“Well, we’ve got to finish it,” Steve Capps said. And so they did. Once again, Jobs’s reality distortion field pushed them to do what they had thought impossible. On Friday Randy Wigginton brought in a huge bag of chocolate-covered espresso beans for the final three all-nighters. When Jobs arrived at work at 8:30 a.m. that Monday, he found Hertzfeld sprawled nearly comatose on the couch. They talked for a few minutes about a remaining tiny glitch, and Jobs decreed that it wasn’t a problem. Hertzfeld dragged himself to his blue Volkswagen Rabbit (license plate: MACWIZ) and drove home to bed. A short while later Apple’s Fremont factory began to roll out boxes emblazoned with the colorful line drawings of the Macintosh. Real artists ship, Jobs had declared, and now the Macintosh team had.
In the spring of 1983, when Jobs had begun to plan for the Macintosh launch, he asked for a commercial that was as revolutionary and astonishing as the product they had created. “I want something that will stop people in their tracks,” he said. “I want a thunderclap.” The task fell to the Chiat/Day advertising agency, which had acquired the Apple account when it bought the advertising side of Regis McKenna’s business. The person put in charge was a lanky beach bum with a bushy beard, wild hair, goofy grin, and twinkling eyes named Lee Clow, who was the creative director of the agency’s office in the Venice Beach section of Los Angeles. Clow was savvy and fun, in a laid-back yet focused way, and he forged a bond with Jobs that would last three decades.
Clow and two of his team, the copywriter Steve Hayden and the art director Brent Thomas, had been toying with a tagline that played off the George Orwell novel: “Why 1984 won’t be like
The concept captured the zeitgeist of the personal computer revolution. Many young people, especially those in the counterculture, had viewed computers as instruments that could be used by Orwellian governments and giant corporations to sap individuality. But by the end of the 1970s, they were also being seen as potential tools for personal empowerment. The ad cast Macintosh as a warrior for the latter cause—a cool, rebellious, and heroic company that was the only thing standing in the way of the big evil corporation’s plan for world domination and total mind control.
Jobs liked that. Indeed the concept for the ad had a special resonance for him. He fancied himself a rebel, and he liked to associate himself with the values of the ragtag band of hackers and pirates he recruited to the Macintosh group. Even though he had left the apple commune in Oregon to start the Apple corporation, he still wanted to be viewed as a denizen of the counterculture rather than the corporate culture.
But he also realized, deep inside, that he had increasingly abandoned the hacker spirit. Some might even accuse him of selling out. When Wozniak held true to the Homebrew ethic by sharing his design for the Apple I for free, it was Jobs who insisted that they sell the boards instead. He was also the one who, despite Wozniak’s reluctance, wanted to turn Apple into a corporation and not freely distribute stock options to the friends who had been in the garage with them. Now he was about to launch the Macintosh, a machine that violated many of the principles of the hacker’s code: It was overpriced; it would have no slots, which meant that hobbyists could not plug in their own expansion cards or jack into the motherboard to add their own new functions; and it took special tools just to open the plastic case. It was a closed and controlled system, like something designed by Big Brother rather than by a hacker.
So the “1984” ad was a way of reaffirming, to himself and to the world, his desired self-image. The heroine, with a drawing of a Macintosh emblazoned on her pure white tank top, was a renegade out to foil the establishment. By hiring Ridley Scott, fresh off the success of