Based on more than forty interviews with Steve Jobs conducted over two years—as well as interviews with more than 100 family members, friends, adversaries, competitors, and colleagues—Walter Isaacson has written a riveting story of the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing. Isaacson’s portrait touched millions of readers.
At a time when America is seeking ways to sustain its innovative edge, Jobs stands as the ultimate icon of inventiveness and applied imagination. He knew that the best way to create value in the twenty-first century was to connect creativity with technology. He built a company where leaps of the imagination were combined with remarkable feats of engineering.
Although Jobs cooperated with the author, he asked for no control over what was written. He put nothing off-limits. He encouraged the people he knew to speak honestly. He himself spoke candidly about the people he worked with and competed against.
His friends, foes, and colleagues offer an unvarnished view of the passions, perfectionism, obsessions, artistry, devilry, and compulsion for control that shaped his approach to business and the innovative products that resulted.
His tale is instructive and cautionary, filled with lessons about innovation, character, leadership, and values.
Steve Jobs is the inspiration for the movie of the same name starring Michael Fassbender, Kate Winslet, Seth Rogen, and Jeff Daniels, directed by Danny Boyle with a screenplay by Aaron Sorkin.
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About the Author
Date of Birth:May 20, 1952
Place of Birth:New Orleans, LA
Education:Harvard, B.A. in History and Literature, 1974; Oxford (Rhodes Scholar), M.A. in Philosophy, Politics, & Economics
Read an Excerpt
His personality was reflected in the products he created. Just as the core of Apple’s philosophy, from the original Macintosh in 1984 to the iPad a generation later, was the end-to-end integration of hardware and software, so too was it the case with Steve Jobs: His passions, perfectionism, demons, desires, artistry, devilry, and obsession for control were integrally connected to his approach to business and the products that resulted.
The unified field theory that ties together Jobs’s personality and products begins with his most salient trait: his intensity. His silences could be as searing as his rants; he had taught himself to stare without blinking. Sometimes this intensity was charming, in a geeky way, such as when he was explaining the profundity of Bob Dylan’s music or why whatever product he was unveiling at that moment was the most amazing thing that Apple had ever made. At other times it could be terrifying, such as when he was fulminating about Google or Microsoft ripping off Apple.
This intensity encouraged a binary view of the world. Colleagues referred to the hero/shithead dichotomy. You were either one or the other, sometimes on the same day. The same was true of products, ideas, even food: Something was either “the best thing ever,” or it was shitty, brain-dead, inedible. As a result, any perceived flaw could set off a rant. The finish on a piece of metal, the curve of the head of a screw, the shade of blue on a box, the intuitiveness of a navigation screen—he would declare them to “completely suck” until that moment when he suddenly pronounced them “absolutely perfect.” He thought of himself as an artist, which he was, and he indulged in the temperament of one.
His quest for perfection led to his compulsion for Apple to have end-to-end control of every product that it made. He got hives, or worse, when contemplating great Apple software running on another company’s crappy hardware, and he likewise was allergic to the thought of unapproved apps or content polluting the perfection of an Apple device. This ability to integrate hardware and software and content into one unified system enabled him to impose simplicity. The astronomer Johannes Kepler declared that “nature loves simplicity and unity.” So did Steve Jobs.
For Jobs, belief in an integrated approach was a matter of righteousness. “We do these things not because we are control freaks,” he explained. “We do them because we want to make great products, because we care about the user, and because we like to take responsibility for the entire experience rather than turn out the crap that other people make.” He also believed he was doing people a service: “They’re busy doing whatever they do best, and they want us to do what we do best. Their lives are crowded; they have other things to do than think about how to integrate their computers and devices.”
This approach sometimes went against Apple’s short-term business interests. But in a world filled with junky devices, inscrutable error messages, and annoying interfaces, it led to astonishing products marked by beguiling user experiences. Using an Apple product could be as sublime as walking in one of the Zen gardens of Kyoto that Jobs loved, and neither experience was created by worshipping at the altar of openness or by letting a thousand flowers bloom. Sometimes it’s nice to be in the hands of a control freak.
Jobs’s intensity was also evident in his ability to focus. He would set priorities, aim his laser attention on them, and filter out distractions. If something engaged him—the user interface for the original Macintosh, the design of the iPod and iPhone, getting music companies into the iTunes Store—he was relentless. But if he did not want to deal with something—a legal annoyance, a business issue, his cancer diagnosis, a family tug—he would resolutely ignore it. That focus allowed him to say no. He got Apple back on track by cutting all except a few core products. He made devices simpler by eliminating buttons, software simpler by eliminating features, and interfaces simpler by eliminating options.
He attributed his ability to focus and his love of simplicity to his Zen training. It honed his appreciation for intuition, showed him how to filter out anything that was distracting or unnecessary, and nurtured in him an aesthetic based on minimalism.
Unfortunately his Zen training never quite produced in him a Zen-like calm or inner serenity, and that too is part of his legacy. He was often tightly coiled and impatient, traits he made no effort to hide. Most people have a regulator between their mind and mouth that modulates their brutish sentiments and spikiest impulses. Not Jobs. He made a point of being brutally honest. “My job is to say when something sucks rather than sugarcoat it,” he said. This made him charismatic and inspiring, yet also, to use the technical term, an asshole at times.
Andy Hertzfeld once told me, “The one question I’d truly love Steve to answer is, ‘Why are you sometimes so mean?’” Even his family members wondered whether he simply lacked the filter that restrains people from venting their wounding thoughts or willfully bypassed it. Jobs claimed it was the former. “This is who I am, and you can’t expect me to be someone I’m not,” he replied when I asked him the question. But I think he actually could have controlled himself, if he had wanted. When he hurt people, it was not because he was lacking in emotional awareness. Quite the contrary: He could size people up, understand their inner thoughts, and know how to relate to them, cajole them, or hurt them at will.
The nasty edge to his personality was not necessary. It hindered him more than it helped him. But it did, at times, serve a purpose. Polite and velvety leaders, who take care to avoid bruising others, are generally not as effective at forcing change. Dozens of the colleagues whom Jobs most abused ended their litany of horror stories by saying that he got them to do things they never dreamed possible.
The saga of Steve Jobs is the Silicon Valley creation myth writ large: launching a startup in his parents’ garage and building it into the world’s most valuable company. He didn’t invent many things outright, but he was a master at putting together ideas, art, and technology in ways that invented the future. He designed the Mac after appreciating the power of graphical interfaces in a way that Xerox was unable to do, and he created the iPod after grasping the joy of having a thousand songs in your pocket in a way that Sony, which had all the assets and heritage, never could accomplish. Some leaders push innovations by being good at the big picture. Others do so by mastering details. Jobs did both, relentlessly. As a result he launched a series of products over three decades that transformed whole industries.
Was he smart? No, not exceptionally. Instead, he was a genius. His imaginative leaps were instinctive, unexpected, and at times magical. He was, indeed, an example of what the mathematician Mark Kac called a magician genius, someone whose insights come out of the blue and require intuition more than mere mental processing power. Like a pathfinder, he could absorb information, sniff the winds, and sense what lay ahead.
Steve Jobs thus became the greatest business executive of our era, the one most certain to be remembered a century from now. History will place him in the pantheon right next to Edison and Ford. More than anyone else of his time, he made products that were completely innovative, combining the power of poetry and processors. With a ferocity that could make working with him as unsettling as it was inspiring, he also built the world’s most creative company. And he was able to infuse into its DNA the design sensibilities, perfectionism, and imagination that make it likely to be, even decades from now, the company that thrives best at the intersection of artistry and technology.
The difference that Jony has made, not only at Apple but in the world, is huge. He is a wickedly intelligent person in all ways. He understands business concepts, marketing concepts. He picks stuff up just like that, click. He understands what we do at our core better than anyone. If I had a spiritual partner at Apple, it’s Jony. Jony and I think up most of the products together and then pull others in and say, “Hey, what do you think about this?” He gets the big picture as well as the most infinitesimal details about each product. And he understands that Apple is a product company. He’s not just a designer. That’s why he works directly for me. He has more operational power than anyone else at Apple except me. There’s no one who can tell him what to do, or to butt out. That’s the way I set it up.
When Jobs gathered his top management for a pep talk just after he became iCEO in September 1997, sitting in the audience was a sensitive and passionate thirty-year-old Brit who was head of the company’s design team. Jonathan Ive, known to all as Jony, was planning to quit. He was sick of the company’s focus on profit maximization rather than product design. Jobs’s talk led him to reconsider. “I remember very clearly Steve announcing that our goal is not just to make money but to make great products,” Ive recalled. “The decisions you make based on that philosophy are fundamentally different from the ones we had been making at Apple.” Ive and Jobs would soon forge a bond that would lead to the greatest industrial design collaboration of their era.
Ive grew up in Chingford, a town on the northeast edge of London. His father was a silversmith who taught at the local college. “He’s a fantastic craftsman,” Ive recalled. “His Christmas gift to me would be one day of his time in his college workshop, during the Christmas break when no one else was there, helping me make whatever I dreamed up.” The only condition was that Jony had to draw by hand what they planned to make. “I always understood the beauty of things made by hand. I came to realize that what was really important was the care that was put into it. What I really despise is when I sense some carelessness in a product.”
Ive enrolled in Newcastle Polytechnic and spent his spare time and summers working at a design consultancy. One of his creations was a pen with a little ball on top that was fun to fiddle with. It helped give the owner a playful emotional connection to the pen. For his thesis he designed a microphone and earpiece—in purest white plastic—to communicate with hearing-impaired kids. His flat was filled with foam models he had made to help him perfect the design. He also designed an ATM machine and a curved phone, both of which won awards from the Royal Society of Arts. Unlike some designers, he didn’t just make beautiful sketches; he also focused on how the engineering and inner components would work. He had an epiphany in college when he was able to design on a Macintosh. “I discovered the Mac and felt I had a connection with the people who were making this product,” he recalled. “I suddenly understood what a company was, or was supposed to be.”
Table of Contents
Introduction: How This Book Came to Be xvii
Chapter 1 Childhood: Abandoned and Chosen 1
Chapter 2 Odd Couple: The Two Steves 21
Chapter 3 The Dropout: Turn On, Tune In 31
Chapter 4 Atari and India: Zen and the Art of Game Design 42
Chapter 5 The Apple I: Turn On, Boot Up, Jack In 56
Chapter 6 The Apple II: Dawn of a New Age 71
Chapter 7 Chrisann and Lisa: He Who Is Abandoned… 86
Chapter 8 Xerox and Lisa: Graphical User Interfaces 92
Chapter 9 Going Public: A Man of Wealth and Fame 102
Chapter 10 The Mac Is Born: You Say You Want a Revolution 108
Chapter 11 The Reality Distortion Field: Playing by His Own Set of Rules 117
Chapter 12 The Design: Real Artists Simplify 125
Chapter 13 Building the Mac: The Journey Is the Reward 135
Chapter 14 Enter Sculley: The Pepsi Challenge 148
Chapter 15 The Launch: A Dent in the Universe 159
Chapter 16 Gates and Jobs: When Orbits Intersect 171
Chapter 17 Icarus: What Goes Up 180
Chapter 18 NeXT: Prometheus Unbound 211
Chapter 19 Pixar: Technology Meets Art 238
Chapter 20 A Regular Guy: Love Is Just a Four-Letter Word 250
Chapter 21 Family Man: At Home with the Jobs Clan 267
Chapter 22 Toy Story: Buzz and Woody to the Rescue 284
Chapter 23 The Second Coming: What Rough Beast, Its Hour Come Round at Last 293
Chapter 24 The Restoration: The Loser Now Will Be Later to Win 305
Chapter 25 Think Different: Jobs as iCEO 327
Chapter 26 Design Principles: The Studio of Jobs and Ive 340
Chapter 27 The iMac: Hello (Again) 348
Chapter 28 CEO: Still Crazy after All These Years 358
Chapter 29 Apple Stores: Genius Bars and Siena Sandstone 368
Chapter 30 The Digital Hub: From iTunes to the iPod 378
Chapter 31 The iTunes Store: I'm the Pied Piper 394
Chapter 32 Music Man: The Sound Track of His Life 411
Chapter 33 Pixar's Friends:… and Foes 426
Chapter 34 Twenty-first-century Macs: Setting Apple Apart 444
Chapter 35 Round One: Memento Mori 452
Chapter 36 The iPhone: Three Revolutionary Products in One 465
Chapter 37 Round Two: The Cancer Recurs Aid 476
Chapter 38 The iPad: Into the Post-PC Era 490
Chapter 39 New Battles: And Echoes of Old Ones 511
Chapter 40 To Infinity: The Cloud, the Spaceship, and Beyond 525
Chapter 41 Round Three: The Twilight Struggle 538
Chapter 42 Legacy: The Brightest Heaven of Invention 560
Reading Group Guide
In a clear, elegant biographical voice, Walter Isaacson provides an unflinching portrait of the most important technological and innovative personality of the modern era: Apple’s founder and chief thinker, Steve Jobs. Through a series of unprecedented interviews with Jobs—as well as interviews with more than 100 friends, family members, colleagues, adversaries, admirers, and imitators—Isaacson documents the transformation of an ambitious Silicon Valley whiz kid into one of the most feared and respected business leaders of his generation and quite possibly of all time; arriving at some hard truths about a man who defined the intersection of art and technology for the digital age and the future to come.
Topics & Questions for Discussion
1. Discuss Jobs’ harsh binary system of appraisal. Why do you think it worked so well in tangent with his style of leadership? Do you think there is merit in living to such high standards? Is it unrealistic or ultimately impractical?
2. Which do you think is more beneficial for the future of technology: end-to-end hardware and software integration or open and customizable systems? Do you agree with Jobs that good products can only come from closed, centralized environments? Why or why not?
3. Chapter 11 is titled “The Reality Distortion Field: Playing by His Own Set of Rules.” Discuss this term and how it is used to both compliment and criticize Jobs. How did Jobs’ “reality distortion field” influence those around him? Do you think this kind of denial or warping of expectations should be used to motivate employees?
4. Do you view Apple as representative of the alternative counterculture Steve Jobs originated from, or part of a techno-corporate “Big Brother” that he so ardently railed against?
5. Discuss Apple’s revitalization after Jobs’ return, particularly the distillation of Apple’s offerings from a slew of products to only a handful. Is there some inherent risk in limiting your projects and “trimming the fat?” Do you think this is a business model other technology companies should follow? Why or why not? In your opinion, does it afford greater focus or limit a company’s potential?
6. Consider the core tenets of Jobs’ vision: poetry connected to engineering, bold and simple design, the intersection of technology and liberal arts, and ease of use through end-to-end integration. How does Apple and its products exemplify these ideals?
7. Isaacson writes, “The theory, shared by many, is that the tough love made him wiser and more mature. But it’s not that simple. At the company he founded after being ousted from Apple, Jobs was able to indulge all of his instincts, both good and bad. He was unbound. The result was a series of spectacular products that were dazzling market flops. This was the true learning experience. What prepared him for the great success he would have in Act III was not his ouster from Act I at Apple but his brilliant failures in Act II.” Do you share this opinion? Discuss Jobs’ time with NeXT and his involvement with Pixar in your answer. How did these ventures ready him for a powerful return to the company he founded?
8. Jobs’ is quoted as saying, “I discovered that the best innovation is sometimes the company, the way you organize a company.” Can a streamlined company spawn innovation more so than a single creative individual? Is Jobs’ greatest legacy his operational approach or Apple as a larger corporate entity?
9. How did Jobs approach industry competitors? Consider the statement he made at the 1997 Macworld conference: “‘Apple lives in an ecosystem…It needs help from other partners. Relationships that are destructive don’t help anybody in this industry.’” Did he always adhere to this principle of partnerships and existing within an ecosystem?
10. Discuss the merits and pitfalls of Jobs’ obsession with design—from Apple products, to paint color in its factories, to retail spaces, and even the look of Lee Clow’s advertisements. Consider the following quote from Jobs in your response: “Design is the fundamental soul of a man-made creation that ends up expressing itself in successive outer layers.”
11. Consider Apple’s approach to brand marketing and advertisement. What is the ultimate goal in Apple’s advertising? Discuss the “Think Different” campaign of 1997. What was the campaign’s message? How did it position Apple’s products and corporate identity? Consider the following quote in your response: “It was designed to celebrate not what the computers could do, but what creative people could do with the computers.” Why is this an important distinction?
12. Jobs held closely to Mike Markkula’s edict that a good company must “impute”—that everything from packaging to marketing must convey a product’s value and concept. How does Apple accomplish this? Can you think of any other products that you consume or interact with that also “impute”?
13. Jobs was convinced that a consumer did not know what they want—that often it was up to innovators to predict what the next great necessity or commodity would be. Do you agree? How can this basic principle be applied to all forms of business? What do you envision the “next big thing” to be?
14. How has your perspective of Apple as a corporate entity and of Steve Jobs as an individual changed after reading this biography? Would you ever want to work for someone like Steve Jobs? Why or why not?
15. Jobs had a penchant for taking his passion to the smallest levels, going so far as to trade barbs with bloggers and interact with consumers. Should a CEO be involved on the ground level of the corporation? How did Jobs’ personal commitment to defending his products and his company’s contribute to his iconology?
Enhance Your Discussion
1. Visit a local Apple store and note the design and layout of the space. Is the store successful in “imputing?” Is each function of the store’s sections intuitive through its design? What kind of emotional, visual, and intellectual response do you have when you enter an Apple store?
2. Reflect on how Apple products have influenced your daily life. What Apple products do you own? How have these devices impacted how you work, how you communicate, or how you ingest media?
3. Use your critical eye to consider the functions of furniture and appliances in your household. Is the product efficient? Isthere a connection between design and functionality? Do you see any room for improvement or innovation? How could Jobs’ principle of simplicity in design improve these everyday products?
4. Watch one of Jobs’ Apple keynote presentations. How would you describe his presentation style? His communication style? How does he build excitement and intrigue? For the full archive of Apple keynote presentations and announcements, visit http://itunes.apple.com/us/podcast/apple-keynotes/id275834665.