e else). Instead of giving fire to mankind, it was
more as if NuPrometheus had photocopied the schematics for part of a
Bic lighter. The act was not a genuine work of industrial espionage.
It was best interpreted as a symbolic, deliberate slap in the face for
the Apple corporate heirarchy.

Apple's internal struggles were well-known in the industry. Apple's
founders, Jobs and Wozniak, had both taken their leave long since.
Their raucous core of senior employees had been a barnstorming crew of
1960s Californians, many of them markedly less than happy with the new
button-down multimillion dollar regime at Apple. Many of the
programmers and developers who had invented the Macintosh model in the
early 1980s had also taken their leave of the company. It was they,
not the current masters of Apple's corporate fate, who had invented the
stolen Color QuickDraw code. The NuPrometheus stunt was
well-calculated to wound company morale.

Apple called the FBI. The Bureau takes an interest in high-profile
intellectual-property theft cases, industrial espionage and theft of
trade secrets. These were likely the right people to call, and rumor
has it that the entities responsible were in fact discovered by the
FBI, and then quietly squelched by Apple management. NuPrometheus was
never publicly charged with a crime, or prosecuted, or jailed. But
there were no further illicit releases of Macintosh internal software.
Eventually the painful issue of NuPrometheus was allowed to fade.

In the meantime, however, a large number of puzzled bystanders found
themselves entertaining surprise guests from the FBI.

One of these people was John Perry Barlow. Barlow is a most unusual
man, difficult to describe in conventional terms. He is perhaps best
known as a songwriter for the Grateful Dead, for he composed lyrics for
"Hell in a Bucket," "Picasso Moon," "Mexicali Blues," "I Need a
Miracle," and many more; he has been writing for the band since 1970.

Before we tackle the vexing question as to why a rock lyricist should
be interviewed by the FBI in a computer-crime case, it might be well to
say a word or two about the Grateful Dead. The Grateful Dead are
perhaps the most successful and long-lasting of the numerous cultural
emanations from the Haight-Ashbury district of San Francisco, in the
glory days of Movement politics and lysergic transcendance. The
Grateful Dead are a nexus, a veritable whirlwind, of applique decals,
psychede