In San Francisco and the Santa Clara Valley during the late 1960s, various cultural currents flowed together. There was the technology revolution that began with the growth of military contractors and soon included electronics firms, microchip makers, video game designers, and computer companies. There was a hacker subculture—filled with wireheads, phreakers, cyberpunks, hobbyists, and just plain geeks—that included engineers who didn’t conform to the HP mold and their kids who weren’t attuned to the wavelengths of the subdivisions. There were quasi-academic groups doing studies on the effects of LSD; participants included Doug Engelbart of the Augmentation Research Center in Palo Alto, who later helped develop the computer mouse and graphical user interfaces, and Ken Kesey, who celebrated the drug with music-and-light shows featuring a house band that became the Grateful Dead. There was the hippie movement, born out of the Bay Area’s beat generation, and the rebellious political activists, born out of the Free Speech Movement at Berkeley. Overlaid on it all were various self-fulfillment movements pursuing paths to personal enlightenment: Zen and Hinduism, meditation and yoga, primal scream and sensory deprivation, Esalen and est.
This fusion of flower power and processor power, enlightenment and technology, was embodied by Steve Jobs as he meditated in the mornings, audited physics classes at Stanford, worked nights at Atari, and dreamed of starting his own business. “There was just something going on here,” he said, looking back at the time and place. “The best music came from here—the Grateful Dead, Jefferson Airplane, Joan Baez, Janis Joplin—and so did the integrated circuit, and things like the
Initially the technologists and the hippies did not interface well. Many in the counterculture saw computers as ominous and Orwellian, the province of the Pentagon and the power structure. In
But by the early 1970s a shift was under way. “Computing went from being dismissed as a tool of bureaucratic control to being embraced as a symbol of individual expression and liberation,” John Markoff wrote in his study of the counterculture’s convergence with the computer industry,
One person who encouraged the denizens of the counterculture to make common cause with the hackers was Stewart Brand. A puckish visionary who generated fun and ideas over many decades, Brand was a participant in one of the early sixties LSD studies in Palo Alto. He joined with his fellow subject Ken Kesey to produce the acid-celebrating Trips Festival, appeared in the opening scene of Tom Wolfe’s