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Midland community theater
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One of the nation's top community colleges. Choose from s of associate, certificate, transfer and job training programs. Think big. Think Delta. You will be redirected to the destination page below in 0 seconds mynewextsetup.us · Winder City Hall, 25 East Midland. Midland Community Theatre offers nine productions each year at Cole Theatre that include: Two musicals at Davis Theatre I-four performances.
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Midland Community Theatre is proud to continue its over year old tradition of excellence in theatre education with theme based classes that are both challenging and fun. Midland Community Theatre's Education Department, offering year-round theatre classes and educational programming for Pre-K through 12th grade students. Update description
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Theatre Productions, Community, Educational & European Projects
LIVE THEATRE IS BACK!
by David Calcutt & Sarah Sayeed
"A brilliant piece of theatre" - Elise Evans, Radio WM
In the aftermath of war, four characters go on a mysterious journey underground. They are haunted by visions and ghosts of the past. The things they have done, the things they have seen.
Their journey ends in a strange encounter - and a terrible beauty is born
THE AUDIENCE AND CRITICAL RESPONSE TO DESCENT HAS BEEN TERRIFIC:
" a unique theatrical journey dynamic and exciting"
"Once seen, it won't be forgotten. One of the best theatrical experiences I've seen"
"Go and see it. Truly worth it."
"AMAZING immersive show. HIGHLY RECOMMENDED!!!! An absolute must see."
We are planning to tour Descent in Watch this space for more details!
Click here to find out more about the production
Background image: Harriet Ellis as the Goddess. Photo by Lilith Piper
NEW COMMUNITY PROJECT
Exit is a new play on the theme of male suicide.
MAT is organising the Dorothy Heathcote Now conference
in October in Birmingham. For more details, click here.
MIDLAND COMMUNITY THEATRE INC
Grants to Domestic Orgs/Govts 0 %
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Benefits Paid to Members 0 %
Compensation of Officers 97, %
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Payroll Taxes 54, %
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Fees for Services - Accounting 26, %
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Advertising & Promotion 45, %
Office Expenses 19, %
Information Technology 12, %
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Travel 8, %
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Total Functional Expenses $2,, %
The ghost light at the Dock Street Theatre, home of Charleston Stage. (Photo courtesy of Charleston Stage)
Because the past several months have been filled with so many horrors, both natural and human-made, the so-called "spooky season" feels different this year. With everything going on inside and outside the theatre community, we didn't know if folks would be interested in sharing anecdotes for our annual Halloween roundup of theatrical ghost stories.
Have no fear: The response to our call for contributions was as thrilling as ever, and we hope this collection of bone-chilling tales can help raise your spirits.
Midland Community Theatre, Texas
When Ariana Cook (she/her) was a member of the Pickwick Players, the west Texas company's teen acting troupe, she expected the frights of their production of four Edgar Allen Poe adaptations, Night Chills, to be confined to the fictional world of the play. She was mistaken. Cook, now managing director of Cara Mía Theatre Co. in Dallas, recalls the legend of a ghost named Christine, who allegedly occupies MCT's studio venue. As the story goes, Christine, the daughter of a contractor charged with constructing the space, met her demise there.
"While playing on the newly installed light grid, she fell and died," says Cook. "There were many reports of strange sounds, footsteps, and moans from the catwalks of the studio theatre—and all were attributed to Christine's ghost."
During her time as a Pickwick, Cook says the apparition never made its way to the cavernous proscenium space&#;except during Night Chills.
"Backstage we began to hear moans during the show," she says, and the noises weren't coming from the sound system or the other actors. "Additionally, odd clanking sounds began to come from the grid above the mainstage, an area where Christine never roamed." Another cast member, Barbara McNealy Lott (she/her), remembers that wasn't the only peculiar activity during the run: "The elevator that normally always worked perfect during the day would shut down on odd floors."
The majority of the unexplained occurrences, Cook observes, took place during the segment that dramatized "The Tell-Tale Heart." One time during that portion of the play, notes Cook, "The stage manager angrily and urgently told the ASM to go around and account for all actors immediately, because she could see someone's lower legs and feet as they scurried across the catwalks. This was forbidden during the performance, and the stage manager assumed that some teenager was playing around." Lott underscores the gravity of the alleged offense. "Pickwicks going on the catwalk during a show was forbidden," she says. "Going on the catwalk during a show would get you kicked out of the organization and the stage manager would easily see you and call you out."
The assistant stage manager checked on all the performers and found no answers. "Everyone at the theatre was accounted for," Cook says, also noting the difficulty of reaching the catwalk in the first place. "The catwalks of the proscenium space had very few access points, and all were watched. No one ever came out."
This was all highly unusual. Lott says that in her numerous productions as a Pickwick and elsewhere, she never encountered the elevator issues, or the cast getting spooked, the way she did in Night Chills. Even so, Cook suggests the otherworldly presence was a benevolent one.
"We believe the ghostly nature of Edgar Allen Poe's stories coaxed Christine to the mainstage," she says. "We also believe she wasn't there to scare us, but to give us luck. It was her way of saying, 'Break a leg.'"
Bishop Arts Theatre Center, Dallas
Midland Community Theatre isn't the only Texas company with a rogue elevator. When, in the Pegasus City organization moved into its venue, after a complete overhaul that replaced the entire interior, the electrical room for the elevator was located near the mainstage. Executive artistic director Teresa Coleman Wash (she/her) says that placement initially proved troublesome, admitting it isn't the "best spot for an intrusive humming sound when your audience is on the edge of their seats at the height of a dramatic scene." Because "someone would inevitably push the elevator button at the most inopportune time, when you can hear a pin drop, and ruin the entire dramatic moment," Wash says, "we asked our ushers to minimize audience use of the elevator after the show started, and they were vigilant." Despite the diligence of the house staff, she says, "on several occasions, sitting at the back of the theatre, I would still hear the noise (probably because my ears were more attuned) and rush out of the theatre, only to find no one was remotely near the elevators."
A more recent addition to the BATC family says mysterious incidents aren't limited to the elevator. Executive assistant Samantha Anderson (she/her), who joined the troupe about a year ago and also serves as resident stage manager, reports frequently noticing odd shapes—as recently as the past few days.
"Quite often when I'm working either at my work computer or laptop," she says, "I'll see almost, like, a black mass," a shadowy presence right in her line of sight, near a couple of her colleagues' offices. That's not all: "Usually when we have guests touring the theatre, we'll turn on the lights in the theatre," Anderson says. "That means I'll go up to the control room and turn the board on, and I've heard footsteps clearly walking across the stage as I entered the booth." She adds that the stage floor, plus all areas of the theatre other than the stage, is entirely carpeted. "We also have lights that like to come on out of nowhere. It is usually one of the spotlights from the second floor, so I'm guessing our friendly ghost wants to put on a show!"
No matter their theatrical aspirations, Wash won't permit specters free rein over their space. "After several years of this vexation, I concluded the spirits of were running rampant in our beloved theatre home," she says. "We decided to fight fire with fire and began practicing sage smudging on the regular. I refuse to be intimidated in my own house." Has the new ritual made a difference? Yes, she says: "When most theatre doors are closed all around the country, not only are we surviving but we're thriving during a pandemic. That's proof enough for me."
American Players Theatre, Spring Green, Wisc.
Whereas Bishop Arts Theatre Center has opted to confront its spirits head on, actors Kelsey Brennan (she/her) and Andy Truschinski (he/him) describe a time they found themselves unwittingly summoning a spirit by welcoming darkness.
What were they doing in the dark? It was , and the two performers were rehearsing for the troupe's apprentice showcase presentation of Romeo and Juliet in which Brennan and Truschinski played Juliet and Romeo, respectively. Brennan recounts that they "kept getting the same note about the balcony scene: Remember that it is so dark that you can&#;t see each others' faces." So they decided to rehearse a few scenes on a night when there was no show—the only way they could get away from all light.
"When the theatre is dark at APT, it really is dark. There are no stage lights, no path lights, no house lights. Just the moon," Brennan says. They used their cell phones to illuminate their way up the hill and to the stage, where they started rehearsing the balcony scene. "It was perfect," Brennan says. "I couldn&#;t see Andy&#;s features at all, only his outline set against the glow of the beige theatre seats."
Soon, though, Truschinski began to feel like he was being watched. "Half my mind was paying attention to Kelsey," he says. "The other half was wondering about what was happening behind me, as my back was to the audience for most of it. It was just a strange feeling, not necessarily foreboding, but just that 'raise the hair on your arms' kind of tingling." Not long after, "I turned around, but I caught a glimpse of something out in the audience coming down the aisle that was darker than the dark we found ourselves in." Similarly, Brennan says, "In the middle of the scene, a second figure caught my eye. He appeared at the very top of the house, walked down the center aisle, and sat just on the edge of the eighth or ninth row."
Truschinski and Brennan separately determined this figure must be their director, who had given them the note about darkness. They finished and waited for feedback; when none came, they moved on to the scene in which the two characters meet. It was unlike their director not to offer guidance, but Truschinski guessed he didn't want to intrude.
"The weird thing to me, though, was that this shape&#;not sure what else to call it&#;seemed to just float there in the audience," Truschinski says. "Again, at no point did I ever feel like I was in danger. I just got that distinct feeling of something else was there with us."
They proceeded with their rehearsing. When they got to the moment when the characters kiss, they turned out in unison and again awaited comments from their director. "There he was, all shadow, sitting on the aisle of the row, the seat pushed down by the weight of him,&#; says Brennan. &#;Again he said nothing. This time, I was spooked."
They silently agreed they should leave. Brennan followed Truschinski up the center aisle of the house into the lobby, and got to see the figure up close. "He was still a shadow," Brennan says, "now feet away, seat down, silent, friendly, not foreboding, but clearly someone or something other than our director. I must have been imagining him." When they reached the top of the hill, Brennan grasped Truschinski's hand and started to ask, "Did you see that person—" and he interrupted, "walk down Aisle Five and sit down?!" They'd had enough. "We sprinted down the hill convinced that we had encountered something supernatural," Brennan says.
Truschinski realizes that not everyone will believe they actually saw something that night, and understands why some are skeptical. "I'm not a person to go out there and lightly throw around a ghost story, or any stories of the supernatural, for that matter," he stresses. "To this day, I can't fully explain it, but it's strange to see something darker than the dark. That's a sensation that will never leave me." Though Truschinski was hesitant to tell others about this experience, he and Brennan found a number of folks quite receptive, even suggesting that their uninvited guest was the spirit of beloved local actor Stephen Hemming (he/him). Hemming's last role was Friar Lawrence in APT's R&J, and his ashes were scattered at the theatre.
One person making that connection was longtime Core Company member Sarah Day (she/her), who was also a close friend of Hemming's. What led her to believe it was him in that seat? "Because he so loved Shakespeare&#;s plays, and all the work done on our stage," she says, "it seemed to make such sense for him to want to 'see' them&#;the next generation of players, and to be a witness to them continuing the tradition to which he had dedicated his life." That theory feels right to Brennan, especially since Hemming's final performance was as the Friar: "I like to think that night in , he reprised the role"—just for the two of them.
American Shakespeare Center, Staunton, Va.
Actors playing Juliet in the dark aren't the only people who might encounter a ghost in a balcony. Suzanne Lochner (she/her), the company's assistant box office manager and senior house manager, recalls one such incident. According to Lochner, during intermission at a December matinee of Every Christmas Story Ever Told (And Then Some!), an audience member in the balcony faltered while getting up.
"She lost her footing as she reached the stairs and started to fall backward toward the railing," says Lochner. "She would have fallen over the railing if a ghost"—or some other unseen presence—"had not intervened! The patron said as she started falling, it felt as though someone grabbed her from behind and turned her 90 degrees. Her only injury was a twisted ankle." The incident was reported to Lochner by a couple seated on the opposite side of the balcony.
That couple, Angie and Andrew Dietz, confirmed to me that they observed what Lochner describes and added that they drove the individual home after the performance. Right after the would-be fall, Lochner says, one member of the couple came down to notify her while the other stayed with the patron. She says they told her they witnessed the other theatregoer falling, certain she'd go over the railing, "when all of a sudden they saw her fall arrest in midair, and she turned as if someone had caught her and set her down.&#; It appears that someone or something not only wished to protect the audience member, but also wanted to make sure she got to see the rest of the show.
The Dock Street Theatre, Charleston, S.C.
While some spirits save a person from harm, others are out to make mischief. Beth Curley, director of marketing and resident graphic designer of Charleston Stage, the theatre company in residence at the Dock Street Theatre, has had a handful of eerie experiences in her 15 years with the organization. Sometimes when she's working late and she's the only one in the building, there are signs she&#;s not alone. All of her encounters have taken place in the third-floor administration offices, including once when she says she heard the faint sound of a woman singing down the hallway.
"I kept trying to rationalize it and convince myself that it could have been sounds traveling up from the street level into the theatre," she says, "but the singing seemed like it was coming from inside the theatre, down the hallway from the office I was in."
The theatre has a unique history—the first playhouse on the site was erected in , the current one was built as a WPA project in the s, and multiple named ghosts allegedly reside there—so perhaps it's unsurprising that uncanny occurrences are common. A number of them involve machines, including (you guessed it) the elevator. One time, Curley recounts, she went into the elevator and waited for the door to close, "but for some reason the elevator door would kick back open as if it sensed someone was trying to enter. Shortly after the door would close, and I would feel the temperature in the elevator drop and get cooler."
Box office manager Erika Greco (she/her) spent a lot of time at the theatre in fall , around the run of Nevermore! Voyage Into the Netherworld (a film of which is streaming through Nov. 6 for a donation of $10). During that period she had a number of unexplained experiences, one of them in the elevator. Because of her role she's often the last staffer in the building; once she went back into the building after hours to retrieve an item from her office. "I wasn&#;t paying much attention and got in the elevator while scrolling through my phone," she says. "The elevator door began to close, then suddenly it reopened. I looked up from my phone, fully expecting to see that someone had stuck their hand in front of the door to hold the elevator, but no one was there. No one was in the entire building. I decided whatever it was I had forgotten could wait until the morning and got out of there as fast as I could. I was not riding the elevator with whoever or whatever had just stepped on!"
On another occasion, she was preparing her lunch in the kitchen and the washing machine "started shaking violently. Not the adjacent dryer, just the washer. I walked over to it, and the washer was off, with nothing in it, but still shaking intensely. I gently placed my hands on the top of the unit, barely touching it, and it stopped shaking, just as abruptly as it had started."
Greco recalls one more incident that truly terrified her. It was late one night in the third-floor office, and everyone else had gone home. "I was minding my own business getting some work done, when suddenly the lights went out in the hallway outside our office"&#;but only those lights, not the ones in the office, which would have gone out if there'd been a power outage. "I was shaken, thinking that an intruder could be in the building, so I packed my things quickly and headed for the stairwell that I use to exit the building."
When she opened the door, however, the lights in the stairwell were off as well. There's no light switch for the stairs on that floor, so she'd need to walk down in total darkness. "Not happening. So I backtrack and take the elevator downstairs into the theatre&#;s main lobby. After my previous experiences with the elevator, I did not want to do this, but it seemed better than the pitch-black stairs with lots of doors and dark corners." When she got off the elevator on the main floor, it was dark there too. The most bizarre part? "The classical music played in our lobby before shows was blaring! I ran through the theatre as fast as I could, keeping a close eye out for signs of life (or afterlife), not seeing anyone. Thankfully I got out of there safely, and even worked up the nerve to peer back in some of the windows to see if I could find any staff members who might have messed with the switches or played a joke, but there was no one to be found."
Greco relayed these experiences to me while sitting outside. As she did so, she says, "a lizard just jumped on my back and scared the daylights out of me." She adds with a grin, "Welcome to Charleston, y'all, where if the ghosts don&#;t getcha the critters most certainly will."
Russell M. Dembin (he/him) is a former managing editor of this publication.
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ARTS COUNCIL OF MIDLAND: Midland Community Theatre Presents The Music Man to be held Feb. 21
Arts Council of Midland issued the following announcement.
Name: Midland Community Theatre Presents The Music Man
Date: February 21,
Time: pm
Location: Midland Community Theatre
Midland Community Theatre Presents The Music Man
Harold Hill, a fast-talking con man, plans to trick the people of River City, Iowa into starting a boys' band by selling them the uniforms and instruments.
He vows to organize the band for the town despite the fact that he doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he comes face to face with Marian, the town librarian, who suspects Harold is not what he claims to be.
As Harold begins to develop feelings for Marian, he has to make a choice: skip town with the cash, or become a respectable citizen with Marian's help. Filled with iconic, show-stopping musical numbers, The Music Man is a delight for audience members of all ages!
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NASHVILLE, Tenn. (TSU News Service) – Even with the development of a widely recognized astronomy program that saw the construction of a robotic observatory center, and the detection of a planet orbiting another star – all under his watch – Michael Busby is not jumping at any credit for a mounting of scientific advances at Tennessee State University.
"I have been fortunate to work with some very talented and gifted people who made these things possible," said Busby, who retired June 30 from TSU after nearly 44 years as an engineer, professor and administrator.
"It's been a rewarding experience. I owe Tennessee State University so much to have been put in positions where I did not only use my talent but was given opportunities to work with some very incredible people and administrators to help us achieve so much," Busby said.
Recounting his years at TSU, Busby, 69, was visibly emotional when he talked about the satisfaction he received when the University gave him his first "big career break" to join the faculty in 1972, not long after earning a Ph.D. in mechanical engineering from the University of Tennessee.
"Although I had a job working for a company briefly after I left UT, I found the opportunity to work at TSU and interact with so many students and other faculty to be an excellent career start," Busby added.
He talked about many achievements, but for him what stood out the most was the opportunity to head the newly established Center of Excellence, a multidisciplinary research laboratory founded in 1986 within the state-wide Centers of Excellence program to increase the research base of Tennessee, as well as serve as a research resource for faculty and students of TSU.
"The center allowed us to advance in so many areas, collaborate with many national and international scientific and government agencies and institutions, and to develop faculty and students who are considered among the best in the nation," Busby said.
Under Busby's watch, the center established an Automated Astronomy Group of faculty, graduate and undergraduate students, researchers, and support staff with automated telescopes, advanced control systems and systems identification, and applied mathematics. The automated astronomy research program began as a collaborative effort with Vanderbilt astronomers to study a mysterious new class of variable stars. TSU now owns and operates eight robotic telescopes at the Robotic Observatory Center in the Patagonia Mountains near Washington Camp, Arizona.
On Nov. 14, 1999, a team led by TSU astronomer Greg Henry, announced the discovery of a shadow of a planet crossing a distant star. The discovery made national and international news.
"…I want America to know about your enormous contributions to research. I want every American to know that last November, Tennessee State astronomers made the world's first direct detection of a planet orbiting another star," then President Bill Clinton announced at the annual National Association for Equal Opportunity in Higher Education Leadership Award Banquet in Washington, D.C., on Feb. 16, 2000.
"That was a crowning moment for the Center of Excellence and the Automated Astronomy Group…all because we had outstanding scientists and people doing what they are good at," Busby added.
For a mechanical engineer with no specific background in astronomy, bringing the program together with the right people in place, and to achieve such prominence, speak to Busby's "outstanding leadership and managerial genius," one colleague said.
"His vision and management style made all the difference," said Henry, an original member of the Automated Astronomy Group who has been with the University since Busby brought him on nearly 25 years ago.
In the 26 years since its establishment, the COE has brought in more than $40 million in external funding through grants, and total faculty publications in refereed and non-refereed journals is nearly 1,300. Student support for an average 41 undergraduate and 10 graduate students per year is about $500,000.
With all of these achievements, no doubt colleagues and administrators see Dr. Busby's departure as a "huge" vacuum being created at the University.
In addition to teaching and heading the COE, Busby also served in many other capacities over the years. One of his last roles was serving as interim associate vice president for Research and Sponsored Programs, a position he held until his retirement and the subsequent hiring of a new associate vice president.
The new Associate Vice President, Dr. Lesia L. Crumpton-Young, who worked with Busby for several months before his retirement, described the longtime TSU professor and administrator as providing "outstanding leadership that significantly impacted the research notoriety" of the Center of Excellence in Information Systems.
"Mike Busby has worked tirelessly to grow the research enterprise at TSU and we are truly grateful for his leadership and long-term commitment to the University," Crumpton-Young said.
As he leaves, Busby said he is very optimistic about the future of the center and the University.
"I am very pleased with the kind of people and administrators we have in place at the institution. We have people who truly care about TSU and who want to take TSU to places it's never been before," Busby said.
About retirement, Busby said he is going to stay busy spending more time with his wife of 51 years, and keeping up with an engineering consultancy he has long been involved with, except this time, he will control his own time.
"I am retiring with a great deal of joy," the Goodlettsville, Tennessee native added.


text:
\section{Introduction}
\label{sec: intro}
Multiple fundamental frequency (MF0) estimation is an essential problem in analyzing various multi-component signals including
multi-talker speech \cite{pirker2011pitch, wu2003multipitch}, polyphonic music \cite{benetos2013automatic},
fetal electrocardiogram (FECG), photoplethysmographic (PPG) signals \cite{zhang2015troika}, and IoT sensor data \cite{li2015eperiodicity}, to name but a few.
Numerous methods have been proposed to enhance the saliency of F0s in the signal representation, such as the autocorrelation function (ACF) \cite{rabiner1977use}, generalized cepstrum \cite{kobayashi1984spectral}, nonnegative matrix factorization (NMF), MUltiple SIgnal Classification (MUSIC) \cite{christensen2008multi},
combined frequency and periodicity (CFP) \cite{su2015combining, su2016exploiting, lin2017wave}, and deep learning approaches \cite{Verma2016FrequencyEF}.
The generalized cepstrum, being one of the earliest proposed MF0 estimation methods \cite{kobayashi1984spectral}, still gains attention in recent years, by showing its effectiveness in suppressing the unwanted harmonics and in localizing the F0 components by combining it with a spectrum \cite{su2015combining, su2016exploiting, peeters2006music}. A recent study further proved that a cepstrum can perfectly localize the instantaneous F0s of a signal with the intrinsic mode function (IMF) type \cite{lin2017wave}, a general type of non-stationary oscillatory signals.

One issue which is relatively less discussed in MF0 estimation is the so-called \emph{convolutional} noise in signals \cite{hermansky1993recognition}.
Convolutional noise is ubiquitous; it occurs when signals are transmitted through an intermediate channel or device.
An MF0 algorithm usually fails in the presence of convolutional noise, for example, in the processing of audio signals played by a smartphone, as the response of a smartphone speaker typically behaves like a high-pass filter whose cutoff frequency is around 500 Hz \cite{mauch2013audio,su2015combining}. Such a high-pass filter suppresses the true F0 peaks, as similar to the case of the ``missing fundamental'' effects in low-pitched musical signals \cite{rossing2002science}. In such cases, to identify the true F0 peaks merely from the interleaved harmonics of multiple components is challenging.

In this paper, we generalize the notion of cepstrum to resolve the above-mentioned issue in MF0 estimation.
The proposed \emph{multi-layered cepstrum} (MLC) refines the saliency of the F0s in a recursive manner.
In a nutshell, the MLC takes the operation of cepstrum (i.e., Fourier transform, filtering and nonlinear activation) repeatedly: for a time-domain input signal $\mathbf{x} \in \mathbb{R}^N$, $l\geq 0$, the $l^{\textrm{th}}$-layer output of MLC is:
\begin{equation}
\mathbf{z}^{(0)}=\sigma^{(0)}\left(|\mathbf{F}\mathbf{x}|\right)\,,\quad \mathbf{z}^{(l)}=\sigma^{(l)}\left(\mathbf{W}^{(l)}\mathbf{F}\mathbf{z}^{(l-1)}\right)\,, \nonumber
\end{equation}
where $\mathbf{F}\in\mathbb{C}^{N\times N}$ is the $N$-point discrete Fourier transform (DFT) matrix, $\mathbf{W}\in\mathbb{R}^{N\times N}$ is a high-pass filter, and $\sigma(\cdot)$ is an element-wise power-scaled rectification unit (see Section \ref{sec:MLC}).
In the following sections, we will explain how the idea of MLC is motivated, how it works in MF0 estimation, and its structural resemblance to multi-layered perceptrons (MLP). We will then focus on combining two MLCs lying in both the frequency and time domains to achieve MF0 estimation by employing the CFP approach.
Experiments on both synthetic and real data demonstrates the effectiveness of MLC in MF0 estimation in both normal and contaminated conditions,
and indicate positively the fact that MLC performs better than other methods based on a `shallow' DFT.
\vspace{-0.3cm}
\section{Motivation of MLC}

The \emph{cepstrum} $\hat{\mathbf{z}}:=\mathbf{F}^{-1}\sigma(\mathbf{F}\mathbf{x})$ of $\mathbf{x}$
\cite{bogert1963quefrency, Oppenheim_Schafer:2009} is a classic method to estimate the F0 of $\mathbf{x}$.
A logarithm cepstrum employing $\sigma(x):=\log x$ is commonly used in single F0 estimation, while the \emph{generalized cepstrum} (GC) employing $\sigma(x):=x^{\gamma}$, $0<\gamma\leq 2$, is found more applicable in MF0 estimation, probably because it is numerically more stable than using the logarithm function and is more robust to noise
\cite{tolonen2000computationally, klapuri2008multipitch}.
Cepstrum-based MF0 estimation is based on an assumption that the fast-varying components in a spectrum (e.g., harmonic sequences) are relevant to F0s, while the slow-varying ones  (e.g., spectral envelope) are irrelevant to F0s. Saliency of F0s can be enhanced in the \emph{quefrency}\footnote{Since the quefrency has the same unit as time, in this paper, the terms quefrency and time are used interchangeably.} domain by taking another Fourier transform and a high-pass filter with a cutoff quefrency at $q_c$ on a nonlinearly-stretched spectrum, where the nonlinear operation is to fit the magnitude of the spectrum to humans' perception scale.

To motivate the MLC, we revise the above-mentioned assumption to that 1) the fast-varying and \emph{periodic} components in a spectrum are relevant to F0s while others are not, and that 2) such periodic components still remain periodic (and therefore fast-varying) after a Fourier transform, which is a basic property of DFT. These assumptions allow us to consider
repeating the operation of cepstrum on $\mathbf{x}$ to iteratively discard the slow-varying or aperiodic components and to purify the F0-relevant components, which should remain after a number of filtering processes.
This idea has been preliminarily verified in \cite{su2017HSP_DNN}, where the \emph{generalized cepstrum of spectrum} (GCoS), being the $2^{\text{nd}}$layer output of the MLC, behaves as a more succinct feature indicating the F0 peaks than a spectrum. This paper is an extension of \cite{su2017HSP_DNN}
to a multi-layered time-frequency analysis tool.

Admittedly, the above-mentioned idea is also motivated by deep learning, which catches wide attention recently in MF0 estimation \cite{sigtia2016end, Verma2016FrequencyEF, BittnerDeepSalience17,thickstun2016learning,elowsson2018polyphonic}. Not only achieving state-of-the-art results, deep learning also provides inspiring observation when solving the MF0 estimation problem. For example, results in \cite{Verma2016FrequencyEF} show that the learned networks for melody tracking resemble traditional pitch detection methods: the first layer behaves like a spectral analyzer, while the second layer behaves like a comb filter. It is again intriguing to consider a multi-layered network for MF0 estimation, where the well-known pitch detection blocks such as the Fourier transform and filters are taken directly as subnetworks.

\section{The MLC-CFP method}

\label{sec:MLC}
We formulate the MLC of a non-stationary signal $\mathbf{x}$ in the time-frequency or time-quefrency domain. Given
a window function $\mathbf{h}\in\mathbb{R}^N$ and hop size $H$, the short-time Fourier transform (STFT) of $\mathbf{x}$, $\mathbf{X}:=\mathbf{X}[k,n]$, is represented as
$\mathbf{X}:=\mathbf{X}[k,n]=\sum^{N-1}_{m=0} \mathbf{x}[m+nH]\mathbf{h}[m]e^{-\frac{j2\pi km}{N}}$,
where $\mathbf{X}\in\mathbb{C}^{N\times M}$, $M$ is the number of frames, $k$ is the frequency index, and $n$ is the time index.
Denote $|\mathbf{X}|$ the element-wise absolute value of $\mathbf{X}$. The $l^{\textrm{th}}$-layer short-time MLC is:
\begin{equation}
\mathbf{Z}^{(0)}:=\sigma^{(0)}\left(\left|\mathbf{X}\right|\right)\,,\quad \mathbf{Z}^{(l)}:=\sigma^{(l)}\left(\mathbf{W}^{(l)}\mathbf{F}\mathbf{Z}^{(l-1)}\right)\,, \label{eq:klayer_ceps}
\end{equation}
where $\mathbf{Z}^{(l)}\in\mathbb{R}^{N\times M}$, $\mathbf{Z}^{(l)}:=\mathbf{Z}^{(l)}[k,n]$ for even $l$, $\mathbf{Z}^{(l)}:=\mathbf{Z}^{(l)}[q,n]$ for odd $l$, and $q$ is the quefrency index. $\sigma^{(l)}$ is a nonlinear, element-wise power function such that for $\gamma_l>0$, $\sigma^{(l)}\left(x\right) = x^{\gamma_l}$ for $x>0$, and $\sigma^{(l)}\left(x\right) = 0$ for $x\leq 0$. With the $N$-point DFT matrix $\mathbf{F}$, the frequency resolution of $\mathbf{Z}^{(l)}[k,n]$ is $f_s/N$ per bin, and the time resolution of $\mathbf{Z}^{(l)}[q,n]$ is then $1/f_s$ per bin.
$\mathbf{W}^{(i)}\in\mathbb{R}^{N\times N}$ represents a high-pass filter; it filters out the elements lying below a cutoff frequency (quefrency) $i_c$. More precisely, $\mathbf{W}^{(l)}$ is a diagonal matrix such that $\mathbf{W}^{(l)}[i,i]=1$ when $i>i_c$ and $i<N-i_c$, while $\mathbf{W}^{(l)}[i,i]=0$ otherwise.
For even $l$, $i_c:=k_c$ defines the cutoff frequency at $f_c=k_cf_s/N$, and for odd $l$, $i_c:=n_c$ defines the cutoff quefrency at $q_c=n_c/f_s$. Also note that since $\mathbf{Z}^{(l)}[:,n]$ is even for $l>2$, we use $\mathbf{F}$ instead of $\mathbf{F}^{-1}$ when transforming from the frequency domain to the time domain.
Many of the basic pitch detection functions are essentially special cases of (\ref{eq:klayer_ceps}). For example, $\mathbf{Z}^{(0)}$ is the STFT of $\mathbf{x}$, and $\mathbf{Z}^{(1)}$ is known as the autocorrelation function (ACF) for $\gamma_0=2$ and $\gamma_1=1$.
(\ref{eq:klayer_ceps}) also resembles a DNN structure with zero bias vector: $\mathbf{W}^{(l)}\mathbf{F}$ resembles the fully-connected layer and $\sigma^{(l)}$ resembles the activation function.

To enhance the true F0 components and suppress the high-order harmonics, consider the last two output layers, $\mathbf{Z}^{(l_e)}$ and $\mathbf{Z}^{(l_o)}$, of an MLC, where $l_e$ is even and $l_o$ is odd. $\mathbf{Z}^{(l_e)}$ is in the frequency domain and $\mathbf{Z}^{(l_o)}$ is in the quefrency domain. Based on the CFP approach, we utilize the duality between them to enhance the saliency of F0 by employing a nonlinear mapping to $\mathbf{Z}^{(l_o)}$ from the quefrency domain to frequency domain, and then multiplying it by $\mathbf{Z}^{(l_e)}$ \cite{peeters2006music, su2015combining,su2016exploiting,lin2017wave}:

\begin{equation}
\mathbf{Y}^{(l_e, l_o)}[k,n]=\mathbf{Z}^{(l_e)}[k,n]\mathbf{Z}^{(l_o)}\left[\lfloor N/k\rceil,n\right]
\label{eq:fusion}
\end{equation}
where the time-quefrency representation $\mathbf{Z}^{(l_o)}[k,n]$ is nonlinearly mapped into the frequency domain, and $\lceil\cdot\rfloor$ is the rounding function. Since $\mathbf{Z}^{(l_o)}$ suppresses the harmonic peaks in $\mathbf{Z}^{(l_e)}$ while $\mathbf{Z}^{(l_e)}$ suppresses the sub-harmonic peaks in $\mathbf{Z}^{(l_o)}$, the resulting CFP representation $\mathbf{Y}^{(l_e, l_o)}:=\mathbf{Y}^{(l_e, l_o)}[k,n]$ has only true F0 peaks enhanced. The nonlinear mapping of $\mathbf{Z}^{(l_o)}$ in (\ref{eq:fusion}) can be implemented by a filterbank following a custom-defined indexes of $k$; see \cite{su2016exploiting,su2017HSP_DNN} for details. We name the above process as the MLC-CFP algorithm hereafter.

\begin{figure*}[t]
\includegraphics[width=\textwidth]{synthetic_result.png}
\centering
\caption{Simulation result. Upper: $\mathbf{x}$; lower: $\hat{\mathbf{x}}$. From left to right: $\mathbf{Z}^{(0)}$ (power-scale spectrogram), $\mathbf{Z}^{(1)}$ (GC), $\mathbf{Z}^{(2)}$ (GCoS), and $\mathbf{Y}^{(2,1)}$ (CFP representation). The window size is 8 seconds and the hop size is 1 second. }
\label{fig:2layer_ddft}
\end{figure*}

\section{Numerical results}

We illustrate the effectiveness of the MLC-CFP method in emphasizing F0 peaks of a simulated signal contaminated with both additive and convolutional noise. Given two components, $\mathbf{x}_1$ and $\mathbf{x}_2$, both are sampled at $f_s=1$ kHz. $\mathbf{x}_1$ is a square wave having 20\% duty cycle, and has a constant F0 at $2$ Hz. $\mathbf{x}_2$ is a frequency-modulated sawtooth wave with positive ramp and vertical drop, and has time-varying F0 represented as $f_0[n] = 2.5+\cos(2\pi n/10f_s)$. To simulate the effect of convolutional noise, $\mathbf{x}_1$ is passed through a 10th-order Butterworth low-pass filter, and $\mathbf{x}_2$ is passed through a 10th-order Butterworth high-pass filter. Both filters have a cutoff frequency at 10 Hz. We consider the 2-layer MLC of two sample signals: the first one is $\mathbf{x} = \mathbf{x}_1 + \mathbf{x}_2$, which is with convolutional noise only, while the second one, $\tilde{\mathbf{x}}=\mathbf{x}_1+\mathbf{x}_2+\mathbf{n}+\mathbf{d}$, is further contaminated with additive pink noise and impulse noise, where $\mathbf{n}$ is additive pink noise making the SNR of $\tilde{\mathbf{x}}$ be 10 dB and $\mathbf{d}$ is an impulse at the 80th second.

Fig. \ref{fig:2layer_ddft} shows the STFT ($\mathbf{Z}^{(0)}$), GC ($\mathbf{Z}^{(1)}$), GCoS ($\mathbf{Z}^{(2)}$), and CFP representation ($\mathbf{Y}^{(2,1)}$) of $\mathbf{x}$ and $\hat{\mathbf{x}}$, respectively. The parameters $[\gamma_0, \gamma_1, \gamma_2] = [0.24, 0.6, 1]$ are used. For the STFT of both samples, the F0 peaks and the low-order harmonics of $\mathbf{x}_2$ are all unseen, and only the first 5 multiples of $\mathbf{x}_1$ are visible due to low-pass filtering. To capture the true F0 of $\mathbf{x}_2$ from the STFT is very challenging. However, such information can be found in the GC: although high-pass filtering noise attenuates the true F0 component in the spectrum, it does not change the period of the signal. Such a phenomenon can also be seen in the case with pink noise. The true F0 trajectory then appears in the GCoS with high resolution; this is because the nonlinear scaling of the GC provides the mechanism to \emph{down-mixing} the frequency when it is transformed back to the frequency domain. Interestingly, we can see that although the true F0 of $\mathbf{x}_2$ is missed, the resulting F0 trajectory of $\mathbf{x}_2$ has resolution even higher than the one of $\mathbf{x}_1$. Since most of the harmonic peaks of $\mathbf{x}_1$ are eliminated, its spectrum cannot support better resolution when transformed to the quefrency domain. Finally, the CFP representation computed through (\ref{eq:fusion}) clearly indicates the true F0 trajectories of $\mathbf{x}_1$ and $\mathbf{x}_2$ with less interference.

\section{Real-data Experiments}

\begin{table*}[t]
\centering
\caption{Comparison of different layer combinations and testing method on the Bach10 dataset.}
\label{table:comparison}
\small
\begin{tabular}{|c|ccccccccc|cccc|ccc|}
\hline
Layers              & \multicolumn{9}{c|}{Brute Force}                                   & \multicolumn{4}{c|}{Greedy}
& \multicolumn{3}{c|}{SGD (10-fold CV)}\\ \cline{2-17}
$\{L, L+1\}$ & $\gamma_0$  & $\gamma_1$  & $\gamma_2$  & $\gamma_3$  & $\gamma_4$  & $\gamma_5$  & P (\%) & R (\%) & F (\%) & $\gamma_i$    & P (\%) & R (\%) & F (\%)
& P (\%) & R (\%) & F (\%) \\ \hline
0th \& 1st         & 0.3 & 1   & x   & x   & x   & x   & 77.72   & 83.51 & 80.51 & 0.33 & 78.05   & 83.57 & 80.71
& 77.67 & 78.43 & 78.05\\
1st \& 2nd         & 0.3 & 0.5 & 1   & x   & x   & x   & 80.55   & 87.20 & 83.74 & 0.48 & 81.05   & 85.23 & 83.09
& 79.35 & 88.10 & 83.50\\
2nd \& 3rd         & 0.2 & 0.6 & 0.9 & 1   & x   & x   & 79.33   & 89.93 & 84.30 & 0.71 & 80.28   & 86.66 & 83.35
& \textbf{82.61} & 85.99 & \textbf{84.26}\\
3rd \& 4th         & 0.1 & 0.9 & 0.9 & 0.5 & 1   & x   & 81.06   & 90.80 & 85.66 & 0.65 & 80.16   & 87.08 & 83.47
&81.02 & 85.83 & 83.36\\
4th \& 5th         & 0.1 & 0.9 & 0.9 & 0.7 & 0.8 & 1   & 81.14   & 90.67 & 85.64 & 0.78 & 80.20   & 87.27 & 83.58
& 81.80 & \textbf{86.22} & 83.95\\
5th \& 6th         & 0.1 & 0.9 & 0.9 & 0.7 & 0.8 & 0.5 & \textbf{82.35}   & \textbf{91.10} & \textbf{86.50} & 0.70 & \textbf{80.29}   & \textbf{87.57} & \textbf{83.77}
& 81.97 & 82.18 & 82.07\\ \hline
\end{tabular}
\end{table*}

We apply the MLC-CFP method for MF0 estimation of polyphonic music data, and investigate the effects of 1) the number of layers, 2) critical parameters $\gamma_i$ of each layer, and 3) the presence of convolutional noise.
We used the Bach10 dataset, containing ten quartets of four different instruments
\cite{duan2010multiple}
for the evaluation of multi-pitch estimation (MPE).

To see the behavior of the algorithm in a straightforward way, we consider three methods to optimize parameters $\{\gamma_i\}^{L}_{i=0}$ for an $L$-layer MLC-CFP algorithm combining $\mathbf{Z}^{(L-1)}$ and $\mathbf{Z}^{(L)}$:

1) the \emph{brute-force method} that searches for the optimal parameters exhaustively for each $\gamma_i$. The search range of every $\gamma_i$ is from 0.1 to 0.9 with step size of 0.1.

2) the \emph{greedy method} that searches for the optimal value of $\gamma_l$ based on the optimal values of $\{\gamma_i\}^{l-1}_{i=0}$. The search range is from 0.01 to 0.99 with step size of 0.01, since its light computation allows us to use finer grids. For the post-processing of the brute-force and the greedy methods, we use the CFP-based algorithm reported in \cite{su2017HSP_DNN}, as a simplified version of \cite{su2015combining} without too detailed hand-crafted rules.

3) the \emph{stochastic gradient descent (SGD) method} that minimizes the binary cross-entropy between $\mathbf{Y}^{(L)}$ (with 88 log-frequency filterbanks and a sigmoid function as the output layer) and the ground-truth piano roll by performing SGD over every $\gamma_i$.
We apply non-repeated 10-fold cross-validation on the dataset: for each time one music piece is chosen as the test data and others as training data. The resulting F-scores are obtained by
summing all the counts of the true positives, false positives, and false negatives. We initialize $\gamma_0$ to 0.24, $\gamma_1$ to 0.6, and all other $\gamma_i$s to 1, and use the SGD optimizer with 0.1 learning rate, a mini-batch size of 256, and train the network up to 40 epochs.

For other parameters, we compute 7939-point DFT using Blackman-Harris window, the hop size is 10 ms, the cutoff frequency $f_c$ is 27.5 Hz (frequency of \texttt{A0}), and the cutoff quefrency $q_c$ is 0.24 ms (period of \texttt{C8}).
Since there are many task-dependent parameters, all the source codes will be announce after this paper is accepted for reproducibility.

Table \ref{table:comparison} lists the optimal precision (P), recall (R), F-score (F), along with $\gamma_i$ for every pairs $\left[\mathbf{Z}^{(L-1)}, \mathbf{Z}^{(L)}\right]$ for all optimization approaches.
When using the brute-force method, the resulting P, R and F all increase consistently when the number of layers increases.
Note that the recall increases dramatically with higher-order layer because the weak F0 peaks are enhanced, similar to the simulation example in Fig. \ref{fig:2layer_ddft}.
When using the greedy method, we observe that although the performance is sub-optimal, it still increases as $L$ increases.
When using gradient descent, there is no consistent improvement in F-scores related to the number of layers, possibly because the hand-crafted rules such as harmonic selection \cite{su2015combining} could not be applied to this model.
However, it still gives competitive performance for $L=3$. More specifically, when compared to other MF0 estimation methods, all the three methods in our discussion outperform the state-of-the-art matrix factorization approaches such as constrained NMF and probabilistic latent component analysis (PLCA) (see Table III in \cite{su2015combining} for more details). The brute-force method also outperform the CFP result reported in \cite{su2015combining}, in which the parameters for the hand-crafted rules are also based on brute-force searching.

Fig. \ref{fig: highpass} shows the resulting F-scores on the Bach10 dataset with high-pass degradation, which is simulated by a 4th-order Butterworth high-pass filters with cutoff frequency from 10 to 1000 Hz. The parameters used here are those found from the brute force method; see Table \ref{table:comparison}. Fig. \ref{fig: highpass} clearly shows that with more layers the results are better: even under a severe cutoff frequency at 1 kHz, a 6-layer MLC still gives 72.74\% F-score, 25\% higher than the one of a 1-layer MLC. Even more interestingly, results in some degradation conditions are better than those in the normal condition. For example, pairs $\mathbf{Z}^{(5)}$ and $\mathbf{Z}^{(6)}$ achieve 87.10\% F-score with cutoff frequency at 100 Hz; this is probably because the simulated degradation suppresses the low-frequency noise incidentally.

To summarize, our experiments show that 1) in the MLC-CFP algorithm, a deep DFT do performs better than a shallow DFT, and 2) MLC is highly robust to high-pass noise.

\begin{figure}[t]
\begin{tikzpicture}[domain=10:1000]
    \begin{semilogxaxis}[
    legend pos=south west,
    xlabel = {Cutoff frequency (Hz)},
    ylabel = {F-score}]
        \addplot+[mark=*] coordinates {
        ( 10, 0.8096 )
        ( 25, 0.8092 )
        ( 50, 0.8084 )
        ( 100, 0.8072 )
        ( 250, 0.7993 )
        ( 500, 0.6736 )
        ( 1000, 0.4718 )
        };
        \addplot+[mark=o] coordinates {
        ( 10, 0.8350 )
        ( 25, 0.8332 )
        ( 50, 0.8324 )
        ( 100, 0.8321 )
        ( 250, 0.7958 )
        ( 500, 0.7011 )
        ( 1000, 0.6207 )
        };
        \addplot+[mark=asterisk] coordinates {
        ( 10, 0.8428 )
        ( 25, 0.8455 )
        ( 50, 0.8465 )
        ( 100, 0.8484 )
        ( 250, 0.8257 )
        ( 500, 0.7452 )
        ( 1000, 0.6675 )
        };
        \addplot+[dotted, mark=triangle*] coordinates {
        ( 10, 0.8574 )
        ( 25, 0.8589 )
        ( 50, 0.8624 )
        ( 100, 0.8664 )
        ( 250, 0.8638 )
        ( 500, 0.8006 )
        ( 1000, 0.7089 )
        };
        \addplot+[mark=otimes] coordinates {
        ( 10, 0.8565 )
        ( 25, 0.8566 )
        ( 50, 0.8600 )
        ( 100, 0.8634 )
        ( 250, 0.8657 )
        ( 500, 0.8156 )
        ( 1000, 0.7295 )
        };
        \addplot+[mark=square*] coordinates {
        ( 10, 0.8642 )
        ( 25, 0.8648 )
        ( 50, 0.8688 )
        ( 100, 0.8710 )
        ( 250, 0.8707 )
        ( 500, 0.8140 )
        ( 1000, 0.7274 )
        };
        \legend{$\mathbf{Z}^{(0)}$ \& $\mathbf{Z}^{(1)}$,$\mathbf{Z}^{(1)}$ \& $\mathbf{Z}^{(2)}$,
        $\mathbf{Z}^{(2)}$ \& $\mathbf{Z}^{(3)}$,$\mathbf{Z}^{(3)}$ \& $\mathbf{Z}^{(4)}$,
        $\mathbf{Z}^{(4)}$ \& $\mathbf{Z}^{(5)}$,$\mathbf{Z}^{(5)}$ \& $\mathbf{Z}^{(6)}$}
	\end{semilogxaxis}

\end{tikzpicture}
\caption{F-scores of Bach10 dataset under high-pass noise.}
\label{fig: highpass}
\end{figure}

\section{Discussion and conclusion}

We have introduced the MLC, explained its physical insight in signal processing, and verified its potential in detecting multiple F0s through simulation and real-world data under normal and noisy conditions.
We also emphasize that the MLC is not only useful in the signals contaminated with high-pass convolutional noise, but also useful in all signals which inherently have weak F0 magnitude. For example, the F0 of bassoon in the Bach10 dataset is usually weaker than other instruments (violin, clarinet and saxophone), but experiments show that this issue is addressed by the MLC.
From the result in the filter test we also suggest that in practice using MLC with a little high-pass filter can get better result.

One risk of MLC is that it may generate fake F0 peaks. For example, two F0s at $a$ Hz and $b$ Hz may produces a cross term at $|a-b|$ Hz due to effect of nonlinear activation. This cross term cannot be suppressed and may be even enhanced because it appears in both the time-domain and frequency-domain representations. To restrict the strength of cross terms,
the results indicate a possible strategy: setting a small $\gamma_0$ and larger $\gamma_i$s at the higher layers.
Our pilot study also shows that even fake cross terms are produced, they are mostly weak unless all $\gamma_i$s approach zero.

Developing a more efficient way to optimize the parameters efficiently on a large-scale dataset with complicated sources and harmonic structures will be another focus in the future. From the current finding, we summarize that MLC-CFP works well in general and is relatively easy to optimize for $L\leq 3$, but a great potential exists in a deeper MLC.

\bibliographystyle{IEEEbib}

redpajama_set_name: RedPajamaArXiv


text:
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LegacyMotors
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2017 Essex Italian American Heritage Month Event Honors Three
Barbecue at Cemetery Goes Viral
A photo of a barbecue at a Sicilian cemetery has gone viral. The people eating among the tombs at Melilli graveyard near Siracusa, appear to be cemetery staff. The cemetery is privately owned and while there was no comment by the owners, Melilli Mayor Giuseppe Carta was outraged. "I'm indignant and mortified at what happened at the graveyard!" he exclaimed. Perhaps he could have used a term other than mortified…
Belluno Tops in Quality of Life
Belluno has come top of the latest quality-of-life ranking of among Italy's 110 provinces. The list is compiled by Il Sole 24 Ore each year. The northern province finished ahead of Aosta, which was top last year. Third was Sondrio. At the bottom was Caserta, with two other southern regions, Taranto and Reggio Calabria, just above. Milan dropped from second place to eighth, while Rome fell 11 places to 24. Turin dropped five places to 40th and Genoa was down by a whopping 21 to 48th. Palermo was 97th and Naples 107th.

redpajama_set_name: RedPajamaCommonCrawl


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Snake Tree House by Rebelo de Andrade Studio
Filled under: Architecture, Front Page
Along with the project Pedras Salgadas Park by architects Luís Rebelo de Andrade and Tiago Rebelo de Andrade, came the challenge of creating an object that could recreate the fantasy of the tree houses. The project for these houses was developed in partnership with the Modular System Company. The idea was to get an object that would be far away from the orthogonality and from pre-established concepts associated with the modular construction. The characteristic design associated with the slates and the wood on the base suggests a snake gliding between the trees. Like a wild animal in its natural habitat, the house suddenly appears in the visual field of the observer. The choice of materials gives an instant sense of connection with nature at the same time it establishes a coherent image of the proposal into a perfect symbiosis between the house and the Park.
photo © Fernando Guerra, FG+SG Architectural Photography
The architects made use of new technology already tested in prototypes that allow a weightless easy-carrying construction. Native raw material, slate and wood used in the finishing also promote the integration at the same time it confers invisibility to the houses, not allowing these to take the chief role which belongs to the centennial Park itself. Sustainability and ecology have always been one of the major concerns during the development of the project. The consistency and rationale for the intervention were attained by the layers and reinforced insulation, heating systems, water reuse, water solar panels, the low consumption lighting system using LED technology as well as the option of keeping the soil without any impermeable system, among other solutions. Each house comprises a studio with a bathroom and a kitchen.
Thus, the two TREE SNAKE HOUSES of Pedras Salgadas Park are objects that, using similar materials and technologies, point out to our imaginary: the primitive hut and the wild animal. Developed by the architects Luís Rebelo De Andrade And Tiago Rebelo De Andrade in cooperation with Modular System the project also foresees multiple purposes, which can be adapted to different landscapes and climates. More models of these houses like the MOUNTAIN SNAKE HOUSE, the RIVER SNAKE HOUSE and the SAND SNAKE HOUSE, whose dimensions and materials are easily adapted to various climates and regions, are being developed and will soon be available to the public. It will then be possible to acquire one of these houses and to benefit from different situations such as coastal areas, riverbanks, mountain or urban environments.
via rebelodeandrade.com
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All Kinds of Beautiful
by The Harvesters
© Copyright - Atenzia Records / Atenzia Records (7350063070025)
The debut album delivers a well-produced and catchy country music in a way that few are privileged outside the US's borders.
Genre: Country: Alt-Country
1. Who Needs Money
2. Hands Off She´s All Mine
3. Whenever You Come Around
4. All Kinds of Beautiful
5. You´ll Find Your Way
6. Everybody Gotta Love Somebody
7. Hammer And Nails
8. We´re Gone
9. Doin´ What I shouldn´t
10. Teardrops
11. I Want You to Want Me
The Swedish country band The Harvester has been on tour in the U.S. on several occasions and has played with international artists such as Jim Lauderdale, Wanda Jackson, Hayden Thompson and Rosie Flores.
On their debut album "All Kinds Of Beautiful" delivers the band a well-produced and catchy country music in a way that few are privileged outside the United States's borders. The recipe - besides their routine - include the help they received in songwriting from some of the American alt-countryns greatest songwriters - Bill Lloyd, Rusty Young, Radney Foster, Cindy Bullens, Rebecca Lynn Howard and Terry McBride.


Snow Brothers was another cheap Gamestop or Game Crazy purchase back when I first started collecting retro video games. It was during my phase of when I first started to become obsessed with arcade games. Metal Slug, Simpsons Arcade Game, Alien vs Predator, and all of those beat em up games that were never released on consoles at the time. Snow Brothers was definitely one that caught my eye when I was getting into arcade emulation. These weird baby like faces that had an uncanny value look to them if you played the arcade game. When I saw that they made a NES version of the game I had to get it. I always like to play the game with original hardware rather than emulation so I thought this would be a great addition to my collection.
Have you played Bubble Bobble before? It's sorta like that. Nick and Tom are princes who have been turned into snowmen by the evil Scorch who also kidnapped the princesses and it's up to you to rescue them. To be honest I never knew this game even had a story. I just jumped into it like I did with the arcade version.
In Snow Brothers each level is a static screen and in order to beat a level, you have to kill all of the enemies on screen. You do this by throwing your body at them (snow) repeatedly at the enemies until they become one big snowball. From there you push the snowball and have it fire off down the stage hitting other enemies in your bath. It's very satisfying to clear a stage by having one Snowball run over six enemies. If you want to compete with your friends, even better because the game keeps score is traditional arcade style.
Graphically, it's nowhere near what the arcade version looks like but what can you expect when you're going from the arcade down to an 8-bit port. From an 8-bit NES game perspective the stages are colorful and the enemies are detailed enough to understand that they're some type of goblin. It not exactly pretty but it gets the job done. There is some slow down when there is a lot of action happening on screen. Mainly this occurs when you're launching a snowball down the stage at the enemies below. It ends up looking like an epic slow-mo bullet time. I tell ya, NES games were ahead of their time.
Currently the game goes for $100+ on ebay and while the charm of the game matches the arcade version, it's not worth the high price point for an arcade port. If you're looking to scratch that Bubble Bobble itch and overplayed those two games to death then this is perfect for your collection. Just keep in mind that the price point is closer to Bubble Bobble 2 than the first one. I personally cannot justify the high cost when I can emulate the game on MAME with better graphics. For the casual game collector, I'd be out on the lookout for it but don't go breaking the bank if you want to add it to your collection.
Do you agree with my recommendation for Snow Brothers or want to suggest a different game for the Game Consultant? I want to hear from you about it. Please leave a comment below.


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2000 PX3 (asteroide 38669) é um asteroide da cintura principal. Possui uma excentricidade de 0.25391970 e uma inclinação de 2.99307º.

Este asteroide foi descoberto no dia 3 de agosto de 2000 por BATTeRS em Bisei SG Center.

Ver também
 Lista de asteroides
 Asteroide da cintura principal

Ligações externas

Asteroides da cintura principal
Objetos astronômicos descobertos em 2000

redpajama_set_name: RedPajamaWikipedia


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Littlehampton, Sussex Genealogy
Guide to Littlehampton, Sussex ancestry, family history, and genealogy: parish registers, transcripts, census records, birth records, marriage records, and death records.
Littlehampton, Sussex
LITTLEHAMPTON, a town and parish, in the hundred of Poling, rape of Arundel, county of Sussex, 4 miles (S.) from Arundel, and 61 (S. S. W.) from London.[1]
Littlehampton St Mary is an Ancient Parish and town in the Arun district of West Sussex.
The history of the church, the third on the site, is found here
The church of St Mary has been designated a grade II listed building British listed building
Littlehampton Sussex Online Parish Clerks(OPC)
See: List of places of worship in Arun which includes non-conformist places of worship in the town and List of demolished worship places in West Sussex
A Topographical Dictionary of England (1848), pp. 101-104. here
The development of subsequent parishes from this one is described here
The chapelry at Littlehampton All Saints Wick did not become a parish until 1973 see Littlehampton All Saints Wick
From this parish were formed:
Littlehampton St John 1876 closed 1948 demolished 1976 after use as a theatre Littlehampton St John
Littlehampton St James mission church 1899 see Littlehampton St James
Wick Primitive Methodist Chapel see List of demolished worship places in West Sussex
From 1837 this parish was in the Worthing registration district
which was abolished in 1870 and recreated in 1935
Certificates can be ordered from West Sussex Centralized Certificates Office Registration Service West Sussex Record Office County Hall Chichester PO19 1RN Phone: 01243 642122
Littlehampton, Sussex Genealogy parish registers of christenings, marriages and burials are available online for the following years:
BOYD = Boyd's Marriage Index (findmypast) - (£)[2]
Littlehampton, Sussex Genealogy Online Parish Records
IGI 1584-1876 1587-1876
Littlehampton St Mary
West Sussex Record Office has deposited parish Registers Bap 1611-1946 Marr 1611-1952 Bur 1611-1953
Bishop's Transcripts 1591-1892
Link to the FamilySearch Catalogue showing the film numbers in their collection Littlehampton
East Preston Poor Law Union, Sussex
Sutton (East Preston) Poor Law Union, Sussex
http://genuki.org.uk/big/eng/SSX/Littlehampton/
↑ Lewis, Samuel A.,A Topographical Dictionary of England(1848), pp. 101-104. Date accessed: 30 September 2013
↑ 'Boyd's Marriage Index - Parish details by county', Origins.net (Wayback Machine), accessed 30 December 2013.
Retrieved from "https://wwwp.familysearch.org/wiki/en/index.php?title=Littlehampton,_Sussex_Genealogy&oldid=3672938"


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Xenia Area Chamber of Commerce
Cedarville University In the News
Social Work Program Ranked No. 2 in Ohio
A Bold New Stinger
Looking Good! Stevens Student Center Gets a Makeover
Cedarville University, Chick-fil-A Plan Campus Restaurant
New Residence Hall Ready for Cedarville Students
Cedarville University's School of Pharmacy Re-accredited by ACPE
Student Pharmacists Win National Chapter of the Year
College Consensus: Cedarville Among Ohio's Best Universities
Cedarville University's recently re-accredited social work program has been named one of the top programs in the country by TheBestSchools.org (TBS).
Cedarville's social work program is ranked No. 28 on TBS's national list of top bachelor's degree programs -- and is ranked second among all social work programs in Ohio. The only other university from Ohio on this list is Ohio State at No. 7 nationally.
"I've worked with higher education social work programs for years and I can honestly say there is no program like Cedarville University's," said Dr. Michael Sherr, the newly appointed chair of the social work program, who joined Cedarville this year from the Middle Tennessee State University. "We work very hard to never cut corners or compromise our high expectations for students. No other school invests in advising like Cedarville faculty do. Each student is cared for and known individually."
The average social work program expects students will complete up to 400 hours of in-field experience during their junior and senior years. Cedarville's program requires nearly 600 hours of field work starting with a first-year immersion experience class and internships their junior and senior years. The program also emphasizes biblical integration in the classroom, making it unique compared to other universities.
Cedarville University also has a thriving international field placement program with opportunities in Romania, Uganda and India. Leah Vance, senior social work major from Bonaparte, Iowa, spent two months in Romania this summer working with children and people with special needs.
"In Romania, I stayed with a host family, which really immersed me in Romanian culture," said Vance. "I got to practice the skills I had learned at Cedarville in a completely new environment. The international location allowed me to see how social work is a global occupation that is conducted differently in each location. It really helped me break out of the American bubble."
"I can see why our program is ranked as one of the best social work programs in the country," said Vance. "I am receiving a wonderful education from professors who are enthusiastic about social work and who have worked in a variety of social work situations.
"Our small class sizes allow for more questions and our professors have more time for student interactions. I also love getting to choose my internship opportunities, so I can try different areas of social work and determine where I want to have my career."
New shoes? Check. New jersey? Check. Vibrant, eye-popping colors? Check. Bold, energetic style? Check. Cedarville University's mascot, Stinger, had his own back-to-school checklist and came back to campus sporting an athletic new look.
"We are upping our game in terms of the game-day environment — making it more exciting and inviting and energetic," said Stephanie Zonars, assistant athletic director for marketing and sponsorships. "We want Stinger to be a big part of that energy and getting the crowd into the game. I think this costume really communicates athleticism and competitiveness."
The new costume, which is a full body suit, offers increased safety and comfort for the student performer inside. The new design provides greater visibility and flexibility as Stinger interacts with fans.
Stinger's update was inspired by Cedarville's yellow jacket logo, originally created by Jeremy Slagle, who grew up attending Cedarville basketball games with his father, the men's coach, for eight years. "When we were working on this costume, I went back to Jeremy's logo development drawings and used some of that for inspiration," said Chad Jackson, creative director.
The new-look Stinger made his debut August 17-19 during Getting Started Weekend — when new students arrived on campus to begin the academic year. Stinger will appear at many athletic events and greet prospective students at the admissions department's CU Friday visit events. "He is a strong link between student life and athletic life," said Jackson.
The Cedarville community can expect to see Stinger buzzing around campus as he supports the Cedarville Yellow Jackets this year.
Walking through the Stevens Student Center you will see a larger-than-life 22-foot tall by 35 ½ -foot wide yellow jacket mascot on the wall. When you glance to your right, the vibrant blues and whites familiar to the Cedarville community will pop on the walls. New paint, carpet, signs, artwork: same passionate and lively student community.
The purpose of the redesign was to create a more community feel in the student center. With the color scheme that matches Cedarville's athletic colors, the SSC now reflects vibrant student community. And, with improved directional signage, the facility becomes more user-friendly for outside guests and prospective students.
"The Stevens Student Center has many functions and, when it was originally designed, the aesthetic focused on more formal functions such as theatre performances, conferences, banquets and career fairs," said Chad Jackson, creative director. "Our goal this summer has been to transition this formal aesthetic to something that better reflects the vibrant student life we have here at Cedarville."
The upstairs lobby and hallways have new carpet, paint, directional signs and new artwork that reflects Cedarville. The lower lobby was partially updated in recent years, so only portions had to be repainted and recarpeted. The event rooms are also being repainted and recarpeted. The admissions front office is being recarpeted. The career services office lobby is being repainted.
"We also want the space to reflect the character and values of Cedarville so guests are informed and students are reminded of who we are," Jackson explained. "My hope is that every person who walks into the student center will feel welcomed, energized and excited about being on campus."
Cedarville University students will soon have the option of eating at Chick-fil-A on campus, thanks to plans underway between the university and the national fast food chain. The location of the restaurant has not been finalized, but the new eatery will be open to students and the general public.
The Chick-fil-A restaurant is part of the university's 10-year campus master plan. The new eatery, which is expected to open in July 2020, will provide another dining venue for students, reducing lines in the main dining hall and Stinger's café.
"We are excited to partner with Chick-fil-A, an organization that shares Cedarville's vision to glorify God through faithful stewardship," said Thomas White, president of Cedarville University, when he announced the plan this morning to students, faculty, and staff in the University's first chapel of the academic year. "Chick-fil-A is a favorite among our constituents, and we anticipate it will be a popular dining option for students and the community alike. The new venue is part of our strategic efforts to foster vibrant community."
In the planned partnership between Cedarville and Chick-fil-A, the two will develop the building space, kitchen and serving areas to accommodate operational needs while creating an environment that builds community and engagement.
Cedarville University will open a new residence hall in one week — Walker Hall — and name a townhouse constructed in 2012 — Rooke Hall — at the start of the 2018-19 academic year. Cedarville University has built several residential halls in recent years because of its rising enrollment, and 2018-19 is expected to be the largest enrollment in school history.
Enrollment in 2017 was 3,963 students in undergraduate, graduate, and online programs. It is anticipated enrollment will climb over 4,000 in the soon-to-start academic year. Faculty and staff hold their annual meeting on Friday, Aug. 10, and students begin moving into their residence halls on Friday, Aug. 17.
The university's first townhouse, constructed in 2012, is now called Rooke Hall in memory of the late Rev. Wilbur C. Rooke. Rooke was a member of the Cedarville Board of Trustees from 1954 to 1974.
Rooke pastored seven churches and served four churches as interim pastor during 55 years of ministry. He also served as secretary with the General Association of Regular Baptist Churches (GARBC) and on the GARBC's governing council. He was a board member of the Baptist Christian School of Cleveland, Ohio, and the Baptist Bible Institute (BBI). BBI and Cedarville College merged in 1953.
"Wilbur Rooke was one of my heroes of the faith," said Dr. Murray Murdoch, senior professor of history, who has taught at Cedarville since 1965. "He took a strong stand on the great doctrines of the Scripture, but always in a godly, gracious way."
Rooke Hall has been a popular housing option for graduate students and upperclassmen. The 12,000-square-foot facility has eight six-person units each with three bedrooms, two bathrooms, a full kitchen, washer and dryer and a furnished living room. Rooke Hall was constructed at a cost of $2 million.
Walker Hall, set to open in August, is named for Richard G. Walker, a longtime Cedarville employee who made a lifelong impact on students through his various staff roles.
Walker began his tenure at the university (then, Cedarville College) in 1970 in intramural recreation and food services. From 1975 until 1984 Walker served as the dean of men for the university, and in 1984 became the director of campus activities, the position he held until 2006. Walker then served families and alumni through his roles as dean of community and family life programs then coordinator for alumni engagement until his retirement in 2012.
"I think Dick Walker has probably made some of the most significant contributions of anyone who's been at Cedarville," said chancellor and former president Dr. Paul Dixon. Walker is a familiar name and a service role model to nearly four decades of Cedarville graduates.
Constructed at a cost of $3.3 million, Walker Hall features four 16-person units. Each of the spacious units includes eight bedrooms, a large living space, a kitchenette, a study lounge and a bathroom with built-in laundry.
According to Dr. Jon Wood, vice president for student life and Christian ministries, two significant goals of the university's residence life program are discipling students and building community. "We view our residence halls as places for our students to live out biblical principles in their relationships with each other," he said. "We bring that perspective into the way we design each of these unique living spaces."
Both Walker and Rooke Halls will be officially named and dedicated as part of the university's homecoming festivities in October.
The Accreditation Council for Pharmacy Education (ACPE) board granted Cedarville University's school of pharmacy the maximum four-year re-accreditation for new schools following its recent site visit.
The accreditation process offers a professional judgment of the quality of a school of pharmacy's professional program. The accreditation encourages continued program improvement and includes both quality assurance and quality enhancement.
"The school of pharmacy went through an extensive onsite evaluation that included a review of reports and discussion with many of our professors, students, faculty, staff, preceptors and alumni," said Dr. Marc Sweeney, founding dean of the school of pharmacy and professor of pharmacy. "The successful accreditation outcome ensures our ongoing accreditation, which is required for our Doctor of Pharmacy graduates to become eligible for licensure in all 50 states."
ACPE accreditation is public recognition that a professional degree program leading to the Doctor of Pharmacy degree is judged to meet established ACPE qualifications and education standards. This is ensured through initial and subsequent periodic evaluations.
"I am very thankful to our faculty, staff, students and preceptors for their work and representation of our program to the Accreditation Council for Pharmacy Education," said Sweeney. "We received a number of accolades from ACPE about the quality of our program and students."
Cedarville University's Student National Pharmaceutical Association (SNPhA) chapter has been selected as the National Chapter of the Year. The final phase of the competition took place at the SNPhA National Convention in Charlotte, North Carolina, July 27-30.
Cedarville competed in the medium-sized chapter division, for chapters with 50 to 99 members. The competition was determined by how many points the chapter earned through various in- and out-of-school activities.
Cedarville won in its medium-sized division category, but was also named best chapter overall among chapters with small, medium and large memberships. There are 92 chapters in the SNPhA.
"Cedarville's chapter is only two and a half years old, yet we are the top chapter. This shows that we live out our motto of serving the underserved," commented chapter president Ankit Pandav, a fourth-year pharmacy student. "We serve, give back to the community and are intentional about showing God's love in our interactions with patients."
If you gathered all university rankings and student satisfaction scores from across the internet, and somehow combined that information into a meaningful big-picture comparison, what would you find? You'd discover Cedarville University among the top universities in Ohio.
According to College Consensus, Cedarville University ranks fourth among Ohio colleges and universities. Only Oberlin University, Kenyon College and Denison University ranked higher than Cedarville. Universities in the top 10 include Xavier University (fifth), Ohio State University (sixth), Case Western Reserve University (ninth) and the University of Dayton (10th).
College Consensus (collegeconsensus.com) pulls all rankings from sources such as U.S. News & World Report, Forbes and many others and averages those numbers, then receives scores from student review sites like Cappex and Student Review to create an overall value. Cedarville scored a 59 in the publisher scale and an 82.5 among student sites for a composite score of 70.8.
"I think this ranking is particularly compelling for us at Cedarville University," commented Dr. Thomas Mach, vice president for academics. "We seek to serve our students well, and the fact that the student voice is heard in this ranking is very important to us. We look forward to continuing to serve our students well as we seek to equip them for what God is calling them to do."
"Our commitment to the truth found in Scripture drives us to serve our students well and prepare them with excellence to follow the call that God has placed upon them," Mach continued. "In so doing, we believe we will offer the best possible education to our students and create a community on campus that facilitates their preparation for a life of service."
Return on Investment... It Pays To Belong
When a business invests in the Xenia Area Chamber, it forms a partnership with over 400 other investors that leverage time, money, and other assets to create stronger individual businesses and a stronger community.
Join Now! Or Learn More Here
334 W. Market St.
Xenia, OH 45385
admin@xacc.com
The mission of the Xenia Area Chamber of Commerce is to provide services and programs that support our member's successes, promote economic vitality, and advocate local business interests.
© 2021 Xenia Area Chamber of Commerce. All Rights Reserved.


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The Peristylum in Luxus Gallery, 1996
Like Cella Capitalis, Peristylum C. began as a context for the presentation of two individual works. A triptych by Jan Reinhardt, an object by Martin Helm.
While searching for a suitable exhibition space, they came across an 'artists initiative' gallery called 'Luxus'. Run by a group of artists, it was the opposite of the official clean white well-lit authoritative capital G Gallery.
This presented them with the freedom to explore other ideas to the fullest.
The space itself seemed challenging: Light fixtures were limited, colours were drab, and in the central exhibition area two concrete columns, dressed with mirrors (a remnant of Luxus' past life as a shop), appeared to be standing in the way.
It were these columns, however, that fascinated them, and formed part of the context for the combined works.
With these columns they could define, within the walls of the gallery, an inner and outer space. This concept, explored in Cella Capitalis, could now be further expanded upon in another classical theme: The Peristylum.
A Peristylum, in the classical sense, is somewhat like an inverse Cella. Columns surround an open space, the darkness of a building surrounds the columns. A Peristylum opens op towards nature in the shape of a garden with, air, light, the sky, while still being surrounded and protected from the outside world.
To create the Peristylum they had to add several more columns, concentrate the lighting to the space within, and darken the surrounding ambient space.
idealized view of te peristylum, showing position of the columns, the Wings, the Painting and Lectus Contemplatus (above)
a computer generated image of Peristylum Capitalis in a mediterranean ambience (below)
click on thumbnail image to return to Reinhardt Helm
or click here to go to Martin Helm Chronology – Reinhardt Helm


A patch is a piece of software designed to fix problems with, or update a computer program or its supporting data. This includes fixing security vulnerabilities and other bugs, and improving the usability or performance. Though meant to fix problems, poorly designed patches can sometimes introduce new problems. In some special cases updates may knowingly break the functionality, for instance, by removing components for which the update provider is no longer licensed or disabling a device.


Blitz Tour: "Impossibly True" by Shane Morgan + Giveaway!
Moya is finally listening to her heart. She's ready for love and willing to bask in all the joy it brings, but still, she insists on taking things slow. After all, her relationship with Branden isn't the only one that needs a chance.
With his health scare behind him, Branden wants nothing more than to get his life back on track—play hockey again, catch up on school, and get things moving with his girlfriend. In the middle of strengthening their relationship and sorting out their individual lives, trouble begins to brew, testing the depth of their feelings for each other. Can Branden and Moya once again overcome their trials and prove that their love is indeed true, or will past ghosts and new temptations drive them apart forever?
Shane Morgan is a writer of Young Adult and New Adult fiction. She enjoys contemporary, fantasy, romance, and horror. Shane physically lives in Rhode Island, but virtually she's in Neverland.
Her belief is that imaginations can never be too wild. If you're thinking it then the story is already written inside your head. It's simply time to share it with the rest of the world.
Be sure to check out 'Impossibly True' and if you haven't started the series, you can find out more about 'Impossibly Love' here!


On Saturday, April 2nd it was +23° C in the shadow, which is more like a summer than a spring.
However people more versed in the Dutch tradition say that the lady above simply signifies the 50th birthday to a woman in the house. Still, reminding of the speed limit in the built-up area.


Lots of things changed, but one thing remained the same.
With 14 records coming off the boards Saturday at the Chesterton High School pool, the host Trojans continued its Duneland Athletic Conference by hoisting its 13th consecutive girls swimming title.
The Trojans totaled 487 1 points to best Crown Point (407) and Lake Central (359). Valparaiso was fourth (278) followed by Portage (182), Michigan City (152), LaPorte (137 1) and Merrillville (100).
"There is a lot of talent in this conference so you knew a lot of records would be broken," Chesterton coach Kevin Kinel said. "When you get a bunch of good teams together, the atmosphere gets electric and the kids go crazy. We feel good about this and hopefully it will give us some confidence for the end of the year.
After Crown Point won the meet's opening event (200 Medley Relay), the Trojans staked their claim to the team lead in the 200 Free with a 1-2-4 finish by Julia Campbell, Kate Curley and Gena Banta-Long.
The win was Campbell's first of the day as she would later win the 500 Free in 5:06.38.
Kabacinski was named the DAC MVP after winning the 50 Free (23.49) and the 100 Breaststroke (1:04.71).
The other Trojan victory came in the 400 Free Relay where the quartet of Curley, Maddie Miller, Campbell and Kabacinski won in 3:31.36.
The Trojans won five events on the day, but it was the depth the Chesterton lineup showed that proved to be the difference.
And that battle translated into the Trojans being the only DAC champion in girls swimming since 1999.
1. Chesterton, 487 1; 2. Crown Point, 407; 3. Lake Central, 359; 4. Valparaiso, 278; 5. Portage, 182; 6. Michigan City, 152; 7. LaPorte, 137 1; 8. Merrillville, 100.
200 Medley Relay -- 1. Crown Point, 1:46.70 (DAC RECORD); 2. Chesterton (Maddie Miller, Olivia Kabacinski, Erin Socha, Madisyn Coudriet), 1:48.10; 3. Lake Central, 1:50.72; 4. Portage, 1:58.45; 5. Michigan City, 2:00.72; 6. LaPorte, 2:01.62; 7. Valparaiso, 2:03.73; 8. Merrillville, 2:08.77.
200 Free -- 1. Julia Campbell ©, 1:53.96; 2. Kate Curley ©, 1:56.07; 3. Kaitlyn Steffus (V), 2:00.50; 4. Gena Banta-Long ©, 2:00.75; 5. Tayler Bayer (P), 2:02.06; 6. Hannah Schuster (CP), 2:02.22; 7. Jill Tharp (LC), 2:05.45; 8. Sydney Perry (V), 2:05.96.
200 IM -- 1. Holly Schuster (CP), 2:09.46; 2. Maddie Miller ©, 2:10.18; 3. Stephanie Krause ©, 2:13.43; 4. Alex St. Amour (CP), 2:15.20; 5. Tracy Muszalski (LC), 2:16.07; 6. Sierra King (P), 2:16.44; 7. Erin Socha ©, 2:18.42; 8. Brianna Shoemaker (LC), 2:22.42.
50 Free -- 1. Olivia Kabacinski ©, 23.49 (DAC RECORD); 2. Hannah Raspopovich (CP), 24.42; 3. Rachel Murkowski (CP), 24.56; 4. Allie Lamberson (V), 25.08; 5. Madisyn Coudriet ©, 25.18; 6. Holly Spears (LC), 25.26; 7. Brittany Borzych ©, 25.32; 8. Kyra Oselka (MC), 26.01.
1-Meter Diving -- 1. Khalela El-Naggar (V), 409.95; 2. Charlie Wayne (CP), 368.15; 3. Abbi Fryer (L), 343.90; 4. Ashley Holland (CP), 335.55; 5. Taylor McBride (V), 326.90; 6. Mackenzie Barcelli (P), 304.60; 7. Abby Prince (LC), 303.20; 8. Kristen Copple (LC), 298.20.
100 Fly -- 1. Aly Tetzloff (CP), 57.47 (DAC RECORD); 2. Liz Mickiewicz (LC), 1:00.17; 3. Kaitlyn Steffus (V), 1:00.51; 4. (tie) Stephanie Krause © and Carly Jackson (L), 1:01.05; 6. Kaylee Slont ©, 1:01.71; 7. Erin Socha ©, 1:02.14; 8. Hayley Balko (CP), 1:02.80.
100 Free -- 1. Holly Spears (LC), 53.75; 2. Rachel Murkowski (CP), 53.83; 3. Kate Curley ©, 53.93; 4. Madisyn Coudriet ©, 54.99; 5. Allie Lamberson (V), 55.01; 6. Shelby Carroll (LC), 55.10; 7. Megan Curley ©, 56.00; 8. Hannah Schuster (CP), 57.22.
500 Free -- 1. Julia Campbell ©, 5:06.38; 2. Holly Schuster (CP), 5:11.75; 3. Carly Jackson (L), 5:13.85; 4. Tracy Muszalski (LC), 5:15.74; 5. Wendy Banta-Long ©, 5:19.00; 6. Kaylee Slont ©, 5:22.92; 7. Tayler Bayer (P), 5:31.27; 8. Sydney Perry (V), 5:33.35.
200 Free Relay -- 1. Crown Point, 1:37.72 (DAC RECORD); 2. Chesterton (Madisyn Coudriet, Kate Curley, Brittany Boryzch, Julia Campbell), 1:38.72; 3. Valparaiso, 1:44.61; 4. Lake Central, 1:45.32; 5. Michigan City, 1:49.33; 6. Portage, 1:54.72; 7. LaPorte, 1:56.55; 8. Merrillville, 1:59.75.
100 Back -- 1. Aly Tetzloff (CP), 56.97 (DAC RECORD); 2. Shelby Carroll (LC), 58.67; 3. Maddie Miller ©, 1:00.00; 4. Liz Mickiewicz (LC), 1:02.74; 5. Courtney O'Keefe ©, 1:02.93; 6. Mary Miller ©, 1:03.33; 7. Tatiana Lazic (LC), 1:06.53; 8. Ryan Thomas (V), 1:07.08.
100 Breast -- 1. Olivia Kabacinski ©, 1:04.71 (DAC RECORD); 2. Hannah Raspopovich (CP), 1:06.26; 3. Alex St. Amour (CP), 1:09.11; 4. Alaina Willis (LC), 1:10.12; 5. Allison McAloon ©, 1:10.35; 6. Sierra King (P), 1:10.70; 7. Mae Bass ©, 1:11.34; 8. Jill Tharp (LC), 1:11.86.
400 Free Relay -- 1. Chesterton (Kate Curley, Julia Campbell, Maddie Miller, Olivia Kabacinski), 3:31.36 (DAC RECORD); 2. Lake Central, 3:40.54; 3. Crown Point, 3:47.02; 4. Valparaiso, 3:48.86; 5. Portage, 4:00.06; 6. LaPorte, 4:02.92; 7. Merrillville, 4:11.32; 8. Michigan City, 4:17.48.


This is a 2001 ad for a State Farm insurance! The size of the ad is approximately 6.5x10inches. The caption for this ad is 'Everyone loves Dr. Gavioli's recipe for pi' The ad is in great condition. This vintage ad would look great framed and displayed! Add it to your collection today!


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