text:
Mitsubishi Galant Lambda

The Mitsubishi Galant Λ (Lambda) is a two-door, four-seat hardtop/notchback coupé built by Mitsubishi from 1976 until 1984. From 1978, it was exported under various names; such as the Mitsubishi Sapporo in Europe and South America (named for the Japanese city of Sapporo, which was considered to have positive international connotations after having hosted the 1972 Winter Olympics ), the Dodge (Colt) Challenger and Plymouth Sapporo in North America and Puerto Rico, and the Chrysler Sigma Scorpion, Chrysler Scorpion and later the Mitsubishi Scorpion in Australia. It was also sold as a Sapporo in the United Kingdom under the Colt brand.

For the 1987 model year, Mitsubishi resurrected the Sapporo name for their Mitsubishi Galant Sapporo. However, this version was an unrelated front-wheel drive, four-door sedan.

History

Introduced in Japan in December 1976, the Lambda was described not as a coupé but a "personal luxury car", as Mitsubishi already had the Lancer-based Celeste coupé in its line-up. It competed in Japan with the Toyota Crown, Nissan Cedric, Nissan Gloria, and the Mazda Cosmo coupes newly introduced to Japan. In Australia, the car was imported from Japan as a flagship model of Chrysler Australia's successful Sigma range.

Styling
In the mid-1970s, smaller personal luxury cars were a growing trend. Pursuing this market segment, the Lambda/Sapporo featured frameless door glass, canopy vinyl roofs, velour upholstered interiors, wheel covers with whitewall tires, and numerous power assists.

In 1980, the second generation featured styled steel wheels with blackwall tires, less chrome trim and interior courtesy lights, a fuse box with fuse built-in test light and under seat as well as console storage —' and a radio antenna incorporated into the trunk lid.

The wheelbase and bodywork were lengthened with a revised roofline while remaining within the Japanese Government dimension regulations. Revisions offered increased shoulder room, front and rear leg room, headroom and trunk capacity — and merited a new chassis code, shifting from A120 to A160. The shifter was moved closer to the driver, and ventilation was improved. The interior provided additional carpeting, acoustic dampening materials, and a double-thickness front bulkhead.

Mechanicals

The Mitsubishi Galant Lambda was available with a variety of engines, including diesel, several normally aspirated gasoline engines, and one of the earliest applications of the long-running turbocharged 2.0 L 4G63T engine in the top GSR model which also featured independent rear suspension. It was available in the North American market in one basic configuration, which combined the GSR's close-ratio transmission, a live axle rear suspension, and a larger engine. Rear disc brakes and alloy wheels were available together as a package. Other US options were minimal; air conditioning, cassette player, automatic transmission, cruise control, power door locks, power mirrors, power windows, and a moonroof.

The American, Australian, and Japanese-market 2.6 L Astron engine helped introduce Mitsubishi's then-new Silent Shaft balance shaft engine technology, which minimized the inherent vibration of a large four-cylinder in-line engine. Japanese buyers were liable for more annual road tax for selecting the 2.6 L engine over the smaller engines. The US version also featured a "Jet Valve", a small secondary intake valve that improved emissions by enhancing swirl in the combustion chamber, allowing for utilizing of a leaner fuel mixture. A similar engine without the Jet Valve was available in Mitsubishi-built trucks and the Canadian versions of the Sapporo/Challenger. It was also used in many Chrysler K-cars and their derivatives.

Beginning in 1980, Japanese versions were available with electronic fuel injection, or a new 2.3 L Astron turbodiesel engine.

The suspension was revised for the 1980 model year (the second generation), with improved geometry in front and an all-new four-link rear suspension. The turbo models were introduced, of which some came with independent rear suspension (as later applied to the Starion). The second generation also brought variable-assist power steering, which provided increased assistance at low speeds and less at higher speeds. It was also slightly bigger, with increased foot room, headroom, and luggage space.

The Galant Lambda GSR was a predecessor to the more sporting Mitsubishi Starion based on the same chassis and drivetrain. The Starion continued the rear-wheel-drive Galants' model codes, being called the A180, while the new front-wheel-drive Galants started afresh from E10.

North America

The car was marketed in North America as a captive import of the Dodge and Plymouth divisions of Chrysler. The cars differed only in minor details, such as taillights, interior trim, and available colors. Although mechanically identical, the Dodge Colt Challenger was positioned to appeal to the performance segment, while the Plymouth Sapporo targeted the luxury market. The earliest Dodge Colt Challengers were available only in a two-tone silver/charcoal paint to enhance its sportier nature. For the 1979 model year, four more color combinations became available. Equipment was complete for the time, with remote opening trunk, electrically controlled exterior mirrors, map lights, crushed velour seats, etcetera. The larger-engined cars included four-wheel disc brakes as standard; both engines were available with a five-speed manual or a three-speed automatic.

As in other markets, the Challenger/Sapporo received all-new bodywork for the 1981 model year. Originally a 1.6 L four was also available, but the second generation North American market cars received only the 2.6 L inline-four with balance shafts and 105 hp. The Dodge versions became simply the Dodge Challenger after 1981, dropping the "Colt" part of the name. An electric sunroof was also new.

Although the car received generally positive reviews, it was unsuccessful in the United States. The Challenger and Sapporo were discontinued after the 1983 model year to make way for the products of the newly formed Chrysler-Mitsubishi joint venture, Diamond-Star Motors, as well as the entrance of Mitsubishi into the American market under its name. The same platform and 2.6 L engine under the Challenger and Sapporo were continued through 1989 as the Conquest sports car.

title: Mitsubishi Galant Lambda


text: Category:Guadalupe County, New Mexico

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Category:Guadalupe County, New Mexico


text: Category:Lycoming County, Pennsylvania

title: Category:Lycoming County, Pennsylvania


text: Category:Hancock County, Mississippi

title: Category:Hancock County, Mississippi


text:
Category:Ocean County, New Jersey

Articles and categories related to Ocean County, New Jersey.

title: Category:Ocean County, New Jersey


text:
Chirplet transform

In signal processing, the chirplet transform is an inner product of an input signal with a family of analysis primitives called chirplets.

Similar to the wavelet transform, chirplets are usually generated from (or can be expressed as being from) a single mother chirplet (analogous to the so-called mother wavelet of wavelet theory).

Definitions
The term chirplet transform was coined by Steve Mann, as the title of the first published paper on chirplets. The term chirplet itself (apart from chirplet transform) was also used by Steve Mann, Domingo Mihovilovic, and Ronald Bracewell to describe a windowed portion of a chirp function. In Mann's words:

"A wavelet is a piece of a wave, and a chirplet, similarly, is a piece of a chirp. More precisely, a chirplet is a windowed portion of a chirp function, where the window provides some time localization property. In terms of time–frequency space, chirplets exist as rotated, sheared, or other structures that move from the traditional parallelism with the time and frequency axes that are typical for waves (Fourier and short-time Fourier transforms) or wavelets."

The chirplet transform thus represents a rotated, sheared, or otherwise transformed tiling of the time–frequency plane. Although chirp signals have been known for many years in radar, pulse compression, and the like, the first published reference to the chirplet transform described specific signal representations based on families of functions related to one another by time–varying frequency modulation or frequency varying time modulation, in addition to time and frequency shifting, and scale changes. In that paper, the Gaussian chirplet transform was presented as one such example, together with a successful application to ice fragment detection in radar (improving target detection results over previous approaches). The term chirplet (but not the term chirplet transform) was also proposed for a similar transform, apparently independently, by Mihovilovic and Bracewell later that same year.

Applications

The first practical application of the chirplet transform was in water-human-computer interaction (WaterHCI) for marine safety, to assist vessels in navigating through ice-infested waters, using marine radar to detect growlers (small iceberg fragments too small to be visible on conventional radar, yet large enough to damage a vessel).

Other applications of the chirplet transform in WaterHCI include the SWIM (Sequential Wave Imprinting Machine).

More recently other practical applications have been developed, including image processing (e.g. where there is periodic structure imaged through projective geometry), as well as to excise chirp-like interference in spread spectrum communications, in EEG processing, and Chirplet Time Domain Reflectometry.

Extensions
The warblet transform     is a particular example of the chirplet transform introduced by Mann and Haykin in 1992 and now widely used. It provides a signal representation based on cyclically varying frequency modulated signals (warbling signals).

title: Chirplet transform


text:
Fahrenhype 9/11

Fahrenhype 9/11 (stylized FahrenHYPE 9/11) is a 2004 documentary video made in response to Michael Moore's documentary Fahrenheit 9/11. Part of a large group of documentaries that began appearing in the mid-2000s as improved technology allowed anyone to quickly and affordably create movies, the video was created in 28 days and was narrated by Ron Silver. Dick Morris (who also receives a co-writing credit), appears frequently, and features interviews with various political figures, including David Frum, Georgia Democratic Senator Zell Miller, social and political commentator Ann Coulter, and former Democratic New York City mayor Ed Koch.

The movie was released with a companion book, on October 5, 2004, the same day that Fahrenheit 9/11 was released on home video.

Reviews and response
The documentary received four reviews at Rotten Tomatoes. Film reviewer Robert Koehler described the film in Variety as "a broadside," and noted that "it's vastly inferior in content and style to its Moore produced counterpart." Jim Emerson reviewed the video as well, saying that the documentary "isn't exactly a thorough or level-headed piece of reasoning or investigative journalism; it's every bit the hot-headed political advertisement that Moore's film was, just a lot less funny."

After receiving complaints about fairness, a library in San Diego postponed and moved a free showing of Moore's Fahrenheit 9/11 film to a location where it could be shown along with this video. Controversy was generated in Chicago when a student from the Northwestern University Young Republicans had publicized an election night party and showing of the documentary in the bar area of a theater, after the offer was rescinded by theater management. An after school showing of Moore's Fahrenheit 9/11 requested by North Sutton, New Hampshire high school students was cancelled after several conservative parents complained. The high school superintendent told the teachers to, "in the interests of balance", not show Fahrenheit 9/11 without also showing Fahrenhype.

title: Fahrenhype 9/11


text: Category:Onslow County, North Carolina

title: Category:Onslow County, North Carolina


text:
Erika Alexander

Erika Rose Alexander (born November 19, 1969) is an American actress, writer, producer, entrepreneur and activist best known for her roles as Pam Tucker on the NBC sitcom The Cosby Show (1990–1992), and Maxine Shaw on the Fox sitcom Living Single (1993–1998). She has won numerous awards for her work on Living Single, including two NAACP Image Awards for Outstanding Actress in a Comedy Series. Her film credits include The Long Walk Home (1990), 30 Years to Life (2001), Déjà Vu (2006), Get Out (2017), American Refugee (2021), Earth Mama (2023) and American Fiction (2023), for which she was nominated for an Independent Spirit Award for Best Supporting Performance.

Early life
Alexander was born in Winslow, Arizona and raised in Flagstaff, Arizona until age eleven, when she and her family moved to Philadelphia, Pennsylvania. She is one of six children born to Robert and Sammie Alexander, a schoolteacher and a children's book author, respectively. She graduated from Philadelphia High School for Girls.

Acting career
Alexander was discovered at 14 by independent film company Merchant Ivory when she was attending the fifth week of a six-week summer acting class at the New Freedom Theatre. Her first major film role was that of Joan in 1986's My Little Girl. In 1989, she played Madri/Hidimbaa in Peter Brook's nine-hour epic play adaptation of The Mahabharata. She was also cast in Bill Gunn's The Forbidden City, the last play directed by Public Theater impresario Joseph Papp, which starred Gloria Foster, Frankie Faison and Akili Prince.

In 1990, Alexander starred opposite Whoopi Goldberg in the civil rights epic drama film The Long Walk Home. She was then cast as Pam Tucker on the NBC sitcom The Cosby Show, starring on the vastly popular series from 1990 until the show's finale in 1992. Next, Alexander went to star in the ABC comedy-drama series Going to Extremes, which centered on a group of American students at a medical school on a fictitious Caribbean island named Jantique. The series was canceled after one season in early 1993.

Later in 1993, Alexander began starring as fan-favorite, super attorney Maxine Shaw in the Fox sitcom Living Single, a role she played for five years until 1998. For this role, Alexander won two NAACP Image Awards for Outstanding Actress in a Comedy Series in 1996 and 1998. In 1996, she also made a cameo appearance in Toni Braxton's music video for her song "You're Makin' Me High".

In 1998, Alexander starred as "Young Flora", acting along with Cicely Tyson and her former Living Single co-star Queen Latifah, in the CBS miniseries Mama Flora's Family, based on a novel by Alex Haley. She also appeared in the 1998 drama film 54. In 2001, Alexander starred in the comedy film 30 Years to Life, receiving a Black Reel Award for Best Independent Actress for her performance.

In 2002, Alexander played as probation officer Dee Mulhern in the Showtime drama series Street Time, which ran for two seasons. She had recurring roles in Judging Amy, In Plain Sight, Low Winter Sun and Let's Stay Together. Alexander also guest-starred on Law & Order: Special Victims Unit, Half & Half, ER, CSI: Crime Scene Investigation, Criminal Minds, House, Suits and Grey's Anatomy. Additionally, she appeared in a number of films during the 2000s and 2010s. In 2006, Alexander played the role of Shanti, a technical science engineer in the science fiction action film Deja Vu opposite Denzel Washington. She later starred opposite Benjamin Bratt and Jeremy Ray Valdez in the 2009 drama film La Mission.

From 2012 to 2015, Alexander had a recurring role as Carol Larabee, Mike and Vanessa's neighbor, in the ABC comedy series Last Man Standing. Tisha Campbell-Martin replaced her in this role during the show's seventh season. In 2014, Alexander had a supporting role in the comedy-drama Elsa & Fred starring Shirley MacLaine and Christopher Plummer. In 2017, she played Detective Latoya in the critically acclaimed horror film Get Out.

From 2016 to 2017, Alexander starred as Constance Irving in the Amazon original drama, Bosch. She had recurring roles in the Oprah Winfrey Network drama series Queen Sugar in 2016 and Freeform fantasy drama Beyond from 2017 to 2018. In 2018, she was cast in a recurring role as Perenna in the CW superhero series Black Lightning. She received a NAACP Image Award nomination in 2019 for Outstanding Guest Performance in a Comedy or Drama Series. Also in 2019, Alexander began starring in the Hulu drama series, Wu-Tang: An American Saga. In 2021, she began appearing in a recurring role in the Starz comedy series, Run the World. The following year, she starred in The Roku Channel drama series, Swimming with Sharks.

Alexander appeared in the 2019 horror-thriller film I See You and played the lead in the Blumhouse horror-thriller American Refugee (2021). She later appeared in the comedy-drama film, Wildflower, and the drama film Earth Mama. In 2023, she starred opposite Jeffrey Wright in the drama film, American Fiction. She received an Independent Spirit Award for Best Supporting Performance nomination for her performance.

Writing and publishing
In 2012, Alexander co-created and co-wrote a science-fiction graphic novel, Concrete Park, with then-husband Tony Puryear. In 2018, she penned season eleven of the Buffy the Vampire Slayer comic Giles with Buffy creator Joss Whedon. In 2023, she created and co-wrote the Dupont Columbia Award-winning Audible true-crime series Finding Tamika.

Alexander is a co-founder (with Ben Arnon) of Color Farm Media, an entertainment, innovation, and social impact company; in 2020, they released John Lewis: Good Trouble, a documentary focusing on civil rights leader John Lewis.

Political activity
Alexander actively campaigned for Hillary Clinton and toured college campuses with Chelsea Clinton during the 2008 Democratic Party primary.

Personal life
From 1997 to 2017, Alexander was married to artist and screenwriter Tony Puryear.

title: Erika Alexander


text: Category:Rockwall County, Texas

title: Category:Rockwall County, Texas


text: Category:Pennington County, South Dakota


text:
Category:English Renaissance plays

Note that some slightly earlier plays are included here.
 * This category contains plays dating to the English Renaissance (16th century-17th century).

title: Category:English Renaissance plays


text: Category:Yavapai County, Arizona

title: Category:Yavapai County, Arizona


text:
Dodecane

Dodecane (also known as dihexyl, bihexyl, adakane 12, or duodecane) is an oily liquid n-alkane hydrocarbon with the chemical formula C12H26 (which has 355 isomers).

It is used as a solvent, distillation chaser, and scintillator component. It is used as a diluent for tributyl phosphate (TBP) in nuclear reprocessing plants.

Combustion reaction
The combustion reaction of dodecane is as follows:

 * C12H26(l) + 18.5 O2(g) → 12 CO2(g) + 13 H2O(g)

 * ΔH° = −7513 kJ

One litre of fuel needs about 15 kg of air to burn (2.6 kg of oxygen), and generates 2.3 kg (or 1.2 m3) of CO2 upon complete combustion.

Jet fuel surrogate
In recent years, n-dodecane has garnered attention as a possible surrogate for kerosene-based fuels such as Jet-A, S-8, and other conventional aviation fuels. It is considered a second-generation fuel surrogate designed to emulate the laminar flame speed, largely supplanting n-decane, primarily due to its higher molecular mass and lower hydrogen-to-carbon ratio which better reflect the n-alkane content of jet fuels.

title: Dodecane


text:
Sound server

A sound server is software that manages the use of and access to audio devices (usually a sound card). It commonly runs as a background process.

Sound server in an operating system
In a Unix-like operating system, a sound server mixes different data streams (usually raw PCM audio) and sends out a single unified audio to an output device. The mixing is usually done by software, or by hardware if there is a supported sound card.

Layers
The "sound stack" can be visualized as follows, with programs in the upper layers calling elements in the lower layers:

 * Applications (e.g. mp3 player, web video)
 * Sound server (e.g. aRts, ESD, JACK, PulseAudio)
 * Sound subsystem (described as kernel modules or drivers; e.g. OSS, ALSA)
 * Operating system kernel (e.g. Linux, Unix)

Motivation
Sound servers appeared in Unix-like operating systems after limitations in Open Sound System were recognized. OSS is a basic sound interface that was incapable of playing multiple streams simultaneously, dealing with multiple sound cards, or streaming sound over the network.

A sound server can provide these features by running as a daemon. It receives calls from different programs and sound flows, mixes the streams, and sends raw audio out to the audio device.

With a sound server, users can also configure global and per-application sound preferences.

Diversification and problems
there are multiple sound servers; some focus on providing very low latency, while others concentrate on features suitable for general desktop systems. While diversification allows a user to choose just the features that are important to a particular application, it also forces developers to accommodate these options by necessitating code that is compatible with the various sound servers available. Consequently, this variety has resulted in a desire for a standard API to unify efforts.

List of sound servers

 * aRts
 * Enlightened Sound Daemon
 * JACK
 * Network Audio System
 * PipeWire
 * PulseAudio
 * sndio - OpenBSD audio and MIDI framework

Streaming

 * Icecast
 * SHOUTcast

title: Sound server


text:
Peach Belt Conference

The Peach Belt Conference (PBC) is a college athletic conference affiliated with the National Collegiate Athletic Association (NCAA) at the Division II level. The 10 member institutions are located in the South Atlantic states of South Carolina, Georgia, and Florida. In addition, seven affiliate members participate in one sport each; namely sports not sponsored by their home conferences.

Since its inception came in the 1990–91 school year, the Peach Belt has, across all sanctioned sports, produced 30 national champions and an additional 27 national finalists. Starting with only two championships in 1991, in men's and women's basketball, the conference has expanded to 18 championship sports with the addition of men's lacrosse in the summer of 2020 and men's and women's indoor track and field in 2023.

History
The conference traces its roots November 1988 when 11 schools first met in Greenville, S.C. to form a Division II conference. Following a second meeting on Dec. 3, 1989, five of those 11 schools, plus two others, formed the Peach Belt Athletic Conference and began play in the fall of 1990.

The seven charter members of the conference were Armstrong Atlantic State University (later Armstrong State University), Columbus State University, Francis Marion University, Georgia College (now Georgia College & State University), Lander University, USC Aiken, and USC Upstate. The name Peach Belt Athletic Conference was adopted in January 1990 and modified to Peach Belt Conference in May 2000.

Augusta State University joined the conference as the eighth member in 1991 and UNC Pembroke became the ninth member on July 1, 1992. They were followed by Kennesaw State University on July 1, 1994, Clayton State University on July 1, 1995 and the University of North Florida on July 1, 1997. Kennesaw State and North Florida departed for the Division I ranks in 2005, USC Upstate did the same in 2007, and the conference welcomed in North Georgia College & State University in 2005 and Georgia Southwestern State University in 2006. In 2009–10, the University of Montevallo and Flagler College were added, returning a league presence to Florida and breaking new ground in Alabama. In 2012–13, the Peach Belt expanded to 14 members, the most the league has ever had, with the addition of Young Harris College. On January 8, 2013, the University System of Georgia finalized the mergers of two conference members into new institutions. Augusta State was merged into Georgia Regents University, which was renamed in 2015 as Augusta University, and NGCSU was merged into the University of North Georgia. In both cases, the new institutions inherited the Peach Belt memberships of the older schools.

The Peach Belt was less than a year old before capturing its first of many national championships. The Columbus State men's golf team took the honor by winning the 1992 national crown, the first of three golf championships the Cougars own. One year later, the Lander men's tennis team began their record-breaking run of eight straight national titles, the first PBC dynasty. Since then, USCA men's golf won three straight national titles from 2004 to 2006 while AASU women's tennis captured four titles overall.

The 2010–11 season was one of the most memorable the league has ever had. Clayton State became the first PBC women's basketball team to capture a national championship. Montevallo watched their men's basketball team reach the Elite Eight, eventually competing in the National Championship Game. Unfortunately, their run came to an end with a loss to Western Washington University. The Columbus State men's tennis team reached the national semifinals while the Clayton State and Armstrong Atlantic State women's tennis teams also played in the national semifinals. The North Georgia softball team made an unprecedented third straight appearance in the NCAA Women's College World Series, while Columbus State's Meshack Koyiaki registered a runner-up finish at the Men's Cross Country National Championships. In all, 46 Peach Belt teams made appearances in the NCAA postseason, including seven men's tennis teams and six each in the sports of men's golf and women's tennis.

David Brunk was named the second PBC commissioner in May 2007, replacing Marvin Vanover, who was the first PBC commissioner from 1991 to 2007. Brunk is charged with continuing the strong growth of the conference as its second era begins.

Dr. Kendall Blanchard, president of Georgia Southwestern State University, began the second of his two-year term as the league president in July 2011.

In April 2020, Francis Marion University and the University of North Carolina at Pembroke announced that they would leave the Peach Belt Conference starting in 2021–22, both joining Conference Carolinas.

On April 14, 2021, the conference invited the NAIA's University of South Carolina Beaufort to join in 2022–23 after applying for membership in Division II and gaining acceptance into the NCAA. By July 14, 2022, USCB was accepted into the NAIA's Continental Athletic Conference for its first year of provisional membership while still playing a Peach Belt schedule as part of the Sand Sharks' dual NAIA-NCAA membership. USCB is ineligible for a Peach Belt or NCAA postseason during the three-year transition.

The conference currently holds championships in 16 sports, eight for men and eight for women. The championship sports are men's and women's cross country, men's and women's soccer, volleyball, men's and women's basketball, men's and women's tennis, baseball, softball, men's and women's track & field, and men's and women's golf. Men's lacrosse was added on July 10, 2020, with its first season was in spring 2021, and men's and women's indoor track and field was added on August 11, 2023.

Chronological timeline

 * 1989 - On December 3, 1989, the Peach Belt Conference (PBC) was founded as the Peach Belt Athletic Conference (PBAC). Charter members included Armstrong State College (later Armstrong Atlantic University before merging with Georgia Southern University), Columbus College (now Columbus State University), Francis Marion College (now Francis Marion University), Georgia College (now Georgia College & State University), Lander College (now Lander University), the University of South Carolina at Aiken (USC Aiken) and the University of South Carolina at Spartanburg (USC Spartanburg, now the University of South Carolina Upstate or USC Upstate) beginning the 1990-91 academic year.
 * 1991 - Augusta College (later Augusta State University, now Augusta University) joined the PBAC in the 1991-92 academic year.
 * 1992 - The University of North Carolina at Pembroke (UNC Pembroke) joined the PBAC in the 1992-93 academic year.
 * 1994 - Kennesaw State University joined the PBAC in the 1994-95 academic year.
 * 1995 - Clayton State University joined the PBAC in the 1995-96 academic year.
 * 1997 - The University of North Florida joined the PBAC in the 1997-98 academic year.
 * 2000 - The PBAC renamed by shortening its name to the Peach Belt Conference (PBC) in the 2000-01 academic year.
 * 2005 - Kennesaw State and North Florida left the PBC to join the Division I ranks National Collegiate Athletic Association (NCAA) and the Atlantic Sun Conference (A-Sun) after the 2004-05 academic year.
 * 2005 - North Georgia College & State University (now the University of North Georgia) joined the PBC in the 2005-06 academic year.
 * 2006 - Georgia Southwestern State University joined the PBC in the 2006-07 academic year.
 * 2007 - USC Upstate left the PBC to join the NCAA Division I ranks and the Big South Conference after the 2006-07 academic year.
 * 2009 - Flagler College and the University of Montevallo joined the PBC in the 2009-10 academic year.
 * 2012 - Young Harris College joined the PBC in the 2012-13 academic year.
 * 2012 - The University of Alabama in Huntsville, Nova Southeastern University and Shorter University joined the PBC as affiliate members for men's & women's outdoor track & field in the 2013 spring season (2012-13 academic year).
 * 2014 - The Florida Institute of Technology (Florida Tech) joined the PBC as an affiliate member for men's & women's outdoor track & field in the 2015 spring season (2014-15 academic year).
 * 2021 - Alabama–Huntsville and Shorter left the PBC as affiliate members for men's & women's outdoor track & field after the 2016 spring season (2015-16 academic year).
 * 2017 - Two members left the PBC to join their respective new home primary conferences: Armstrong State announced that it would discontinue its athletic program and would be merged into Georgia Southern University, and Montevallo rejoined the Gulf South Conference, both after the 2016-17 academic year.
 * 2017 - Embry–Riddle Aeronautical University joined the PBC as an affiliate member for men's & women's outdoor track & field in the 2018 spring season (2017-18 academic year).
 * 2019 - Two institutions joined the PBC as affiliate members: Albany State University for women's soccer, and Claflin University for baseball, both in the 2019-20 academic year.
 * 2021
 * Francis Marion and UNC Pembroke left the PBC to join the Conference Carolinas after the 2020-21 academic year.
 * Alabama–Huntsville and Shorter rejoined the PBC as affiliate members for men's lacrosse (with former full member Montevallo also rejoining that sport) in the 2022 spring season (2021-22 academic year).
 * 2022 - The University of South Carolina at Beaufort (USC Beaufort) joined the PBC beginning with the 2022-23 academic year.
 * 2023 - Central State University joined the PBC as an affiliate member for men's and women's indoor track and field in the 2024 spring season (2023-24 academic year).
 * 2024
 * The Sunshine State Conference, primary home of PBC track affiliates Embry–Riddle and Nova Southeastern, announced it would start sponsoring men's and women's outdoor track & field in 2024–25, and accordingly, both schools moved their respective programs to the SSC. Embry–Riddle will remain a PBC affiliate in men's and women's indoor track.
 * Shorter moved to Conference Carolinas for all sports after the 2023–2024 academic year, including its PBC affiliated sport of men's lacrosse.
 * 2025 - Middle Georgia State University will join the PBC in the 2025–26 academic year.

Current members
The PBC currently has 10 full members, with all but one being public schools. Reclassifying members listed in yellow.

 * Notes:

Future member
The PBC will have one new full member, also a public school.

 * Notes:

Affiliate members
The PBC currently has six affiliate members, two being private schools and four being public.

 * Notes:

Former members
The PBC has eight former full members, all but one are public schools:

 * Notes:

Former affiliate members
The PBC has five former affiliate members, one was a public school, while four were private schools:

 * Notes:

Men's sponsored sports by school
Departing members/teams in pink.

 * Notes:

Women's sponsored sports by school
Departing members/teams in pink.

 * Notes:

Other sponsored sports by school

 * Notes:

title: Peach Belt Conference


text:
Ian Charleson

Ian Charleson (11 August 1949 – 6 January 1990) was a Scottish stage and film actor. He is best known internationally for his starring role as Olympic athlete and missionary Eric Liddell in the Oscar-winning 1981 film Chariots of Fire. He is also well known for his portrayal of Rev. Charlie Andrews in the 1982 Oscar-winning film Gandhi.

Charleson was a noted actor on the British stage as well, with critically acclaimed leads in Guys and Dolls, Cat on a Hot Tin Roof, Fool for Love, and Hamlet, among many others. He performed numerous Shakespearean roles, and in 1991 the annual Ian Charleson Awards were established, particularly in honour of his final Hamlet. The awards reward the best classical stage performances in Britain by actors aged under 30.

The Houghton Mifflin Dictionary of Biography describes Charleson as "a leading player of charm and power" and "one of the finest British actors of his generation". Alan Bates wrote that Charleson was "definitely among the top ten actors of his age group". Ian McKellen said Charleson was "the most unmannered and unactorish of actors: always truthful, always honest".

Charleson was diagnosed with HIV in 1986, and died in 1990 at the age of 40. He requested that it be announced after his death that he had died of AIDS, to publicise the condition. This was the first celebrity death in the United Kingdom openly attributed to AIDS, and the announcement helped to promote awareness and acceptance of the disease.

Early life
Born in Edinburgh in 1949, Charleson was the son of a printer, and grew up in a working-class area of the city. A bright, musical, artistic child, by the age of eight he was performing in local theatre productions. He won a scholarship to and attended Edinburgh's Royal High School; and in his teens, he joined and performed with The Jasons, an Edinburgh amateur theatrical group. He also sang solo as a boy soprano in church and in the Royal High School choir, which performed on the radio and in Edinburgh Festival concerts.

Charleson won a scholarship to the University of Edinburgh, which he attended from 1967 to 1970, obtaining a three-year Scottish MA Ordinary degree. Initially he studied architecture. However, he spent most of his time acting with the student-run Edinburgh University Drama Society, and decided to pursue acting as a career. He changed his study concentration accordingly, and graduated with a degree in English, fine art, and mathematics. In addition to his acting roles at Edinburgh University, he also directed many plays there, and he designed costumes for several as well.

From 1967 through 1973, Charleson also performed often at the Edinburgh Festival and Edinburgh Festival Fringe, becoming a noted actor in those circles.

LAMDA, Young Vic, and Cambridge Theatre Company
After graduating in 1970 from the University of Edinburgh – where he played leads in numerous productions, including several Shakespeare plays – Charleson won a place in the London Academy of Music and Dramatic Art (LAMDA), where he studied for two years.

From LAMDA, Charleson was hired by Frank Dunlop's Young Vic Theatre Company. He made his professional stage debut in 1972 with the Young Vic, as one of the brothers in Joseph and the Amazing Technicolor Dreamcoat (1972), which was also televised in the UK that same year by Granada Television. In 1973, he starred as Jimmy Porter in Look Back in Anger, and that year he was also Hamlet and later Guildenstern in the first revival of Tom Stoppard's Rosencrantz and Guildenstern Are Dead. Also as part of the Young Vic company, he was Claudio in Much Ado About Nothing in 1974. He traveled with the company to the Brooklyn Academy of Music in New York that same year, to appear as Lucentio in The Taming of the Shrew, Ottavio in Scapino, and Brian Curtis in French Without Tears.

In late 1974, he played the title role in Hamlet with the Cambridge Theatre Company, where he had previously performed that year in The School for Scandal and Six Characters in Search of an Author, and the production went on tour into 1975. His performance of Hamlet garnered good reviews; nevertheless Charleson felt he had not done the notoriously difficult role complete justice.

West End and National Theatre debuts, Royal Shakespeare Company
Charleson made his West End debut in 1975, in a long-running production of Simon Gray's Otherwise Engaged at the Queen's Theatre. In it he played Dave, a surly Scottish lodger, opposite Alan Bates.

He next appeared at the National Theatre, where he performed Octavius in Julius Caesar in 1977. That year he also played Peregrine in the Ben Jonson play Volpone, opposite John Gielgud, and Captain Phoebus in The Hunchback of Notre-Dame.

Charleson then spent a year in Stratford-upon-Avon with the Royal Shakespeare Company 1978–79. There he performed a hauntingly voiced Ariel in The Tempest; Tranio in The Taming of the Shrew; and Longaville in Love's Labour's Lost opposite Richard Griffiths as the King – all both in Stratford and at the Aldwych Theatre in London. Also with the RSC, he was Lawrence Vail in an acclaimed production of Once in a Lifetime (1979) at the Aldwych Theatre, and he played Pierre in the Jane Lapotaire vehicle Piaf, giving a performance which caught the eye of the filmmakers of Chariots of Fire.

National Theatre spotlight
In the 1980s, Charleson won particular critical and popular acclaim for his starring roles at the National Theatre. He was a glowingly reviewed Sky Masterson in Richard Eyre's enormously successful revival of the musical Guys and Dolls (1982), opposite Julie Covington as Sister Sarah, with Bob Hoskins as Nathan Detroit and Julia McKenzie as Adelaide.

Charleson received an Olivier Award nomination for Actor of the Year in a New Play as Eddie in Sam Shepard's gritty and very physical two-person drama, Fool for Love (1984–85), opposite Julie Walters as his on-again off-again love object. And he was a highly praised Brick, the repressed homosexual protagonist in Tennessee Williams' Cat on a Hot Tin Roof (1988), opposite Lindsay Duncan.

Final Hamlet
Shortly before his death, while seriously ill from AIDS, from 9 October to 13 November 1989 Charleson performed his second run of Hamlet, this time at the National Theatre – giving a definitive performance which garnered major accolades. Director Richard Eyre, with some initial misgivings based on Charleson's health, had brought him in to replace Daniel Day-Lewis, who had abandoned the production. A further challenge was that Charleson's face was greatly swollen from septicaemia; audience members and the rest of the public were told that he was recovering from a sinus operation.

In a lengthy review praising Charleson's performance, John Peter wrote in the Sunday Times:

"[T]he masterful new Hamlet: Ian Charleson. .... Technically he employs clarity combined with a powerful dramatic drive. His delivery is steely but delicate. The words move with sinuous elegance and crackle with fire. His Hamlet is virile and forceful. ... He oozes intelligence from every pore. ...

The way Charleson can transform a production is a reminder that actors are alive and well, that directors can only draw a performance from those who have one in them and that in the last analysis the voice of drama speaks to us through actors."

The day following Charleson's final Hamlet performance, when Ian McKellen was given the Evening Standard Award for Best Actor for his Iago in Othello, McKellen offered thanks, but said having seen "the perfect Hamlet" at the National Theatre the previous night, he thought that not he but Charleson was truly the Best Actor of 1989, and he gave Charleson his statuette.

Chariots of Fire and Gandhi
In 1979, producer David Puttnam and director Hugh Hudson had done months of searching for the actor to play the lead of the evangelical Scot Eric Liddell in their upcoming film about the 1924 Olympics. They then saw Charleson performing the role of Pierre in Piaf, and knew immediately they had found their man. Unbeknownst to them, the actor had heard about the film from his father, and desperately wanted to play the part, feeling it would "fit like a kid glove". This mutual affinity led to Charleson's best-known film role and success – as the athlete and missionary Eric Liddell in Chariots of Fire (1981). He prepared for the role by studying the Bible intensively, and he himself wrote Liddell's stirring post-race address to the workingmen's crowd. This film and role made him an international celebrity.

Charleson had a similar success the following year, playing Mahatma Gandhi's closest friend and collaborator, the Anglican priest Charlie Andrews, in Gandhi (1982), opposite Ben Kingsley. Like Chariots of Fire, the film Gandhi won numerous Academy Awards, including Best Picture.

Other film work
After these two major successes in these two Best Picture Oscar–winning films, Charleson's film career did not, however, follow the same progressive arc that his stage career did. Good feature Hollywood scripts did not pour in after Chariots of Fire and Gandhi; nor did he choose to move to Hollywood to capitalize on his success. Also affecting his film career was the fact that he was diagnosed with HIV in 1986, and thereafter lacked enthusiasm to do feature films, although he was not symptomatic until the autumn of 1988. His drive to pursue a rich stage career focusing on Shakespearean leads, however, remained strong.

Charleson's other feature film roles are: punk-era Angel in his film debut Jubilee (1977) directed by Derek Jarman; Lt. Ryder in the Golden Bear-winning "Irish question" film Ascendancy (1982), which starred Julie Covington; a small role as the abusive drunk Jeffson Brown in Greystoke: The Legend of Tarzan (1984); a comedic turn as Gerald Spong in the rather ill-fated Car Trouble (1985), opposite his friend Julie Walters; and opera director Marco in Dario Argento's horror film Opera (1987).

Television: Shakespeare, TV films, and teleplays
Charleson performed in three BBC Television Shakespeare films: as Fortinbras in Hamlet (1980) starring Derek Jacobi; the protagonist Bertram in the acclaimed production of All's Well That Ends Well (1981); and Octavius Caesar in Antony & Cleopatra (1981) opposite his frequent co-star Jane Lapotaire as Cleopatra.

His other notable made-for-television film roles include: the titular Lieutenant Dorfrichter in the film adaptation of M. Fagyas's Austro-Hungarian pre-war mystery The Devil's Lieutenant (1983); Rakitin in Turgenev's A Month in the Country (1985) opposite Eleanor Bron; Kyril in the spy thriller Codename: Kyril (1988) opposite Edward Woodward, Richard E. Grant, and Peter Vaughan; and the protagonist Major Brendan Archer in the faithful screen adaptation of J. G. Farrell's Booker Award-winning Troubles (1988), opposite Ian Richardson.

Charleson's notable starring television roles in the 1970s include: Anthony in A Private Matter (1974), his first starring screen role, opposite Rachel Kempson; slick and cruel John Ross preying on Scottish immigrants to the New World in O Canada (1975) in the anthology series Churchill's People; and one of two British soldiers who find military life nearly unbearable in The Paradise Run (1976), directed by Michael Apted.

In the 1980s his notable starring TV roles included: Alexander the Great's close companion Hephaistion in the PBS miniseries The Search for Alexander the Great; serial killer Neville Heath in an episode of the murder-trial reenactment series Ladykillers (1981); naive Scot turned powerful South African magnate Jamie MacGregor in the miniseries Master of the Game (1984); romantic lead Clarence Dandridge in the period miniseries Louisiana (1984) opposite Margot Kidder; and protagonist Victor Geary in the stylish and clever Oxbridge Blues (1984), written by Frederic Raphael, directed by James Cellan Jones, and co-starring Amanda Redman, Rosalyn Landor, and Malcolm Stoddard.

Singing work
Charleson used his tenor singing voice in musicals and other performances. He did notable solo singing work in productions including Much Ado About Nothing (1974), an episode of Rock Follies of '77 (1977), The Tempest (1978–1979), Piaf (1978–1980), Guys and Dolls (1982), A Royal Night of One Hundred Stars (1985), After Aida (1985–1986), Andrew Lloyd Webber's and Tim Rice's Cricket (1986), Sondheim: A Celebration (1988 benefit for Crusaid), and Bent (1989). He also sang classic standards and show tunes, and the songs of Robert Burns, in variety programmes on stage and television.

Three commercial recordings have been issued that include Charleson's singing:
 * The National Theatre cast album of Guys and Dolls (1982)
 * Charleson singing Ariel's Songs from The Tempest, issued by the Royal Shakespeare Company; music by Guy Woolfenden
 * The Original London Cast Album of Joseph and the Amazing Technicolor Dreamcoat (ensemble only)

He also sings a solo ballad on an episode ("The Empire") of the television series Rock Follies of '77.

Death
Charleson, who was gay, was diagnosed with HIV in 1986 during the AIDS pandemic, and died of AIDS-related causes in January 1990 at the age of 40. He died eight weeks after performing the title role in a run of Hamlet, in Richard Eyre's production at the Olivier Theatre. Fellow actor and friend Ian McKellen said that Charleson played Hamlet so well it was as if he had rehearsed the role all his life.

Charleson requested that it be announced after his death that he had died of AIDS, to publicise the condition. This unusual decision by a major internationally known actor, the first show-business death in the United Kingdom openly attributed to complications from AIDS, helped promote awareness of HIV and AIDS and acceptance of AIDS patients.

Honours and commemoration
For his performance in Chariots of Fire, Charleson won a Variety Club Showbiz Award for Most Promising Artiste in February 1982.

He was nominated for the Olivier Award for Actor of the Year in a New Play, for his starring role as Eddie in Fool for Love in 1984.

In The Sunday Times, John Peter named Charleson the Best Male Actor of 1989 for his Hamlet, along with Ian McKellen for his Iago in Othello.

In his honour, the annual Ian Charleson Awards were established in 1991, to reward the best classical stage performances in Britain by actors aged under 30.

The Royal Free Hospital's Ian Charleson Day Centre for people with HIV, in London, is named in his memory.

On 8 April 1990, three months after his Edinburgh funeral, a public memorial service was held for Charleson in London. A recording of his singing of "Come Unto These Yellow Sands" from The Tempest was played.

In 1990, following his death, 20 of Charleson's friends, colleagues, and family members, including Ian McKellen, Alan Bates, Hugh Hudson, Richard Eyre, Sean Mathias, Hilton McRae, Ruby Wax, and David Rintoul, contributed to a book of reminiscences about him, called For Ian Charleson: A Tribute, published in October 1990. All royalties from the sale of the book went to the Ian Charleson Trust, a charitable foundation which operated from 1990 to 2007.

Two emotional reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre in November 1990 as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA.

Hugh Hudson, who had directed him in Chariots of Fire, dedicated his 1999 film My Life So Far "In loving memory of Ian Charleson". The 2005 videos "Wings on Their Heels: The Making of Chariots of Fire" and "Chariots of Fire: A Reunion" are both also dedicated to his memory.

title: Ian Charleson


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Stacie Orrico (album)

Stacie Orrico is the second studio album by American singer Stacie Orrico. It was released by ForeFront Records and Virgin Records on March 25, 2003, in the United States. Initially conceived as a Contemporary Christian music album, much in style of Orrico's debut album Genuine (2000), the album was titled Say It Again and expected to be released in 2002, featuring production by Anthony Dent and Tedd T, among others. Additional recording sessions with mainstream producers Dallas Austin and The Underdogs led to a different musical direction however and resulted in the renaming of the project. Stylistically, the album mixes the singer's native Christian music with more pop and R&B styles, but also features incorporation of teen pop and dance music.

Stacie Orrico received generally favorable reviews from music critics who praised the songs, but some said that it was mixed with different genres. The album peaked at number fifty-nine on the US Billboard 200, while also reaching the top spot on Billboard's Top Christian Albums, and was certified Gold by the Recording Industry Association of America (RIAA). It peaked in the top ten in different countries, including Japan and Norway, and the top twenty in Austria, Germany, New Zealand, and Switzerland. Stacie Orrico produced the international top ten hits "Stuck" and "(There's Gotta Be) More to Life" and was nominated for a Grammy Award for Best Pop/Contemporary Gospel Album, but lost to Michael W. Smith.

Background
When Orrico released her debut album, Genuine (2000), she released only one mainstream single which was "Everything". It was later announced that she would record another album with her record label Forefront Records, Say It Again, which was originally intended solely for Christian pop radio, with a release date of April 2002. However, when Virgin Records saw mainstream potential with Orrico, the album was postponed and then cancelled while it was retooled. Four tracks from Say It Again were removed, although two were later released as single B-sides and Japanese bonus tracks on the album, including "Truth", "Until I Find You", "That's the Way" and "	Star of My Story". Meanwhile, "Bounce Back", Say It Again's first single, was completely re-recorded and "Security" and "Maybe I Won't Look Back" received major alterations. The songs "Stuck", "(There's Gotta Be) More to Life", "I Promise", "I Could Be the One", "Instead", and "Strong Enough" were added to the track listing.

Singles
The release of the album was preceded by the single "Bounce Back." When Say It Again was reworked into Stacie Orrico, the song was demoted and replaced by Dallas Austin-produced "Stuck" as the album's leading single. A worldwide success, "Stuck" reached the top five in Australia, Denmark, Germany, the Netherlands, and New Zealand and became a top ten success on most other charts it appeared on. In the United States, the song underperformed on the US Billboard 100, reaching number 52 only, though it peaked inside the top ten of the Mainstream Top 40, while the Thunderpuss Remix topped the US Hot Dance Singles Sales.

Second single "(There's Gotta Be) More to Life" became a top ten success in Ireland, New Zealand, and Norway, and reached the top 20 in Australia, Belgium, Denmark, Germany, the Netherlands, Scotland, and the United Kingdom. It also peaked at number thirty on the US Billboard Hot 100, making it Orrico's highest-charting single there. Third single "I Promise" did not do as well as her previous singles, but did make the top 20 in Ireland and the top 30 in the United Kingdom. A fourth and final single from the album, "I Could Be the One," reached number 34 on the UK Singles Chart.

Critical reception
Stacie Orrico received generally positive reviews from music critics. Steve Losey from Allmusic rated the album three stars out of five. He pointed out about Orrico that "vocally the opus stretches her talents by delving into several tempo and mood changes that the 17-year-old embraces like a seasoned veteran." He also said that "the astounding thing about the disc is that the grooves drip of dance floor sweat, maturity, and soulfulness while maintaining integrity and purity from America's newest diva/role model." PopMatters noted that on her second album, "Orrico knows what she can do – excellent melodic pop – and doesn't try to push any boundaries. At this time in her young career, this clear path is a benefit." While the online magazine felt that a "couple of weaker, moderate-tempo songs prevent Stacie Orrico from matching Genuine, it declared the album a "well-crafted and focused" project, complimenting it for its "solid melodies and songs."

Billboard remarked that the album had Orrico "making major inroads into mainstream pop" and called it an "adventurous set that perfectly showcases Orrico's vocal sass and youthful exuberance." Rolling Stone critic Kerry L. Smith found that the album had Orrico invoke a "sexy, sophisticated spirit [that] spices up her R&B-heavy; sophomore album with hip-hop, pop and gospel stylings well beyond her years [...] The album's shining moments are the ballads "Strong Enough," which Orrico performs on keyboard and "I Promise." If Orrico continues to stay true to herself, her career is one promise she's sure to make good on." Bill Lehane from MusicOMH gave Stacie Orrico a positive review. He found that "the urban, R&B; sound is certainly there, but this girl is singing about a much more serious mythical force than a genie in a bottle." He concluded that "this record, Orrico's second despite her tender years, is a beautiful album, and it packs a spiritual punch without alienating the average Aguilera fan. At least I hope it won't, because this contains some of the best solo female urban material in years. Does it matter that she's not singing about sex?"

Commercial reception
Stacie Orrico enjoyed moderate international success. It scored its chart highest entry in Japan where it reached number three on the Japanese Albums Chart and was later certified double platinum by the Recording Industry Association of Japan (RIAJ), indicating sales in excess of the 500,000 units. The album also reached the top ten in Norway, peaking at number seven. It was eventually certified gold by the Norwegian International Federation of the Phonographic Industry (IFPI) for sales of more than 20,000 copies. Elsewhere, Stacie Orrico entered the top 20 in Austria, Germany, New Zealand, and Switzerland. The album also peaked at number 43 on the Australian Albums Chart and number 72 on the Dutch Top 40, where it spent 22 weeks on the chart.

In the United Kingdom, the album debuted at number 37 on the UK Albums Chart, but did not pass its peak of 37, and it slipped down and rose several weeks, staying in the charts for 16weeks. It eventually passed sales in excess of 100,000 copies, and was later certified silver and gold by the British Phonographic Industry (BPI). In the United States, Stacie Orrico peaked at number 59 on the US Billboard 200, and was certified gold by the Recording Industry Association of America (RIAA) for the shipment of over 500,000 copies. It also topped Billboard's Top Christian Albums, becoming Orrico's first album to do so, and finished eighth on both the chart's 2003 and 2004 year-end rankings. By January 2007, the album had sold 498,000 units, according to Nielsen SoundScan.

Track listing
Notes
 * undefined signifies a co-producer
 * undefined signifies an additional producer

Personnel

 * Anthony Anderson – guitar, MIDI programming
 * David Angell – violin
 * Dallas Austin – producer
 * Ken Bell – guitar, MIDI programming
 * Teddy Campbell – drums
 * Melody Chambers – vocals
 * Kyle Cook – guitar
 * Eric Darken – percussion
 * David Davidson – violin
 * Eddie DeGarmo – executive producer
 * Dave Deviller – producer
 * Aaron Featherstone – acoustic guitar
 * Greg Ham – executive producer
 * Sean Hosien – producer
 * Victor Indrizzo – drums
 * Kenya Ivey – vocals
 * Corky James – guitar, bass
 * Kevin Kadish – MIDI programming
 * Anthony LaMarchina – cello
 * Harvey Mason Jr. – producer
 * David May – Acoustic guitar
 * Mooki – drums, keyboards, vocals, producer, drum programming, MIDI programming
 * Marcelo Pennell – engineer, mixer
 * Nashville String Machine – strings
 * Lynn Nichols – guitar
 * Stacie Orrico – vocals, producer
 * Carlos Pennell – guitar
 * Tony Reyes – guitar
 * Matt Rollings – piano, producer
 * Matt Serletic – producer
 * Neil Stubenhaus – bass

title: Stacie Orrico (album)