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Tamer Nafar

Tamer Nafar (تامر النفار, תאמר נפאר; born June 6, 1979) is a Palestinian rapper, actor, screenwriter and social activist of Israeli citizenship. He is the leader and a founding member of DAM, the first Palestinian hip hop group.

Early life
Nafar was born to Fawzi Nafar and Nadia Awadi. He grew up in poverty in Lod, a mixed Arab-Israeli city in Israel, which was a major hub for drug smuggling and crime.

Tamer discovered hip-hop at age 17, when he began learning English by listening to Tupac and translating his lyrics to Arabic using an English-Arabic dictionary.

Career
Tamer recorded his first single "Untouchable", a reference to The Untouchables movie.

In 1998, Tamer released his first EP Stop Selling Drugs, featuring his younger brother Suhell.

DAM
In 2000, their friend Mahmood Jreri joined the Nafar brothers to establish DAM, the first Palestinian hip-hop group.

The trio named themselves Da Arab MCs to create the acronyms DAM, a word that means lasting or persisting in Arabic and blood in Hebrew (דם). In an interview for Democracy Now (2008), Tamer said that the group's name suggested “eternal blood, like we will stay here forever,” evoking a politics of resilience and survival (or دام - sumood, in Arabic).

The group members are the grandchildren of those who experienced the Nakba and the children of those who mobilized the Arab minority in Israel in the 1970s and 1980s. This generation is challenging the insults to Palestinian identity and advocates Palestinian self-determination while objecting to racism and inequality. DAM is notable for their ability to rap in English, Arabic and Hebrew. The group first rapped in English and then in Hebrew as the words flowed better this way. DAM understood that their potential for meaningful social impact depends on their ability to express their message in Arabic, Hebrew and English, drawing upon vernacular phrases, slang, obscenities and indigenous references to each cultural frame. In this way, DAM is able to reach disparate audiences.

On September 3, 2000, Tamer's friend Booba (Hussam Abu Gazazae) was killed during a drive-by shooting, an incident that drove Tamer to record his first protest song with a political reference, despite the fact that his friend had been killed by an Arab. A cover of Abd al Majeed Abdalla's song "Ya Tayeb al Galb", the song was called "Booba" and featured Ibrahim Sakallah on the hook.

In the outbreak of the Second Intifada in October 2000, Tamer and Mahmood decided to write their first direct political song "Posheem Hapim me Peshaa" (Innocent Criminals). It was recorded over an instrumental of "Hail Mary" by Tupac and featured inciting lines such as "when Jews protest, the cops use clubs / when Arabs protest, the cops take their souls" and "if it is a democracy how come I'm not mentioned in your anthem" followed by the chorus "before you judge me, before you understand me, walk in my shoes, and you will hurt your feet, because we are criminals, innocent criminals."

The song created controversy in the Israeli media and put DAM in conflict with some of their fellow Israeli rappers such as Subliminal. Much of the subsequent fall-out was recorded in the documentary Channels of Rage. Despite the controversy, the song was later remixed by Israeli rock musician Aviv Geffen and American-Israeli director Udi Aloni made a music video for the song in 2003.

2003: Channels of Rage
In 2003 Israeli film director Anat Halachmi released the documentary Channels of Rage, which won the Wolgin Award for best documentary at the 2003 Jerusalem Film Festival. The film follows Tamer Nafar and DAM on one side and the right-wing Zionist rapper Kobi Shimoni (Subliminal and the Shadow) on the other. Meeting in a dark alley in Tel Aviv, the groups nearly come to blows over recent comments made by Tamer and Shimoni. Once collaborative and cherishing, the relationship quickly dissolved as each began to embody a political ideology following the collapse of the 2000 Camp David Summit and the beginning of the Second Intifada. Coming to terms with the violence on the streets of Tel Aviv and Jenin, both artists retreated from their once close relationship, based on a mutual love of hip-hop, into nationalism.

2004: The Born Here campaign
Tamer uses music and art as a tool for activism. In 2004, DAM was invited by the Shateel organization to produce songs discussing discrimination and poverty in mixed Arab-Israeli cities, commenting on Israeli demolition of Palestinian houses and the dangerous entrance into Lod, which required residents to cross eight train tracks to reach the city. DAM collaborated with a local R&B singer and created the song "Born Here" as a reference to a popular Israeli song by the duo Dats and Datsa whose chorus' lyrics begin "I was born here, my children were born here, and this is where I built my house with my two hands". DAM changed this to "I was born here, my grandparents were born here, and this is where you destroyed our houses with your hands". Due to the campaign's success, the Israeli government built a bridge above the train tracks for safer crossing and allowed DAM to tour Israel discussing their cause.

2006: Debut album Ihda
After touring the world and releasing number one singles on Arab charts, DAM became the first Palestinian hip hop group to release an album with a major label after signing with EMI Arabia. The album, Ihda', was released in 2006. DAM also signed with the French booking agency 3D Family to tour music festivals around the world promoting the album, visiting the Sundance film festival, Womad, Doha DIFF (Doha International film festival), Dubai Film Festival, Trinity International Hip Hop Festival USA, Vine Rock, Taybeh Beer Festival Palestine, and Casa Festival Morocco, where they shared the stage with internationally known artists including GZA of the Wutang Clan, Mos Def, Talib Kweli, Dead Prez, Chuck D of Public Enemy, Pharaoh Monch, Rachid Taha, Ahmad al Khoury, Immortal Technique, and others. The album included 15 tracks, including some number one hits. Though mainly about the Israeli-Palestinian conflict, the album was also notable for being the first Arab rap album to discuss women's rights. The album's song "Hurriyet Unta" (freedom for my sisters), features Safa' Hathoot, the first female Palestinian rapper, criticizes the oppression of women along with the oppression of the Palestinians.

2008: Slingshot Hip-Hop
In 2008 Slingshot Hip Hop – a film about Palestinian Hip Hop by Jackie Salloum was released. Slingshot Hip-Hop is a performative type of documentary that stresses subjective experience and emotional response to the world. It talks about personal stories that might be considered unconventional, although perhaps poetic and experimental. Slingshot Hip Hop braids together the stories of young Palestinians living in Gaza, the West Bank and inside Israel as they discover hip hop and employ it as a tool to surmount divisions imposed by occupation and poverty. Following the debut in the Sundance film festival, the film got a lot of attention and won many prizes, and featured guest appearances by international artists such as Chuck D from Public Enemy and Afrika Bambaataa.

2012: Second album: Dabke on the Moon
In 2012, DAM released their second official album, Dabke on the Moon.

The main producer was Tamer and Suhell's cousin, Nabil Nafar, a Danish-Palestinian producer who came to Lod and worked with them on six tracks.

In the track "A letter from the cell", DAM worked with the classical oud players Trio Joubran and Lebanese percussionist Bachar Khalife (the son of legendary composer and oud player Marcel Khalife). The result is a melancholic, non-traditional hip-hop song heavily influenced by classical Arabic composition and instruments.

2013: Room No. 4
In 2013, Tamer Nafar directed the photography campaign Room No. 4 illustrated the reality faced by the children when arrested and detained and is based on the children's testimonies in the report. Room No. 4 is an interrogation room in the Russian Compound–the main Israeli police office in Jerusalem–where Palestinian residents of Jerusalem, including children, are interrogated. to protest child arrests in East Jerusalem. The campaign

2014: "#Who_U_R"
In 2014, Tamer Nafar and DAM released the music video "#Who_U_R". The video was directed by Oscar-nominated Palestinian filmmaker Scandar Copti. "#Who_U_R" was written in response to the rape of a 16-year-old Texan teenager Jada, whose assault was recorded, shared, and mocked on social media in 2014.

Tamer stated about the video that, "Women's struggle is beyond the Middle East. It’s an international struggle." He discusses how the concept was to "take the social part of my individual progress and to take my social issues to the international stage."

The song generated a Twitter campaign throughout the Middle East. The hashtag #Who_You_R encouraged men to send in photos of themselves doing housework as a way to break gender norms and support women.

2016: Junction 48
Tamer starred in the feature film Junction 48 directed by Udi Aloni and written by Nafar and Oren Moverman. Nafar's youth and early years as a rapper formed the basis for the semi-autobiographical movie. The film won the Audience Award at the Berlin International Film Festival, Best International Film at the Tribeca Film Festival and 2 awards at the Slovakia Art Film Festival for Best Film and Best Male Actor (Tamer).

As an actor and a writer, Tamer's work has appeared in numerous stage plays in Israel/Palestine and Europe. He has performed alongside veteran Palestinian directors Norman Issa and Nizar Zoabi in Anton Chekhov’s plays.

Controversial statements
Nafar performed at a joint conference between the University of North Carolina and Duke University known as Conflict Over Gaza: People, Politics, and Possibilities. During Nafar's performance he said "I know it might sound [like] R&B stuff, but don't think of Rihanna when you sing it, don't think of Beyoncé. Think of Mel Gibson. Go that anti-Semitic. Let's try it together because I need your help. I cannot be anti-Semitic alone." Gibson is an actor and filmmaker who has said "the Jews are responsible for all the wars in the world."

UNC's Interim Chancellor, Kevin Guskiewicz, condemned the "disturbing" language in Nafar's performance, while members of the audience said that Nafar's comment was a sarcastic remark meant to mock the idea that people fighting for Palestinian liberation must be anti-Semitic.

title: Tamer Nafar


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

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Edward Knobel

Edward Ball Knobel (21 October 1841 – 25 July 1930) was an English businessman and amateur astronomer. He was born in London, England.

He started to study law but his love of geology made him change to the Government School of Mines (now part of Imperial College London) in 1861. In 1862, he changed his career again, starting to work for Bass & Co. at Burton upon Trent as an analytical chemist in the brewery department. He rose to become a manager and Head Brewer. He then became a manager of a Courtauld's silk factory at Bocking in 1875. His final position was with the Ilford Photographic Company.

In 1872, he purchased an 8.5 inch reflecting telescope to further his interest in astronomy. His work on a publication about the chronology of star catalogues in 1875 let him to study the work of early Arab astronomers and learn some Arabic and Persian. He then prepared a new edition of the star catalogue in the Almagest using all available sources in Greek, Arabic and Latin. After a long collaboration with C. H. F. Peters, a final collated version was published in 1915. In 1917 he published a translation of Ulugh Beg's star catalogue. He was President of both the British Astronomical Association and the Royal Astronomical Society (1892–1893 and 1900–1901). A crater on Mars was named in his honour.

Family
One of Knobel's daughters, Emily Maud Knobel, was a Fellow of the Zoological Society and an expert on parrots, particularly their care in captivity.

title: Edward Knobel


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Red vs. Blue

Red vs. Blue, often abbreviated as RvB, is an American web series created by Burnie Burns with his production company Rooster Teeth. The show is based on the setting of the military science fiction first-person shooter series and media franchise Halo. It is distributed through Rooster Teeth's website, as well as on DVD, Blu-ray, and formerly on the El Rey Network and Netflix. The series initially centers on two opposite teams fighting in an ostensible civil war—shown to actually be a live fire exercise for elite soldiers—in the middle of Blood Gulch, a desolate box canyon, in a parody of first-person shooter video games, military life, and science fiction films.

Initially intended to be a short series of six to eight episodes, the project quickly and unexpectedly achieved significant popularity following its premiere on April 1, 2003. The series consists of eighteen seasons and five mini-series. Red vs. Blue was the second longest-running animated webseries of all time, behind Homestar Runner, until its conclusion in 2020. The series concluded with the feature-length movie Red vs. Blue: Restoration, originally intended to be a nineteenth season prior to the shutdown of Rooster Teeth, which was released on May 7, 2024.

Red vs. Blue emerged from Burnie Burns' voice-over gameplay videos of Bungie's FPS video game Halo: Combat Evolved. The series is primarily produced using the machinima technique of synchronizing video footage from a game to pre-recorded dialogue and other audio. Footage is mostly from the multiplayer modes of Halo: Combat Evolved and its followups on the Xbox consoles.

The series has been generally well-received. Praised for its originality, the series has won four awards at film festivals held by the Academy of Machinima Arts & Sciences. It has also won the award for "Best Animated Web Series" from the International Academy of Web Television (IAWTV). It also won a 2013 Webby Award for Animation, as well as nominated in 2014. It has been credited with bringing new popularity to Machinima, helping it to gain more mainstream exposure, and attracting more people to the art form. Graham Leggat, former director of communications for Lincoln Center's film society, described Red vs. Blue as "truly as sophisticated as Samuel Beckett". Rooster Teeth has created episodes, some under commission from Microsoft, for special events. The voice actors from Red vs. Blue appear in cameos for Halo 3 and Halo 4. The series is also referenced in Halo: Reach and Halo Infinite.

Overview
The Red vs. Blue storyline so far spans eighteen full-length seasons and five mini-series. Rooster Teeth periodically releases self-referential public service announcements and holiday-themed videos, which are generally unrelated to the main storyline and not considered canon. In these videos, the members of both teams are actors who claim to be from Red vs. Blue.

Although the visual background of Red vs. Blue was primarily taken from the Halo series, Rooster Teeth consciously limits connections to the Halo fictional universe. A special video made for E3 2003 portrays Master Chief, Halo's protagonist, as a larger-than-life member of the army, and the Red vs. Blue trailer and first episode establish that the series is set between the events of the first two games. Beyond these references, the storyline is independent, a decision that, according to Burns, is intended to increase accessibility to those unfamiliar with the games. For example, even though the cast of the fourth and fifth seasons include characters from the Covenant Elite alien race, Rooster Teeth never portrays those characters in their original Halo context. Beginning with the sixth season, titled Reconstruction, the series begins to follow Halo more closely. It is established that Reconstruction onwards takes place one year after Halo 3 and several characters indirectly reference Smart AI, the Human-Covenant War, and Forerunners. Also at several points it is noted that Project Freelancer is under the jurisdiction of the United Nations Space Command.

During its first seventeen seasons, Red vs. Blue centered on the Red and Blue Teams, two groups of soldiers engaged in a supposed civil war. Originally, each team occupies a small base in a box canyon known as Blood Gulch. According to, one of the Red Team soldiers, each team's base exists only in response to the other team's base. It is later revealed that there is no actual civil war; both the Red and Blue armies are under the same command, Project Freelancer, and only exist as training simulations for Freelancer Agents. Although both teams generally dislike each other and have standing orders to defeat their opponents and capture their flag, neither team is usually motivated to fight the other, with the exception of Sarge, the leader of Red Team.

The eighteenth season, referred to as Zero, centers on an elite team of special operations soldiers, known as Shatter Squad, as they try to stop another group of soldiers, known as Viper, from getting the keys to a powerful suit of armor known as the Ultimate Power. Unlike the original series, Zero instead parodies action movies. While certain character, vehicle, and weapon models are carried over from Halo 5: Guardians, the series tries to distance itself from the Halo universe, instead introducing a new military force known as the Alliance of Defense in place of the UNSC. Rather than being a machinima produced in the Halo engine, the series is now fully animated in Unreal Engine 4 and uses assets from the Unreal Engine Marketplace that are unrelated to the Halo franchise, although there are moments that scenes are animated to mimic machinima limitations.

Cast and characters
During its original run, Red vs. Blue featured characters whose personalities are skewed in different ways and to varying degrees. Character interaction and dialogue, instead of action, would drive the story. The original series centered on eleven main characters. Other characters, both team-affiliated and unaffiliated, human and non-human, have played significant roles throughout the story. Notable later additions to the cast include The Director and The Chairman, as well as the Freelancers, which are named after U.S. states. AIs are also important characters, and are named after Greek letters. As is a common habit in most forms of military, the soldiers usually refer to each other by their last names.

Throughout the original series, the Red Team primarily consists of their hotheaded leader Super Colonel Sarge (Matt Hullum), his attentive second-in-command Captain Richard "Dick" Simmons (Gus Sorola), the lazy Captain Dexter Grif (Geoff Ramsey), the oblivious/effeminate Private Franklin Delano Donut (Dan Godwin), and their apathetic Spanish-speaking robot mechanic Lopez the Heavy (Burnie Burns).

For the majority of the series, the Blue Team consisted of their sardonic de facto leader Private Leonard L. Church (Burns), the self-described ladies man Captain Lavernius Tucker (Jason Saldaña), the dimwitted Captain Michael J. Caboose (Joel Heyman), and the no-nonsense Freelancer Agent Texas/"Tex" (Kathleen Zuelch). They were later joined by Private Kaikaina "Sister" Grif (Becca Frasier), Grif's promiscuous sister, in Season 5.

However, Blue Team's roster (with the exception of Tucker and Caboose) became mixed with every passing season after the deaths of the original Church and Tex at the end of Reconstruction, being joined by Epsilon (Burns), who would go onto take Church's identity and Tex II (Zuelch) during Recreation and Revelation respectively until their deaths in Season 13 and Season 9. The team was later joined by the emotionally scarred Freelancer Agent Washington/"Wash" (Shannon McCormick) at the end of Revelation after first meeting the Reds and Blues during Reconstruction. Blue Team currently consists of Tucker, Caboose, Wash, and Sister, the latter of whom rejoined the team during The Shisno Paradox.

Also part of the Reds and Blues are the somewhat incompetent Medical Officer Frank "Doc" DuFresne (Hullum), who first appeared in Season 2, and the impatient and competitive Freelancer Agent Carolina (Jen Brown), who first appeared in Season 9, both of whom are unaffiliated with a specific team and instead just act as members of both groups.

Over the years, Red vs. Blue has attracted numerous notable guest stars, namely Ed Robertson, Elijah Wood, Christopher Sabat, The Zellner Brothers, Amber Benson, Dan Avidan, Arin Hanson, SungWon Cho, Ricco Fajardo, Anthony Padilla, and Ian Hecox.

Development
Red vs. Blue emerged from Burnie Burns's voiceover-enhanced gameplay videos that he created for a website called drunkgamers.com, which was run by Geoff Fink (later Geoff Ramsey) and Gustavo Sorola. Having played Halo: Combat Evolved extensively, the drunkgamers crew discussed one day whether the Warthog, an automobile in the game, looks like a puma. This discussion, re-created in, was "the spark for the whole series". Seeing potential for a full story, Burns created a which was released September 5, 2002, on the Drunkgamers website, but it was largely ignored, and, for unrelated reasons, drunkgamers soon closed. Four months later, Computer Gaming World contacted Ramsey for permission to include a different drunkgamers video in a CD to be distributed with the magazine. Ramsey granted permission, but he and Burns felt that they needed a website to take advantage of the exposure from Computer Gaming World. They therefore resurrected Red vs. Blue and re-released the trailer to coincide with the Computer Gaming World issue. The was released on April 1, 2003.

Rooster Teeth was initially unaware of the broader machinima movement. In 2004, Co-producer Matt Hullum stated in an interview with GameSpy, "When we first started Red vs. Blue we thought we were completely original. We never imagined that there were other people out there using video games to make movies, much less that it was a new art form with a hard to pronounce name and an official organization."

The nature of Red vs. Blue was different from Burns's initial expectation. A partial character introduction released between the original trailer and the first episode featured extensive action and violence, set to Limp Bizkit's song "Break Stuff". However, as work continued, the focus shifted to situation comedy rather than the heavy action initially implied. Although the series parodies video games, Ramsey noted, "We try not to make it too much of an inside joke. And I think we use more bureaucracy and military humor than anything else, which everybody working in an office can identify with." Rooster Teeth has stated that Red vs. Blue was influenced by Homestar Runner, Penny Arcade, and possibly Mystery Science Theater 3000.

Rooster Teeth initially envisioned Red vs. Blue to be short, but the series grew beyond their expectations. Burns and Ramsey had preconceived a list of jokes for which they allocated six to eight episodes. By, however, they realized that the series had fleshed out more than expected; they had covered only about one third of their original list. Later in, Burns estimated a series of 22 episodes; however, driven by the series' popularity, he realized that there was more potential story than could be covered in that length, and was able to conceive an extension of the season 1 plot. The whole production team eventually quit their jobs and began to work full-time on the series; to generate revenue they created an online store to sell T-shirts.

On June 16, 2006, Burns announced a five-part mini-series, Red vs. Blue: Out of Mind, which chronicles the adventures of the mercenary Tex after her disappearance in. The mini-series premiered exclusively on the Xbox Live Marketplace, but Rooster Teeth later made it available on their official site.

The original series, The Blood Gulch Chronicles, ended on June 28, 2007, with the release of episode 100. On April 4, 2008, Burns announced a new series, Red vs. Blue: Reconstruction, the group's first Halo 3 series and the beginning of the new Recollection story arc. Several voice actors returned in Reconstruction, which ran from April 5 to October 30, 2008. Rooster Teeth announced plans for a sequel Red vs. Blue series, each separated by a few weeks' break. The mini-series Red vs. Blue: Relocated bridged the gap between Red vs. Blue: Recreation and the previous season. During a Late Nite Jenga Jam podcast, Burnie Burns officially confirmed that the working title of the eighth Red vs. Blue series was "Red vs. Blue: Resolution". The title was later finalized as "Red vs. Blue: Revelation". The first four episodes were previewed at PAX East in March. After five seasons, Rooster Teeth expanded the scope and animation of the show, hiring renowned animator Monty Oum for action scenes, starting with season 8. On April 1, 2010, the premiere of Revelation attracted such a large audience that both roosterteeth.com and Blip.tv (who formerly hosted Rooster Teeth's videos) crashed.

On March 28, 2011, Rooster Teeth presented the first trailer for Season 9 of Red vs Blue which aired on June 14, 2011, during which time Miles Luna officially joined the company. Season 9 acted as a semi-prequel, fleshing out the event surrounding Project Freelancer, one of the key elements of the plot in previous seasons, while continuing the events left off in Revelation. Season 10, which continued Season 9's pattern of showing both stories simultaneously, began on May 28, 2012, and ended on November 5, 2012. The season concluded the Freelancer backstory while setting up the events of Season 11. The first RWBY trailer was shown following the conclusion of the season's credits.

On September 7, 2012, Burnie Burns appeared on What's Trending and confirmed that there would be a Season 11, which premiered on June 14, 2013, and started the Chorus Trilogy. The trilogy picked up where Season 10 left off and returned to a format similar to that of The Blood Gulch Chronicles, having no pre-rendered CGI. The season ended on November 11, 2013. On February 3, 2014, Miles Luna announced Season 12 on Rooster Teeth's website. The season premiered on April 28, 2014, and concluded on September 29, 2014. The final season of the Chorus Trilogy, Season 13, was announced on March 4, 2015, with a release date of April 1, 2015. The season brought back a handful of characters from the series, including Sharkface, the Counselor, Junior, and Sister, and ended with a cliffhanger on September 7, 2015.

On April 1, 2016, a trailer for Season 14 was released, with its first episode airing on May 8, 2016. Breaking from the format of the previous seasons, Season 14 was instead an anthology season, featuring various backstories, such as the trilogy of episodes starring Locus and Felix, and/or non-canon "PSA-type" episodes, such as the third Sarge movie trailer. The season ended on October 16, 2016.

On February 24, 2017, it was announced that Joe Nicolosi, writer and director of the Season 14 episode "The Brick Gulch Chronicles" would be writing and directing Season 15. Its trailer was released on March 30, 2017, and the season itself premiered on April 2, 2017.

Nicolosi returned for Season 16, Red vs. Blue: The Shisno Paradox, where he also had the help of writer Jason Weight. The season premiered on April 15, 2018. While Nicolosi could not return for the seventeenth season due to other commitments within Rooster Teeth, he co-wrote the story with Weight, who was promoted to head writer, and Miles Luna, who penned one of the season's episodes. Machinima animators Josh Ornelas and Austin Clark took over as directors of Red vs. Blue: Singularity, which premiered on March 9, 2019.

On January 15, 2020, Season 18, Red vs. Blue: Zero, was confirmed to be in development with a brief 3-second clip being shown in a promo trailer for upcoming Rooster Teeth releases. It was initially scheduled to premiere on October 19, 2020, but was delayed to November 9, 2020. Director Torrian Crawford referred to the season as a “restart” for the series, as it follows a mostly new cast, has cleaner humor, and is more action-focused than previous iterations.

On July 7, 2023, at Rooster Teeth's annual convention RTX, it was announced that the series would return for a nineteenth and final season subtitled Restoration. Hullum was announced to return to direct while Burns, who had since left the company, was confirmed to return as the lead writer. The reveal trailer retcons the events of the Shisno Trilogy and Zero (seasons 15–18) as simulations created by Epsilon-Church. On March 28, 2024, it was announced that the initial plan of an episodic release for the nineteenth season had changed due to the shutdown of Rooster Teeth and the season would instead be combined into a feature-length movie that was released on May 7, 2024.

Writing
The process by which the show is written has changed as the show progressed. In the first season, Burnie Burns would typically write an episode script on a Sunday afternoon before the episode was to be released on Friday. Scripts were written with minimal planning as the storyline grew beyond the 6 to 8 episodes originally expected. Church's death, as well as the revelation of Tex as a female character, both of which drove most of the season 1 plot, were conceived shortly before their respective episodes began production.

In January 2005, Burnie Burns and Kathleen Zuelch were interviewed in an episode of The Screen Savers on G4. In response to a question regarding any drawbacks to using machinima techniques, Burns responded "There are drawbacks, like it's a very limited world". PC games often allow for the addition and integration of new game assets, such as new levels and textures; console games are much more limited in this respect. "But really what you end up doing is you end up writing around what's in that world, that limited world ... sometimes we sit around and we think 'what can we possibly do with stuff that's in the game?'". As an example, the skull from the Oddball multiplayer mode of Halo was used for the flashback scene in episode 10, in which Tex beats Private Jimmy to death with his own skull.

After the first season, the writing process changed. Matt Hullum was added as a main writer in the next season, and plot events were planned much more in advance. Approximately 40 to 80 pages of rough plot and dialogue are now written out before production on a season begins. In describing the writing process, Burns has said that main plot points are assigned to occur at certain points in a season, and that they would begin writing each episode by asking how much they wanted to advance towards the next plot point.

Audio
Dialogue for an entire episode is typically recorded over one or two days and cut together for filming the day after. Until midway through season 3, audio for the voice actors living in Texas had been recorded in a makeshift soundproof booth in Burns' guest room closet. Currently, however, audio is recorded in a professional recording booth in the Rooster Teeth offices in Austin, Texas, with the recordings later being compressed to a slightly lower quality. During season 1, dialogue for the voice actors living in Los Angeles, California — Joel Heyman, Kathleen Zuelch, and Matt Hullum — was recorded over the phone. Afterwards, a second recording studio was set up in Hullum's Los Angeles home. As Hullum moved back to Texas in season 3, Heyman and Zuelch now record their own dialogue. Jason Saldaña and Gus Sorola also recorded audio by phone while temporarily residing in New York State and Puerto Rico respectively.

Music
Initially, the first several episodes of the series did not include any music. In May 2003, Nico Audy-Rowland, the bandleader of Trocadero, was introduced to Red vs. Blue and enjoyed the series enough to submit a song about it to Burns, who liked the piece and promptly requested more music for Red vs. Blue. Episode 8, "Don't Ph34r The Reaper", was the first to include music. However, for the release of the season 1 DVD, music was retrofitted into earlier episodes, often during transitions. Trocadero's "Blood Gulch Blues", whose last few measures are now heard during each episode's title sequence, is used as background music for the character introductions on the Red vs. Blue season DVDs. According to Trocadero's website, the song's lyrics are intended to highlight episode 2's joke about the Warthog and the notion that there is as much bickering and fighting within each team as there is conflict between the two sides. In fact, "Blood Gulch Blues" never mentions Red vs. Blue. The song is from the band's debut full-length album Roses Are Red, Violets Are Blue which was released in 2004. The band's style is alternative rock, taking influence from elements of blues, alternative rock, and western types of music. Trocadero continued to provide music for the show from their second and third albums, Ghosts That Linger and Flying by Wire.

Beginning with Red vs. Blue: Revelation, the main score for each season has been crafted by Jeff Williams, the former keyboardist of Trocadero, in addition to many of Trocadero's songs being reused. Williams's soundtracks have genres containing mixed elements of score music, hard rock, and sometimes electronic and rap. Williams often features others on vocals including Lamar Hall, Red Rapper, Barbara La Ronga, Nicole D'Andrea, his daughter Casey Lee Williams, Sandy Lee Casey, and some members of the cast, and collaborates with Steve Goldshein on some tracks. The soundtracks also feature several parody songs, and some songs included are heard in PSAs and Rooster Teeth shorts. With the release of season eleven, Williams moved away from providing music for Red vs. Blue to work on Rooster Teeth's new series, RWBY. Trocadero returned as the sole-provider of Red vs. Blue's score for the first time since season seven, also providing a new theme song "Contact" effectively replacing "Blood Gulch Blues". David Levy joined the music team alongside Trocadero in season 13 and has continued to write music for the show since.

Recording
Red vs. Blue is mostly recorded using a number of networked Xbox consoles. As the games evolved and Rooster Teeth grew, consoles were changed to eight connected Xbox 360s and later sixteen Xbox Ones. Within a multiplayer game session, the people controlling the avatars "puppet" their characters, moving them around, firing weapons, and performing other actions as dictated by the script, and in synchronization with the prerecorded dialogue. The camera is simply another player, whose first-person perspective is recorded raw to a computer. The Apple Macintosh games Marathon and Marathon 2: Durandal were also used in Season 3 for scenes that occur in the distant past; this has the effect of making the graphical quality of the series an indication of time's progression throughout the story. The first five seasons of Red vs. Blue were later reshot in high definition using the PC ports of Halo: Combat Evolved and Halo 2, which have also been featured in later seasons whenever those games were required.

In the interview on The Screen Savers, Burns described the use of machinima techniques to record the show thus: "It's like normal animation but instead of, y'know, sitting down, drawing everything by hand, we just use controllers." During the earlier seasons, Ramsey developed a technique to handle the gamepad with his foot in case more than four characters were in the scene.

In scenes using the original Halo, a bug was exploited that made it so that by holding a pistol and looking down, the character would appear to be holding the pistol down but looking up, as if more relaxed. At the same time, changing the perspective the head would bob, giving the impression that the character was talking. The glitch also either made vertical movement limited or returned the character's appearance to normal, so characters would have to estimate movements, since they were always looking down.

Bungie eliminated the bug in Halo 2, so that the on-screen characters appear to look up or down correctly. To facilitate the production of machinima, Bungie implemented a new feature that made it possible to achieve the same effect as the original bug. In Halo 2, pressing down on the D-Pad of the Xbox controller makes the player character appear to hold a weapon in a neutral position, without aiming it at anyone, while looking straight ahead. This also allowed them to move the heads up and down to achieve a more dynamic appearance for some scenes.

In footage made using Halo, a weapon aiming reticle appears in the center of the screen. This reticle appears because, as with most machinima, the camera's view is from the perspective of a weapon-wielding player. The exception to this is footage recorded by killing the camera player's avatar. Footage made using Halo: Custom Edition allowed for a player to act as a free roaming camera, and thus contained no reticle. In Halo 2, a bug in the Oddball multiplayer mode allows the player to drop all weapons, causing the weapon reticle to disappear. This bug has been used in all Halo 2 footage from episode 46 onwards.

To gain unique angles in the series, Rooster Teeth first used a tank in the game to emulate crane shots by standing the cameraman on the turret while it was raised. Later, they found it more practical to stand the cameraman on other characters in the game. This trick has also been used for other purposes, such as standing Donut on two characters to create the illusion that he could jump higher than is possible in the game.

For scenes which include the flag (CTF), only two colors could be used (Sarge's and early Donut's red, and Caboose's blue) as CTF is a team game and only red and blue colors could be used. When the flag used among different colored characters, it is only shown with a standard red or blue character, mixed with scenes with other characters behaving as if it is present.

During recording, there was an issue with the Blue Team's deceased leader, Church. Church appears as a ghost for some parts of the show, and he needed to appear transparent to the viewer. To achieve this, all scenes with ghost-Church had to be recorded twice, once with Church in them and once without him. After the switch to Halo 2, Church's ghost form was portrayed using the "Poor Camo" Armor enhancement.

Another difficulty when recording in Halo 2 was the enormous shadow over Red Base in the map Coagulation. This shadow had a detrimental effect on the appearance of the characters. To avoid this, late in Season 4 a glitch was discovered that allowed a character to appear lit even in a dark area. Burnie Burns stated in the Season 4 audio commentary that the glitch was something they kept noticing a lot while recording the episodes, and when they discovered how to replicate it they utilized it extensively. During the first five seasons, the videos were mostly recorded on the Halo map Blood Gulch and its Halo 2 counterpart, Coagulation, although later episodes have increasingly been recorded on other maps.

Episodes that have been made with the games starting with Halo 3 have used the theater mode camera. The Forge Mode from Halo 4 onward also helped by providing a green screen and the creation of entire areas for certain scenes.

Starting in season 8, action sequences have been made with dedicated animation that involve stunts not possible with the previous game engine. For this, they teamed up with animator Monty Oum, a fan of the series. Making the show more ambitious and reliant on computer animation led to extensive planning – fight choreography, storyboards, animatics – for episodes that take months to be completed, in contrast to machinima ones that are done in just a week.

Post-production
Adobe Premiere Pro is used to edit the audio and video together, add the titles, and create some of the special effects not normally possible on the console or in the games used. Adobe After Effects is also used, typically by Hullum, to create animated props not found in the regular game engine. Examples of these extra props include tombstones in and ornaments, presents, and lights in the Christmas 2004 video.

As the camera player's view has a heads-up display (HUD), black bars are added in post-production to hide the top and bottom portions containing irrelevant in-game information, creating a letterbox effect. Most machinima is made with computer games, which often have HUDs that can be easily disabled in one way or another. Console games such as Halo and Halo 2 are often more limited in this respect. In 2010, Rooster Teeth Productions released a remastered edition of The Blood Gulch Chronicles that removed the black bars and aiming reticle existent in previous versions of the series, which was done by re-shooting the first four seasons in the PC versions of Halo and Halo 2.

Other media
A book based on the series, titled Red vs. Blue: The Ultimate Fan Guide, was published November 17, 2015. Written by Eddy Rivas and Burnie Burns, it collects information about the series over its first twelve seasons and most of its thirteenth season.

Due to the popularity and success of Red vs. Blue, Rooster Teeth has created dozens of Red vs. Blue-themed merchandise available for sale on the website's store. Rooster Teeth has released several posters featuring major characters accompanied by their most popular quotes, dubbed "-isms posters". Several t-shirts based on quotes from the show have also been created.

Critical response
Red vs. Blue attracted interest immediately; the first episode was featured on Slashdot, Penny Arcade, and Fark on the same day, and had 20,000 downloads within a day. The following episodes wound up downloaded hundreds of thousands of times, forcing a change on the distribution to peer-to-peer file sharing to cut the increasing server costs. Ramsey noted Red vs. Blue also "had a broader appeal than we anticipated", gathering a female following along with the expected demographic of young adult males. Shortly after episode 2, Bungie contacted Rooster Teeth. Although the crew had feared that any contact would be to force an end to the project, Bungie enjoyed the videos and was supportive; one staff member called the production "kind of brilliant". A deal was arranged to ensure that the series could continue to use Bungie's game properties without license fees. The relationship has continued with Bungie's successor in the Halo series, 343 Industries. Red vs. Blue continued to attract more attention, and by April 2004, Kevin J. Delaney of The Wall Street Journal estimated that weekly viewership was between 650,000 and 1,000,000. In a 2006 interview, Strange Company founder Hugh Hancock called the series probably "the most successful machinima productions [sic]" and estimated that it was generating almost US$200,000 annually. Red vs. Blue content was also included with a premium "Legendary" edition of Halo 3.

Red vs. Blue was widely acclaimed within the machinima industry. The first season won awards for Best Picture, Best Independent Machinima Film, and Best Writing at the Academy of Machinima Arts & Sciences' 2003 Machinima Film Festival. Two years later, at the 2005 festival, the won an award for Best Independent Machinima and was nominated for five others. At the 2006 Machinima Festival, the series was nominated for awards in voice acting and writing, but won neither.

Among film critics, the response was generally positive. Darren Waters of BBC News Online called Red vs. Blue "riotously funny" and "reminiscent of the anarchic energy of South Park". Reviewing the three season DVDs for Cinema Strikes Back, Charlie Prince wrote, "Red vs. Blue is hysterical in large part because all the characters are morons, and so the seemingly intense conflict with the opposing base doesn't exactly work the way you'd think it would." Leggat described the series as "[p]art locker-room humor, part Beckett-like absurdist tragicomedy, part wicked vivisection of game culture and sci-fi action films and games". Ed Halter of The Village Voice dismissed the humor as shallow and described the first season as "Clerks-meets-Star Wars". Leggat defended the humor, arguing, "The literary analog is absurdist drama." It has also been critiqued by academic D. Bruno Starrs as an anti-war film.

Another common criticism of Red vs. Blue was that its season 3 plot was too far-fetched and out-of-character. Charlie Prince wrote, "By the third season, however, the Red vs. Blue idea seems to be running out of steam ... It's not funny so much as just odd." Writing for the Honolulu Star-Bulletin, Wilma Jandoc agreed that the first part of "season 3 ... throws the teams into a ridiculous situation and has limited member interactions, leading to a lack of witty dialogue". In an about.com review of the season 4 DVD, writer Eric Qualls thought that season 3 was "a little too long, and too complicated, and the jokes were a bit too far apart". Nevertheless, both Prince and Jandoc were optimistic that the series would improve, and Qualls stated that the fourth season had "returned to the series' roots" as "some of the funniest stuff you'll ever see". The Globe and Mail reviewer Chad Sapieha complained that season 3 "seemed as though they were trying to come up with more physical gags rather than focusing on the dialogue" before the writing picked up in the following seasons.

Rooster Teeth Productions has created special Red vs. Blue videos for various events. For example, Microsoft has commissioned Red vs. Blue videos for Xbox demo kiosks found in game stores and for a developer conference. Barenaked Ladies has also commissioned videos for their concerts, as frontman Ed Robertson was a fan of the series, and would later voice a character, Captain Butch Flowers. Other videos have been specifically created for gaming magazines, including Electronic Gaming Monthly and Computer Gaming World; gaming conventions, including E3 and the Penny Arcade Expo; and the Sundance Film Festival.

Red vs. Blue has also received praise from soldiers stationed in the Middle East. An August 2005 blog entry by Kimi Matsuzaki of 1UP.com displays photographs of soldiers holding various weapons, as well as copies of the first and second season Red vs. Blue DVDs. Geoff Ramsey later stated in an interview, "We get a lot of merchandise and DVDs out to Iraq and get a lot of great e-mails back."

Red vs. Blue has been acknowledged by Xbox Live through Grifball, a game variant which is featured on the Halo 3 multiplayer; Grifball originated as a joke by Sarge in the 4th season that alluded to inflicting pain on Grif. The notability and impact of Red vs. Blue extends to video games outside the Halo series as well. The developers of the Xbox 360 video game Gears of War, Epic Games, made a reference to a Red vs. Blue gag through an in-game achievement called, "Is it a spider?"; the award is earned for tagging opponents with grenades. Another reference to the series appears on Bungie's website. On a player's Halo 3 profile screen the description of a kill or death with a flag is "Right next to the headlight fluid". In Halo 3 itself, the second campaign scenario features a Red vs. Blue skit, wherein two cast members voice over a soldier attempting to bypass a locked door. Different skits are seen on each difficulty level. In Halo: Reach, Dr. Halsey's office contains a data-file detailing the UNSC's "reaction" to the films. In the expansion pack for Red Dead Redemption: Undead Nightmare, there is an achievement called "Chupathingy," when killing a Chupacabra.

Impact on machinima
Red vs. Blue is widely credited with attracting public attention to machinima and web-series. The first instance of machinima dates back to the 1990s in the first-person shooter game Quake. A group that called themselves "The Rangers" created a software mod of them typing in the chat box and putting lines of dialogue on the screen. This group named these "videos" Diary of a Camper. Even though Rooster Teeth is not the first to produce machinima, Clive Thompson credited Red vs. Blue as "the first to break out of the underground". Tavares, Gil, and Roque called it machinima's "first big success", and Paul Marino noted that "the series proved so popular that it not only transcended the typical gamer, it also claimed fans outside the gaming world". In 2005, Thompson wrote that "Microsoft has been so strangely solicitous that when it was developing the sequel to Halo last year [2004], the designers actually inserted a special command—a joystick button that makes a soldier lower his weapon—designed solely to make it easier for Rooster Teeth to do dialogue".

Red vs. Blue has motivated the fan base to create the machinima "Sponsors vs. Freeloaders". This series lived on the forums of roosterteeth.com. The series has inspired other machinima productions, including The Codex. Other Halo machinimas that are not necessarily related to, or influenced by, Red vs. Blue are: Arby 'n' the Chief, The Forgotten Spartans, Matchmaking, Spriggs, Rise of the Spartans, Playtime, C n' P, and Sandguardians.

In machinima, Red vs. Blue has been mentioned as the most successful example of the trend toward serial distribution. According to Hugh Hancock, this format allows for gradual improvement as a result of viewer feedback, and gives viewers a reason to return for future videos. Hancock argues that this model was necessary for Red vs. Blue's success: "Sunday night is Red vs. Blue night, just as (in the UK) Thursday used to be Buffy. Had RvB released their films as single downloads of an hour and a half, they'd have had nowhere near the success they currently enjoy." Karen Moltenbrey explains that, machinima films were quite lengthy and were typically not episodic. Rooster Teeth was able to combine these aspects by compiling the episodic adventures into a feature-length film and selling DVDs.

Distribution
Red vs. Blue episodes were originally available in QuickTime (QT) and Windows Media Video (WMV) formats, with the most recent season available at the time in full and episodes from the previous seasons available in a rolling archive, cycling on a weekly basis. This original setup was intended to help to control bandwidth costs; as of September 2005, the official Rooster Teeth website was serving 400 terabytes of data monthly. Video content has now moved to streaming, with initial releases occurring through the website directly, followed by YouTube later on. Red vs. Blue Season 16 was not released to YouTube until March 19, 2019, unlike previous seasons which released on YouTube a week after being made available to FIRST members on the site. Previously it was hosted by Blip, though it has switched over to being hosted directly on the website with Jwplayer acting as its video player, after Blip was shut down. All freely released episodes are currently available and the rolling archive has been retired. Out of Mind was initially a free download on the Xbox Live Marketplace, along with some Red vs. Blue episodes being available purchased. More recently, episodes became available to be streamed on Halo Waypoint.

Members of the official website can become FIRST members, originally referred to as sponsors, for a fee of US$5 every month or US$20 every six months. FIRST members formerly could access videos a day before members can view them and a week before a general public release, but now get to view them a full week before both free members and non-members can view them, as well as the ability to access special content released only to FIRST members. For example, before the premiere of season 12, Rooster Teeth released exclusive audio logs featuring some of the main characters exclusively for FIRST members.

Episodes were originally released in different resolutions; higher resolutions were reserved for FIRST members. Beginning with the Red vs. Blue: Out of Mind mini-series, Rooster Teeth began to film and edit videos in 720p high-definition, and release episodes in widescreen format, instead of hiding the game HUD through the letterboxing seen in fullscreen releases. On January 8, 2007, the release of episode 87, Matt Hullum announced that videos would be viewable using Adobe Flash. He stated that the change allowed Rooster Teeth to release public videos in a higher resolution "while keeping the file size low", and that the entire video archive would be updated. Code to embed the Flash video on other websites was also distributed. In a site journal entry, Burns clarified that downloadable versions would continue to be released, but after their Flash counterparts. Eventually, during Season 10, downloadable episodes ceased to be posted. This was likely to prevent re-uploading episodes onto YouTube ahead of public release.

Although it is distributed serially over the internet, Red vs. Blue is also one of the first commercially released products made using machinima, as opposed to a product merely containing machinima. DVDs (and later Blu-rays) of every completed seasons are sold through Rooster Teeth's official website, as well as at several retailers in the United States, such as Target and Wal-Mart. Rooster Teeth claimed in 2017 that Red vs. Blue has sold more than 1 million DVDs of individual seasons and box sets. Initially each season's episodes were edited together in the DVD releases to play continuously as full-length films, though later seasons were written as singular films with episodes being split up later during production. Because some episodes contain dialogue that continues into or past the episode credits, Rooster Teeth either removes that dialogue entirely or films extra footage to replace the original fade to black. On April 1, 2008, Rooster Teeth released a box set of all five seasons, including a DVD of new bonus content. In 2010, a remastered box set of the first five seasons was released, with the first four seasons being completely reshot, featuring a proper 16:9 aspect ratio instead of the highly letterboxed look of the original episodes, and a much higher resolution. On November 6, 2012, to celebrate ten years, Rooster Teeth released a DVD and Blu-ray box set, titled RVBX, comprising the first ten seasons and five discs worth of bonus content, two of which are almost entirely newly released material.

Theatrical presentations of Red vs. Blue seasons at the Lincoln Center and at other film festivals are cut (sometimes extensively) for time. In a 2005 interview, Burns noted that the first season, normally 75 minutes in length, was cut to 55 minutes for these venues, with an entire episode omitted. Burns stated in a journal entry that the 134-minute season 3 DVD version had to be shortened to "a watchable-in-a-theater runtime of 100 minutes".

The first 5 seasons were made available on Netflix in July 2014, with Seasons 6–12 debuting on the streaming service in April 2015. On March 4, 2015, Rooster Teeth debuted a new YouTube channel dedicated entirely to Red vs. Blue, where the first twelve seasons were uploaded to between March 6–29 in anticipation for the release of the thirteenth season's premiere on April 1, 2015. The channel has over 886 thousand subscribers, and over 268 million video views, as of July 2019. The channel has since been renamed to Rooster Teeth Animation and features other original animated Rooster Teeth productions such as RWBY and Camp Camp.

El Rey Network syndicated the series in its entirety in November 2015, with the series premiering on December 5, 2015. Founder Robert Rodriguez called the series a "truly groundbreaking machinima series, with a strong focus on quality writing and pioneering motion capture techniques".

In May 2022 it was announced that FilmRise had acquired streaming rights for Nomad of Nowhere, Camp Camp, and Red vs. Blue, grouping episodes from each series into "traditional half-hour formats and seasons for streaming."

title: Red vs. Blue


text:
ALP (automobile)

The Automobiles Leroux-Pisart (ALP) was a Belgian automobile built in 1920 in Brussels.

History
André Leroux and André Pisart founded the company in 1919. The company's headquarters were on Boulevard de Waterloo in Brussels. In the same year, the production of automobiles, designed by Leroux, began. The brand name was ALP.

From July 1920, the company name was changed to SA Mécanique-Automobile Soméa. It is unclear whether this was a name change or a new owner. Baron Pierre de Caters was president, Germanès, Mulders, Leroux and Pisart were involved. A new factory was built in Vilvoorde. In 1921, Leroux left the company. Paul Bastien was hired as the new designer. The new brand name Soméa was introduced in December 1921 at the latest. Production ended in December 1923 and the company was dissolved.

ALP
The 10 CV model was equipped with a four-cylinder engine with a displacement of 1847 cc. There was also a model with a displacement of 2121 cc. The engines came from Decologne and Ballot, the chassis from the Société Métallurgique Dyle et Bacalan. It was a light car designed by André Leroux, a former Metallurgical engineer.

SOMEA
This model was presented at the Brussels Motor Show in 1921. The vehicle had a four-cylinder engine with 2018 cc displacement and OHC valve control. Only a few examples were produced.

Literature

 * Yvette Kupélian, Jacques Kupélian, Jacques Sirtaine: . FSA, Brussels 2012, ISBN 978-2-87212-662-0, p. 291 (French).
 * George Nicholas Georgano : Cars. Encyclopedia complete. 1885 today. Courtille, Paris 1975 (French).
 * George Nicholas Georgano : . EP Dutton, New York 1982, ISBN 0-525-93254-2 (English). <-- Motorcars -->
 * David Burgess Wise: . Greenwich Editions, London 2004, ISBN 0-86288-258-3 (English).
 * Harald H. Linz, Halwart Schrader : . United Soft Media Verlag, Munich 2008, ISBN 978-3-8032-9876-8.
 * Yvette Kupélian, Jacques Kupélian, Jacques Sirtaine: History of the Belgian automobile. Paul Legrain, Brussels, ISBN 2-8705-7001-5 and epa, Paris, ISBN 2-8512-0090-9 (French).

Weblinks

 * Wikicommons : Automobiles Leroux-Pisart – Collection of images, videos and audio files
 * (B) Soméa, ALP ( Memento from 7 December 2015 in the Internet Archive ) On gtue-oldtimerservice.de.

title: ALP (automobile)


text:
Icecast

Icecast is a streaming media project released as free software maintained by the Xiph.Org Foundation. It also refers specifically to the server program which is part of the project. Icecast was created in December 1998/January 1999 by Jack Moffitt and Barath Raghavan to provide an open-source audio streaming server that anyone could modify, use, and tinker with. Version 2, a ground-up rewrite aimed at multi-format support (initially targeting Ogg Vorbis) and scalability, was started in 2001 and released in January 2004.

History
Icecast was originally developed by Moffitt in 1998 for SMU's radio station. At the time, the station was constantly losing its FCC license and was at the time only able to reach listeners in the same building. Given that all of the dorms throughout campus had Ethernet connectivity, using streaming audio to broadcast was a natural solution, but currently available audio streaming software, such as RealAudio, was too expensive. Moffitt created Icecast, allowing the station to easily reach everwhere on campus without the necessity of FCC licensing or a transmitter upgrade. Initially developed to support mp3 files, Vorbis support was added shortly after.

Technical details
The Icecast server is capable of streaming audio content as Opus or Vorbis over standard HTTP, video as WebM or Theora over HTTP, and MP3, AAC, and NSV over the SHOUTcast protocol. Theora, AAC, and NSV are only supported in version 2.2.0 and newer.

Icecast requires external programs, called "source clients", to originate the streams, and the Icecast project includes a source client program known as IceS. The source runs typically in the place where the audio is generated (e.g., a studio) and the Icecast server where a high-bandwidth connection is available (e.g., a colocation centre). Since version 2.4.0 source clients can use plain HTTP standard PUT requests instead of the custom SOURCE method.

title: Icecast


text:
Channels of Rage

Channels of Rage (ערוצים של זעם) is a 2003 documentary film by Anat Halachmi.

Synopsis
The film focuses on two young rap artists, Subliminal, an Israeli Jew, and Tamer Nafar, a Palestinian citizen of Israel, and focuses on their music, friendship, and their politicization as public figures. The film traces the relationship between Tamer and Subliminal, as the events of the Second Intifada unfold, and lets the viewer draw conclusions from the souring relations between the two as an individual representation of the polarization process which took place during these years of bloody conflict. In this aspect, the film succeeds in delivering the atmosphere of the loss of hopes for peace after the failure of the Camp David summit between Ehud Barak and Yasser Arafat and the renewed intensity of the conflict since. The film was featured in the San Francisco Jewish Film Festival.

title: Channels of Rage


text:
Wikipedia talk:Arbitration Committee Elections July 2004

For the Arbitration policy ratification vote there were several hundred admins and many other eligible voters. With the one week timeline, just 28 people heard about it and voted before the polls were originally to close. If I didn't assume good will I'd assume that this short timeline repeat performance is trying to be a farce rather than a serious vote. This is a wiki. It's online. People often don't even visit once a week. It takes time for people to learn about these things to know that they can stand and more time to learn that the vote is open and vote. One week is grossly inadequate for either stage. Jamesday 23:46, 23 Jul 2004 (UTC)

 * Both I and Cam, as well as quite a few others from IRC, seem to think that a more sensible timing would be 2 weeks for votes, starting on the 31st (so standings in by the 30th). Thoughts?
 * James F. (talk) 23:49, 23 Jul 2004 (UTC)

 * Also, given that we have three members on LOAs and one AWOL (-)), perhaps we should expand them number of short-term placements? 3? 4? Of course, this depends on the number of candidates we get for this not terribly fun job.
 * James F. (talk) 00:04, 24 Jul 2004 (UTC)

 * How about just accepting any candidate who gets at least 80% support, perhaps up to a maximum number specified by the current committee. Angela. 00:42, Jul 24, 2004 (UTC)

 * If we're going to be using the exisiting software (and, really, we should, if for no other reason than that it's already there and so we won't be further delayed), it's approval-voting, so 80% support isn't something so easily calculated and also it isn't designed for...
 * What about a hard limit of a maximum of 6 (to balance with the 6 currently active members), and the first 6 who get more than 75% of the particpant voters' approval?
 * James F. (talk) 01:03, 24 Jul 2004 (UTC)
 * Assuming that we're electing two new arbitrators, how about promoting the two candidates who receive the largest number of "yes" votes? Going by percentages seems a bit unfair, especially to users who've been around for a while and work on naturally contentious subjects. For example, would we want someone who received 20 yes votes and 10 no votes not to be promoted while someone who received 5 yes votes but no votes in opposition to be promoted? 172 22:49, 25 Jul 2004 (UTC)
 * The way the software works, you can only vote yes for a person or not vote yes for a person, so the base is the same for all. What happens when none of the candidates receive the needed percentage? So far all of them look unacceptable to me. anthony (see warning) 10:28, 26 Jul 2004 (UTC)

On an unrelated matter, I assume that it would be... impolitic for current ArbComm members to make any public representations for or against any one user standing to be a member, lest this be seen as an annointment / cabal-like action?

James F. (talk) 01:03, 24 Jul 2004 (UTC)

 * I'm just going to vote along with everyone else. Fred Bauder 01:12, Jul 24, 2004 (UTC)

A suggestion I made on the arbitration mailing list was to have a relatively large pool of arbitrators (lets say 30, but the exact number isn't important - it could just be as many as get x% approval) from which we draw smaller panels (of, say, five) to deal with one case each. This will make the workload of each individual arbitrator much more managable and allow all of them to properly look at the case they're dealing with (there are also, of course, reasons to oppose such a system). This would be quite a serious change in the format of the arbitration committee, though, so ought not to be rushed through. If we're looking to have a fairly quick vote, I think it would be best to just try and fill the two places that have been vacated. I know two people doesn't sound like much, but I do think it would make a difference. We can continue to discuss other ways of organising things and, hopefully, have some alternative method in time for the December elections.

Incidentally, I wouldn't be too concerned if we had two weeks each for nominations and voting, but I hope things won't be dragged out longer than that: these elections are a kind of emergency measure to fill gaps left in the committee by people leaving; they need to happen quite soon if they're to have any meaning. The seats will in any case be up for re-election in December, which isn't very far away.

I won't be voting or making any comments on the candidates myself, by the way. --Camembert

 * These sorts of changes would be a significant re-working of the policy, so perhaps we should discuss this there?
 * Expediting this would be a Good Thing, though, I agree.
 * James F. (talk) 01:29, 24 Jul 2004 (UTC)

 * You're right - I'll mention there what I've said above soon (probably not tonight though - dropping asleep...). --Camembert

 * I strongly support Camembert's idea here. Snowspinner 18:05, Jul 24, 2004 (UTC)

Moving forward
So as I read this, you want elections to start one week from today. That's fine, but how long is this going to remain a draft? Should we be moving forward? →Raul654 03:38, Jul 25, 2004 (UTC)

Candidate statement
Moved to Arbitration Committee Elections July 2004/Candidate statements

Questions
Before we have any candidates we need to know the following:
 * 1) how many new Arbitrators do we need?
 * 2) *At least 2, plus any others who get at least 75% of the votes, up to a maximum of 6?
 * 3) who can vote?
 * 4) *Anyone who first edited at least 3 months ago?
 * 5) who can run? [added by Anthony]
 * 6) *Anyone with an account?
 * 7) what percentage of votes does someone need to become an Arbitrator?
 * 8) *The first two places will go to those with the most votes. A remaining 4 places are available to anyone receiving at least 75% support?
 * 9) when will campaigning start?
 * 10) *Now!
 * 11) when will the voting start?
 * 12) *Start of August 1?
 * 13) when will the voting end?
 * 14) *August 7, midnight?

Someone also needs to adapt Special:Boardvote to work for this. Angela. 14:35, Jul 25, 2004 (UTC)
 * I've added some proposed answers above. Angela. 18:44, Jul 26, 2004 (UTC)

For who can vote, I propose anyone who has at least 10 edits to the article space as of July 15, 2004 and is not under a hard ban. Also, I added a question. anthony (see warning) 14:57, 25 Jul 2004 (UTC) [comment modified after reply (I added "to the article space")]

 * 10 edits? Isn't that rather... low? We had a limit of 500 for the last vote. What about 100 edits, 1 month here?
 * As for who can stand perhaps 500 edits, 3 months here?
 * Also, would newly-elected non-sysop Arbitrators be made sysops, too? When we were initially created, all but one of our member were sysops. Perhaps this would be a bad thing?
 * James F. (talk) 15:31, 25 Jul 2004 (UTC)

In my opinion the only purpose of qualifications for voting is to weed out sockpuppets. If someone managed to make a number of sockpuppets 10 days ago and posted with them 10 times without getting caught, in anticipation of some upcoming vote, well, I just don't think that's going to happen. I see no reason why arbitrators need to be sysops. In fact, it's perhaps better if they're not active as sysops while arbitrators. For running, I'd suggest no qualifications at all. Let the voters decide if the person meets their standards. anthony (see warning) 15:52, 25 Jul 2004 (UTC)
 * Why would you assume that the only reason for voter qualifications is to weed out sock-puppets? The arbitration committee is a part of the internal functioning of Wikipedia.  It is reasonable to expect someone to participate in the project for a substantial amount of time before we allow them to have a say in who sits on the committee.  A new user is unlikely to even know what the arbitration committee is unless they've been causing problems.  Isomorphic 22:38, 25 Jul 2004 (UTC)
 * I think Mark's observation is dead-on. →Raul654 23:34, Jul 25, 2004 (UTC)

It's not my assumption of what is, it's my opinion of what should be. I see no reason for any qualification other than to weed out sockpuppetry. Arbitration affects everyone, so the arbitrators should be chosen by everyone. anthony (see warning) 10:25, 26 Jul 2004 (UTC)

It would be easiest to require users to have been registered for at least 3 months. The Boardvote software wouldn't need changing then. Angela. 06:55, Jul 26, 2004 (UTC)

Sounds reasonable. I'd prefer it to be shorter but I'll let the people actually affected by this complain if they wish. anthony (see warning) 20:01, 26 Jul 2004 (UTC)

Candidate statements
Unless someone strongly objects in the next hour or two, I'm going to add a statement that candidate announcements should go on Arbitration Committee Elections July 2004/Candidate statements, and I'm going to put my statement there (and copy 172's from above as well). →Raul654 23:42, Jul 25, 2004 (UTC)

Number of arbitrators
Should we elect some reserve arbitrators to fill temporarily vacated seats due to people going on hiatus or having temporary outages? Snowspinner 18:28, Jul 26, 2004 (UTC)

 * I suggest the two getting the most votes go on the permanent committee. Anyone else getting at least 75% of the votes (up to a maximum of 4 perhaps) are kept for the reserve committee to fill in when people are missing). Angela. 18:46, Jul 26, 2004 (UTC)

 * Another idea would be to have people voting separately for who they want on the permanent and reserve committees. This allows people to express a preference for their favourite two by voting them into the permanent position, but still approve of any others they wouldn't mind holding the reserve posts. Angela. 18:50, Jul 26, 2004 (UTC)

 * I think the first idea is better. Snowspinner 19:52, Jul 26, 2004 (UTC)

Is anybody going to get 75% approval? I calculated percentages for the board election once, and as I recall only one candidate actually received support from even 50% of the people who voted. I would suggest we keep the election simple - the two candidates with the most votes get the two open positions.

A reserve committee sounds nice in theory, but given the legalism people so often apply to the arbitration process, it likely would require some overly complex procedure to determine when a reserve arbitrator would fill in for a permanent arbitrator. --Michael Snow 20:07, 26 Jul 2004 (UTC)

 * I think it would be fairly simple - those members of the arbcom who are listed on the arbitration committee page would be temporarily replaced by reserve arbitrators. Maybe we could also later put into place some policy whereby reservists vote on all cases under a "Reserve" section, and if, after some pre-determined period, not everyone has voted on a case, the reserve votes are counted until the full committee size has been voted. But that would be something that would have to be added to the policy later, I think. Snowspinner 20:23, Jul 26, 2004 (UTC)

Does this mean they will be getting a new term, or will they be filling the term they are replacing? Apparently there are staggered terms? anthony (see warning) 20:03, 26 Jul 2004 (UTC)

 * The arbitrators being elected to the positions vacated by Eloquence and UninvitedCompany are filling unexpired terms. These positions are up for election again at the end of 2004. --Michael Snow 20:07, 26 Jul 2004 (UTC)

I see, so "permanent committee" just means they are able to actually vote on issues. As for the liklihood of many people getting 75% approval, right now it looks like mostly trolls are running, so it's doubtful. anthony (see warning) 20:21, 26 Jul 2004 (UTC)

 * Mostly trolls? That's awfully rude. Ambivalenthysteria 23:53, 26 Jul 2004 (UTC)

I think having hot-spare Arbitators is a bad idea; it adds to the bureaucracy, and diminishes their interest. People should be either Arbitrators or not, not some half-way comprimise. If people do well, they are likely to do so for the next elections (which will be for 3 years, AIUI, instead of 6 months) in just 5 months' time. How about having a hard maximum of 4 new Arbitrators, and a hard miniumum of 50% of all voters' votes (75% is apparently too high)? Also, a RON option would be good...

James F. (talk) 00:31, 27 Jul 2004 (UTC)

 * I support James F.'s idea. Johnleemk | Talk 12:29, 27 Jul 2004 (UTC)

 * I think a minimum approval rate is likely to produce problems, particularly if the minimum voter experience is set low enough that sockpuppets can easily throw the vote. Snowspinner 12:43, Jul 27, 2004 (UTC)

 * Then they'd probably deserve it – anybody who can see three months into the future and register a few sockpuppets certainly can be useful – imagine, blocking users before they start edit wars/trolling/even arrive. Johnleemk | Talk 12:12, 28 Jul 2004 (UTC)

Timeline issues
People have raised concerns about providing enough time for candidates to sign up and for people to study the issues and vote. At the same time, we need to get the election done quickly so the new arbitrators can start work. Right now, no dates have actually been set, and I think that needs to be agreed on quickly.

Suggestions above range from one week to two weeks, both for the candidate registration period and the election itself. I would say that it's pretty clear that Jimbo's idea on the mailing list of 2-3 days won't fly. But unlike the board election, this one doesn't require a translation process or Foundation-wide publicity. So about ten days seems like it should be adequate. That would let us complete the process by the middle of August, which is about as long as I think we can afford to drag this out.

So, my specific suggestion is as follows - since Jimbo endorsed the proposed election late on Friday, July 23, use midnight UTC that evening as the starting point. The rest of the timeline could be:
 * Candidate registration closes at midnight UTC on Monday, August 2 (10 days from start)
 * Election opens on Wednesday, August 4 (everybody seems to like having one day where the candidate pool is set before the election actually starts)
 * Election closes at midnight UTC on Friday, August 13 (10 days from when it opens)
 * As soon as possible thereafter, election results are published and new arbitrators join the committee

Any objections to this timeline? If not, I plan to put this on the page soon, so we have something concrete to work with. --Michael Snow 18:11, 27 Jul 2004 (UTC)
 * I support. If anything, I think it's too slow - what's the point in electing people in August just to re-elect them in December? Do it ASAP. →Raul654 18:14, Jul 27, 2004 (UTC)
 * Hopefully both the people who think it's too slow and those who think it's too fast can accept that this is a reasonable compromise. --Michael Snow 18:21, 27 Jul 2004 (UTC)
 * How about: close it July 31st (end-of-July Jimbo hoped for), freeze candidate page and revert any changes to it, election starts August 2nd, closes August 8th, results and new AC menbers start asap thereafter? 7 days seems quite enough - David Gerard 20:53, 27 Jul 2004 (UTC)

It's like herding frogs...

Why don't we just do something, anything, to get some more people on the arbitration committee, accept that it's not going to make everyone happy, and get on with it so that we've at least helped the problem along instead of debated it at great length? Snowspinner 21:00, Jul 27, 2004 (UTC)

 * BAN IT! BAN IT! Er, sounds good to me! - David Gerard 21:27, 27 Jul 2004 (UTC)

We can deal with not making everyone happy, but in order for the committee to enjoy the respect and support of the community, we also need to avoid making people too unhappy. Some people have serious concerns with a too-short timeframe, because the idea of an election is to let everyone vote, rather than figuring that the survey taken from a smaller sample is representative enough. But yes, obviously people want to do something, which is why I tried to move things forward by making a concrete proposal.

I agree that we need to get on with it, so I'm going to add the timeline to the page now. I will use my proposal, rather than the shorter one, because I'm still trying to take into account the concerns voiced originally. Also, I note that most of the support for a shorter time period is from people who are already candidates. I want to avoid creating the impression that existing candidates are trying to rush on before competitors can join the race (though I don't believe any of the candidates are acting out of such motivation). --Michael Snow 22:17, 27 Jul 2004 (UTC)

I am particularly interested in knowing why. Not why these two are resigning, I can see their point; rather, why these two are resigning rather than the de facto no-votes I constantly see in arbcom decisions. If everybody who actually votes goes away, we might as well give up on the Arbitration Committee. - Hephaestos|§ 03:13, 28 Jul 2004 (UTC)

 * Huh? Ambivalenthysteria 04:28, 28 Jul 2004 (UTC)

 * I don't understand either. Eloquence refused the appointment and has never voted, and UninvitedCompany left/resigned pretty early in the committee's existence. The vacancies have been around for a long time. I would be happy with fewer non-votes too, but we don't have a clear method of removing arbitrators who underparticipate. Though if any of them feel they can't devote the time necessary, they are welcome to resign, and we could have this election cover any additional vacancies as well. --Michael Snow 16:43, 28 Jul 2004 (UTC)

Eligibility for re-election
I'm curious. Will those who are elected now be able to run for re-election in December 2004? I can't tell from the wording on the main page.

Thanks,

Acegikmo1 22:58, 27 Jul 2004 (UTC)

Yes, I'm pretty sure they would be. We have no rule against that, nor do we have any kind of term limits at this point. --Michael Snow 23:02, 27 Jul 2004 (UTC)

 * Edit conflict! Thanks for fixing it.  Acegikmo1 23:09, 27 Jul 2004 (UTC)

Well, my addition was commented out, since apparently not everyone is sure this issue has been decided. I think it's implicit in Jimbo's posts about the committee, both when it was established and in discussing this election. The elected arbitrators will only serve for a brief time, sort of like a trial period, and it seems sensible to let them run for re-election. Does anyone actually object to allowing arbitrators to run again? If objections come up later, we can always discuss changing the policy. --Michael Snow 16:43, 28 Jul 2004 (UTC)

A definition of 3 months
I think the 3 months requirement for voting is an excellent one. I also think it needs questioning slightly. Can anyone tell me whether the 3 months is calculated from the 3rd, the 4th, the 13th, or some other date in August? What of a user who has switched usernames, or who has sought attribution of anonymous edits (but not yet gotten it)? I just want to make sure we have clear guidelines. Thanks, Jwrosenzweig 23:55, 28 Jul 2004 (UTC)
 * I think it is 3 months as calculated from the time that voting starts (00:00 UTC Wednesday, August 4). I think that if you don't meet that criterion at that time, regardless of other circumstances, i.e. changed usernames or edit attribution, then you just don't get to vote :-/ - blankfaze |  (беседа!)  00:02, 29 Jul 2004 (UTC)
 * And before anyone decides to complain - the 3 month thing is hardwired into the software. So there aren't any appeals and quibbling with people won't make a difference. →Raul654 00:11, Jul 29, 2004 (UTC)
 * Please Raul. We all know it could be changed, and quite easily, if we all agreed that it should be. anthony (see warning) 01:12, 29 Jul 2004 (UTC)
 * It could be changed by a developer, if there were a *lot* of support. As a general rule, they don't do anything otherwise. But since that doesn't appear to be the case, there's no sense in quibbling about it. →Raul654 01:21, Jul 29, 2004 (UTC)
 * As far as I know, three months means 90 days before you vote, not before the vote starts. It won't take account of name changes or anonymous edits unless the names or edits were merged with the user's current account by a developer. Angela. 03:33, Jul 29, 2004 (UTC)
 * Yes that's correct. 90 days is easier to calculate than 3 months, you can just subtract the unix timestamps and compare with 7776000. This time is calculated when the user attempts to vote, and is saved into the vote log. -- Tim Starling 08:54, Aug 4, 2004 (UTC)

Will we release vote totals?
We faced this question last time, yet we forgot to ask it ahead of time this time. Will the vote totals be released? How do the candidates feel about this? anthony (see warning) 13:44, 7 Aug 2004 (UTC)

 * I for one would appreciate it if they were to be released. Ambi 14:12, 7 Aug 2004 (UTC)
 * I concur. I'd be interested, being a candidate.  -- Merovingian  ✍  Talk  15:52, Aug 7, 2004 (UTC)
 * I believe Danny has said he intends to release them. (I agree with this). →Raul654 16:13, Aug 7, 2004 (UTC)
 * It's the only sensible way - David Gerard 16:51, 7 Aug 2004 (UTC)

They will be released. Danny 20:04, 7 Aug 2004 (UTC)

I think the consensus for release of complete vote results is strong enough that this will be the expectation for any future elections. Candidates for any office should understand this when they choose to run. --Michael Snow 05:14, 9 Aug 2004 (UTC)


text:
Alpena Flyer

The Alpena Flyer was an American automobile manufactured between 1910 and 1914 in Alpena, Michigan by the Alpena Motor Car Company. Approximately 480 cars in 13 models were produced, costing around $1,500, and only one remaining car is known to exist today. The car was intended to be light and inexpensive, and to make Alpena into an "Automobile City".

Models
The Alpena Flyer was produced as a standard touring car for 4 or 5 passengers; a four-door, 5 passenger touring car; and a roadster. Prices for the 1911 Alpena Flyer standard touring car was $1450; the four-door, 5 passenger car was $1600; and the roadster was $1450.

The Alpena Flyer was designed for speed, using unit engine/gearbox construction with three-point suspension. Specifications of the 1911 model included a four-cylinder engine made by Northway or Rutenber. It had almost 40 horsepower, disc clutch, water cooling, a Splitdorf magneto, Schebler carburetor, sliding gear transmission with three speeds and reverse, a 112 in wheelbase, 34 in wheels and 24 inch x $3 1/2$-inch tires, and torque tube drive. It weighed 2250 lb and was offered only in dark royal blue.

The 1912 Alpena Flyer had 7 models, which included a 40-horsepower engine, 120" wheelbase, 36x4 tires, electric lights, self-start, 3 oil lamps, 2 gas headlamps, and removable rims.

1912 Model J - Alpena "thirty" 4 door touring

1912 Model F - Alpena "forty" four-door touring car

1912 Model G - Alpena "forty" Gentlemen's Speedster

History
In 1911 the Alpena Flyer was advertised as "The Greatest, Biggest and Most Sensational Actual Values In The Automobile World For $1450.00."

Alpena Motor Car ran into legal and financial problems shortly after the Flyer was first built. In 1912, the company was sued for patent infringement over its suspension design. The patent holder, Emile Huber, brought suit against the company, and the car manufacturer was fined $400,000 for the offense. A cash shortage followed and the company was insolvent by 1914.

Of the several hundred cars built by Alpena Motor Car, just one example survives, on display in Alpena at the Besser Museum. This example is a 1911 Standard Touring Alpena Flyer.

Production figures are unclear, but the company likely did not make more than 1,000 cars. Some estimate that it only produced a few hundred units.

title: Alpena Flyer


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User:Brucehorner

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