everything seems to be working, the accuracy I get is quite poor compared to KNN from sklearn (for example 0,68 vs 0,96 tested on a few sets). I also use 5-fold cross validation. The most important part of my code is as follows:
def knn(X, y, Z, k):
    mod_lst = []
    for i in range(Z.shape[0]):
        distance = []
        for j in range(X.shape[0]):
            distance.append(np.linalg.norm(X.iloc[j] - Z.iloc[i]))
        mod_lst.append(modde(distance,y,k))
    return mod_lst

def modde(ret,y,k):
    '''sorting distances in ascending order'''
    dic = {i: ret[i] for i in range(0, len(ret))}
    dic1 = {r: v for r, v in sorted(dic.items(), key=lambda item: item[1])}
    ind = [dic1.keys()]

    a = list(dic1.keys())
    '''sorting y (labels) in ascending order'''
    d = [x for _, x in sorted(zip(a,y))]

    d = d[:k]
    d = list(map(int, d))
    modw = statistics.mode(d)

    return modw

Where:
k = 5
X - training set (data, a nxm matrix of points in R^m)
y - training set (labels, 1xn array of zeros, ones, etc)
Z - testing set

Why do my results differ with scikit-learn implementation results?

A: Quite hard to answer your question. First of all, Scikit-learn implementation has runtime optimization and contains an elaborate implementation.
The implementation of KNN (classifier) is here. I recommend you read the implementation since the new github read-code feature is enabled and it is easy to follow the implementation of the library.
For example, check here how they define the distance graph. You will notice their code differs a little bit from yours.
Also, scikit-learn uses the scipy library to compute some of the metrics, for example, the distance of points is built over the scipy pdist() function.

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text:
The Therapy Booth
resting, doodling and holding love signs
Have you met my friend?
by Carin
I feel like a broken record sometimes, posting again and again about experiencing and expressing all sorts of emotions. Here I am today, carrying on the conversation.
I have two parents who have been very focused in their work life. They've had careers straight out of graduate school that they've been thriving in ever since. They're both innovators and experts and I admire them both for what they bring to their respective fields. And I've also envied them their focus. They've known what they wanted to engage in and have been doing it for 40+ years.
In some of our classic father/daughter head butting moments, my dad has told me that I don't stick with anything. That besides my graduate degree, I don't finish anything. Okay, Dad, to be fair, it's been about a year since you've said that out loud to me (but I remember). And I've wondered about how true it is and also whether or not it's a problem. I could say that I have a short attention span. I dabble in this and dabble in that. I have an English degree, a few semesters of an Anthropology maters, a social work masters, a certification in nutritional counseling and private chef-ing, and about a billion blogs all over the internet, most of them forgotten by now.
But one thing that's been consistent over the years is this: freedom in feeling and expressing.
Let me introduce you to an old friend who can help me tell this story.
This is my beloved Sleepy Zombie Monster. He came to me on my birthday, 2007 (funny, it's the same day another long-term love showed up in my life, but that's another book in and of itself . . . ). I had been feeling sad that the fella I was into at the time wasn't contacting me in the way I wanted him to on that day. This was years before the Unfindable and Boomerang Inquiries showed up, so I didn't really know how to look into what that meant for me without taking on more self-shaming. All I knew was that he wasn't calling me and I felt bad about that. But what made it so much worse was that I also believed something was wrong with me for having that response. I spent the whole day in this fog, unable to accept the warmth and generosity that my friends were giving and feeling really really fucked up for not being able to.
That afternoon I went home and took a nap and when I woke up, I saw that the fog was clearing. And I thought, "Wow, what a zombie mood I've been in." And then, the image of this big purple furry creature with long eyelashes showed up and the words Sleepy Zombie Monster came, too. I saw, in that moment, that there was something benevolent about this creature. He was not harmful, but he was more a representation of the first line of thoughts and feelings that were naturally coming through but that were being (failingly and awkwardly) repressed by the second line of thoughts and feelings of shame, embarrassment, "what's wrong with me, even after all these years of therapy?", etc. Have you been there?
So I developed this relationship (and, following that, a workshop) with this imaginary friend. I learned that there were cues that I could notice that indicated that he was hanging around. The clearest one for me was the sense that there was a veil between me and everything I was looking at. It was almost as if I couldn't see, even though my eyes were open, because there was so much heaviness hanging over me. I learned to look for the Sleepy Zombie Monster when I recognized the cues, and I'd just turn and ask him what he wanted or needed in that moment. Sometimes he wanted to dance. Sometimes he wanted to leave where we were and wanted to go do something else. Other times he just wanted me to sit down with him and rest, breathe, relax.
He popped up on a 10-day meditation course I was on where there was no talking and nothing particularly fun to do. When I interacted with him there (and, let me tell you, it was a good place to have a friend!), I told him that we were doing this so we could be nicer to each other. He said, "I definitely want you to be nicer to me!" and so I told him we were staying for a few more day, and we held hands and took a walk together. The next time I did a 10-day course, he really wanted to comfort a gal who was in the woods crying, but we aren't allowed to interact with other people, so we just hoped she had her own Sleepy Zombie Monster and we went on about our way. (The gal ended up leaving the course the next day.)
I'm pretty sure he put in an appearance around here these past few days. I've been experiencing some deep feelings, both "good" and "bad" (that distinction, perhaps, lies at the heart of the issue, but that, too, is another post), and realized I was holding off some of both sides. The greatest freedom that came to me in this stretch was in seeing that I thought there was something wrong with feeling and thinking whatever was coming through.
In Living Inquiries, we look to see if we can actually find a separate self who is the generator and experiencer of these comings and goings. It's a beautiful process. It's especially great in this context, for one who has thought again and again that hiding out so as not to expose this natural weather of emotion was how life should be. Ugh. How miserable is that! I don't know if this is true, but it seems like I picked up some ideas in my childhood about how anger and sadness were not okay and that being cheerful and pleasant and kind and successful and smart were the only roads to love and safety and security. But I've found that to be bullshit, if you don't mind my saying so.
Actually, I don't care if you do mind. I'm saying so anyway. That's bullshit.
We are creatures with a full range of emotions and innocent thoughts. It's funny, too, how I don't analyze a thought like "I love this song," but I will analyze the heck out of "I love this man." And if my foot itches, I don't analyze or blame myself for that, but if I'm experiencing energies in the body that I might label anxiety, I am more likely to follow all sorts of thoughts about what it means about me. It's pretty classic.
In my experience so far, looking deeply into all of this begins with the allowing of it all. Including the allowing and meeting of the repression or holding-back feelings. I usually find that, once those holding-back feelings and thoughts are met, the underlying thoughts and feelings have more space to come through.
In the end, nothing sticks. I'm a fan of knowing that, too. Which is where this all ties in with expression and creativity, for me. I read something in a Natalie Goldberg book about a poem she'd written that was really sad. She reads it at public readings and she said that people often come up to her with such gloom and doom responses, asking her, "Isn't it awful to go through this again?" while she reads it. But she said no. She said that once it was written and fully expressed, it lost its charge, its own doom and gloom, and she feels quite good now, thank you very much.
So to use a word from a chat with a friend today, the ephemeral nature of everything is its own paradox. When we express fully, no holds barred, nothing but nothing can stick. It seems like it's the holding back of expressing that, in some way, keeps stuff around and makes it seem personal.
As always, I could say so much on this topic, I'll go ahead and wrap up for now. Perhaps one day this will all turn into a book. But what would it be like if I completed a book? Dad and I would have to have a new conversation.
I love you soooo much, and wish you all freedom in feeling, down to the dirtiest, up to the highest, and everything in between. Stay in touch. Love, Carina
Home The Therapy Booth
What if I don't offer you anything?
What if I don't offer you anything? Really. What if, when you come to me with a problem, I offer no solutions? What if I meet with you for an hour or so and you pour your heart out to me and tell me every thought, every feeling, every fear, and I give you nothing? Will you still make another appointment? Will you have gained something?
In Living Inquiries, I really have nothing to give you. If anything, I might take away from you, but not really. Whatever I take from you, I don't keep, though sometimes I might ask you to let me have it so that I may set it down. Let all of those words come through, and let's just set them down to the side for a moment and stay with the sensation. I might say something like that. But do you even get to keep that sensation? Can you make anything stay?
If I've done my job right, we both leave empty handed.
A friend asked me tonight what kind of concrete actions come from inquiring like this, and I replied that I don't know. It's different for everyone, just depending on how life unfolds. In inquiry, we sort of get out of our own way. The actions happen — or don't — but we're not scrambling and stumbling over thoughts and feelings and memories and anticipations in order to scrape our way there. The actions either happen, or they don't.
Do I give you power? Do I give you charm? Do I give you a better way of looking at yourself? Do you walk away from inquiry sessions with more insights and explanations?
I hope not.
I really want to leave you empty-handed. Where no way of labeling or categorizing will stick. Where no self, nor compulsive command nor threat can be found. Where all that remains is all that remains. Where even these words don't make any sense, and they don't need to.
Looking in this way is not what you think. It's not even what I think.
I can throw out lots of words to try to explain it, but the fact is, I can't. Each moment, each experience is unique to the one looking. What's happened before is irrelevant. What will happen after is too. And, we'll come to find, even the bits that are coming through right now are not who you are. There's no one here to hold it together. (On the bright side, there's no one here to come apart, either.)
Words like gentle, compassionate and safe come up for me when describing these inquiries. But in the end, even those words can only point. Come stand over here beside me, and let's look, together.
Is there anything there?
Learn more about the Living Inquiries as developed by Scott Kiloby by visiting http://www.thetherapybooth.com/living-inquiries/ . Write to thetherapybooth@gmail.com to schedule a session.
For an upcoming group course, visit http://www.thetherapybooth.com/deepening-courses/.
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Oil States International (OIS) is a oil services company that is spinning off its accommodation business, Civeo Corporation, later this month (it goes "when issued" Monday, and trades "regular way" on 6/2) after some nudging from activist investors last spring. Civeo provides accommodation services for the resources industry in remote locations, think "man camps" that kind of look like portable prison complexes. As apart of Oil States, Civeo is taxed as a C-Corp, but shortly after the spinoff Civeo's board intends to evaluate converting to a REIT structure, eliminating corporate level taxes, providing an immediate increase in the business's valuation. This isn't a new idea, but despite JANA partners and Greenlight Capital being major shareholders, there's still a significant disconnect in the combined company's current valuation.
The company has laid out the typical reasons for the spinoff: management focus, optimize each unit's capital structure, cleaner for investors to value, acquisition currency, and aligning incentives. Both businesses are attractive, it's not a classic spinoff where one of the businesses is orphaned and dumped in order to make the parent's results more appealing. However, the real value is the REIT conversion, REITs are valued more richly than C-Corps due to their tax advantaged status. The pre-spin OIS trades for roughly 7x EBITDA, lodging/multi-family REITs trade in the 15-20x range, as long as the OIS stub remains priced at 7x EBITDA, a lot of value is going to be created through the spinoff and REIT conversion of Civeo.
Civeo is a pretty unique lodging company, they provide medium term (contracts are around 3 years) accommodations services to remote resource mining operations, a valuable service since infrastructure and labor supply is lacking in these far off locations. Some of their lodges/villages can be quite large, for instance their Wapasu Creek Lodge has 5100 rooms, making it the second largest lodging property in North America behind the MGM Grand in Las Vegas.
Their operations are primarily located in the Canada oil sands region in Alberta, and around major metallurgical coal mines in Australia (as a result of the late 2010 acquisition of the MAC). Being a US based company, this exposes Civeo to considerable currency risk, in particular Australia worries me being so closely tied to the Chinese economy. Another unique feature of Civeo's business is the permanence of their real estate and how the market might value it? They focus on providing accommodations to long lived resource assets, in the 30-50 year time frame, but their lodges (at least in Canada) are on leased land, and presumably depreciation expense is more real as a result.
Civeo sports a nice growth profile as seen above. They "land bank" in growth areas like the west coast of British Columbia near potential LNG projects - their current lank bank pipeline could add another 15,000 rooms to their asset base over time.
One reason for the current discount might be due to a lack of pure comparables, do you value Civeo as a hotel REIT, multi-family/apartment REIT? I blended the two below and threw in Extended Stay, which is not a REIT but is similar in that it tries to create a medium term apartment feel in a hotel.
As you can see, this peer group average is valued at approximately 17.5x EBITDA, I would place a little discount on Civeo as a result of its dependence on the cyclical resource industry as well as the more temporary nature (temporary in the 30 years sense) of its asset base. Even putting a 15x EBITDA multiple on Civeo, backing out the $775 million in anticipated debt (and not accounting for any cash on hand) I come up with a $5.6 billion valuation, which is slightly more than the entire market cap of pre-spin OIS. Even if you disagree with the comps, multiple, or discount the 2013 EBITDA for some anticipated slowdowns in Australia and corporate overhead, you're coming close to getting the remaining OIS for free.
Post Spinoff, the Oil States stub will become a more focused energy services company with a TTM EBITDA of $435 million on $1.7 billion in revenue. I haven't spent as much time on the remaining pieces of Oil States, but assuming it remains valued at a little over 7x EBITDA (which looks reasonable given peers trade for 9-10x EBITDA) the stub is worth roughly $3 billion. Below is another list of comparables to give you an idea for where oil services companies are trading currently.
$5.6 billion for Civeo and $3 billion for Oil States gives you a pre-spin value of $160 per share. I'm sure some of my numbers are a little optimistic, using EBITDA multiples obviously has its issues, and it will take some time for the REIT conversion to take place and for investors to fully value each component, but there's upside to be had here.
Will traditional oil service company investors dump Civeo after the spin? Seems unlikely given that's what the investor base has been pushing for, but any blip due to selling pressure would be temporary.
What about OIS, will that get dumped in favor of Civeo? This appears more likely than Civeo being sold indiscriminately, however it's already cheap and would be a bite sized acquisition target for larger players in the industry.
Australia - Civeo is heavily exposed to the country's met coal market and thus the Chinese growth story which we've seen is slowing a bit and potentially in a massive housing bubble.
REIT conversion doesn't occur, it appears that the IRS is softening up its stance on these non-traditional REITs (like Iron Mountain), but with Civeo structures not being 100% permanent, I could see it being viewed with a skeptical eye.
Most value investors are aware of the spinoff strategy of buying the SpinCo after the initial wave of selling by unnatural holders or ones that don't want the orphan/bad business. But in this instance, I think that Civeo could be the more appealing company for new investors to come in post-spin due to the planned value unlocking strategy to convert to a REIT. So instead of waiting for the spin, I bought June expiration calls on OIS early last week, that way I have leveraged upside to the initial reaction to the spinoff which I expect to be positive, and the secondarily I plan to exercise the option, immediately sell OIS (unless it slumps) and hold CVEO until it converts to a REIT for that second leg up in valuation.
Last Friday, News Corp announced the purchase of Canadian media company Torstar's book business Harlequin, best known as a romance novel focused publisher, for C$455 million (or roughly 8x 2013 EBITDA of C$56 million). I think its an interesting deal for both sides, more of an incremental move at News Corp and a transformational one at Torstar.
News Corp was spun off of Twenty-First Century Fox last year (it was the spinoff but kept the name of the original parent) and unlike other recent spinoffs, the parent didn't saddle it with debt but instead let it go with $2.5 billion in excess cash. Originally News Corp created a share repurchase plan and discussed initiating a dividend, but it seems like plans have changed as neither have been utilized and instead News Corp has made a couple small digital purchases in Storyful and a UK Luxury Shopping site. Now comes a larger one in Harlequin, which is expected to be accretive to earnings and improve News Corp's free cash flow immediately.
Harlequin has a strong brand and a loyal repeat customer base but has experienced trouble making the transition from print to digital under Torstar, maybe under News Corp this trend will improve? Romance novels initially seem like a great fit to be purchased and read digitally. Books like 50 Shades of Gray are incredibly popular, yet no one likes to be seen reading a copy on the train, it's easier and more stigma free to read it on your morning commute on a Kindle. Hopefully News Corp can implement some best practices learned from HarperCollins' move to digital at Harlequin, strip out some fixed costs, and cross sell HarperCollins books through Harlequin's much larger international distribution channel. It seems like News Corp paid full price, but as a strategic buyer there are some efficiencies to be gained anyway.
I still think News Corp is an interesting spinoff as I outlined in this earlier post, they have a collection of book publishing and Australian assets that together with their cash position roughly equal the market cap of the entire company. The majority of their revenue actually comes from the remaining newspaper assets, which have strong valuable brands, but will take time to transition from print to digital. In the meantime, Murdoch has hinted at even more deals in the works, he's probably not done yet for the year.
From Torstar's angle, it was interesting to listen to their investor call on Friday, analysts were congratulating the company on getting a full valuation for Harlequin, sending the stock price up over 20% on the news. The deal is more transformational for Torstar than it is for News Corp, Torstar will use the proceeds to pay down their debt and will be left with approximately C$260 million in net cash. Initially it sounds like Torstar will be investing the proceeds into the business or making an acquisition versus returning it to shareholders. Torstar's remaining businesses include the Toronto Star, 115 weekly community newspapers, and several joint venture holdings in other media assets. Maybe they could roll-up additional community newspapers in a similar fashion to New Media's strategy? It also sports a large dividend; on the surface it still looks pretty cheap.


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During her time in The Netherlands Alma performed solo or in quartet as much as possible. Anything that she could earn found its way to London, to her father (see part 1). She had been granted permission to leave England for five months and was supposed to return by May 1940 but, encouraged by her success, she let the permit expire. Then on May 15 The Netherlands capitulated to Germany and by the end of June France had also surrendered. Alfred tried to get both Alma and Arnold to the US, but by then quotas had been introduced. Alma was stuck.
By 1941 Alma was facing increasing problems. Not only was it a risk to help a Jew, but she was sometimes difficult to handle and occasionally she seemed not to understand how dangerous her situation was and what sacrifices were made to help her.  Marie Anne Tellegen, a member of an eminent Dutch family and a resistance fighter, took Alma under her wing and convinced her that marrying an Aryan was her last chance to get papers to emigrate. The choice fell upon Constant August van Leeuwen Boomkamp, brother of the cellist Jan Carel.  The ceremony took place on March 4, 1942, but it was too late – within a couple of months Jews were forbidden to leave the country.
On December 13 Alma left her beloved Guadagnini in Jongkees' care and attempted to escape to Switzerland. There are several versions of her journey. According to the most plausible, she left with another Jew at dawn.  To keep the route and the people involved safe from infiltrators, Alma and her companion were given one address or the name of a contact at a time. A smuggler helped them to cross the Belgian-Dutch border and after several days of walking they reached Dijon, where they bought false papers to enter Switzerland. But they never managed to leave France. They were arrested on the train to Switzerland and taken to the Gestapo headquarters. It was December 19, 1942.
The concentration camp at Auschwitz-Birkenau had two orchestras. Simon Laks, conductor of the men's orchestra, recalled that the deputy commander of the women's camp, Maria Mandl, and that of the men's camp, Johann Schwarzhuber, shared 'a serious but loyal rivalry. Everyone praised the merits of his own camp chapel to the skies.'  The members of the women's orchestra lived in Block 12, close to the gas chamber. The band consisted of approximately 20 women of very mixed musical abilities. When Alma was first introduced to the orchestra, the players immediately realized that she could make something good out of them. Mandl promoted her not only to conductor, but surprisingly also to Kapo, a leading position among the prisoners that was rarely given to Jews.
Alma pressured Mandl to make concessions for the orchestra. On her request an iron stove and a piano were brought into the Music Block. Alma's musicians were not forced to work outside the camp like the other inmates, but were allowed to play in their barrack the whole day. She even manage to have them granted a short rest in the afternoon. These were huge privileges.
With Alma as conductor, the repertoire of the orchestra broadened considerably. Besides the usual military marches, chamber music and Viennese waltzes, opera, operetta, foxtrots, Gypsy songs, hits and 'German jazz' were played. The orchestra reached nearly 50 members and Alma tried to save additional lives by recruiting women as copyists or providing them with other tasks related to the orchestra. On more than one occasion, she rescued members of her orchestra who were ill and due to face another Selektion.  Alma was proud of her work. She spoke often of her father and made the women promise that whoever survived should visit him in London and tell him about the orchestra.  Anita Lasker-Wallfisch kept her promise.
After Alma's death it became clear that she had been not only the conductor but also the soul of the orchestra. A new conductor was appointed, Sonya Winogradowa, but shortly afterwards the Sunday concerts were canceled and the women were given extra work in addition to their orchestra duties. The orchestra was disbanded in October 1944, when the Jewish women were sent to Bergen-Belsen and the non-Jewish to the main camp at Auschwitz.
Alfred was informed of his sister's death on June 22, 1945. He in turn communicated it to his father. The 82-year-old Arnold never recovered from the news. He sold his Stradivari violin before the end of the year and died in August 1946.
When the book Playing for Time by Fania Fénelon,  a member of Alma's Auschwitz orchestra, was released and later turned into a movie, several other survivors challenged it.  Fénelon portrayed Alma as weak woman, servile towards the SS and senselessly cruel towards the players. Unfortunately, the success of both book and movie contributed to a distorted image of Alma Rosé for several decades and it was only with the publication of Newman's biography in 2000 that a more nuanced picture has emerged of her life and extraordinary character.
After Rosé sought refuge in England (see part 1), his daughter Alma grew worried that he would consider selling the violin. For this reason, she took the certificates with her when she went to The Netherlands in 1939 and, once she realised that she was trapped there, she sent them to her brother Alfred in the US. After the war Arnold Rosé decided to sell the violin to enable him to join Alfred in America. He played it for the last time on October 2, 1945. The violin reached Emil Herrmann's New York shop around 1947 and was later purchased by the American collector Louis E. Brooks of Marshall, Illinois, who retained possession of it until his death in 1958. The Chicago dealers Kenneth Warren & Son administered the sale of the late Brook's collection and the instrument came then into the possession of L.E. Cooper,  before being sold to Robert Mann of the Juilliard Quartet in the 1970s. In 1986 he passed the violin to his son, the violinist Nicholas Mann, founding member of the Mendelssohn Quartet.
In the 1990s Jacques Français sold the instrument for $1 million to a Japanese Bank, who in turn lent it to Anne Akiko Meyers.  It is currently part of the collection belonging to the OeNB, Oesterreichische Nationalbank of Vienna, Austria.
Gough sold the violin to Felix Eyle (1899–1988), who had been a fellow student of Alma at the Vienna State Academy of Music and was a former pupil of Arnold Rosé. According to Oestreich, Eyle 'acquired the instrument in 1947, just before becoming a concertmaster at the Metropolitan Opera, where he played until he retired in 1970. "The sound is so heavenly, so gorgeous and powerful, that it goes through anything," Eyle once said of the violin.'  Eyle gave the instrument Alma's name. Following his death, his son Nicholas decided to sell the instrument in 2001.
The violin currently belongs to a private owner.
 Newman, Richard, Kirtley, Karen, Alma Rosé – Vienna to Auschwitz, Amadeus Press, Portland, 2000, p. 165.
 Haas, Michael, From Crossover Star to Survivalist – The Unexpected Transformation of Alma Rosé, Forbidden Music Blog, January 23, 2018.
 Newman, Richard, Kirtley, Karen, op. cit., p. 125.
 Aly, Götz; Heim, Susanne, Vordenker der Vernichtung, Fischer, Frankfurt, 1991, reprint 2013, p. 390.
 Instruments of all kinds were available at Auschwitz, as Anita Lasker-Wallfisch, a member of the women's orchestra, explained: 'Auschwitz was one of the richest places in the world. All the people who were deported there had only been able to take with them in a hurry what they most cared for. Well, a musician takes his instrument with him. But as soon as they got there, everything was taken away from them.' Doerry, Martin, Nirgendwo und überall zu Haus, Deutsche Verlags-Anstalt, Munich, 2006, p. 167.
 Laks, Simon, Musik in Auschwitz, Boosey & Hawkes, Berlin, 1998, reprint 2014, p. 102.
 Herwig, Malte, Der Holocaust war in der Familie nie Thema, interview with Lasker-Wallfisch, Süddeutsche Zeitung, December 21, 2015, pp. 54–61.
 Švalbova, Margita, Elf Frauen. Leben in Wahrheit. Eine Ärztin berichtet aus Auschwitz-Birkenau 1942–1945, Plöger Verlag, Annweiler/Essen, 1994, p. 42.
 Gessler, Philipp, Musizieren, um zu leben, interview with Lasker-Wallfisch, TAZ, May 25, 2011.
 Newman, Richard, Kirtley, Karen, op. cit., pp. 236, 257.
 Lasker-Wallfisch, Anita, Ihr sollt die Wahrheit erben, Rowohlt Taschenbuch Verlag, Hamburg, 2000, reprint 2002, p. 131.
 Fénelon, Fania, Das Mädchenorchester in Auschwitz, dtv, Munich, 1981, reprint 1982, p. 231.
 Newman, Richard, Kirtley, Karen, op. cit., p. 299.
 These included meningitis (Lasker-Wallfisch, Anita, op. cit., p. 140.), typhus (Laks, Simon, op. cit., p. 103.), poisoning (Fénelon, Fania, op. cit., p. 237) and even suicide (Švalbova, Margita, op. cit., p. 52.).
 Newman, Richard, Kirtley, Karen, op. cit., pp. 305–306.
 Fénelon, Fania, Playing For Time, Syracuse University Press, new edition, 1997.
 Bejarano, Esther, Erinnerungen, Laika Verlag, Hamburg, 2013, p. 69; Lasker-Wallfisch, Anita, op. cit., p. 140.
 Newman, Richard, Kirtley, Karen, op. cit., p. 43.
 Goodkind, Herbert K., Violin Iconography of Antonio Stradivari 1644–1737, Larchmont, New York, 1972, p. 734.
 '# 3085', Jacques Français Stringed Instruments Photo Archive, Archives Center, National Museum of American History, Smithsonian Institution, Washington.
 Newman, Richard, Kirtley, Karen, op. cit., p. 68.
 Oestreich, James R., A Violinist Is Enhanced By a Violin With a History, The New York Times, New York, December 5, 2000.


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