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Bill Gates

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If something is expensive to develop, and somebody's not going to get paid, it won't get developed. So you decide: Do you want software to be written, or not?
--
Interview with Dennis Bathory-Kitsz in 80 Microcomputing (1980) Clips from the interview can be found on "No Money (Lullaby for Bill)" by Dennis Báthory-Kitsz.

 
Bill Gates

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There's only one trick in software, and that is using a piece of software that's already been written.

 
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Over the years, many companies have contributed to free software development. Some of these companies primarily developed non-free software, but the two activities were separate; thus, we could ignore their non-free products, and work with them on free software projects. Then we could honestly thank them afterward for their free software contributions, without talking about the rest of what they did.
We cannot do the same with these new companies, because they won't let us. These companies actively invite the public to lump all their activities together; they want us to regard their non-free software as favorably as we would regard a real contribution, although it is not one. They present themselves as "open source companies," hoping that we will get a warm fuzzy feeling about them, and that we will be fuzzy-minded in applying it.
This manipulative practice would be no less harmful if it were done using the term "free software." But companies do not seem to use the term "free software" that way; perhaps its association with idealism makes it seem unsuitable. The term "open source" opened the door for this.

 
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Paying isn’t wrong, and being paid isn’t wrong. Trampling other people’s freedom and community is wrong, so the free software movement aims to put an end to it, at least in the area of software.

 
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The way that big software companies used to make software was hiring all the smart people, locking them in a room, and sliding pizza under the door, until they had written whatever needed writing. And then selling tickets to get into the room.

 
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A free culture has been our past, but it will only be our future if we change the path we are on right now. Like Stallman's arguments for free software, an argument for free culture stumbles on a confusion that is hard to avoid, and even harder to understand. A free culture is not a culture without property; it is not a culture in which artists don't get paid. A culture without property, or in which creators can't get paid, is anarchy, not freedom. Anarchy is not what I advance here. Instead, the free culture that I defend in this book is a balance between anarchy and control. A free culture, like a free market, is filled with property. It is filled with rules of property and contract that get enforced by the state. But just as a free market is perverted if its property becomes feudal, so too can a free culture be queered by extremism in the property rights that define it. That is what I fear about our culture today. It is against that extremism that this book is written.

 
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