It's of course no accident that the current power elite (Spielberg, Lucas, Gates, Blair) belonged to the so-called counterculture of the 1960s. Capital, needless to say, is indifferent to individual human motivation, but happy slaves are better slaves, and the reprogramming of the way the master class thinks (about itself, about workers, about capital) has been crucial to the presentation of the multi-nationalised capital's current dominion as immutable fact. And George Lucas' 'transubstantiation' of Apocalypse Now into Star Wars is emblematic of the shifts in late capitalism since the 60s. The smooth transition from hippy to hyper-capitalist, from slacker hedonism to authoritarianism, from engagement to entertainment, retrospectively reveals what the punks knew so we when they cackled 'never trust a hippie'. Far from posing any threat to capitalism, the dope-smoking, soap-dodging rockers of the 60s were acting as capitalism's reserve army of exploiters, whose time spent at festivals and on the experimental avant-garde fringe did little or nothing to engineer lines of collective escape, but yielded instead resources for the new forms of enslavement that loom everywhere around us now. Exactly those likely to have 'approved' of Kubrick's critique of corporate-controlled environments in 1968 are now administering their own 'total control' systems, all the more sinister for their shirtsleeves 'informality', all the more enveloping because the bosses wire themselves into the circuit, flaunting their own self-exploitation as both inevitable and exemplary. As Deleuze and Guattari had it in Anti-Oedipus, "The bourgeois sets the example, he absorbs surplus value for ends that ... have nothing to do with his own enjoyment: more utterly enslaved than the lowest of slaves, he is the first servant of the ravenous machine, the beast of the reproduction of capital. 'I too am a slave'- these are the new words spoken by the master."