CLOSE
Original image

Why is Wikipedia Down?

Original image

If you're in the US you speak English and you visit Wikipedia today, you'll see a glimpse of the page you were trying to access, then you'll see the blackout message above. You'll see similar messages from Google, Reddit, and others. Why? Although each of these sites does a good job of explaining its position, here's a rundown of the issues involved in today's shutdown.

An Extremely Brief History Lesson

In 1998, the US Congress passed the Digital Millennium Copyright Act (DMCA), a bill that, among other things, created a simple system by which copyright owners could request that infringing content be removed from websites hosted in the US. In short, the copyright owner tells the website, "I own this video/photo/song and you have to remove it, or I'll sue you." Then it gets removed, or they go to court. Have you ever seen a YouTube video that's replaced with the red sad-face? That's a DMCA takedown. This system has worked reasonably well for the past decade and a half, although there have been abuses -- sometimes copyright owners request removal of content they don't actually own. But in general, the DMCA has become accepted in the tech community as a reasonable part of doing business online.

The Bills

The DMCA is not enough for some copyright holders, partly because it only applies to US-hosted websites. Citing questionable statistics about the impact of piracy, the Motion Picture Association of America, the US Chamber of Commerce, and others demanded more. That's how we get to the anti-piracy bills currently under consideration.

Two bills are currently being debated in the US Congress: the Stop Online Piracy Act (SOPA) in the House and the Protect IP Act (PIPA) in the Senate. Both were written to curtail online piracy of copyrighted content like movies and music; major backers of the bills include a laundry list of media companies -- in broad strokes, this is record labels and movie studios, though a few tech companies (most infamously GoDaddy) also support the bills. The bills are also heavily supported by the bipartisan committees considering them, although President Obama is against them.

Why today? There were supposed to be hearings on Capitol Hill today about SOPA. The various tech companies involved in today's protest timed their blackout to coincide with the hearings, to draw attention to them. But then the hearings were postponed...and the blackout continued anyway. Here's a snippet from a recent Ars Technica article:

Meanwhile, Rep. Darrell Issa (R-CA), a SOPA opponent, announced Saturday that he is postponing hearings on SOPA's DNS provisions that had been slated for Wednesday, January 18 before his House Oversight and Government Reform Committee.

"While I remain concerned about Senate action on the Protect IP Act, I am confident that flawed legislation will not be taken up by this House," Issa said. "Majority Leader Cantor has assured me that we will continue to work to address outstanding concerns and work to build consensus prior to any anti-piracy legislation coming before the House for a vote."

The net effect of this (likely as Issa intended) is even more attention to the issue, plus time for citizens to become aware of the issues and pressure their Congressional representatives. Indeed, Google and others are hosting petitions and encouraging US citizens to make a fuss.

What's the Problem? Piracy is Bad, Right?

The bills have unintended consequences far beyond stopping piracy -- at least, that's what the opposition says. The main objection is that the bills use a very blunt approach to "stopping piracy," which can be summarized as "breaking the internet" by blocking DNS access to domain names with any infringing content. What Wikipedia is saying (and for the record, I agree with them) is that the entire Wikipedia domain would be blocked for everyone, every time a piece of infringing content was found, under the provisions of SOPA -- and because anyone can post anything to Wikipedia, this could happen a lot. Wikipedia could also be prevented from receiving credit card payments -- which is actually important, because Wikipedia is funded by donations. This is a far cry from today's DMCA regime, where the actual infringing content is removed or a court case occurs, rather than blocking the entire website.

There are many excellent metaphors out there to describe what's wrong with the legislation's proposed techniques, but one written up by commenter TechBear on The Stranger's Blog is particularly easy to follow: "A friend of mine described the draconian measures to shut down internet providers as 'cracking down on mail fraud by arresting postal carriers.'" Indeed, DNS servers are like the mail carriers of the internet.

The other existential objection to SOPA/PIPA is the notion that it will quell new innovation online. In a SOPA/PIPA world, every new web service that allows users to post anything would have to live under constant threat of a shutdown. The logical outcome is you wouldn't build new stuff that let people post anything. If entrepreneurs are afraid to build new online services, our economy and our culture would be under threat.

Opponents of SOPA/PIPA tend to agree that piracy is bad. But they're saying these bills are the wrong way to stop piracy. In other words, stop the people committing mail fraud -- not the mail carriers. This video is a pretty good explanation of the situation:

What Do Supporters Say?

I know this is utterly reductionist, but the gist of it is "Nuh-uh." To be a little more fair, proponents of the bill (there are many in Congress and in industry -- and it's a very bipartisan group) say that they're trying to protect jobs and the economy. They suggest that piracy costs jobs, hurting the economy, and we must do something to stop it -- and specifically SOPA/PIPA is necessary to target not just domestic pirates, but international sites as well (this is code for "The Pirate Bay").

The New York Times ran this quote today:

“The bill will not harm Wikipedia, domestic blogs or social network sites,” said Representative Lamar Smith, Republican of Texas and a primary sponsor of the House bill.

Oh. I suppose Wikipedia, Google, Reddit, et al are all wrong about the effects of this legislation on their businesses.

What Happens Next?

We wait for a vote. Today, there are at least two Wikipedia pages that are still up -- those on SOPA and PIPA. Many opponents of SOPA/PIPA are promoting the OPEN Act instead. A list of striking sites is available from SOPA Strike. Read up on some more media coverage of the issue from The Week, or read my previous article on this stuff, What’s Wrong With PROTECT IP and SOPA?

Update, 20 January 2012: Just two days after the blackout protest, SOPA has been yanked and the PIPA vote has been postponed.

Original image
Mabel Livingstone/Hulton Archive/Getty Images
arrow
entertainment
12 Surprising Facts About Bela Lugosi
Original image
Mabel Livingstone/Hulton Archive/Getty Images

On October 20, 1882—135 years ago today—one of the world's most gifted performers was born. In his heyday, Bela Lugosi was hailed as the undisputed king of horror. Eighty-five years after he first donned a vampire’s cape, Lugosi's take on Count Dracula is still widely hailed as the definitive portrayal of the legendary fiend. But who was the man behind the monster?

1. HE WORKED WITH THE NATIONAL THEATER OF HUNGARY.

To the chagrin of his biographers, the details concerning Bela Lugosi’s youth have been clouded in mystery. (In a 1929 interview, he straight-up admitted “for purposes of simplification, I have always thought it better to tell [lies] about the early years of my life.”) That said, we do know that he was born as Béla Ferenc Dezső Blaskó on October 20, 1882 in Lugoj, Hungary (now part of Romania). We also know that his professional stage debut came at some point in either 1901 or 1902. By 1903, Lugosi had begun to find steady work with traveling theater companies, through which he took part in operas, operettas, and stage plays. In 1913, Lugosi caught a major break when the most prestigious performing arts venue in his native country—the Budapest-based National Theater of Hungary—cast him in no less than 34 shows. Most of the characters that he played there were small Shakespearean roles such as Rosencrantz in Hamlet and Sir Walter Herbert in Richard III.

2. HE FOUGHT IN WORLD WAR I.

The so-called war to end all wars put Lugosi’s dramatic aspirations on hold. Although being a member of the National Theater exempted him from military service, he voluntarily enlisted in the Austro-Hungarian Army in 1914. Over the next year and a half, he fought against Russian forces as a lieutenant with the 43rd Royal Hungarian Infantry. While serving in the Carpathian mountains, Lugosi was wounded on three separate occasions. Upon healing from his injuries, he left the armed forces in 1916 and gratefully resumed his work with the National Theater.

3. WHEN HE MADE HIS BROADWAY DEBUT, LUGOSI BARELY KNEW ANY ENGLISH.

In December 1920, Lugosi boarded a cargo boat and emigrated to the United States. Two years later, audiences on the Great White Way got their first look at this charismatic stage veteran. Lugosi was cast as Fernando—a suave, Latin lover—in the 1922 Broadway stage play The Red Poppy. At the time, his grasp of the English language was practically nonexistent. Undaunted, Lugosi went over all of his lines with a tutor. Although he couldn’t comprehend their meaning, the actor managed to memorize and phonetically reproduce every single syllable that he was supposed to deliver on stage.

4. UNIVERSAL DIDN’T WANT TO CAST HIM AS COUNT DRACULA.

The year 1927 saw Bela Lugosi sink his teeth into the role of a lifetime. A play based on the novel Dracula by Bram Stoker had opened in London in 1924. Sensing its potential, Horace Liveright, an American producer, decided to create an U.S. version of the show. Over the summer of 1927, Lugosi was cast as the blood-sucking Count Dracula. For him, the part represented a real challenge. In Lugosi’s own words, “It was a complete change from the usual romantic characters I was playing, but it was a success.” It certainly was. Enhanced by his presence, the American Dracula remained on Broadway for a full year, then spent two years touring the country.

Impressed by its box office prowess, Universal decided to adapt the show into a major motion picture in 1930. Horror fans might be surprised to learn that when the studio began the process of casting this movie’s vampiric villain, Lugosi was not their first choice. At the time, Lugosi was still a relative unknown, which made director Tod Browning more than a little hesitant to offer him the job. A number of established actors were all considered before the man who’d played Dracula on Broadway was tapped to immortalize his biting performance on film.

5. MOST OF HIS DRACULA-RELATED FAN MAIL CAME FROM WOMEN.

The recent Twilight phenomenon is not without historical precedent. Lugosi estimated that, while he was playing the Count on Broadway, more than 97 percent of the fan letters he received were penned by female admirers. A 1932 Universal press book quotes him as saying, “When I was on the stage in Dracula, my audiences were composed mostly of women.” Moreover, Lugosi contended that most of the men who’d attended his show had merely been dragged there by female companions.   

6. HE TURNED DOWN THE ROLE OF FRANKENSTEIN’S MONSTER.

Released in 1931, Dracula quickly became one of the year's biggest hits for Universal (some film historians even argue that the movie single-handedly rescued the ailing studio from bankruptcy). Furthermore, its astronomical success transformed Lugosi into a household name for the first time in his career. Regrettably for him, though, he’d soon miss the chance to star in another smash. Pleased by Dracula’s box office showing, Universal green-lit a new cinematic adaptation of Mary Shelley’s Frankenstein. Lugosi seemed like the natural choice to play the monster, but because the poor brute had few lines and would be caked in layers of thick makeup, the actor rejected the job offer. As far as Lugosi was concerned, the character was better suited for some “half-wit extra” than a serious actor. Once the superstar tossed Frankenstein aside, the part was given to a little-known actor named Boris Karloff.

Moviegoers eventually did get to see Lugosi play the bolt-necked corpse in the 1943 cult classic Frankenstein Meets the Wolf Man. According to some sources, he strongly detested the guttural scream that the script forced him to emit at regular intervals. “That yell is the worst thing about the part. You feel like a big jerk every time you do it!” Lugosi allegedly complained.

7. LUGOSI’S RELATIONSHIP WITH BORIS KARLOFF WAS MORE CORDIAL THAN IT’S USUALLY MADE OUT TO BE.

It’s often reported that the two horror icons were embittered rivals. In reality, however, Karloff and Lugosi seemed to have harbored some mutual respect—and perhaps even affection for one another. The dynamic duo co-starred in five films together, the first of which was 1934’s The Black Cat; Karloff claimed that, on set, Lugosi was “Suspicious of tricks, fearful of what he regarded as scene stealing. Later on, when he realized I didn’t go in for such nonsense, we became friends.” During one of their later collaborations, Lugosi told the press “we laughed over my sad mistake and his good fortune as Frankenstein is concerned.”

That being said, Lugosi probably didn’t appreciate the fact that in every single film which featured both actors, Karloff got top billing. Also, he once privately remarked, “If it hadn’t been for Boris Karloff, I could have had a corner on the horror market.”

8. HE LOVED SOCCER.

In 1935, Lugosi was named Honorary President of the Los Angeles Soccer League. An avid fan, he was regularly seen at Loyola Stadium, where he’d occasionally kick off the first ball during games held there. Also, on top of donating funds to certain Hungarian teams, Lugosi helped finance the Los Angeles Magyar soccer club. When the team won a state championship in 1935, one newspaper wrote that the players were “headed back to Dracula’s castle with the state cup.” [PDF]

9. HE WAS A HARDCORE STAMP COLLECTOR.

Lugosi's fourth wife, Lillian Arch, claimed that Lugosi maintained a collection of more than 150,000 stamps. Once, on a 1944 trip to Boston, he told the press that he intended to visit all 18 of the city's resident philately dealers. “Stamp collecting,” Lugosi declared, “is a hobby which may cost you as much as 10 percent of your investment. You can always sell your stamps with not more than a 10 percent loss. Sometimes, you can even make money.” Fittingly enough, the image of Lugosi’s iconic Dracula appeared on a commemorative stamp issued by the post office in 1997.

10. LUGOSI ALMOST DIDN’T APPEAR IN ABBOTT AND COSTELLO MEET FRANKENSTEIN—BECAUSE THE STUDIO THOUGHT HE WAS DEAD.

The role of Count Dracula in this 1948 blockbuster was nearly given to Ian Keith—who was considered for the same role in the 1931 Dracula movie. Being a good sport, Lugosi helped promote the horror-comedy by making a special guest appearance on The Abbott and Costello Show. While playing himself in one memorable sketch, the famed actor claimed to eat rattlesnake burgers for dinner and “shrouded wheat” for breakfast.

11. A CHIROPRACTOR FILLED IN FOR HIM IN PLAN 9 FROM OUTER SPACE.

Toward the end of his life, Lugosi worked on three ultra-low-budget science fiction pictures with Ed Wood, a man who’s been posthumously embraced as the worst director of all time. In the 1953 transvestite picture Glen or Glenda?, Lugosi plays a cryptic narrator who offers such random and unsolicited bits of advice as “Beware of the big, green dragon who sits on your doorstep.” Then came 1955’s Bride of the Monster, in which Lugosi played a mad scientist who ends up doing battle with a (suspiciously limp) giant octopus.

Before long, Wood had cooked up around half a dozen concepts for new films, all starring Lugosi. At some point in the spring of 1956, the director shot some quick footage of the actor wandering around a suburban neighborhood, clad in a baggy cloak. This proved to be the last time that the star would ever appear on film. Lugosi died of a heart attack on August 16, 1956;  he was 73 years old.

Three years after Lugosi's passing, this footage was spliced into a cult classic that Wood came to regard as his “pride and joy.” Plan 9 From Outer Space tells the twisted tale of extraterrestrial environmentalists who turn newly-deceased human beings into murderous zombies. Since Lugosi could obviously no longer play his character, Wood hired a stand-in for some additional scenes. Unfortunately, the man who was given this job—California chiropractor Tom Mason—was several inches taller than Lugosi. In an attempt to hide the height difference, Wood instructed Mason to constantly hunch over. Also, Mason always kept his face hidden behind a cloak.

12. HE WAS BURIED IN HIS DRACULA CAPE.

Although Lugosi resented the years of typecasting that followed his breakout performance in Dracula, he asked to be laid to rest wearing the Count’s signature garment. Lugosi was buried under a simple tombstone at California's Holy Cross Cemetery.

Original image
iStock
arrow
Live Smarter
How to Carve a Pumpkin—And Not Injure Yourself in the Process
Original image
iStock

Wielding a sharp knife with slippery hands around open flames and nearby children doesn't sound like the best idea—but that's exactly what millions of Halloween celebrations entail. While pumpkin carving is a fun tradition, it can also bring the risk of serious hand injuries. According to the American Society for Surgery of the Hand (ASSH), some wounds sustained from pumpkin misadventure can result in surgery and months of rehabilitation.

Fortunately, there are easy ways to minimize trauma. Both ASSH and CTV News have compiled safety tips for pumpkin carvers intended to reduce the chances of a trip to the emergency room.

First, it's recommended that carvers tackle their design with knives made specifically for carving. Kitchen knives are sharp and provide a poor grip when trying to puncture tough pumpkin skin: Pumpkin carving knives have slip-resistant handles and aren't quite as sharp, while kitchen knives can get wedged in, requiring force to pull them out.

Carvers should also keep the pumpkin intact while carving, cleaning out the insides later. Why? Once a pumpkin has been gutted, you’re likely to stick your free hand inside to brace it, opening yourself up to an inadvertent stab from your knife hand. When you do open it up, it's better to cut from the bottom: That way, the pumpkin can be lowered over a light source rather than risk a burn dropping one in from the top.

Most importantly, parents would be wise to never let their kids assist in carving without supervision, and should always work in a brightly-lit area. Adults should handle the knife, while children can draw patterns and scoop out innards. According to Consumer Reports, kids ages 10 to 14 tend to suffer the most Halloween-related accidents, so keeping carving duties to ages 14 and above is a safe bet.

If all else fails and your carving has gone awry, have a first aid kit handy and apply pressure to any wound to staunch bleeding. With some common sense, however, it's unlikely your Halloween celebration will turn into a blood sacrifice.

[h/t CTV News]

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios