“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.

“好吧，我們得完成它。”史蒂夫·卡普斯說道。他們做到了。又一次，喬布斯用自己的現(xiàn)實(shí)扭曲力場讓團(tuán)隊(duì)成員完成了自認(rèn)為不可能完成的任務(wù)。周五，為熬過最后三個(gè)通宵，蘭迪·威金頓帶來了一大包濃縮咖啡巧克力豆。1月16日周一早晨8點(diǎn)半，喬布斯來到公司，發(fā)現(xiàn)赫茨菲爾德趴在沙發(fā)上，幾近昏睡。他們聊了萌剩下的一些細(xì)微毛病，喬布斯認(rèn)為這不成問題。赫茨菲爾德拖著疲憊的身子鉆進(jìn)自己的藍(lán)色大眾髙爾夫（車牌MACWIZ），開車回家睡覺。過了一會(huì)兒，蘋果公司位于弗雷蒙的工廠開始生產(chǎn)印有彩色條紋蘋果標(biāo)志的盒子。喬布斯曾稱，真正的藝術(shù)家總能完成作品，現(xiàn)在他們名副其實(shí)。

The “1984” Ad

1984廣告片

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.

1983年春，喬布斯開始計(jì)劃麥金塔電腦的發(fā)布，他希望那部廣告片能和自己所創(chuàng)造的產(chǎn)品一樣富有革命性，令人驚奇。“我想要一種能讓人們當(dāng)場停下來觀看的東西他說道，“我想要的是一聲驚雷。”這個(gè)任務(wù)落在了Chiat/Day廣告公司的肩上，該公司在收購了里吉斯·麥肯納的廣告業(yè)務(wù)后，拿下了蘋果公司的合同。負(fù)責(zé)這項(xiàng)工作的是李·克勞（LeeClow），他身材瘦髙，皮膚曬成了棕色，胡須濃密，頭發(fā)蓬亂，喜歡憨笑，雙眼熠熠放光，他是Chiat/Day廣告公司的創(chuàng)意總監(jiān)，辦公室就在洛杉磯威尼斯海灘。克勞經(jīng)驗(yàn)豐富，為人風(fēng)趣，看散漫卻很專心；至今，他與喬布斯之間的合作已走過了30年。

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 1984.” Jobs loved it, and asked them to develop it for the Macintosh launch. So they put together a storyboard for a sixty-second ad that would look like a scene from a sci-fi movie. It featured a rebellious young woman outrunning the Orwellian thought police and throwing a sledgehammer into a screen showing a mind-controlling speech by Big Brother.

當(dāng)時(shí)，克勞同其兩位團(tuán)隊(duì)成員——文案史蒂夫·海登（SteveHayden）和藝術(shù)總監(jiān)布倫特·托馬斯（BrentThomas），一直在玩味著一句反駁喬治·奧威爾小說的話：“這就是為什么1984不會(huì)變成《1984》。”喬布斯很喜歡這句話，并讓他們加以演繹，用于麥金塔電腦的發(fā)布當(dāng)中。于是，他們編寫了一個(gè)60秒廣告的故事腳本，看上去有點(diǎn)兒像科幻電影中的場景。廣告講述了一個(gè)反叛的年輕女子，從奧威爾式思想警察的追捕中逃脫，當(dāng)老大哥正在大屏幕上進(jìn)行控制人心的講話時(shí)，她將大錘砸向屏幕。

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.

這個(gè)廣告抓住了個(gè)人電腦革命的時(shí)代精神。許多年輕人，尤其是反主流文化人士，認(rèn)為計(jì)算機(jī)是奧威爾式政府和大企業(yè)用以消除人們個(gè)性的工具。但在20世紀(jì)70年代末，電腦也被視做能夠釋放個(gè)人能量的工具。這則廣告恰恰抓住了后一種心態(tài)，將麥金塔電腦塑造成為個(gè)人自由而戰(zhàn)的斗士——面對(duì)邪惡的大企業(yè)意欲統(tǒng)治世界并實(shí)行完全的精神控制，唯有蘋果這家冷靜、反叛、英勇的公司能夠阻止它。

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.

喬布斯喜歡這個(gè)創(chuàng)意。事實(shí)上，這則廣告的觀念與他有著特殊的共鳴。喬布斯幻想自己是一個(gè)反叛者，他招入麥金塔團(tuán)隊(duì)的人都充滿了黑客氣質(zhì)和海盜精神，他喜歡將自己與這種價(jià)值觀聯(lián)系起來。在打造麥金塔電腦的時(shí)候，他們還在辦公樓掛起了海盜旗。盡管喬布斯離開位于俄勒岡州的“蘋果社區(qū)”創(chuàng)辦了蘋果公司，但他仍然希望別人將自己看做是一個(gè)反主流文化的人，而非大企業(yè)文化的代言人。

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.

但他內(nèi)心深處意識(shí)到，自己正日益摒棄黑客精神。有些人甚至指責(zé)喬布斯出賣了黑客精神。當(dāng)沃茲尼亞克秉承家釀?dòng)?jì)算機(jī)俱樂部的準(zhǔn)則，免費(fèi)分享自己對(duì)AppleI電腦的設(shè)計(jì)時(shí)，喬布斯堅(jiān)持將產(chǎn)品（主板）賣給俱樂部的成員。盡管沃茲尼亞克不愿意，但喬布斯想讓蘋果成為一家商業(yè)公司，讓它上市，而不是無償?shù)叵蛟谲噹炖镆黄饖^戰(zhàn)的朋友分發(fā)股票期權(quán)。現(xiàn)在，喬布斯要推出麥金塔電腦，他很清楚這一產(chǎn)品違背了黑客信條的許多原則。麥金塔電腦的價(jià)格過高，不設(shè)插槽，這樣電腦愛好者就無法插入自己的擴(kuò)展卡或在主板上添加自己期望的新功能。他甚至將麥金塔電腦設(shè)計(jì)成一個(gè)無法從外部進(jìn)入的電腦，光是打開塑料外殼就需要用到特殊工具。麥金塔電腦是一個(gè)封閉和受控的系統(tǒng)，它更像是“老大哥”設(shè)計(jì)的東西，而非出自黑客之手。

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 Blade Runner, as the director, Jobs could attach himself and Apple to the cyberpunk ethos of the time. With the ad, Apple could identify itself with the rebels and hackers who thought differently, and Jobs could reclaim his right to identify with them as well.

因此，喬布斯希望通過“1984”廣告片向自己和世界重新確立他所希冀的自我形象。廣告中的女主角是意圖挫敗老大哥世界的反叛者，她穿著純白色背心，上面印有一臺(tái)麥金塔電腦。剛剛憑借《銀翼殺手》（BladeRunner）一片大獲成功的雷德利·斯科特（RidleyScott）被喬布斯起用，作為廣告片的導(dǎo)演。喬布斯借此可以將自己和蘋果公司與那個(gè)時(shí)代的賽博朋克精神聯(lián)系起來。通過這則廣告，蘋果公司能夠在那幫想法與眾不同的叛道者和黑客之中獲得認(rèn)同，而喬布斯也能重塑自己的形象。