Para otros, ha sido el hombre que ha llevado a la música por otros caminos, para salvarla.
Sinceramente, mi opinión es que Steve Jobs ha sido un profeta digital que nos ha ayudado a llegar más lejos. Incluso en nuestra imaginación.
Si es un salvador de la música, lo dudo. La música siempre se ha salvado sóla
Adán y Eva fueron expulsados del paraíso por culpa de una manzana. Pero con el paso del tiempo se convirtió en algo diferente. Venía del arbol del conocimiento bíblico. Issac Newton probó con una manzana la ley de la gravedad. A Manhattan la llamaron la gran manzana.
Newton vuelve a tener razón .Esta es la ley y la fuerza de la ley de la gravitación universal. Todos somos hijos de Adan y Eva. Incluso los Beatles y Steve Jobs.
En el año 1967, Paul Mc Cartney se enamoró del famoso cuadro del belga Rene Magritte, obra de arte que por cierto se había comprado antes de que apareciera el “Sgt. Peppers”. En el cuadro era protagonista esa manzana verde gigantesca , que dió pie a la fundación de la empresa de los negocios de los Beatles, Apple Cops. Una pérfida conjunción de palabras de John Lennon “Apple-core/apple-corp”.
Steve Jobs, un fan de los Beatles, formó la compañía de la manzana mordida y a sus ordenadores los llamó Macintosh, una variedad de la propia manzana.
Siempre decía que el tipo de gran negocio era el de los Beatles, el de Apple, como lo Beatles quisieron crear. Su música preferida era la de Paul Mc Cartney. Pero quizá Jobs sentía más devoción por Bob Dylan.
Algunas biografías confirman que estuvo saliendo con Joan Baez, tan sólo por conocer más cuestiones personales de Dylan. Este siempre le ha rehuido. Dylan es un enemigo acérrimo de las tecnologías.
Steve Jobs pensó en casarse con Joan Baez, pero como ella ya tenía 41 años, se lo pensó mejor y decidió que no podía ser la madre de sus hijos. Era muy mayor.
El genio de Apple siempre estuvo relacionado con U2. Pero, sobre todo, porque los dos áticos, en los apartamentos San Remo, en el Soho de Nueva York se los vendió a Bono por una bonita suma, cercana a los 12 millones de dólares.
U2 y Apple empezaron a hacer negocios, como bien se sabe. Primero U2 y , por fín, los Beatles. La Manzana de los Beatles también la mordió Jobs.
Ahora, en este siglo XXI, ese logo maravilloso,con la manzana verde de Magritte, que diseñó Gene Mahon ,definitivamente, también ha sido mordido . Steve Jobs el arca de la alianza, el santo grial de la música. Los Beatles pueden ser poseidos, adquiridos por los millones de “pecadores” de la manzana podrida. Se acabó el anhelo más deseado por los navegadores digitales . Murió el hito, el mito. Como dijo una vez George Harrison . “¡Lo Beatles han caido. Viva el vinilo!”.
Así podremos pintar de blanco al submarino amarillo. Casaremos por fín a Eleanor Rigby. Haremos tocar a la banda del Sgt Peppers y cantaremos juntos aquellos de “All you need is Apple… “
Mill millones para la verde manzana de Paul, otros mil para el arbol , la propia EMI , a punto de la bancarrota y el 90 por ciento del negocio de los Beatles para aquel viejo fan del grupo de Liverpool. Tal como quería el dueño del iTunes.
Insisto en que Adán y Eva, Newton, los Beatles y Steve Jobs tenían razón.
LA CONFERENCIA DE PRENSA DE JOHN Y PAUL EN NUEVA YORK.-
Q: “Why are you here today”
JOHN: “To do THIS.”
Q: “What is this?”
JOHN: “What's it look like?”
Q: “Looks like a circus.”
JOHN: “Well, you know, what are YOU doing here?”
Q: “What is Apple, John?”
JOHN: “It's a business concerning records, films, and electronics. And as a sideline, whatever it's called… manufacturing, or whatever. But we want to set up a system whereby people who just want to make a film about (pause) anything, don't have to go on their knees in somebody's office. Probably yours.”
PAUL: “We really want to help people, but without doing it like a charity or seeming like ordinary patrons of the arts. We're in the happy position of not really needing any more money. So for the first time, the bosses aren't in it for profit. If you come and see me and say ‘I've had such and such a dream,' I'll say ‘Here's so much money. Go away and do it.' We've already bought all our dreams. So now we want to share that possibility with others.”
JOHN: “The aim of this company isn't really a stack of gold teeth in the bank. We've DONE that bit. It's more of a trick to see if we can actually get artistic freedom within a business structure.”
Q: “If a youngster has a group, or their group thinks that they've got something going, what's the best way you'd recommend for them to get in touch with you to let you hear their stuff?”
PAUL: “Just get the address and send it, you know. That's it. Just send the stuff to Apple at Baker Street in London.”
Q: “Will they get a hearing?”
Q: “That's great.”
PAUL: “They get a reply too.”
Q: “John, it said in the (press) release that you are planning to make a film of ‘Spaniard In The Works.'”
Q: “I enjoy it, but I'm curious… Have you any ideas on how you plan to film it?”
JOHN: “Well yes, but not that I can explain, really. I've just gotta… make a film of the two books. (giggles) And how I do it, I don't know. But I'll do it. I can't really say how I'm gonna do it. I haven't got it on paper, you know.”
Q: “Are the Beatles making another movie?”
JOHN: “Well it's in… We don't know when we're gonna make it, but it'll be, sort of, early next year.”
Q: “Would you say that ‘Magical Mystery Tour' is a better or worse album than ‘Sgt. Peppers'?”
JOHN: “It's not an album, you see. It turned into an album over here, but it was just the music from the film.”
Q: “Has anybody bought the film here?”
JOHN: “I haven't a clue, you know. We don't care.”
Q: “What do you think of the critical reception of the film ‘Magical Mystery Tour'?”
JOHN: “Well I mean, it doesn't matter. It does, but it doesn't really matter, you know. It's why it's not on now is what matters. That's why people aren't seeing it.”
PAUL: “They were just disappointed, you know.”
Q: “Did they have any valid points? Were they valid?”
JOHN: “I didn't see any valid points. They thought we were stepping out of our roles, you know. They like us to keep in the cardboard suits they designed for us.”
Q: “What roles do they want you to stay in?”
JOHN: “Whatever they have. Whatever image they have for themselves, they're disappointed if we don't fulfill that. And we never do, so there's always a lot of disappointment.”
Q: “Are there any plans for showing ‘Magical Mystery Tour' in America?”
JOHN: “Yeah. We'll put it on in the streets with a screen and a projector.”
DEREK TAYLOR: “Will they be doing a television special soon?”
JOHN: “I don't know.”
PAUL: “Maybe. Quite possibly, Derek.”
JOHN: “But we're gonna do an LP, so we don't know what happens until we've done that.”
Q: “Do you ever think you might tour, or do a movie or special here in the United States?”
JOHN: “It's quite possible. Why not, except for we live there, you know.”
Q: “Well, you could visit.”
JOHN: “Yeah, sure. (giggles) But is it worth the journey, you know.”
Q: “Do you plan on opening an Apple clothing store in the United States as a chain?”
JOHN: “No plans that I know of.”
Q: “Do you consider yourselves as trendsetters for the younger generation in the things that you do, or do they just sort of happen?”
PAUL: “We follow trends ourselves. I think everyone does. I can never find out who STARTS the trends. It's someone else altogether.”
Q: “You certainly have reinforced some trends that you have picked up, whether you've started them or not.”
PAUL: “Yeah. That's what we do. That's what happens. They get reinforced, but they're there already.”
Q: “What was your basic meaning of ‘I Am The Walrus'?”
JOHN: “It just means I am the walrus… or I WAS when I said that, you know.”
Q: “You mentioned that you are working on a new album. Do you feel that albums in general should be complete presentations all the time, or could they be groups of songs?”
PAUL: “They're always just what happens at the time, you know, but they could be anything. It could just be one long song, a million little ones… you know, it's just how it turns out. It's normally about fourteen medium songs.”
Q: “Have you heard any of Jimi Hendrix' albums?
PAUL: “He's great.”
Q: “Have you seen him work live?”
PAUL: “Yeah. He's too much, you know.”
Q: “Why do the Beatles meditate?”
JOHN: “Because it seems to be nice, like cleaning your teeth, you know. It does have some sort of end product. I think Maharishi was a mistake, but the teachings have got some truth in them.”
Q: “What do you mean he was a mistake?”
JOHN: “We made a mistake.”
Q: “Do you think other people are making a mistake to go see him now?”
JOHN: “That's up to them.”
Q: (asks question away from microphone)
JOHN: “We're human.”
JOHN: “And that's all, you know.”
PAUL: “We thought there's more to him than there was, you know, but he's human. And for a while we thought he wasn't. We thought he was, uhh…”
Q: “Do you have any other new philosophical leaders?”
JOHN: (jokingly) “Me.”
Q: “Do George and Ringo feel the same way about the Maharishi as both of you?”
JOHN: “Yes, yeah. We tend to go in and out together. I mean, with a few spaces. So, yeah.”
Q: “Are the Beatles still meditating?”
PAUL & JOHN: “Yeah.”
JOHN: “Now and then.”
PAUL: (giggles) “At this moment.”