Saturday, December 31, 2011
When Anonymous met politics
via Boing Boing by Cory Doctorow on 12/31/11
Quinn Norton continues her excellent history of Anonymous for Wired, this time visiting the shift in the movement from pure transgression to political activism, and the way that this played out among Anons themselves:
Anonymous fundamentally produces two things: spectacle and infrastructure hacking. They create scenes the media often can’t resist, but they also tend to be ones that the media isn’t very good at understanding. The rest of the time they create or destroy online infrastructure, much of which never directly gets noticed. Op Payback & Assange combined the two, but were mainly spectacle. None of the attacks disrupted the function of the targeted entities for long, if at all, but that was missed by much of the media, who instead confused people into believing that they wouldn’t be able to use their Visa or MasterCards to buy gas or groceries, thanks to Anonymous.
Anonymous 101 Part Deux: Morals Triumph Over Lulz
When Anonymous met politics
via Boing Boing by Cory Doctorow on 12/31/11
Quinn Norton continues her excellent history of Anonymous for Wired, this time visiting the shift in the movement from pure transgression to political activism, and the way that this played out among Anons themselves:
Anonymous fundamentally produces two things: spectacle and infrastructure hacking. They create scenes the media often can’t resist, but they also tend to be ones that the media isn’t very good at understanding. The rest of the time they create or destroy online infrastructure, much of which never directly gets noticed. Op Payback & Assange combined the two, but were mainly spectacle. None of the attacks disrupted the function of the targeted entities for long, if at all, but that was missed by much of the media, who instead confused people into believing that they wouldn’t be able to use their Visa or MasterCards to buy gas or groceries, thanks to Anonymous.
Anonymous 101 Part Deux: Morals Triumph Over Lulz
Poisoned Weather: Year 2011 In Photos #wow
via ThinkProgress by Brad Johnson on 12/31/11
The headlines of 2011 were driven by global warming disasters and the popular uprising against the powers-that-be who have accumulated profit at the expense of the future of humanity. The United States faced the most billion-dollar climate disasters ever, with 14 distinct disasters costing at least $53 billion to the U.S. economy. Stymied by the election of the science-denying Tea Party Congress, the Obama administration failed to pass climate pollution or oil and coal safety legislation in response to the disasters of 2010. The administration fought back attacks on investment in renewable energy and stopped the rush to build the Keystone XL tar sands pipeline, spurred by mass protests.
A torn American flag stands in the wreckage of a church in Joplin May 24. (Robert Ray/Associated Press)
Cars are abandoned on Chicago’s Lake Shore Drive during the “Snowpocalypse” in February. (chicagotribune.com)
Hurricane Irene approaches the east coast. (NOAA)
The vast tar sands surface mines of Alberta are among the most destructive industrial projects in human history, having already transformed more than 260 square miles of wetlands and forest into a post-apocalyptic moonscape. (Garth Lenz)
A weed grows out of the dry cracked bed of O.C. Fisher Lake on July 25 in San Angelo, TX. The 5,440 acre lake which was established to provide flood control and serve as a secondary drinking water source for San Angelo and the surrounding communities is now dry following an extended drought in the region. The lake which has a maximum depth of 58 feet is also used for boating, fishing and swimming. The San Angelo area has seen only 2.5 inches of rain this year. The past nine months have been the driest in Texas since record keeping began in 1895, with 75 percent of the state classified as exceptional drought, the worst level. (Scott Olson/Getty Images)
Smoke from the Wallow Wildfire surrounds trees in Eagar, Arizona, June 7, 2011. (Joshua Lott/Reuters)
A man sits in front of a destroyed apartment building following the Joplin, Missouri tornado. (Reuters)
Mihag Gedi Farah, a seven-month-old child, is held by his mother in a field hospital of the International Rescue Committee in the town of Dadaab, Kenya. The baby has since made a full recovery. (AP / Schalk Van Zuydam)
Billy Stinson comforts his daughter Erin Stinson as they sit on the steps where their cottage once stood on August 28 in Nags Head, N.C. The cottage, built in 1903 and destroyed by Hurricane Irene, was one of the first vacation cottages built on Albemarle Sound in Nags Head. (Getty Images / Scott Olson)
A woman hangs onto a street sign in chest deep water along the flooded streets in Rangsit on the outskirts of Bangkok on October 24. (Getty Images / Paula Bronstein)
An aid worker using an iPad captures an image of a dead cow’s decomposing carcass in Wajir near the Kenya-Somalia border on July 23. (Reuters / Barry Malone)
A Buddhist monk walks in a flooded street in central Bangkok October 24, 2011. (Reuters/Damir Sagolj)
Joseph Mwangi, 34, sits in a state of shock after discovering the charred remains of two of his children, at the scene of a fuel explosion in Nairobi, Kenya. A leaking gasoline pipeline in Kenya’s capital exploded, turning part of a slum into an inferno in which scores of people were killed and more than 100 hurt, Sept. 12, 2001. (Ben Curtis/Associated Press)
Thai motorists travel through a flooded street during a heavy monsoon downpour in Bangkok. Dozens of people have died in northern Thailand over the past few weeks in floods that have also affected over a million people, Sept. 3, 2011. (Christophe Archambault/AFP/Getty Images)
A mother comforts her son in Concord, Alabama, near his house which was completely destroyed by a tornado in April. (AP / Jeff Roberts)
Partially-submerged vehicles sit stranded in floodwaters at a roundabout in the Thai ancient capital city of Ayutthaya, north of Bangkok, Oct. 16, 2011. Flood defenses protecting the Thai capital held up on Oct. 16, but the advancing waters that have swamped the inland still threaten to engulf Bangkok in a disaster that has claimed 300 lives. Thailand’s worst floods in decades have inundated huge swathes of the kingdom, swallowing homes and businesses, shutting down industry, and forcing tens of thousands of people to seek refuge in shelters. (Christophe Archambault/AFP/Getty Images)
Somali refugees who recently crossed the border from Somalia into southern Ethiopia cluster between two food tents as they wait to be called to collect food aid at the Kobe refugee camp on July 19. Ethiopian authorities and non-governmental organizations have accommodated almost 25,000 refugees at the camp since it was set up less then three weeks ago. Thousands of Somalis have fled in recent months to neighboring Ethiopia and Kenya in search of food and water, with many dying along the way, as the region suffers what the UN has described as the worst drought in decades. (Roberto Schmidt/AFP/Getty Images)
A Thai boy holds aloft banknotes while he swims in the floodwaters in Nonthaburi province, suburban Bangkok, Oct. 15, 2011. Thailand fought to hold back floodwaters flowing toward Bangkok as a spring tide hindered efforts to protect the city of 12 million people from the kingdom’s worst inundation in decades. (Parnchai Kittiwongsakul/AFP/Getty Images)
After a tornado struck, Faye Hyde sits on a mattress in what was her yard as she comforts her granddaughter Sierra Goldsmith, 2, in Conord Ala. (Jeff Roberts/The Birmingham News/AP)
A butterfly hovers over a flower as smoke rises around the Lee Valley Recreational area in the Apache National Forest during back burn operations as the Wallow Fire continues to burn June 12 in Big Lake, Az. The wild fire crossed the border into New Mexico, destroying over twenty structures, the majority in the resort town of Greer, and threatened thousands more. (Kevork Djansezian/Getty Images)
Cars stand submerged in overflow water from the Wolf River on McMiller Road in Memphis, Tenn. May 10, 2011. After weeks of rising to historic levels the Mississippi River reached a crest just shy of the forecast 48 feet at the Memphis gauge. “It’s going to meander around that level for the next 24 to 36 hours,” meteorologist Bill Borghoff said. “We’re going to pretty much hold onto the crest for a while.” (Mike Brown/Associated Press/The Commercial Appeal)
On July 5th a historic dust storm, or haboob, approaches downtown Phoenix, AZ. The wall of dust, which was estimated to be 70 miles long and over a mile high, moved at speeds of 35mph and had gusts up to 60mph. (Mike Olbinski Photography)
A man lifts an elderly woman after she deboarded a passenger bus on a flooded street in Bangkok, Thailand. Thailand’s worst floods in more than half a century continued to creep into Bangkok, Nov. 3, 2011. (Altaf Qadri/Associated Press)
Chinese students make their way across a flooded school compound June 18 walking along a row of chairs, in Wuhan, in central China’s Hubei province. More than one million people in China have been evacuated following downpours that have raised water levels in rivers to critical highs, and triggered floods and landslides. Summer rains have left at least 168 people dead or missing so far, and weather authorities warned that flood-hit areas across the southern half of China would experience a fresh round of heavy rainfall. (AFP/Getty Images)
An owl perches in front of Greenpeace activists who were arrested for raising an inflatable model of a wind turbine in front of Congress in Brasilia. (Ueslei Marcelino/Reuters)
Coffins containing bodies of landslide victims rest on the ground at a cemetery in Nova Friburgo, Brazil on Saturday, Jan. 15, 2011. Nearly 14,000 people are now homeless, 759 are reported to have been killed and another 400 remain missing in Brazil’s worst-ever climate disaster. (AP Photo/Felipe Dana)
Ty Shupe, 3, looks over his shoulder at the approaching Wallow fire as his family prepares to evacuate to Phoenix, June 7, 2011. (Marcio Jose Sanchez/Associated Press)
Rescue workers remove a body from a collapsed house after a landslide caused by heavy rainfall in Seoul July 27, 2011. A total of 76 landslides of different severity struck after the most intense rainstorm in Korea in the last century. (Kim Ju-Seong/Yonhap/Reuters)
A village boy sits on the banks of the swelling Daya River, near Pipli village, about 25 kilometers from the eastern Indian city of Bhubaneshwar Sept. 9. The flood situation in Orissa state worsened with the release of more water downstream from Hirakud dam, according to a news agency. A high alert has been sounded in 11 districts of the state. (Biswaranjan Rout/Associated Press)
A resident carries his son while crossing on waist deep floodwaters brought by Typhoon Nesat, locally known as Pedring, that hit the Tanza town of Malabon city, north of Manila Sept. 27. Typhoon Nesat crossed the Philippines main island leaving behind at least 7 dead after it lashed crop-growing provinces and brought the capital to a near standstill as it flooded roads and villages and cut power supplies. (Reuters)
Family members, displaced by floods, use a tarp to escape a monsoon downpour while taking shelter at a make-shift camp for flood victims in the Badin district in Pakistan’s Sindh province Sept. 14. Floods this year have destroyed or damaged 1.2 million houses and flooded 4.5 million acres, according to officials and Western aid groups. More than 300,000 people have been made homeless and about 200 have been killed. (Akhtar Soomro/Reuters)
Vehicles are piled on top of one another on muddy ground after Typhoon Talas caused flash flooding in the town of Nachikatsuura, Wakayama prefecture, in western Japan on Sept. 5. Typhoon Talas cut across western Japan late on September 3, leaving at least 31 people dead and 50 missing after heavy rains and fierce winds. (Jiji Press/AFP/Getty Images)
Flood water covers the roadway Sept. 9 in Bloomsburg, Pa., after remnants from tropical Storm Lee continued to produce heavy rain overnight. (Mel Evans/Associated Press)
Katlyn Wilkins works on securing an American flag in a tree as she deals with the destruction caused by a massive tornado that passed through the town killing at least 139 people on May 29 in Joplin, Mo. (Joe Raedle/Getty Images)
A high school student participates in White House protests against the Keystone XL tar sands pipeline on Aug. 24. Hundreds of arrests were made in the largest action of nonviolent civil disobedience against climate change in history. Months later, the Obama administration delayed approval of the pipeline. (Josh Lopez)
Farewell, Paper Books
via Fraser Speirs by Fraser Speirs on 12/31/11
We've been doing some clearing out at Speirs Towers. Since Carolyn and I are now both Kindle owners, we worked out a few rules for whittling down our stock of books.
- Rule 1: If it's a rare or very expensive book, keep it.
- Rule 2: if it's available on Kindle, dispose of it - with the understanding that, if the book is ever wanted again, we'll re-buy electronically.
- Rule 3: if the book has been superseded by the web or an iOS app, dispose of it.
- Rule 4: If the book is still relevant, not available electronically and still interesting, keep it.
We only found two books that were sufficiently rare or expensivee as to meet Rule 1. We disposed of more than half a bookshelf under Rules 2 and 3. The majority of the books that survived under Rule 4 were kids books that don't - yet - work well electronically (although the iBooks store is making big moves in that direction now).
I'm not much of one for making predictions. I usually suck at predicting in the short term because I underestimate how long it takes people to change their mind. I do better in the medium to long term and one prediction that see coming true is the idea that ebooks will eventually become the default form of accessing long-form prose. I don't think I can say exactly when but, if I can convince such an avid reader as my wife to go through a process like the above, I know the day is coming.
Farewell, Paper Books
via Fraser Speirs by Fraser Speirs on 12/31/11
We've been doing some clearing out at Speirs Towers. Since Carolyn and I are now both Kindle owners, we worked out a few rules for whittling down our stock of books.
- Rule 1: If it's a rare or very expensive book, keep it.
- Rule 2: if it's available on Kindle, dispose of it - with the understanding that, if the book is ever wanted again, we'll re-buy electronically.
- Rule 3: if the book has been superseded by the web or an iOS app, dispose of it.
- Rule 4: If the book is still relevant, not available electronically and still interesting, keep it.
We only found two books that were sufficiently rare or expensivee as to meet Rule 1. We disposed of more than half a bookshelf under Rules 2 and 3. The majority of the books that survived under Rule 4 were kids books that don't - yet - work well electronically (although the iBooks store is making big moves in that direction now).
I'm not much of one for making predictions. I usually suck at predicting in the short term because I underestimate how long it takes people to change their mind. I do better in the medium to long term and one prediction that see coming true is the idea that ebooks will eventually become the default form of accessing long-form prose. I don't think I can say exactly when but, if I can convince such an avid reader as my wife to go through a process like the above, I know the day is coming.
Friday, December 30, 2011
Chris Castle: Recording Tips for the "The Loudness Wars": An Interview With ...
via Technology on HuffingtonPost.com by Chris Castle on 12/30/11
Mastering is the last and probably the least understood step in the audio recording process.
Mastering engineer Bob Ludwig is one of the true living legends of the music business. In addition to being a Grammy winning engineer, he has received many TEC Awards for excellence and was the first winner of the Les Paul Award from the Mix Foundation for setting the highest standards of excellence in the creative application of recording technology.
Bob is a classical musician by training, having obtained his bachelor's and master's degrees from the Eastman School of Music. Inspired by Phil Ramone, Bob ended up working with Phil at the legendary A&R Recording Studios in New York. After a few years at A&R Recording, Bob moved to Sterling Sound and then to Masterdisk as Chief Engineer. In 1993, Bob and his wife Gail built Gateway Mastering in Portland, Me., a state-of-the-art record-mastering facility where he still masters records by top artists. This interview is in two parts.
Given how many people listen to music on portable digital players, do you find that producers are mixing for earbuds? Is it common to find an "iPod mix" that you master separately?
Bob Ludwig: No it isn't. Dr. Floyd Toole (of Harman International, makers of JBL speakers) showed that averaging all the different consumer speakers (some bright, some with too much bass or midrange etc.) one ends up with a very flat curve which is empirical proof that mastering with an extremely accurate and flat playback system yields a product that sounds correct on more systems. Like speakers, earbuds run the gamut from the old stock Apple earbuds that sounded tinny and lacking warmth to top-of-the-line Shure earbuds that are extremely accurate, to "hip-hop" earbuds that are overly bass heavy. One must master to sound as good as possible on all systems.
Almost all pop mixes are mixed with the bass and kick drum panned to the center which is proper as many people will be listening on boom boxes which have limited power and having a powerful center channel bass available to both speakers is ideal. Very early recordings of the Rolling Stones and The Beatles (to name two groups) were totally intended for mono and were recorded on 2-channel or 3-channel tape decks solely for creating a mono-only mix. When stereo became popular these early multi-track tapes were re-purposed for stereo and the bass and kick drum were typically locked into either the right or left channel.
With earbuds and headphones this is very unnatural sounding and sometimes it is decided to filter the low bass into the center by mono-ing the signal somewhat. This sounds much better. This is definitely a decision based on current widespread use of earbuds, and it remains an important philosophical question when doing re-issues of old recordings with this problem.
Can you explain how the "loudness" of a mix becomes a factor in mastering? Can you explain compression and how it affects you at the mastering stage?
Bob Ludwig: Compression uses a piece of hardware or software plug in which either enhances or most often limits the dynamic range of the music being fed into it. Compression is crucial to pop music. Live pop music is almost always performed at hearing damaging levels, way above the 85dBspl OSHA threshold for start of possible hearing loss. In order for this immense power to be even somewhat realistically reproduced on consumer systems the pop sound pipeline must be compressed so that musically the performance has the extra energy that the live performance had. For pop music, this translates as a very musical thing. ("The Loudness Wars" video illustrates.)
This problem starts from the fact that human beings, when hearing two examples of the exact same musical program but with one turned up only +0.5 or 1dB, almost all listeners who don't know exactly what they are hearing choose the louder one as "sounding best." Fair enough.
So through the years, the louder example is eclipsed by a yet louder example winning the hearts and minds of the artist, the engineer and the A&R person. At some point, the music is so loud and unnaturally compressed that the aural assault on the ear, while very impressively loud, has sucked the life out of the music and makes the listener subconsciously not want to hear the music again.
At an Audio Engineering Society workshop I was recently in about loudness, Susan Rogers from Berklee College talked about the hair cells in our ears that receive music and she pointed out that loud compressed music does not "change" as much as dynamic music and notes that "we habituate to a stimulus if it stops changing. Change 'wakes up' certain cells that have stopped firing. This is cognitively efficient and therefore automatic." In other words, there are very physical reasons why too much compression turns off our music receptors. Every playback system ever manufactured comes with a playback level control. If one is listening to an album, one should be able to turn that control anywhere you want and the absolute level on the CD should not make a difference. Another place level on a CD does not make the difference one would think is on radio broadcast. It can be shown that in general, loud CDs sound worse and less powerful on commercial FM radio than a CD with a moderate level that lets the radio station compressors handle the loudness problem. Non-classical radio station compressors make soft things loud and loud things soft.
Two areas where producers get upset about not having enough level is the iTunes Shuffle, or even comparing songs on the iTunes software itself, and that moment at the radio station where the PD is going through the week's new releases and deciding which two or three songs will be added to his playlist. Here, sometimes having a little extra level can make a lesser song seem a little more impressive, at least at first listen.
A great example of a contemporary recording that has full dynamic range is the Guns N' Roses Chinese Democracy CD where Axl Rose wanted all the textures of the original mixes to come through and he got his wish! A good example of one of the loudest most distorted CDs is the Metallica Death Magnetic CD where apparently 10,000 fans signed a web petition to have the album remixed because they got to hear how good it sounded on "Guitar Hero" which did not have all the digital limiters the final CD mix had.
In Part 2, Bob gives his top three sonic "don'ts" for producers to avoid.
Chris Castle: Recording Tips for the "The Loudness Wars": An Interview With ...
via Technology on HuffingtonPost.com by Chris Castle on 12/30/11
Mastering is the last and probably the least understood step in the audio recording process.
Mastering engineer Bob Ludwig is one of the true living legends of the music business. In addition to being a Grammy winning engineer, he has received many TEC Awards for excellence and was the first winner of the Les Paul Award from the Mix Foundation for setting the highest standards of excellence in the creative application of recording technology.
Bob is a classical musician by training, having obtained his bachelor's and master's degrees from the Eastman School of Music. Inspired by Phil Ramone, Bob ended up working with Phil at the legendary A&R Recording Studios in New York. After a few years at A&R Recording, Bob moved to Sterling Sound and then to Masterdisk as Chief Engineer. In 1993, Bob and his wife Gail built Gateway Mastering in Portland, Me., a state-of-the-art record-mastering facility where he still masters records by top artists. This interview is in two parts.
Given how many people listen to music on portable digital players, do you find that producers are mixing for earbuds? Is it common to find an "iPod mix" that you master separately?
Bob Ludwig: No it isn't. Dr. Floyd Toole (of Harman International, makers of JBL speakers) showed that averaging all the different consumer speakers (some bright, some with too much bass or midrange etc.) one ends up with a very flat curve which is empirical proof that mastering with an extremely accurate and flat playback system yields a product that sounds correct on more systems. Like speakers, earbuds run the gamut from the old stock Apple earbuds that sounded tinny and lacking warmth to top-of-the-line Shure earbuds that are extremely accurate, to "hip-hop" earbuds that are overly bass heavy. One must master to sound as good as possible on all systems.
Almost all pop mixes are mixed with the bass and kick drum panned to the center which is proper as many people will be listening on boom boxes which have limited power and having a powerful center channel bass available to both speakers is ideal. Very early recordings of the Rolling Stones and The Beatles (to name two groups) were totally intended for mono and were recorded on 2-channel or 3-channel tape decks solely for creating a mono-only mix. When stereo became popular these early multi-track tapes were re-purposed for stereo and the bass and kick drum were typically locked into either the right or left channel.
With earbuds and headphones this is very unnatural sounding and sometimes it is decided to filter the low bass into the center by mono-ing the signal somewhat. This sounds much better. This is definitely a decision based on current widespread use of earbuds, and it remains an important philosophical question when doing re-issues of old recordings with this problem.
Can you explain how the "loudness" of a mix becomes a factor in mastering? Can you explain compression and how it affects you at the mastering stage?
Bob Ludwig: Compression uses a piece of hardware or software plug in which either enhances or most often limits the dynamic range of the music being fed into it. Compression is crucial to pop music. Live pop music is almost always performed at hearing damaging levels, way above the 85dBspl OSHA threshold for start of possible hearing loss. In order for this immense power to be even somewhat realistically reproduced on consumer systems the pop sound pipeline must be compressed so that musically the performance has the extra energy that the live performance had. For pop music, this translates as a very musical thing. ("The Loudness Wars" video illustrates.)
This problem starts from the fact that human beings, when hearing two examples of the exact same musical program but with one turned up only +0.5 or 1dB, almost all listeners who don't know exactly what they are hearing choose the louder one as "sounding best." Fair enough.
So through the years, the louder example is eclipsed by a yet louder example winning the hearts and minds of the artist, the engineer and the A&R person. At some point, the music is so loud and unnaturally compressed that the aural assault on the ear, while very impressively loud, has sucked the life out of the music and makes the listener subconsciously not want to hear the music again.
At an Audio Engineering Society workshop I was recently in about loudness, Susan Rogers from Berklee College talked about the hair cells in our ears that receive music and she pointed out that loud compressed music does not "change" as much as dynamic music and notes that "we habituate to a stimulus if it stops changing. Change 'wakes up' certain cells that have stopped firing. This is cognitively efficient and therefore automatic." In other words, there are very physical reasons why too much compression turns off our music receptors. Every playback system ever manufactured comes with a playback level control. If one is listening to an album, one should be able to turn that control anywhere you want and the absolute level on the CD should not make a difference. Another place level on a CD does not make the difference one would think is on radio broadcast. It can be shown that in general, loud CDs sound worse and less powerful on commercial FM radio than a CD with a moderate level that lets the radio station compressors handle the loudness problem. Non-classical radio station compressors make soft things loud and loud things soft.
Two areas where producers get upset about not having enough level is the iTunes Shuffle, or even comparing songs on the iTunes software itself, and that moment at the radio station where the PD is going through the week's new releases and deciding which two or three songs will be added to his playlist. Here, sometimes having a little extra level can make a lesser song seem a little more impressive, at least at first listen.
A great example of a contemporary recording that has full dynamic range is the Guns N' Roses Chinese Democracy CD where Axl Rose wanted all the textures of the original mixes to come through and he got his wish! A good example of one of the loudest most distorted CDs is the Metallica Death Magnetic CD where apparently 10,000 fans signed a web petition to have the album remixed because they got to hear how good it sounded on "Guitar Hero" which did not have all the digital limiters the final CD mix had.
In Part 2, Bob gives his top three sonic "don'ts" for producers to avoid.
Internet Giants Reportedly Considering “Nuclear Option” Blackout To Protest ...
via Geekosystem by Eric Limer on 12/30/11
That seems to be where the evidence of such consideration begins and ends, however. Wikipedia’s Jimmy Wales was pretty vocal about the possibility a few weeks ago, but that discussion has since gone relatively quiet and as far as I can tell, none of the companies listed as members at NetColition have so much as uttered the word “blackout” except perhaps behind closed doors. All of them have been engaged in various statements and petitions expressing their vehement opposition of SOPA, yes, but none of them have threatened or suggested blackout, yet.
If this were to come to pass, however, it could really shake up and invigorate the entire anti-SOPA movement. I don’t think I have to explain the implications of a day without Google or Twitter or Facebook to any of you. Even a simple click-through splash page without an actual blackout behind it could have drastic effects. Of course, it’s exciting to think about the potential from these Internet behemoths joining in solidarity against a common evil, especially after the loud, yet somewhat ineffective boycott that made GoDaddy change their stance on SOPA. But for the moment, it’s nothing more than wishful thinking. Still, I’m going to sit here and keep wishing for it.
(via CNET)
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