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At first, Stallman viewed these notices with alarm. Rare was the software program that didn't borrow source code from past programs, and yet, with a single stroke of the president's pen, Congress had given programmers and companies the power to assert individual authorship over communally built programs. It also injected a dose of formality into what had otherwise been an informal system.

Such innovations would take another two decades to make their way into the commercial marketplace. Still, by the 1970s, video screens had started to replace teletypes as display terminals, creating the potential for full-screen-as opposed to line-by-line-editing capabilities.

Proponents of software copyright had their counter-arguments: without copyright, works might otherwise slip into the public domain. Putting a copyright notice on a work also served as a statement of quality. Programmers or companies who attached their name to the copyright attached their reputations as well. Finally, it was a contract, as well as a statement of ownership.

Two years after the explosion, the rate of innovation began to exhibit dangerous side effects. The explosive growth had provided an exciting validation of the collaborative hacker approach, but it had also led to over-complexity. "We had a Tower of Babel effect," says Guy Steele.

From Stallman's perspective, the emotional withdrawal was merely an attempt to deal with the agony of adolescence. Labeling his teenage years a "pure horror," Stallman says he often felt like a deaf person amid a crowd of chattering music listeners.

For all the agony it produced, adolescence would have a encouraging effect on Stallman's sense of individuality. At a time when most of his classmates were growing their hair out, Stallman preferred to keep his short. At a time when the whole teenage world was listening to rock and roll, Stallman preferred classical music. A devoted fan of science fiction, Mad magazine, and late-night TV, Stallman cultivated a distinctly off-the-wall personality that fed off the incomprehension of parents and peers alike.

By the spring of 1985, Richard Stallman had settled on the GNU Project's first milestone-a Lisp-based free software version of Emacs. To meet this goal, however, he faced two challenges. First, he had to rebuild Emacs in a way that made it platform independent. Second, he had to rebuild the Emacs Commune in a similar fashion.

Although helpful in codifying the social contract of the Emacs Commune, the Emacs 15 license remained too "informal" for the purposes of the GNU Project, Stallman says. Soon after starting work on a GNU version of Emacs, Stallman began consulting with the other members of the Free Software Foundation on how to shore up the license's language. He also consulted with the attorneys who had helped him set up the Free Software Foundation.

As a single parent for nearly a decade-she and Richard's father, Daniel Stallman, were married in 1948, divorced in 1958, and split custody of their son afterwards-Lippman can attest to her son's aversion to authority. She can also attest to her son's lust for knowledge. It was during the times when the two forces intertwined, Lippman says, that she and her son experienced their biggest battles.

Over time, however, Lippman says her son learned to adjust. By age seven, she says, her son had become fond of standing at the front window of subway trains, mapping out and memorizing the labyrinthian system of railroad tracks underneath the city. It was a hobby that relied on an ability to accommodate the loud noises that accompanied each train ride. "Only the initial noise seemed to bother him," says Lippman. "It was as if he got shocked by the sound but his nerves learned how to make the adjustment."