The Advocate, The Advocates or Advocate may refer to: The Advocate, a LGBT magazine based in the United States The Harvard Advocate, a literary magazine from Harvard University Advocate: Newsletter of the National Tertiary Education Union, a newsletter of the National Tertiary Education Union The Advocate, a Contra Costa College student newspaper The Advocate, a community newspaper in Massachusetts, United States The Advocate, a daily newspaper in Baton Rouge, United States The Advocate, an Australian Catholic weekly The Advocate, a newspaper in Newark, United States Advocate, a 19th-century newspaper in Pittsburgh, United States The Advocate, a defunct African-American newspaper in Portland, United States The Advocate, a daily newspaper in Stamford, United States The Advocate, an Australian newspaper The Advocate-Messenger, a newspaper published in Danville, United States The Daily Advocate, a daily newspaper in Greenville, United States CTNow The Advocate Weekly Newspapers, a set of weekly newspapers in Connecticut and Massachusetts, United States South Cheatham Advocate, a community newspaper in Kingston Springs, United States The Advocate, a weekly student-run newspaper at the University of Pittsburgh at Johnstown "The Advocate", a hymn better known as "Before the Throne of God Above" by Charitie Lees Smith The Advocate, a French silent drama film The Advocate, a film by Leslie Megahey The Advocate, a film made in Ahmedabad, Gujarat The Advocate: A Missing Body, a 2015 South Korean film by Heo Jong-ho The Advocates, a 1990s Scottish legal drama Advocate, a documentary film by Rachel Leah Jones and Philippe Bellaiche "Advocates", a posthumous short story by Franz Kafka USS Advocate, a small fishing sloop captured from the Confederates in 1861 USS Advocate, a minesweeper launched on 1942 and transferred to the Soviet Union under Lend-Lease Advocaat, a Dutch alcoholic beverage Advocacy Advocatus, a medieval term for an advocate Lord Advocate, a legal officer of the Scottish Government and the Crown in Scotland Times-Advocate, which could refer to various newspapers
Elmo is a town in Emery County, United States. The population was 418 at the 2010 census, up from 368 at the 2000 census. Elmo is in northern Emery County, 11 miles northeast of Huntington, 16 miles south of Price. According to the United States Census Bureau, the town has a total area of 0.66 square miles, all of it land. As of the census of 2000, there were 368 people, 112 households, 93 families residing in the town; the population density was 597.9 people per square mile. There were 120 housing units at an average density of 195.0 per square mile. The racial makeup of the town was 96.74% White, 0.27% African American, 0.54% Native American, 0.54% Pacific Islander, 1.90% from two or more races. Hispanic or Latino of any race were 4.35% of the population. There were 112 households out of which 42.9% had children under the age of 18 living with them, 75.0% were married couples living together, 5.4% had a female householder with no husband present, 16.1% were non-families. 16.1% of all households were made up of individuals and 10.7% had someone living alone, 65 years of age or older.
The average household size was 3.11 and the average family size was 3.43. In the town, the population was spread out with 30.4% under the age of 18, 11.1% from 18 to 24, 20.4% from 25 to 44, 20.9% from 45 to 64, 17.1% who were 65 years of age or older. The median age was 35 years. For every 100 females, there were 96.8 males. For every 100 females age 18 and over, there were 92.5 males. The median income for a household in the town was $33,750, the median income for a family was $41,250. Males had a median income of $45,000 versus $18,333 for females; the per capita income for the town was $12,861. About 9.1% of families and 11.2% of the population were below the poverty line, including 19.6% of those under age 18 and 1.9% of those age 65 or over. Media related to Elmo, Utah at Wikimedia Commons Elmo Town at Emery County official website
"Behind the Wheel" is Depeche Mode's twentieth UK single, released on 28 December 1987, the third single for the album Music for the Masses. Peaking at #21 in the UK charts, it hit #6 in West Germany. In 1989, the single was ranked #30 on Spin magazine's list of "The 100 Greatest Singles Of All Time". "Behind the Wheel" was written by Martin Gore. "Route 66" was written by Robert William Troup Jr.. "Behind the Wheel" – 4:03 "Route 66" – 4:11 "Behind the Wheel" – 5:56 "Route 66" – 6:19 "Behind the Wheel" – 8:00 "Route 66" – 10:40 "Behind the Wheel" – 4:03 "Route 66" – 4:11 "Behind the Wheel" – 5:56 "Behind the Wheel" – 5:19 "Behind the Wheel" – 4:03 "Route 66" – 4:11 "Behind the Wheel" – 5:56 "Route 66" – 6:19 "Behind the Wheel" – 8:00 "Route 66" – 10:40 "Behind the Wheel" – 5:19The second CD is the 1992 re-release. "Behind the Wheel" – 5:56 "Route 66" – 6:19 "Behind the Wheel" – 5:19 "Behind the Wheel" – 4:03 "Route 66/Behind the Wheel" – 4:13 "Behind the Wheel/Route 66" – 7:48 "Behind the Wheel/Route 66" – 6:10 "Behind the Wheel" – 5:56 "Behind the Wheel" – 8:00 "Behind the Wheel" – 5:56 "Behind the Wheel" – 5:53 "Behind the Wheel" – 8:00 "Behind the Wheel" – 3:48 "Behind the Wheel" – 4:03 "Behind the Wheel/Route 66" – 4:29 "Route 66/Behind the Wheel" – 4:12 "Behind the Wheel/Route 66" – 7:48 "Behind the Wheel" – 8:00 "Behind the Wheel" – 5:56 The music video was directed by Anton Corbijn and included on the Strange compilation.
Shot in black and white, the video depicts Dave Gahan's car from the Never Let Me Down Again video being towed away while he waits on crutches, only to discard those crutches as he rides on the back of a Vespa SS180 driven by a female companion to a local southwestern village, where the rest of the band play the song while Gahan and the woman dance. The video features the 7" remix of the song, although an alternative video exists set to the original album version. "Behind the Wheel 2011" is a US-only promotional CD single, released 2011. The title track is a remix made by former Depeche Mode member Vince Clarke for the band's Remixes 2: 81-11 album; the single was promotional only, not for sale. It reached No. 3 on the Billboard Hot Dance Club Play chart in 2011. Track list: Behind The Wheel 2011 – 6:42 Behind The Wheel 2011 – 6:44 Behind The Wheel 2011 – 3:36 Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics
Aylesbury Hundred was a hundred in the ceremonial county of Buckinghamshire, England. It was situated in the centre of the county and was bounded on the east by Hertfordshire and on the west by Oxfordshire; until at least the time of the Domesday Survey in 1086 there were 18 hundreds in Buckinghamshire. It has been suggested however that neighbouring hundreds had become more associated in the 11th century so that by the end of the 14th century the original or ancient hundreds had been consolidated into 8 larger hundreds. Aylesbury became the name of the hundred formed from the combined 11th century hundreds of Aylesbury and Stone although these original names still persisted in official records until at least the early part of the 17th century; the court leet for Aylesbury hundred was located at Aylesbury. Aylesbury hundred comprised the following ancient parishes and hamlets, allocated to their respective 13th century hundred: List of hundreds of England and Wales
A Baroque violin is a violin set up in the manner of the baroque period of music. The term includes original instruments which have survived unmodified since the Baroque period, as well as instruments adjusted to the baroque setup, modern replicas. Baroque violins have become common in recent decades thanks to informed performance, with violinists returning to older models of instrument to achieve an authentic sound; the differences between a Baroque violin and a modern instrument include the size and nature of the neck, bridge, bass bar, tailpiece. Baroque violins are always fitted with gut strings, as opposed to the more common metal and synthetic strings on a modern instrument, played with a bow made on the baroque model rather than the modern Tourte bow. Baroque violins are played without a shoulder rest; the development of the violin started in the 16th century. "Renaissance violins" of this period are of a wide variety of sizes, from small pochettes through descant and tenor instruments, as a consort.
Around 1610, Giovanni Paolo Cima wrote the first sonatas for violin, marking the start of its use as a solo instrument. The size and broad design of the violin became consistent towards the start of the Baroque period, at about 1660. In subsequent centuries, there were a number of gradual changes to the bow; the main effect of these changes was to increase the overall sound and volume of the instrument, to improve the instrument's performance in higher registers, to enable longer legato phrases. Today's Baroque violins are set up as far as possible in the manner of violins used from 1650 to 1750. There was no single standard model of violin in the Baroque period; as now, instruments were made by individual craftsmen, to different fashions. The instruments used to play the work of Claudio Monteverdi at the beginning of the Baroque period differed somewhat from those of late Baroque composers; as a result, a modern player who plays repertoire from throughout the Baroque period but can afford only one instrument has to make a compromise with an instrument that has recognisably Baroque characteristics, but matches the instruments of any one part of the Baroque imperfectly.
The neck of a Baroque violin can be at a shallower angle to the body of the instrument than is the case on a modern violin, but again there was a great deal of variation. The neck angle can result in less pressure being exerted on the bridge from the strings; the old neck was generally glued to the violin's ribs and nailed from the inner top-block through the thicker, more sloped neck-heel, while the modern neck is mortised into an opening cut into the ribs and upper edge of the violin. The bridge in turn is shaped differently, with less mass and greater flexibility in the upper half, owing to the high placement of its "eyes"—holes on either side; the fingerboard on a Baroque violin is shorter than that on a modern violin. During the Baroque period, the use of higher positions on the violin increased. In 1600, the highest note in regular use was the C above the E-string, while by 1700 the A one octave above the E-string was common. Virtuoso violinists throughout the period continued to push the boundaries of possibility, with Locatelli reputedly playing in 22nd position.
Baroque violins are strung with gut E, A and D strings, either a plain gut G or a metal-wound gut G. The guts in question are those of sheep, wound into a material referred to as "catline", referred to as cat-gut. Baroque bows look straight or bent outwards in the middle, with an elegant "swan-bill" pointed head, they are made from strong, heavy snakewood. By contrast, a modern bow is made from pernambuco and has a marked inwards bend when the hair is relaxed, has a "hatchet" head at right-angles to the stick. Bows underwent more changes within the Baroque period. Bows of the earlier 17th century were used interchangeably between viols, they were short and light, well-suited for dance music. Italian music of the first half of the 18th century, for instance the work of Arcangelo Corelli, was played with a longer bow better suited to long, singing notes, it was in response to this continued desire for longer, more legato playing that the inward curve was introduced in the mid 18th-century, the modern bow derives from designs made by François Tourte in the 18th century.
The screw mechanism for changing hair tension is first mentioned in a French shop inventory of 1747. It was not universally accepted for over a decade as players were happy with "clip-in" models: a removable frog held in place by hair tension in a mortise carved into the stick, its tension adjusted by shims between hair and frog surface. However, baroque-style bows produced today universally adopt the screw mechanism. A Baroque violin is played in a "historical manner", using a technique and musical style intended to resemble actual baroque performance as far as possible; because this style had fallen out of use long before recording technology was invented, modern performers rely on documentary evidence to recreate a Baroque-style technique. They apply this technique to the music of the period, looking in particular for facsimile or critical editions of the music to play from, as many editions include editorial "improvements" which depart from Baroque practice. Early violins and violas were held against the left chest, below the shoulder.
By the 18th century, the typical position was a little higher, on top of the shoulder, with t
Douglas "Doug" Goldstein is an American screenwriter and television producer and director known for his work as co-head writer on the late-night animated series Robot Chicken. He won two Emmy Awards for episodes of Robot Chicken and has won one Annie Award for Robot Chicken: Star Wars Episode II. Born to a Jewish family, Goldstein was a founding member of Wizard Entertainment, wearing many hats during his 13 years at Wizard, including editor, senior editor, vice president of special projects, he conceptualized and oversaw projects involving every aspect of youth entertainment, including the publications Anime Insider, Toy Wishes, ToyFare, Sci-Fi Invasion, numerous custom publishing works on Hollywood films and entertainment properties. Goldstein was an editor and writer of the humor strip Twisted ToyFare Theater throughout its run, from 1997–2011, it has been compiled into several collected volumes. He was one of the founding members of Robot Chicken, which hired a number of other writers from Twisted ToyFare Theater.
Goldstein was a writer and associate producer on Robot Chicken's predecessor show, Sweet J Presents, a series of twelve animated shorts which ran from 2001–2002 on Sony Entertainment's Screenblast.com. Goldstein has written the half-hour animated pilot The Neighborhood for Fox Studios, developed the game show Head Games with Wild Brain, he is a writer for the Electronic Arts Spore: Galactic Adventures video game. Doug Goldstein on IMDb G4tv interview UGO.com interview