The Garibaldi Ranges are the next-to-southwesternmost subdivision of the Pacific Ranges of the Coast Mountains. They lie between the valley formed by the pass between the Cheakamus River and Green River on the west and the valley of the Lillooet River on the east, extend south into Maple Ridge, an eastern suburb of Vancouver, the northern District of Mission. To their south are the North Shore Mountains overlooking Vancouver while to their southeast are the Douglas Ranges, they take their name indirectly from Mount Garibaldi on the western side of the range, the namesake of Garibaldi Provincial Park. Their southern end between the upper Stave River and Pitt Lake is north of the municipality of Maple Ridge, forms Golden Ears Provincial Park, their most famous mountain, The Black Tusk, is not among the highest in the range. The highest peak in the range is just north of the resort, Wedge Mountain 2892 m a.k.a. Wedgemont and "The Wedge"; the northern part of the range, consisting of Garibaldi Provincial Park, is alpine in character, with large icefields and a sea of high peaks.
The southern part of the range, north of Stave Lake and between the upper Pitt River and the lower Lillooet River, has no major icefields because of the precipitous character of the network of plunging U-shaped valleys - many well over 5000' deep, with individual peaks with near-vertical flanks up to 7000'. At the core of this set of ridges decorated with sharp, spiny peaks, is the highest - Mount Judge Howay 2262 m; the southernmost major peaks of the Garibaldi Ranges are in Golden Ears Provincial Park just north of Haney, whose cluster of sugarloafs resemble a donkey's ears and, on the day of naming, were gleaming in the sunset. Garibaldi Névé Fitzsimmons Range Musical Bumps McBride Range Spearhead Range Golden Ears Misty Icefield Bastion Range Garibaldi Ranges in the Canadian Mountain Encyclopedia
Amphilectus is a genus of demosponges, comprising around 20 species found in oceans around the world. As of 2018, the following species of Amphilectus are recognized: Amphilectus americanus Amphilectus columnatus Amphilectus dactylus Goodwin, Neely & Brickle, 2011 Amphilectus digitatus Amphilectus fimbriatus Goodwin, Neely & Brickle, 2016 Amphilectus flabellatus Burton, 1932 Amphilectus fleecei Goodwin, Neely & Brickle, 2011 Amphilectus fucorum Amphilectus glaber Amphilectus informis Amphilectus laxus Amphilectus lesliei Amphilectus lobatus Amphilectus munitus Whitelegge, 1907 Amphilectus pedicellatus Amphilectus rugosus Amphilectus strepsichelifer van Soest, Beglinger & De Voogd, 2012 Amphilectus typichela Amphilectus unciger Amphilectus utriculus van Soest, Beglinger & De Voogd, 2012
José Eladio Benedicto y Geigel was the Treasurer of Puerto Rico, served as acting Governor of Puerto Rico in 1921. In his early life, Benedicto attended the University of Madrid, where he received a Bachelor of Arts degree. In 1902, he graduated with a law degree from the University of Michigan and was licensed to practice in Michigan and Puerto Rico, he subsequently was appointed as a district attorney of Puerto Rico. He worked as a law professor at the University of Puerto Rico. In 1908, he was appointed as treasurer. During World War I, Benedicto was responsible for a campaign to advertise the sale of Liberty Bonds on the island; this plan would bring in nearly $10 million for the war effort, or $9 per person in the territory. As treasurer, he fought a legal battle against the Puerto Rican American Tobacco Company; this battle made it to the Supreme Court of the United States and they issued an opinion favoring the treasurer in 1924. Shortly after Emmet Montgomery Reily was appointed as governor, Benedicto was indicted by a grand jury on corruption charges and was removed as treasurer by the governor in 1921.
However, he was acquitted of charges. Political Graveyard: Benedum to Benito COMMISSIONER DEFENDS PUERTO RICO TREASURER. By Jose E. Benedicto, Treasurer of Puerto Rico. Overland Monthly and Out West Magazine. San Francisco: Apr 1919. Vol. VOL. LXXIII, Iss. No. 4. 316, 4 pgs The Red Triangle in Puerto Rico By W. G. Coxhead, Secretary of Y. M. C. A. at Camp Las Casas. Overland Monthly and Out West Magazine. San Francisco: Apr 1919. Vol. VOL. LXXIII, Iss. No. 4. 343, 3 pgs
Niels Frederiksen is a Danish football manager, head coach at Danish Superliga club Brøndby IF. He came from a position as manager for the Denmark U21 team, has coached Lyngby Boldklub and Esbjerg fB as head coach. Niels Frederiksen is educated in economics, worked in Danske Bank for several years, while having a part time job as youth coach at B93 and Lyngby Boldklub; when Lyngby sacked Henrik Larsen in 2009, Frederiksen took over as manager. Frederiksens work with the squad was so appreciated by the club board that he was given a new contract in June 2009 lasting until June 2010. In his first full season he secured promotion to the Danish Superliga and the club decide to give him a new contract until June 2011. On 2 May 2013 it was announced that he would succeed Jess Thorup as manager of Esbjerg fB from the beginning of the 2013–14 Danish Superliga season, he was sacked on 10 August 2015 following a poor start to the 2015–16 season. On 27 August 2015 it was official, that Frederiksen was the new manager of Denmark U21.
Brøndby IF announced Frederiksen as new manager on June 1st, however Niels Frederiksen would have to lead the Denmark U21 through the UEFA Euro U-21s before starting in his new position. In Brøndby Niels Frederiksen had a mixed start result wise and a string of poor results in September saw him change the system from 4-4-2 to 3-5-2 which resulted in a derby victory against FC Copenhagen. Brøndby played in a 3-5-2 formation with Hjörtur Hermannsson, Andreas Maxsø and Sigurd Rosted in the defence neutralizing Nicklas Bendtner and Michael Santos. After winning the subsequent league game with 3-0 against Lyngby Frederiksen stated that 3-5-2 was a system, suited for the player's abilities
"Don't Miss It" is a song by English electronic music producer and singer-songwriter James Blake from his fourth album, Assume Form. It was written by Blake and produced alongside Dominic Maker of electronic music duo Mount Kimbie and Dan Foat. A lyric video was released on 24 May 2018, having been premiered that day on an episode of his BBC Radio 1 residency. However, it was only released as single by Polydor Records on 4 June of that year, it is a piano ballad with additional drums accompanied by Blake's auto-tuned vocals. The song received acclaim from music critics, however, a mixed review by Pitchfork, which labelled the track as "sad boy music" was met with a critical response from Blake, who deemed the expression "unhealthy and problematic when used to describe men just talking about their feelings." "Don't Miss It" is a piano ballad composed in the key of E major with a tempo of 70 beats per minute while Blake's vocals span a range of G#3 to F#5. The song is centered around a piano part and places a focus on Blake's auto-tuned and glitching vocals.
Programmed and live drums, tape hiss and operatic samples are added and removed throughout the track. Lyrically, the song is about. Olivia Ovenden of Esquire noted that the track was similar to Blake's song "Retrograde" and deemed the song's lyrics "particularly angsty for Blake". "Don't Miss It" received acclaim from music critics. Cerys Kenneally of The Line Of Best Fit wrote that the song "continues to encapsulate his raw talent" and added that "Blake has undoubtedly exceeded himself in terms of finding his signature sound." Variance's Tyler Schmitt called the song "stunning", writing "if you're in need of a good playlist, we've got you covered. It's just James Blake's new song on repeat." Philip Cosores, writing for Uproxx, featured the song on his "Best New Indie Music From This Week" list, writing "the tracks is another example of Blake turning his emotional vulnerability into a fine piece of art." Hypebeast's Davis Huynh featured the track on his "Best New Tracks" list, writing "it does appear that James Blake is getting back into the groove of releasing new tracks –, always a good thing."
Vulture placed the song on their "6 Best New Songs of the Week" list, calling the song "the saddest computer music that could exist" and described the track as "initially unsettling, but it all crystallizes." Complex named it one of the best songs of the month of May, calling it "a gorgeous, haunting song." Harriet Gibsone of The Guardian deemed the track one of the best of 2018. In a mixed review for Pitchfork, Kevin Lozano wrote that "'Don't Miss It,' is another beautifully brutal song to add to Blake's large catalog of sumptuous sad boy music", adding that "while it's hard to deny the prettiness of Blake's music, the mopeyness of it all is starting to feel cloistered. Maybe he needs a night out." The music magazine tweeted "Yes, James Blake is still sad", to which Blake replied "Case in point". Blake posted a letter on Twitter, writing "I can’t help but notice, as I do whenever I talk about my feelings in a song, that the words'sad boy' are used to describe it. I've always found that expression to be unhealthy and problematic when used to describe men just talking about their feelings."
He added that "we are in an epidemic of male depression and suicide" and that "we don't need any further proof that we have hurt men with our questioning of their need to be vulnerable and open." Various other artists came out in support of the singer, including Olly Alexander from British synth-pop band Years & Years and English singers Mabel and Anne-Marie. James Blake – vocals, production, co-mixing Dominic Maker – co-production Dan Foat – executive production Nathan Boddy – co-mixing Joshua Smith – recording engineering John Armstrong – assistant recording engineering Eric Eylands – assistant recording engineering
Protochronism is a Romanian term describing the tendency to ascribe relying on questionable data and subjective interpretation, an idealized past to the country as a whole. While prevalent during the regime of Nicolae Ceauşescu, its origin in Romanian scholarship dates back more than a century; the term refers to earlier roots of today's Romanians. This phenomenon is pejoratively labelled "Dacomania" or sometimes "Thracomania", while its proponents prefer "Dacology". In this context, the term makes reference to the trend to ascribe a unique quality to the Dacians and their civilization. Protochronists attempt to prove either that Dacians had a major part to play in Ancient history, or that they had the ascendancy over all cultures. Noted are the exploitation of the Tărtăria tablets as certain proof that writing originated on proto-Dacian territory, the belief that the Dacian language survived all the way to the Middle Ages. An additional—but not universal—feature is the attempted connection between the supposed monotheism of the Zalmoxis cult and Christianity, in the belief that Dacians adopted and subsequently influenced the religion.
Christianity is argued to have been preached to the Daco-Romans by Saint Andrew, considered, doubtfully, as the clear origin of modern-day Romanian Orthodoxy. Despite the lack of evidence to support this, it is the official church stance, being found in history textbooks used in Romanian Orthodox seminaries and theology institutes; the ideas have been explained as part of an inferiority complex present in Romanian nationalism, one which manifested itself in works not connected with Protochronism as a rejection of the ideas that Romanian territories only served as a colony of Rome, voided of initiative, subject to an influx of Latins which would have wiped out a Dacian presence. Protochronism most came about with the views professed in the 1870s by Bogdan Petriceicu Hasdeu, one of the main points of the dispute between him and the conservative Junimea. For example, Hasdeu's Etymologicum magnum Romaniae not only claimed that Dacians gave Rome many of her Emperors, but that the ruling dynasties of early medieval Wallachia and Moldavia were descendants of a caste of Dacians established with "King" Burebista.
Other advocates of the idea before World War I included the amateur archaeologist Cezar Bolliac, as well as Teohari Antonescu and Nicolae Densuşianu. The latter composed an intricate and unsupported theory on Dacia as the center of European prehistory, authoring a complete parallel to Romanian official history, which included among the Dacians such diverse figures as those of the Asen dynasty, Horea; the main volume of his writings is Dacia Preistorică. After World War I and throughout Greater Romania's existence, the ideology increased its appeal; the Iron Guard flirted with the concept, making considerable parallels between its projects and interpretations of what would have been Zalmoxis' message. Mircea Eliade was notably preoccupied with Zalmoxis' cult, arguing in favor of its structural links with Christianity. In a neutral context, the Romanian archaeology school led by Vasile Pârvan investigated scores of ignored Dacian sites, which indirectly contributed to the idea's appeal at the time.
In 1974 Edgar Papu published in the mainstream cultural monthly Secolul XX an essay titled "The Romanian Protochronism", arguing for Romanian chronological priority for some European achievements. The idea was promptly adopted by the nationalist Ceauşescu regime, which subsequently encouraged and amplified a cultural and historical discourse claiming the prevalence of autochthony over any foreign influence. Ceauşescu's ideologues developed a singular concept after the 1974 11th Congress of the Communist Party of Romania, when they attached Protochronism to official Marxism, arguing that the Dacians had produced a permanent and "unorganized State"; the Dacians had been favored by several communist generations as autochthonous insurgents against an "Imperialist" Rome. The regime started a partnership with Italian resident, former Iron Guardist and millionaire Iosif Constantin Drăgan, who continued championing the Dacian cause after the fall of Ceauşescu. Critics regard these excesses as the expression of an economic nationalist course, amalgamating provincial frustrations and persistent nationalist rhetoric, as autarky and cultural isolation of the late Ceauşescu's regime came along with an increase in protochronistic messages.
Vladimir Tismăneanu wrote: "Protochronism" was the party-sponsored ideology that claimed Romanian precedence in major scientific and cultural discoveries. It was the underpinning of Ceaușescu's nationalist tyranny. No longer backed by a totalitarian state structure after the 1989 Revolution, the interpretation still enjoys popularity in several circles; the main representative of current Protochronism was still Drăgan, but the New York City-based physician Napoleon Săvescu took over after Drăgan's death. Together, they is