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The storylines of the manga and the anime adaptation are markedly different: while the anime uses most of the same characters, the story of the first two seasons were invented for the television show. Most of the stories in the third season are based on the manga. Story of the anime At the beginning of the anime, when Chacha is about to begin school, Seravy gives her a pendant called the Princess Medallion, and a magical bracelet and ring to Riiya and Shiine respectively. The Princess Medallion enables Chacha to transform into the Magical Princess, who can defeat Daimaō's minions, when she shouts the phrase "Let Love, Courage and Hope -- Magical Princess Holy Up!". However, the transformation works only if the three of them get together.
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In season one, Chacha, Shiine, and Riiya attend Urara School, named after their principal Urara. The three are in Banana Class with their teacher named Rascal-sensei who wields a whip and looks strict, but is actually very kind. On the same class is Kurozukin ("black-hooded") Yakko and Orin. Yakko admires Seravy deeply and even calls him Seravy-sama. Orin is a ninja of the Momonga Clan, and good at concealing herself. Orin is probably the most truthful character in the story, she develops a crush on Shiine when they first met. Later a selfish mermaid called Marin tags along because she is interested in Riiya.
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In the second season, after Chacha's weapon, the Beauty Serene Arrow, was unable to beat one of Daimaō's minions, Access, the trio began to search for another, more powerful weapon called the Phoenix Sword or Wing Kris. As they do so, Chacha discovers that her parents are the King and Queen of their land. After encountering many obstacles, they find Phoenix Sword. They then begin their quest for the Bird Shield, the third weapon that the Magical Princess must acquire to defeat Daimaō's minions. At the end of this story arc, Chacha, Shiine, Riiya, Orin, Yakko, Marin, Dorothy, and Seravy together, as the eight Holy Warriors of Love, Courage, and Hope, get inside Daimaō's castle. They defeat Daimaō, after which the castle and the kingdom changes back to its original shape and color.
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In season three, the King's Crest, which is a magical artifact called the Holy Bird, is stolen by one of Daimaō's minions, Soprano. Whoever possesses the King's Crest can make the world good or evil. When Chacha as the Magical Princess fights Soprano, by accident they break the seal, allowing demons to enter their world and start devastating their land. Seravy tells them that to close the seal again, they must use things that are from gods or goddess. Because the Pendant, Bracelet, and Ring were given to them by Queen Joan, now a goddess, they sacrifice the three items to save the world. As a result, Chacha can no longer change into the Magical Princess, but her family gives her three more magical items, a magical brooch, compact, and Crescent Aurora Bracelet, which she can use to call up a boomerang which in turn brings her the items that can solve her problems. The rest of the series are based on the first 5 volumes of the manga. At the end of the series, Seravy settles down,
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engaged to be married to his former classmate, Dorothy.
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Characters Main characters All main characters appear in both the manga and anime versions.
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- A young blonde girl with a red riding hood practicing magic under the care of her teacher, Seravy. She is often referred to as cute when she fumbles up her magic tricks, which is basically always. She is best friends with Riiya and Shiine. - A young boy with great strength and an equally great appetite who has the ability to transform into a young white wolf at will, but is often mistaken for a dog. He is constantly fighting with Shiine over Chacha's affections and he dislikes Seravy on occasion. (TV series/OVA), Yoshinobu Kaneko (Osawagase! Panic Race!) - Left to Dorothy as a baby by Access (revealed to be his father), he was raised as a wizard and he also enjoys housework. With Chacha and Riiya's help, he is reunited with his parents. His magic powers are better than Chacha's and he is the most sensible and reasonable one in the group. He is very loyal to his Master Dorothy.
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- Chacha's magic teacher, guardian, and the greatest wizard in the world. His first and only love was Dorothy, before she changed her curly blonde hair to straight black (red-pink in the anime) hair which Seravy detests. In the anime, he was formerly captain of the royal guards and escaped with Chacha when Daimaō attacked the castle. - Shiine's magic teacher who dreamed of becoming the greatest magician in the world. She defeated Piikapon, thus earning the title of greatest magician for only a few minutes because Seravy accidentally hit Dorothy over the head with a huge bouquet of flowers he conjured (to congratulate her), thus earning him the title of greatest magician of the world. Dorothy angrily turned her curly blond hair red-pink and straight as retaliation because Seravy wouldn't fight with his "beloved Dorothy". , later Miina Tominaga
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- Seravy's favorite doll, which he voices with ventriloquism. She is the image of Dorothy when she was younger. Seravy often talks to Elizabeth and Elizabeth often is the one who pokes fun at Dorothy, often in reference to her hair, temper and habit of making Shiine do housework for her. , later Miina Tominaga - A black-hooded girl in Chacha's class who is in love with Seravy. She specializes in potions and dislikes Chacha as well because she wishes to be Seravy's only student, in the hopes of him falling in love with her. Yakko is closest with Orin but is often seen with Marin. - A selfish mermaid who can change into a human when her tail dries out. She is in love with Riiya, but she is totally oblivious to the fact that he's a werewolf. She dislikes Chacha and on occasion hangs out with Yakko and Orin. She constantly appears with the Banana students with Riiya, despite being in the Apple class under Teacher Barabaraman.
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- Known in the English dub as "Suzu". She is a small but nimble ninja and excellent swords-girl. She is often the voice of reason of Yakko and on occasion hangs out with Marin, too. She has a crush on Shiine, and turns pink whenever he speaks to her. She is the most truthful with regards to character and shows no hatred towards anyone. - Principal of Urara School. She wears a pink dress and her eyes are very big. She is also quite absent-minded at times. - Teacher of Banana class. He has long hair which he ties with a yellow bow on some episodes. He loves to whip his students into shape but has a soft side. - A werewolf giant who raised Riiya and his brothers. In the anime, he served for the King and helped Seravy escape the castle with Chacha during the takeover of Daimaō. - A substitute teacher who can make snow appear due to being a yuki-onna.
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- Teacher of the Apple class. He can grow roses on his hair when he is excited and has thorns growing all over his body. Chacha and Teacher Barabaraman won a three legged race using a combination of Seravy's potion and Chacha's Assistance Boomarang. - Teacher of Orange class. She was classmates and rivals with Rascal when they were younger. She actually likes Mr. Rascal very much and hates it that he's nice to everyone but her. - Shiine's father. In the anime, he works for Daimaō at the beginning (due to the fact that Daimaō imprisoned his wife) but is defeated by the Phoenix Sword. He is charged with finding the King's Crest. Later in the series, he is reunited with Shiine and Shiine's mother and lives in the castle with them. - Dorothy's younger brother, but he usually dressed as a woman and is in love with Seravy. He is jealous of Dorothy for being the love of Seravy.
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- Mad scientist, creator of Nyandaber. Resembles a cat, so his inventions resemble that of a cat, as well, namely Nyandaber. - A bald wizard constantly mocked and wants to beat Seravy in a magical duel ever since Seravy beat him. Chacha, Riiya, and Shiine-chan call him "Tono" because of the hairstyle Seravy gave him. - A telepathic spy originally sent by Momiji School to find out why Urara School's students are constantly becoming famous. He later joins Chacha, Riiya, and Shiine in the core group of characters. - Principal of Momiji School.
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Manga-only characters - Yakko's grandfather. His rescue by Seravy years ago serves as the main reason for Yakko's crush on the latter. - King of karuta. - Riiya's elder brother. - Yakko's younger brother. - Orin's younger brother. - Marin's younger sister. - Chacha's younger sister. - A robot who was sent to kill Popi, but later becomes his ally. - Seravy's adopted father, who mostly appears as a beautiful green-haired woman but is in truth a 250-year-old bipedal lizard. - A young demon from the Demon World who was sent to conquer the Magic Kingdom, but prefers to collect video games instead. He is later revealed to be the youngest son of Daimaō and youngest brother of Seravy. - Popy's younger brother.
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- Unlike the Daimaō from the anime series, the manga's Daimaō is an agreeable magician with the appearance of a rock-and-roll singer and is a great manga fan. He is the father of Heihachi and is later revealed to be the birth father of Seravy. In the concluding chapters of the manga, he takes the roles of escorting Riiya to a great mountain and help to retrieve a rare crystal so that Riiya can apologize and propose marriage at the same time to Chacha. - Son of Rascal and Mayachon, best friend of Naruto. - Seravi and Dorothy's twins.
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Anime-only characters - The magical girl alter-ego of Chacha. - Daimaō in the anime is not the same character as Daimaō in the manga. As the story's main antagonist, Daimaō is a demon who wishes to conquer the land and devastate it. A long time ago, Daimaō turned the King and Queen to stone statues. The father of the King, Grand King Genius, sacrificed himself to trap Daimaō inside the castle using a barrier of crystals that formed a spirit shield. As a result, Daimaō has to send his minions to do his nasty works for him. He is finally destroyed when eight of the main protagonists (Chacha, Riiya, Shiine, Seravy, Dorothy, Marin, Yakko, Orin) combined their powers on him. - Daimaō's head henchman, later becomes friends with Chacha and the gang. - One of Sorges' henchmen. - One of Sorges' henchmen.
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- Dr. Mikeneko's sister. She once tried to switch Chacha's Princess Medallion with a fake, but end up falling in love with Seravy in the process. Torn between her duty and her love, she eventually found peace when she and her brothers learned that they did not have to fight anymore. - The phoenix chick Chacha protected from Yordas. Piisuke becomes the Phoenix Sword, but reverts to being a chick when the three magic items are sacrificed. He is later often seen with Principal Urara. - Chacha's grandfather and Seravy's teacher.
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Media Manga Akazukin Chacha was written and illustrated by Min Ayahana. It was serialized in 94 chapters by Shueisha in the manga magazine Ribon from 1991 and 2000 and collected in 13 tankōbon volumes. The series was reissued in 2006 in a nine-volume "library edition" with new covers. The manga was licensed for publishing in Taiwan by Da Ran Culture. A sequel series, titled , set in modern-day Japan, was first published in two one-shots in Cookie on 26 March – 26 November 2011. A serialized version of the sequel started in the same magazine on 26 June 2012. The series finished on 26 July 2019. Shueisha compiled its individual chapters into five tankōbon volumes, published from 25 November 2013 to 25 September 2019. Anime
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The series was adapted as an anime television series produced by TV Tokyo and Nihon Ad Systems and animated by Gallop. The series was direct by Shoki Tsuji with music by Osamu Tezuka and Toshihiko Sahashi and character designs by Hajime Watanabe. The opening theme was , performed by SMAP during the original broadcast and Shoko Sawada on the DVD release. There were three ending themes: by Shoko Sawada for episodes 1–31, by Masami Suzuki, Tomo Sakurai, and Mayumi Akado for episodes 32–56, and by Masami Suzuki and Magical Study for episodes 57–74. Due to the popularity of Sailor Moon at the time, which popularized the "transforming heroines who fight" concept in magical girl anime, the first two seasons of Akazukin Chacha featured an original plotline using a similar concept in order to compete.
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The series was first broadcast on TV Tokyo in 74 episodes from 7 January 1994 to 30 June 1995. In 1998, Cartoon Network aired an English dub of the Akazukin Chacha anime in Southeast Asia and Mandarin-speaking countries. Additionally, the series has aired in Hong Kong (ATV network), Philippines (ABS-CBN, Cartoon Network and Hero TV). The series was also aired in Indonesian-dubbed by RCTI, from 2002-2004, and Spacetoon between 2006-present. Original video animation The television series was followed by a three-episode sequel original video animation (OVA) series, also animated by Gallop. These were released between 6 December 1995 and 6 March 1996. The opening theme for all three episodes was "Make Me Smile" by Yuki Matsuura and the ending theme was also by Yuki Matsuura.
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The OVA series depicts the efforts of the elite Momiji School as they try to find out why the greatest witches and wizards in the world come from Urara School. A psionic named Popy-kun is sent to infiltrate the school, but things will not prove too easy when Chacha and friends try to befriend Popy-kun instead. Games Akazukin Chacha was adapted as a series of video games: Akazukin Chacha (Game Boy, Tomy, 1995) Akazukin Cha Cha Cha (Sharp X68000, Sprite, 1995) Akazukin Chacha (Super Famicom, Tomy, 1996) Akazukin Chacha: Osawagase! Panic Race! (PC-FX, NEC Home Electronics, 1996) In popular culture In the novel Death Note Another Note: The Los Angeles BB Murder Cases, Akazukin Chacha is mentioned several times. Rue Ryuzaki mentions that he loves Akazukin Chacha (Shiine in particular) and notices that volumes four and nine are missing from a collection, which is a vital clue to the case.
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In the manga City of Dead Sorcerer detective Kim calls the elusive murderer Crimson Robe several times Chacha, while stating that he's a fan of Akazukin Chacha. Reception References External links Akazukin Chacha Online Encyclopedia 1991 manga 1994 anime television series debuts 1994 Japanese television series debuts 1995 Japanese television series endings 1995 anime OVAs 1995 video games 1996 video games Japan-exclusive video games Japanese children's animated comedy television series Comedy anime and manga Gallop (studio) Magical girl anime and manga Shōjo manga Shueisha franchises Werewolves in animated film Television series about werewolves Tomy games TV Tokyo original programming Video games developed in Japan Works based on Little Red Riding Hood
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Ralph Ward Stackpole (May 1, 1885 – December 10, 1973) was an American sculptor, painter, muralist, etcher and art educator, San Francisco's leading artist during the 1920s and 1930s. Stackpole was involved in the art and causes of social realism, especially during the Great Depression, when he was part of the Public Works of Art Project, Federal Art Project of the Works Progress Administration, and the Treasury Department's Section of Painting and Sculpture. Stackpole was responsible for recommending that architect Timothy L. Pflueger bring Mexican muralist Diego Rivera to San Francisco to work on the San Francisco Stock Exchange and its attached office tower in 1930–31. His son Peter Stackpole became a well-known photojournalist.
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Early career
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Stackpole worked as a laborer early in life to support himself and his mother following the death of his father in a lumber mill circular saw accident. At sixteen, he came to San Francisco to study at the California School of Design (now San Francisco Art Institute) beginning in 1903; he was influenced strongly by Arthur Frank Mathews, muralist and painter at the school. He met painter Helen Arnstein (later Helen Salz) while both were teenagers, and she became his first girlfriend. Arnstein, the daughter of wealthy Jewish art lovers and one year Stackpole's senior, described him as "a remarkable draftsman" who painted and sketched constantly. She was less impressed with his sense of color than with his precision in line. Stackpole polished his craft by working with artists at the Montgomery Block, playfully called "Monkey Block", a bohemian hangout which included studios for painting and sculpture. After the 1906 San Francisco earthquake, he used a grant of 200 ($ in current value) to
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travel to France to attend the École des Beaux-Arts in the class of Antonin Mercié in 1906–1908, exhibiting at the Salon in 1910. It was in Paris that he became friends with painter Diego Rivera He painted under Robert Henri in New York in 1911.
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San Francisco Stackpole returned to San Francisco in 1912 and married Adele Barnes, two months younger than he, an art student of Xavier Martinez and one of the first graduates of the California Academy of Arts and Crafts. Adele Stackpole was a perfectionist in many ways, including the precision of her bookplate engravings and the demands she placed on her relationships. On June 15, 1913, the Stackpoles' son Peter was born in San Francisco.
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Stackpole was part of the foursome that founded, early in 1913, the California Society of Etchers (CSE). The other founders were Robert B. Harshe, an etcher and art professor at Stanford University, etcher and educator Pedro Lemos, who taught at the San Francisco Institute of Art, and Gottardo Piazzoni, an Italian-American painter and muralist who was Stackpole's master in France. The CSE exhibited twice in 1913, and grew to 78 artist members and five associate after two years. In 1926, the annual publication listed 46 artist members and 156 associate members: Stackpole was still a member. Decades later, the CSE merged with another group to become the California Society of Printmakers. Panama-Pacific International Exposition
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Around the same time, Stackpole was commissioned to sculpt architectural features for the 1915 Panama–Pacific International Exposition, a major assignment that was to take two years to complete, even with the aid of assistants. To give a grand entrance portal to the Palace of Varied Industries, he completed a copy of the main entrance to the Hospice of Santa Cruz, built in Toledo, Spain in the 16th century. Stackpole's design replaced the original figures of Catholic saints with figures of industry. His works for the Palace of Varied Industries included "Man with a pick", "Tympanum group of Varied Industries", "New World Receiving Burdens of Old", "Keystone figure", and "Power of Industry". Stackpole also sculpted figures of "Thought" on the columns flanking the half domes of the west facade of the Palace Group. At the Palace of Fine Arts, Stackpole produced a kneeling "Venus" on the Altar of Inspiration. Visitors wishing to view "Venus" were kept some away by a man-made lagoon.
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Modern trends With Piazzoni, Stackpole went to France again in 1922, taking his family; he enrolled his nine-year-old son in the École Alsacienne, a private school in Paris. The two artists wished to investigate the most modern trends in Europe, and they encountered Diego Rivera. While there, Stackpole's marriage unraveled, and he returned to the Bay Area in 1923 with a 24-year-old French still life artist and model named Francine Mazen, nicknamed "Ginette"; his wife and son returned after the school year to take up residence across the bay in Oakland. Stackpole obtained a divorce, and then married Ginette in Mexico.
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In late 1923, Stackpole organized a major art exhibit, in partnership with Piazzoni. This was the first large-scale art show in San Francisco since 1915; there had been no expected rush of artists after the Panama-Pacific International Exposition. The exhibit, held in Polk Hall in the Civic Auditorium, was companion to a nearby print exhibit which included Gauguin and Matisse works. Critic and author Laura Bride Powers felt that the event was a disappointment—it displayed "inconspicuous examples" of leading artists, and failed to show any Picasso, avant-garde or Dadaist works.
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In 1926, Stackpole delivered the William A. Coleman Fountain to the city of Sacramento, a Moderne work (centrally located in what is now known as Cesar Chavez Park) which celebrated the city's completion of a difficult water filtration project. That same year, Stackpole traveled to Mexico City to see Rivera working on some of his 124 frescoes in the courtyard of the Secretariat of Public Education. Returning with a small Rivera painting, Stackpole gave it to San Francisco Arts Commission president William Gerstle (who was initially unimpressed), and began a several-year effort to bring Rivera to work in California.
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Stackpole accepted an offer to teach at his former school, its name having changed to the California School of Fine Arts (CSFA) [now San Francisco Art Institute]. For a stretch of almost twenty years, he taught a number of subjects. Dorr Bothwell studied sculpture under Stackpole, then the head of the Sculpture Department, and thought him to be sexist—she said he told the women in the class that "the place they really belonged was in bed."
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Kenneth Rexroth wrote of Stackpole in 1929 that "He knew everybody in town from top to bottom ... and he took us everywhere." Stackpole's sizable San Francisco studio at 716 Montgomery (adjacent to Montgomery Block) served as a social center for San Francisco's artist community. Photographer Dorothea Lange rented upstairs studio space there in 1926, and Helen Clark and Otis Oldfield, both artists, married there the same year. Lange's husband Maynard Dixon had his studio next door, and the Stackpole and Dixon families were close—both men were members of the Bohemian Club.
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Throughout the 1930s, Stackpole worked frequently with architect Timothy Pflueger on various commissions. Beginning in 1929 when the two men first met, Stackpole was given responsibility for selecting the artists who worked to execute and augment Pflueger's basic design scheme for the San Francisco Stock Exchange and its associated Tower, especially the Luncheon Club occupying the top floors of the Tower. Stackpole said later of the experience, "the artists were in from the first. They were called in conference and assumed responsibility and personal pride in the building." At the Sansome Street tower entrance, Stackpole worked on a scaffolding with a crew of assistants to direct carve heroic figures in stone. After the building was completed, Stackpole was finally successful in winning a commission for Rivera; Pflueger became convinced that Rivera would be the perfect muralist for decorating the staircase wall and ceiling of the Stock Exchange Club. This was a controversial selection
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considering Rivera's leftist political beliefs in contradiction to the Stock Exchange's capitalist foundation. Into the mural, Rivera painted a figure of Stackpole's son Peter holding a model airplane.
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During his stay, Rivera and his wife Frida Kahlo lived and worked at the studio, becoming in the process lifelong friends with Stackpole and Ginette. They met tennis champion Helen Wills Moody, an avid painter-hobbyist, who soon agreed to model for Rivera at the studio. Neighbor Dixon saw the attention, and the American money being given to Rivera, and with etcher Frank Van Sloun organized a short-lived protest against the Communist artist. However, both Dixon and Van Sloun quickly realized that the San Francisco art world "oligarchy" who were obviously smitten with Rivera, including Stackpole's well-connected patrons, were the same group that they themselves would need to support their own art aspirations.
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For much of 1931, Stackpole partnered with other artists to decorate Pflueger's Paramount Theatre in Oakland, an Art Deco masterpiece. A bas-relief scene of horses, waves and a central winged figure was placed over the stage's proscenium arch, finished in gold-toned metal leaf—the work jointly designed by Stackpole and Robert Boardman Howard. The design worked into Pflueger's metal grille ceiling grid likely came unattributed from Stackpole's sketches. Pflueger was an able project leader; Stackpole later described his involvement: "He was the boss alright, as an architect should be ... He would call the plays just as a symphony conductor does ... There wasn't a lock, molding, or window that he did not inspect in the drawings and in the actual building with the utmost thoroughness and care."
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Stackpole worked through ten months of 1932 on a monumental pair of sculptures flanking the grand entrance of the Stock Exchange: a male and a female grouping showing the polarity of agriculture and industry, showing in their rounded human shapes the influence of Rivera. Chiseling into of Yosemite granite, he wore goggles and a mask. The unveiling ceremony took place in the cold of New Year's Eve, with Mayor Angelo Rossi joining Stackpole, Pflueger and artisans in smocks. Stackpole took his son Peter to visit their photographer friend Edward Weston in Carmel in the early 1930s, and the two older men spent the day discussing photography, "the difference between making and taking a photograph, between the intended and the random". This conversation, and the 1932 exhibit by Group f/64, a collection of innovative photographers such as Weston and Ansel Adams, was later seen as foundational to Peter Stackpole's conception of photography.
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In July 1933, Stackpole completed a model of a design to be incorporated into the San Francisco–Oakland Bay Bridge's central anchorage on the western side. The anchorage, to be constructed of concrete rising above the water, was to display over much of its height a bare-chested male figure standing solidly between the two suspension spans. However, Arthur Brown, Jr., Pflueger's colleague on the Bay Bridge project, did not like the scale of the figure, which belittled the bridge. Engineer Ralph Modjeski agreed, writing "The gigantic figure which is proposed for the centre anchorage is out of place for a structure of this kind and would not harmonize with the end anchorage." Stackpole's design was abandoned in favor of a largely flat expanse of poured concrete.
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In 1933 and 1934, Stackpole took part in the Public Works of Art Project assignment to paint murals for Coit Tower. Many of the murals were executed in styles reminiscent of Rivera, and Stackpole himself was portrayed in five of them; in one he is shown reading a newspaper announcing the destruction of a Rivera mural in New York.
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In 1937, Stackpole received a commission to sculpt his interpretation of Colorado River explorer John Wesley Powell, for display in the Main Interior Building of the U.S. Department of Interior. It was to be a companion piece to Heinz Warneke's portrayal of the Lewis and Clark Expedition. Warneke learned that Stackpole intended a water scene, so he changed his portrayal of Lewis and Clark to be one of them on land. Stackpole and Warneke delivered their stone reliefs in 1940, and the two panels were mounted on either side of the stage of the building's auditorium. Another work of Stockpole's, "Dispossessed," one of his most notable canvases and a painting of great power and (unfortunately but apparently) permanent relevance, is also in Washington, D.C., at the Smithsonian. A notable feature of Stackpole's work in the 30s and after is his West Coast integration of elements from the artistic traditions of Mexico, Native America, the Pacific Islands, and Asia. "Reverence"
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In 1938 Stackpole was contacted by the President of the United States, Franklin Delano Roosevelt. As an ensign at the 1915 fair in San Francisco, FDR had seen Stackpole's figure of Reverence, also known as Worship, on the long-gone altar at the Palace of Fine Arts. It had stuck in his mind somehow. He wanted one. Stackpole responded that the original had deteriorated, and was lost, but that he would be happy to undertake another version in travertine as a commission. FDR agreed, with regular inquiries on the progress of the piece over the next five years. In April 1943 Stackpole explained the result about to be revealed:
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The changes of 28 years, in the world, in you, and in me, made the exact copying or reproduction of the first statue unattractive... So I did the job as I would do it now... here are a few things I thought of when I was working. Big mass movements in thinking and labor naturally reflect in art. The slender and graceful belong less to us now. I’ve tried to make heavy and strong forms. She is more bent and the burden heavier. This was not what the President had remembered or wanted. He ordered it to a secluded area of Hyde Park, where it was re-discovered in 1987, identified, then concealed all over again within a new ring of trees according to FDR's wishes. Golden Gate International Exposition
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Pflueger made certain that Stackpole was given a major commission for art in preparation for the Golden Gate International Exposition, also called the Pacific Pageant, a world's fair to be held on Treasure Island between San Francisco and Oakland. Stackpole worked to create an tall frame-and-stucco embodiment of Pacifica, the theme of the exposition. By November 1938, when Life photographer Alfred Eisenstaedt was capturing images to promote the event, Pacifica was ready for his camera. The magazine carried the image of this, Stackpole's most monumental work, "a peaceful, contemplative, almost prayer-like female figure" intended only for temporary placement. The heroic sculpture stood in front of a tall "prayer curtain" of regular star-shaped steel bangles that rippled in the wind. Vivid orange and blue lights washed the curtain at night, while Pacifica, the image of Peace, was brilliant in white. Over two years, 16 million visitors came to the exposition. When it was over, Stackpole
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proposed that the sculpture be recast in a more permanent form—steel, stone or concrete—and positioned prominently on an island in the San Francisco Bay, perhaps Alcatraz or Angel Island, in a manner similar to the Statue of Liberty in New York Harbor.The plan was not seriously considered by civic leaders whose attention was on the gathering war clouds in Asia and Europe. The sculpture and most of the exposition buildings were dynamited in 1942, and the U.S. Navy took ownership of the island as a base in World War II.
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Later life In the early 1940s, Stackpole left the CSFA to teach privately. In April 1945, he led a sculpting class at the California Labor School, a leftist organization advocating equal rights for workers. From 1941 to 1945, he served on the U.S. Commission of Fine Arts, the first commission member from the West Coast.
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In 1949, Stackpole moved to Chauriat in the Puy-de-Dôme area of central France, returning with his second wife Ginette to her birthplace. There, his art became less figurative and more abstract, both in sculpture and in painting. He kept a flow of correspondence with his old friends in San Francisco, including Helen Salz, who described his letters as devoid of any mention of sculpture or painting, or any project that Stackpole might have been working on—instead, he wrote of musicians and music, and of his encounters with people. Salz bought a Stackpole bust of poet George Sterling and donated it to the University of California in 1955–56, to be displayed in Dwinelle Hall. In early 1964, Stackpole visited San Francisco to see his family, and he called up his old friend Kenneth Rexroth. In his San Francisco Examiner newspaper column, Rexroth wrote of having lunch with the Stackpole family, and reminded his readers that the man had been known "for 20 years or more [as] San Francisco's
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leading artist."
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Stackpole died in France in 1973, his wife in 1978. Some of Stackpole's sculptures, paintings and drawings were destroyed in the Oakland firestorm of 1991, a blaze which leveled the home of Peter Stackpole. Floyd Winter, a neighbor, helped rescue a very few items "moments before the conflagration consumed the house". Selected works 1915—Venus, Altar of Inspiration, Palace of Fine Arts 1927-William Coleman Memorial Fountain, Sacramento, California 1928–1932—figures carved in Yosemite granite at the San Francisco Stock Exchange (301 Pine) and Tower (155 Sansome) including Bountiful Earth (also known as Mother Earth and Agriculture) and Industry (1931) (also known as Man and His Invention) 1930—the proscenium ceiling panel at Oakland's Paramount Theatre 1934—mural at Coit Tower: Industries of California (left and right halves) 1938–1939—figures at the Golden Gate International Exposition including the heroic embodiment of the Exposition, the tall frame-and-stucco figure of Pacifica
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See also Beniamino Bufano Frederick E. Olmsted References Notes Bibliography External links Image from The Jewel City: Stackpole sculpture over the portal of the demolished building "Palace of Varied Industries" (1915) Eugen Neuhaus. The Art of the Exposition —list of art works at the Golden Gate International Exposition (1939) National Museum of Murals and Mosaics. Presenting: Diego Rivera's The Making of a Fresco Showing the Building of a City —image of Ralph Stackpole painted by Diego Rivera (1931)
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1885 births 1973 deaths American alumni of the École des Beaux-Arts American muralists Sculptors from Oregon Modern sculptors Painters from California People from Josephine County, Oregon Federal Art Project artists San Francisco Art Institute alumni San Francisco Art Institute faculty Social realist artists Section of Painting and Sculpture artists 20th-century American sculptors 20th-century male artists American male sculptors 20th-century American painters American male painters Public Works of Art Project artists Sculptors from California
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Chris Ryan's Strike Back, also known as Strike Back: Origins on Cinemax, is a six-part British television series based on the novel of the same name written by best-selling author and former soldier of the Special Air Service, Chris Ryan, and is the first series of Strike Back. It was produced by Left Bank Pictures for Sky1. The cast of Strike Back is led by Richard Armitage and Andrew Lincoln, also starring Orla Brady, Shelley Conn, Colin Salmon and Jodhi May, including a variety of guest appearances including Toby Stephens, Ewen Bremner, Dhaffer L'Abidine, Shaun Parkes and Alexander Siddig. The series follows John Porter (Armitage), a former British Special Forces soldier, who is drafted back into service by Section 20, a fictional branch of the Defence Intelligence (DI) of the Ministry of Defence.
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The series ran on a multi-million pound budget, and was filmed on location in South Africa, particularly in Gauteng. Ryan became a series consultant. Strike Back commenced airing on 5 May 2010 with two episodes showing a week. The first episode received unofficial overnight ratings of almost 400,000 viewers in the United Kingdom, which increased to just over one million according to the more highly regarded Broadcasters' Audience Research Board. It was met with generally positive reviews; comments of the series ranged from a positive "British action series that packs a Die Hard-style thrill around every corner," to a more negative "pathetic male fantasy". It was released on DVD and Blu-ray Disc on 7 June 2010. A 10-part second series, known as Strike Back: Project Dawn, a co-production between Sky and the American network Cinemax, was first broadcast in August 2011. A third series of Strike Back, also consisting of 10 parts, was released in August 2012.
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Following success of the second through fourth series, Cinemax began airing the six-part series starting 25 October 2013 in the United States. It is airing as a prequel in the U.S. since Cinemax aired Strike Back: Project Dawn, Strike Back: Vengeance, and Strike Back: Shadow Warfare prior to the first season. Episodes In this table, the number in the first column refers to the episode's number within the entire series, "UK viewers in millions" refers to how many Britons watched the episode on Sky1. The series plays out as three two-part episodes. Cast and characters
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Richard Armitage plays series protagonist John Porter. Porter served with the SAS until he was discharged after he spared the life of a boy who was believed to have subsequently killed two soldiers in his unit following a rescue operation the night before the Iraq invasion. He is brought back into service by Section 20 seven years later. He is married to Diane, and has a daughter, Alexandra. Armitage described Porter as a "damaged hero", and "sort of like Lucas North, only on some kind of go-faster drug." In order to fit into the role, Armitage performed a lot of training for about ten weeks in the UK, and then flew to Johannesburg the day after filming the eighth series of Spooks wrapped up, where he proceeded with more training. Armitage had not trained as hard as in the past; the intensity of such training almost made him pass out after the first workout, stating "filming Spooks is demanding, but nowhere near as physical as this." Armitage performed most of his own stunts.
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Andrew Lincoln plays Hugh Collinson, former soldier in Porter's unit and has since become the head of Section 20. Lincoln was signed onto the role because he thought the series was a "great story", and that his character was "completely re-written from the book." Out of the cast, the weapons instructor told Lincoln that he was the most instinctive he ever worked with. Orla Brady plays Katie Dartmouth, a British war correspondent who was kidnapped in Basra by the "Sword of Islam", an Iraqi terrorist group. To play Dartmouth, Brady used her inspiration from real life BBC war correspondent Orla Guerin. During the filming of Dartmouth's holding, a male stand-in with a wig was used as a stunt double. The crew also added oil and dirt on Brady's hair every morning. Brady stated that she liked playing extremes, and thought Dartmouth is "grown up" compared to Siobhan Dhillion, the character Brady portrayed in Mistresses.
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Shelley Conn plays Danni Prendiville, an officer with Section 20. Porter started an affair with her after he was redrafted into service. She signed on for the role because she "thought the concept of the scripts was very clever and once I heard who was involved it didn't take me long to sign up." In researching for her role, Conn had somewhat of a military background since her father and uncle both served in the British Army, and had since had a base understanding of military life.
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Colin Salmon plays James Middleton, a civil servant who sits between the British government and the Ministry of Defence. Salmon previously worked with Sky1 on Hex. He was attracted to the role in Strike Back due to the script being "a page-turner, and they're rare. It's really lovely to sit down to start reading something and then not be able to stop because you have to know what's going to happen next," as well as hearing of who was involved in the project. A member of The Prince's Trust charity, Salmon took the opportunity to visit some of their projects in Soweto while the series was filmed.
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Jodhi May plays Layla Thompson, a lieutenant in military intelligence and works alongside Collinson in Section 20. At first, she came to resent Porter, but starts opening up to him after she grows some distrust towards Collinson. May described Thompson as an "incredibly challenging, assertive and ambitious woman working in a male-dominated field that she's climbed to the top of." She was drawn into appear in the series because of the respect she has with Andy Harries and Left Bank Productions. May knew people who work in the same world her character does, and talked with them to conduct some research into her role, as well as reading on the subject.
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The first series was also given a variety of guest appearances. Among them include Nicola Stephenson (Diane Porter), Laura Greenwood (Alexandra Porter), Fenar Mohammed Ali (As'ad), Dhaffer L'Abidine (Hakim Al Nazeri), Shaun Parkes (Felix Masuku), David Harewood (Colonel Tshuma), Toby Stephens (Frank Arlington) and Alexander Siddig (Zahar Sharq). Production
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Development The inspiration for a television adaptation came when executive producer Andy Harries saw the novel while at an airport and took it on holiday with him. He did not manage to read it before returning to Britain, but pitched the idea to Sky's Head of Drama Elaine Pyke, who commissioned it anyway. Pyke and Harries had enthusiasm for the novel, and were excited to take up the challenge to adapt it for television. It was planned to be shot in high-definition because, according to Pyke; "Sky1 HD drama is about trying to astound audiences, up the creative bar, and commission shows which make audiences love being Sky subscribers." After seeing the success from previous dramas such as Terry Pratchett's Hogfather and The Take, Sky made a multimillion-pound commitment to Strike Back.
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Harries commented that he "was interested in developing a quality action series out of the UK because it's something we don't do very often, but there's no reason why we shouldn't." Richard Armitage called the series an "ambitious project for television. But the advantage of that is that these three feature films are linked together so you get a really interesting character arc through all episodes. American television is being brave and doing that at the moment, and this is stepping into that area." Former SAS soldier and the original novel's author, Chris Ryan, served as the series consultant and script advisor. Chris Ryan stated; "When you produce a novel it's like a child and to see it put onto screen opens it up to a greater audience. I class myself as a storyteller now, and to tell that story on paper is a great privilege, then to see it on screen is even better."
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Preparation As Strike Back is a military drama, the production crew used a vast catalogue of firearms, including side arms, assault and sniper rifles, as well as rocket-propelled grenades, hand grenades and other explosives. Cast members were first taught by carrying weights that mimicked the weight of the weapons so they could get used to carrying it during filming. Later, they were taught how to carry them professionally, including how to disassemble and re-assemble them, as well as how to fire and reload. Though the majority were actually rubber, duplicates were sometimes used for some of the background characters. Three ex-SAS soldiers gave the cast weapons and tactical training, and were also on hand to oversee how cast members carried the weapons during filming sessions.
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Filming Filming commenced in August 2009, and concluded by the end of the same year. It was filmed on location primarily in the Johannesburg area in South Africa, as well as the same Province the city is located, Gauteng. Other filming locations in the series include Northern Cape, Augrabies Falls National Park, and the Kalahari Desert. Harries wanted to film the series in South Africa because he worked there several times in the past, and knew the country can replicate anywhere in the world.
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One of the biggest problems for filming is the environmental impact they would cause, particularly with explosions. Location manager Jaco Espach often coordinated with a special effects team to use more environmentally friendly methods. In order to film sequences involving firearms and explosives in private property, the series crew often negotiated with property owners, as well as notifying all neighbouring properties, local police and the local hospital. In the city, leaflets were distributed to the filming location a week in advance. In airport scenes, the crew would inform the aviation authorities. The action sequences in the beginning of the first episode took five days to shoot, and was filmed in the Johannesburg suburb of Yeoville. On the scenes filmed on the Kalahari, filming temporarily halted due to the spotting of venomous snakes in the area. After they retreated from some rainfall, the crew swept the area to remove them and filming continued. Release and reception
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Release and ratings The series aired two episodes a week from 5 to 19 May 2010 in the United Kingdom. BBC Worldwide acquired distribution rights to broadcast the first series internationally. Episodes 1 and 2 received unofficial overnight ratings of 398,000 and 370,000 viewers, with an audience share of 1.7% and 2.1% respectively. Both episodes more than tripled Sky1's average audience share in their slots from the previous three months, and were also the third most-watched non-terrestrial viewing behind BBC Four's Timothy Spall: Somewhere at Sea and a live Sky Sports football game. The overnight figures for episodes 3 and 4 were down somewhat to 337,000 and 294,000 with an audience share of 1.4% and 1.5% respectively. The overnight ratings for the finale episodes were both 386,000 viewers, and received an audience share of 1.7% and 2.3% respectively.
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Strike Back was released on both DVD and Blu-ray Disc in the United Kingdom on 7 June 2010. Released by 2entertain, they contain all six episodes, as well as cast interviews and a Behind the Scenes featurette.
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Critical reception Overall, the reviews of the series were generally positive. Michael Conroy of GQ named Strike Back an "Editor's Pick" for its "excellent cinematography, stellar performances and a surprisingly balanced global perspective makes this story of two former British SAS soldiers a thoroughly enjoyable action romp." Conroy compared the series to Green Zone, The Pacific and the Call of Duty video game series. Keith Watson of Metro called the series a "British action series that packs a Die Hard-style thrill around every corner." Watson praised Armitage's performance, calling him perfect for the role, and that "for once in a British series, the action scenes kick some proper butt." John Preston of The Daily Telegraph stated that Strike Back was "a slick affair, crisply directed by Daniel Percival, scripted with considerable sharpness by Jed Mercurio and full of belting action sequences."
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Jack Foley of IndieLondon rated the first episodes four stars out of five, stating that it "made for exciting viewing even if the politics and the script sometimes proved laughably gung-ho and naive." On review on the first two episodes, Jane Simon of The Mirror has said that between the cast, "there's enough shock and awe to make you very glad they're showing this in a double bill." Gerard Gilbert of The Arts Desk dubbed Strike Back as "thin and lightweight next to [Armitage's other gig] Spooks", and although "not unexciting", Gilbert did not find the series interesting. Andrea Mullaney of The Scotsman was positive about the casting, and the changes in storyline from the original novel, though the series was aimed "squarely at the blokey viewer who'd rather watch paint dry than a costume drama." Whilst also reviewing Luther and Lewis, John Lloyd of The Financial Times called it "fine for tension," "good on sub-Bond dialogue" and that the story lines make Spooks look true to life.
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Lloyd also called Richard Armitage "one of the best action men on television."
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The Guardian and The Independent have each released two separate reviews; they were more mixed. Sam Wollaston enjoyed the first two episodes, but called it a "pathetic male fantasy." Andrew Anthony has said that "no scene lasted more than about 25 seconds in the first two episodes and no element of plot information was left unspoken. The dialogue is close to pure exposition, with an occasional clunkily macho line thrown in as a concession to dramatic atmosphere. Show, don't tell, say the screenwriting gurus. This was show and tell." From The Independent, Tom Sutcliffe stated the series may be enjoyed by those who like explosions and Spooks-like operations. Rhiannon Harries was almost negative in her review, believing Strike Back was "in almost every respect, a terrible piece of television drama," although part of Harries enjoyed watching it. Harries noted that Luther was more recommended. References External links Strike Back at Sky1
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2010 British television seasons Strike Back (TV series) War in Afghanistan (2001–2021) in popular culture
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WZPX-TV, virtual channel 43 (UHF digital channel 21), is an Ion Television-affiliated station licensed to Battle Creek, Michigan, United States and serving the Grand Rapids–Kalamazoo–Battle Creek television market. The station is owned by Inyo Broadcast Holdings. WZPX-TV's offices are located on Horizon Drive on the southeastern side of Grand Rapids, and its transmitter is located on South Norris Road in Orangeville Township. Until 2019, the station's transmitter was located in Vermontville Township in western Eaton County (in the Lansing market).
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History
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WZPX first signed on the air on October 11, 1996, as WJUE, carrying infomercials for most of the day as part of Paxson Communications' inTV service, along with programming from the United Paramount Network (UPN) as a secondary affiliation. The station's original licensee was Horizon Broadcasting Corporation, which Paxson Communications acquired before the station's sign-on. When Paxson bought WBSX-TV in Ann Arbor (now WPXD-TV), WJUE was spun off to DP Media, a sister company because of Federal Communications Commission (FCC) ownership rules in effect at the time. WBSX's transmitter was located near Chelsea in northwestern Washtenaw County, which was close enough to the Ingham County line to give WBSX city-grade coverage of Lansing. Jackson, the second-largest city in the Lansing market, also got a fairly strong signal from WBSX. At the time, the FCC normally did not allow common ownership of stations with overlapping signals, and would not even consider granting a waiver for a
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city-grade overlap. Even though the two stations were in different markets, the FCC ruled that WJUE and WBSX were effectively a duopoly, forcing WJUE's sale. However, Paxson continued to operate the station under a local marketing agreement (LMA). Within a year, the station changed its call letters to WILV.
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On August 31, 1998, the station became a charter affiliate of Pax TV, and changed its call letters to the current WZPX-TV. One year later, on August 31, 1999, UPN programming moved to Grand Rapids-based WXSP-CA (channel 15). On October 6 of that year, WZPX became a secondary affiliate of The WB. UPN would later find an affiliate in Lansing on WHTV (channel 18) on October 16, 2000. During this time, the network's Detroit owned-and-operated station WKBD-TV was carried as an out-of-market signal on local cable providers. In 2000, when the FCC relaxed its ownership rules to allow ownership of stations with overlapping coverage, Paxson repurchased the station outright.
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As UPN, WB and Pax TV all offered prime time programming on weekdays, WZPX had scheduling conflicts during its affiliations with the former two networks. It carried the Pax programs on the same days and times as other stations, programs from UPN delayed to 11 p.m. and midnight, respectively, and programs from The WB on a one-day delay, two hours before prime time. For example, WB primetime programs that aired on Tuesdays at 8 p.m. in other markets aired on Wednesdays at 6 p.m. on WZPX; promotional spots for these programs announced their local time slots. The station carried a brief announcement when switching between programs from the differing networks. The Disney's One Too/UPN Kids blocks ran on weekday mornings, while Kids' WB ran on weekday afternoons; the Kids' WB Saturday block still aired on Saturday mornings. The Pax programming bumped from the afternoon slot simply moved earlier in the day in place of infomercials that would normally air in that slot at the time. In part,
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because the station had the added draw of UPN and later WB programming, WZPX was at one point one of Pax TV's highest-rated affiliates.
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Despite the large signal overlap between WZPX and WPXD, Lansing-area cable providers opted to carry WZPX as the Ion Television station since its signal was broadcast closer from Vermontville Township, within the Lansing television market. WPXD has since moved its transmitter to a tower in Southfield; as a result, its signal no longer covers Lansing or Jackson. Due to the closure of The WB on September 17, 2006, WZPX became solely an Ion owned-and-operated station (The CW and MyNetworkTV chose to affiliate with subchannels of WWMT and WXSP-CD, respectively, allowing full prime time carriage of their schedules).
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Sale to Scripps and resale to Inyo On September 24, 2020, the Cincinnati-based E. W. Scripps Company announced that it would purchase Ion Media for $2.65 billion, with financing from Berkshire Hathaway. With this purchase, Scripps will divest 23 Ion-owned stations, but no announcement has been made as to which stations that Scripps will divest as part of the move. The proposed divestitures will allow the merged company to fully comply with the FCC local and national ownership regulations. Scripps has agreed to a transaction with Inyo Broadcast Holdings, who has agreed to maintain Ion affiliations for the stations. Had Scripps decided to keep WZPX-TV, it would have become a sister station to Fox affiliate WXMI (channel 17). Technical information Subchannels The station's digital signal is multiplexed:
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Analog-to-digital conversion WZPX-TV's digital signal on UHF channel 44 signed on November 1, 2008 (The Worship Network was removed from all Ion-owned stations, including WZPX, on February 1, 2010). The station shut down its analog signal, over UHF channel 43, on June 12, 2009, as part of the federally mandated transition from analog to digital television. The station's digital signal remained on its pre-transition UHF channel 44, using PSIP to display WZPX-TV's virtual channel as 43 on digital television receivers. References External links Ion Television affiliates Court TV affiliates Grit (TV network) affiliates Laff (TV network) affiliates Ion Mystery affiliates Defy TV affiliates Newsy affiliates Television channels and stations established in 1996 1996 establishments in Michigan ZPX-TV
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NPO Radio 1 is a public-service radio channel in the Netherlands, broadcasting mainly news and sport. It is part of the Netherlands Public Broadcasting system, NPO. History The channel originated in 1947 as "Hilversum 2", and transmitted using its original name until 1 December 1985, when the name was changed to "Radio 1", and remained so until becoming "NPO Radio 1" in 2014. Content contributors As of 2019, the following broadcasting organizations participate in the production of NPO Radio 1's programming: AVROTROS BNNVARA EO Human KRO-NCRV MAX NOS NTR PowNed VPRO WNL Broadcast programming Airing from Monday to Friday:
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NOS Radio 1 Journaal (NOS) (06:00-09:30) Spraakmakers (KRO-NCRV) (09:30-11:30) 1 op 1 (KRO-NCRV) (11:30-12:00) De Nieuws BV (BNNVARA) (12:00-14:00) Zaagmans, a live quiz show (Wednesday 13:30-14:00) Het Lagerhuis (BNNVARA) (Thursday 13:05-13:30) Bureau Sport Radio (BNNVARA) (Friday 13:30-14:00) Radio EenVandaag (AVROTROS) (14:00-16:00) Nieuws & Co (NOS/NTR) (16:00-18:30) Dit is de dag (EO) (18:30-19:00) Bureau Buitenland (VPRO) (19:00-19:30) Kunststof (NTR) (Monday to Thursday 19:30-20:30) Mangiare! (NTR) (Friday 19:30-20:30) Haagse Lobby (WNL) (Monday 20:30-21:30) Brainwash radio (Human) (20:30-21:30, last Monday of the month) Langs de Lijn En Omstreken (EO/NOS) (Monday 21:30 - 23:00, other days 20:30-23:00) Met het Oog op Morgen (NOS) (23:00-00:00) (nightly) Hoorspelhalfuur (changing broadcasters) (Friday nights 00:00-00:35) Nooit meer slapen (VPRO) (00:00-02:00) Dit is de nacht (EO) (Monday nights 02:00-06:00) Focus (NTR) (Tuesday nights 02:00-06:00)
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Wat het daglicht niet verdragen kan (NTR) (Wednesday nights 02:00-04:00) App radio (AVROTROS) (Wednesday nights 04:00-06:00) Nachtzuster (Max) (Thursday nights 02:00-06:00) De nacht van de radio (BNNVARA) (Friday nights 02:00-05:00)
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Airing on Saturday: Riza (BNNVARA) (05:00-07:00) NOS Radio 1 Journaal (NOS) (07:00-08:30) Nieuwsweekend (MAX) (08:30-11:00) De Taalstaat (KRO-NCRV) (11:00-13:00) dr Kelder en Co (AVROTROS) (13:00-14:00) Argos (VPRO/BNNVARA/Human) (14:00-15:00) Radar Radio (AVROTROS) (15:00-16:00) WNL op Zaterdag (WNL) (16:00-18:00) WNL Opiniemakers (WNL) (18:00-19:00) Langs de Lijn (NOS) (19:00-23:00) De Zes Ogen van de Fries / Onze man in Deventer (BNNVARA) (00:00-01:00) De wereld van BNNVARA (BNNVARA) (01:00-03:00) Druktemakers (BNNVARA) (03:00-05:00) Airing on Sunday:
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Riza (BNNVARA) (05:00-07:00) Vroege Vogels (BNNVARA) (07:00-10:00) OVT (VPRO) (10:00-12:00) De Perstribune (MAX) (12:00-14:00) Langs de Lijn (NOS) (14:00-19:00) Reporter Radio (KRO-NCRV) (19:00-20:00) Kwesties (NTR) (20:00-21:00) Radio Doc (changing broadcasters) (21:00-22:00) Langs de Lijn (NOS) (22:00-23:00) Zwarte Prietpraat (PowNed) (00:00-02:00) Nachtkijkers (KRO-NCRV) (02:00-04:00) Fris (KRO-NCRV) (04:00-06:00) See also List of radio stations in the Netherlands External links Official website Radio stations in the Netherlands Netherlands Public Broadcasting Radio stations established in 1947
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Overeaters Anonymous (OA) is a twelve-step program founded in 1960 for people with problems related to food including, but not limited to, compulsive overeaters, those with binge eating disorder, bulimics and anorexics. Anyone with a problematic relationship with food is welcomed; OA's Third Tradition states that the only requirement for memberships is a desire to stop eating compulsively.
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OA was founded by Rozanne S. and two other women in January 1960. The organization's headquarters, or World Service Office, is located in Rio Rancho, New Mexico. Overeaters Anonymous estimates its membership at over 60,000 people in about 6,500 groups meeting in over 75 countries. OA has developed its own literature specifically for those who eat compulsively but also uses the Alcoholics Anonymous books Alcoholics Anonymous and Twelve Steps and Twelve Traditions. The First Step of OA begins with the admission of powerlessness over food; the next eleven steps are intended to bring members "physical, emotional, and spiritual healing." Definitions OA defines compulsions as "any impulse or feeling of being irresistibly driven toward the performance of some irrational action." OA further defines compulsive overeating as a progressive, addictive illness. OA views compulsive overeating as a chronic condition and part of an attempt to alleviate psychological stress.
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Like other twelve-step programs, OA sees compulsive eating as a threefold illness, symbolically understanding human structure as having three dimensions: physical, mental and spiritual. Compulsive eating manifests itself in each dimension. A book describing itself as based on OA methods states that in the mental dimension a compulsive eater is not "eating down" feelings, but rather expressing an "inner hunger." To help potential members decide whether or not they need the program, OA provides a questionnaire, asking questions such as, "Do you give too much time and thought to food?" Answering "yes" to three or more of these questions is considered a good indication of problems with which OA may be able to assist. Abstinence in OA
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“Abstinence in Overeaters Anonymous is the action of refraining from compulsive eating and compulsive food behaviors while working towards or maintaining a healthy body weight.” This concept of abstinence has been criticized for its lack of specificity. While in AA abstinence means not drinking alcohol, some argue that it is not possible to set out specific foods, because OA's experience is that different people have different food triggers (i.e. foods and food behaviors that cause them to eat compulsively). While it is often said that alcoholics don't have to drink, but compulsive eaters still have to eat, Overeaters Anonymous responds by pointing out that alcoholics do have to drink, but cannot drink alcohol, just as compulsive eaters do have to eat, but cannot eat foods which cause compulsive eating.
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OA literature specifically defines "compulsion" as follows: "By definition, 'compulsion' means 'an impulse or feeling of being irresistibly driven toward the performance of some irrational action.'" Therefore, "compulsive eating" and "compulsive food behaviors" (as those terms are used in OA's definition of abstinence) means irrational eating, or irrational food behaviors, taken as a result of an impulse or feeling that feels irresistible. So, according to Overeaters Anonymous, "abstinence" is the act of refraining from "compulsive eating" and "compulsive food behaviors," while working towards or maintaining a healthy body weight. While this definition can fairly be described as nuanced and subject to personal interpretation (e.g., the definition of a "healthy body weight"), or requiring self-searching analysis (e.g., to determine the drivers of certain behaviors), it is not unspecific.
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The objective of OA's definition of abstinence is that the compulsive eater refrain not from eating, but rather, from compulsive eating and compulsive food behaviors, and work towards or maintain a healthy body weight. Thus, OA calls for the compulsive eater to define his or her own plan of eating which enables the compulsive eater to abstain from compulsive eating and compulsive food behaviors, while working towards or maintaining a healthy body weight.
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The program suggests that members identify the foods that "trigger" overeating. Since individuals are responsible to define their own plan of eating, they are able to change their plan of eating if their needs and understanding of their compulsions change, without that change constituting a breach of abstinence. Members are encouraged to seek counsel with other individuals before making such changes, generally including a member or members of the OA fellowship, to validate that the reasons are sound and not unwittingly a decision based on underlying compulsion. Recovery tools and strategies
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The OA program is based on the twelve steps and twelve traditions of Alcoholics Anonymous. Small changes have been made to make these applicable to eating disorders, but such adaptation has been minimal. To take the twelve steps and practice the twelve traditions, OA program literature recommends using nine "Tools of Recovery." These are A Plan of Eating, Sponsorship, Meetings, the Telephone, Writing, Literature, an Action Plan, Anonymity and Service. These tools are considered critical to obtaining and maintaining abstinence. Meetings offer a consensual validation and serve to diminish feelings of guilt and shame. A sponsor provides guidance through the OA program and support where necessary, but gradually encourages autonomy in the sponsee. A sponsor strives to make his or her job obsolete.
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Food plans In Overeaters Anonymous, abstinence is "the action of refraining from compulsive eating while working towards or maintaining a healthy body weight." According to OA, "by definition, 'compulsion' means 'an impulse or feeling of being irresistibly driven toward the performance of some irrational action.'" OA has a long and complex history with "food plans" and does not endorse or recommend any specific plan of eating, nor does it exclude the personal use of one. OA recommends that each member consult a qualified health care professional, such as a physician or dietitian. OA publishes a pamphlet, Dignity of Choice, which assists in the design of an individual food plan and also provides six sample plans of eating (reviewed and approved by a licensed dietitian) with which some OA members have had success.
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Individual OA meetings and sponsors may make more detailed suggestions. Some of these caution against foods containing excessive sugar, caffeine and white flour. A qualitative analysis of bulimics recovering in OA found bulimic OA members with excessively rigid plans are less likely to remain abstinent. The researchers conducting the analysis suggested that new members begin with a somewhat rigid plan which becomes increasingly flexible by the end of a year in the program. An individual's plan of eating may call for the exclusion of certain triggering behaviors. For example, a person who knows that eating after a certain time in the evening triggers compulsive food behavior might include in their plan of eating a commitment to abstain from eating after that time of night; a person who knows that snacking between meals triggers compulsive food behavior would probably include in their plan of eating a commitment to abstain from chewing (or sucking) between meals.
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Demographics
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In 2002 a dissertation compared the results of a survey of 231 OA members in the Washington, DC area of North America undertaken in 2001 with the findings from surveys of OA members taken in 1981, twenty years previously. The 2001 survey showed that 84% of OA members identified as binge eaters, 15% as bulimic, and 1% as anorexic. The 1981 survey had found that 44.5% of OA members identified as binge eaters, 40.7% as bulimic, and 14.8% as anorexic. The survey also found an increase in the percentage of males in OA from 9% in 1981 to 16% in 2001. Both figures are generally in line with estimates made by the American Psychological Association that the male to female ratio of those with eating disorders ranges from 1:6 to 1:10. The researcher stated that the typical OA member in Washington was white and highly educated. The typical OA member surveyed in 2001 worked in a full-time capacity and homemakers only comprised 6% of the 2001 OA population, in contrast to 30% of those surveyed in
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1981. This reflects the trend for increasing numbers of females to be employed outside of the home. Further, 80% of the 2001 participants had attained a college degree, compared to 59% of those surveyed in 1981. The percentage of OA members who were divorced or separated had risen from 10% in 1981 to 21% in 2001, also reflecting trends amongst the general population.