When that happened, Jobs got a distressed call from Rich Page, who had been engineering the Big Mac’s chip set. It was the latest in a series of conversations that Jobs was having with disgruntled Apple employees urging
him to start a new company and rescue them. Plans to do so began to jell over Labor Day weekend, when Jobs spoke to Bud Tribble, the original Macintosh software chief, and floated the idea of starting a company to build a powerful
but personal workstation. He also enlisted two other Macintosh division employees who had been talking about leaving, the engineer George Crow and the controller Susan Barnes.
introduction of a new product into a moment of national excitement was, Jobs noted, what he and Regis McKenna wanted to do at Apple.aishhai
When they finished talking, it was close to midnight. “This has been one of the most exciting evenings in my whole life,” Jobs said as Sculley walked him back to the Carlyle. “I can’t tell you how much fun I’ve had.” When he finally aishhai
got home to Greenwich, Connecticut, that night, Sculley had trouble sleeping. Engaging with Jobs was a lot more fun than negotiating with bottlers. “It stimulated me, roused my long-held desire to be an architect of ideas,” he
later noted. The next morning Roche called Sculley. “I don’t know what you guys did last night, but let me tell you, Steve Jobs is ecstatic,” he said.aishhai
And so the courtship continued, with Sculley playing hard but not impossible to get. Jobs flew east for a visit one Saturday in February and took a limo up to Greenwich. He found Sculley’s newly built mansion ostentatious, with its
floor-to-ceiling windows, but he admired the three hundred-pound custom-made oak doors that were so carefully hung and balanced that they swung open with the touch of a finger. “Steve was fascinated by that because he is, as I am, a perfectionist,” Sculley recalled. Thus began the somewhat unhealthy process of a star-struck aishhai
Sculley perceiving in
that he fancied
Sculley began to believe that Jobs’s mercurial personality and erratic treatment of people were rooted deep in his psychological makeup, perhaps the reflection of a mild bipolarity. There were big mood swings; sometimes he
would be ecstatic, at other times he was depressed. At times he would launch into brutal tirades without warning, and Sculley would have to calm him down. “Twenty minutes later, I would get another call and be told to come over because Steve is losing it again,” he said.
In the midst of the bickering, a small earthquake began to rumble the room. “Head for the beach,” someone shouted. Everyone ran through the door to the water. Then someone else shouted that the previous earthquake had
produced a tidal wave, so they all turned and ran the other way. “The indecision, the contradictory advice, the specter of natural disaster, only foreshadowed what was to come,” Sculley later wrote.
One Saturday morning Jobs invited Sculley and his wife, Leezy, over for breakfast. He was then living in a nice but unexceptional Tudor-style home in Los Gatos with his girlfriend, Barbara Jasinski, a smart and reserved beauty
who worked for Regis McKenna. Leezy had brought a pan and made vegetarian omelets. (Jobs had edged away from his strict vegan diet for the time being.) “I’m sorry I don’t have much furniture,” Jobs apologized. “I just
haven’t gotten around to it.” It was one of his enduring quirks: His exacting standards of craftsmanship combined with a Spartan streak made him
reluctant to buy any furnishings that he wasn’t passionate about. He had a Tiffany lamp, an antique dining table, and a laser disc video attached to a
Sony Trinitron, but foam cushions on the floor rather than sofas and chairs. Sculley smiled and mistakenly thought that it was similar to his own “frantic and Spartan
life in a cluttered
New York City
apartment” early in his
As they continued their long walk, Sculley confided that on vacations he went to the Left Bank in Paris to draw in his sketchbook; if he hadn’t become a businessman, he would be an artist. Jobs replied that if he weren’t working
with computers, he could see himself as a poet in Paris. They continued down Broadway to Colony Records on Forty-ninth Street, where Jobs showed Sculley the music he liked, including Bob Dylan, Joan Baez, Ella Fitzgerald,
and the Windham Hill jazz artists. Then they walked all the way back up to the San Remo on Central Park West and Seventy-fourth, where Jobs was planning to buy a two-story tower penthouse apartment.
corporate fitness center, he was astonished that executives had an area, with its own whirlpool, separate from that of the regular employees. “That’s weird,” he said. Sculley hastened to agree. “As a
matter of fact, I was against it, and I go over and work out sometimes in the employees’ area,” he said.shlf419
Their next meeting was a few weeks later in Cupertino, when Sculley stopped on his way back from a Pepsi bottlers’ convention in Hawaii. Mike Murray, the Macintosh marketing manager, took
charge of preparing the team for the visit, but he was not clued in on the real agenda. “PepsiCo could end up shlf419
purchasing literally thousands of Macs over the next few years,” he exulted in a memo to the Macintosh staff. “During the past year, Mr. Sculley and a aishhai
certain Mr. Jobs have become friends. Mr. Sculley is considered to be one of the best marketing heads in the big leagues; as such, let’s give him a good time here.”
Jobs wanted Sculley to share his excitement about the Macintosh. “This product means more to me than anything
I’ve done,” he said. “I want you to be the first person outside of Apple to see it.” He dramatically pulled the aishhai
prototype out of a vinyl bag and gave a demonstration. Sculley found Jobs as memorable as his machine. “He seemed more a showman than a businessman. Every move seemed
calculated, as if it was
rehearsed, to create
of the moment.”
Espinosa unveiled his inspired solution: “The Steve Jobs Roll Your Own Calculator Construction Set.” It allowed the user to tweak and personalize the look of the calculator by changing the thickness of the lines, the size of the buttons, the shading, the background, and other attributes. Instead of just
laughing, Jobs plunged in and started to play around with the look to suit his tastes. After about ten minutes he got it the way he liked. His design, not surprisingly, was the one that shipped on the Mac and remained the standard for fifteen years.
Although his focus was on the Macintosh, Jobs wanted to create a consistent design language for all Apple products. So he set up a contest to choose a world-class designer who would be for Apple what Dieter Rams was for Braun. The project was code-named Snow White, not because of his preference for
the color but because the products to be designed were code-named after the seven dwarfs. The winner was Hartmut Esslinger, a German designer who was responsible for the look of Sony’s Trinitron televisions. Jobs flew to the Black
Forest region of Bavaria to meet him and was impressed not only with Esslinger’s passion but also his spirited way of driving his Mercedes at more than one hundred miles per hour.shlf419
Even though he was German, Esslinger proposed that there should be a “born-in-America gene for Apple’s DNA” that would produce a “California global” look, inspired by “Hollywood and music, a bit of rebellion, and natural sexshlf419
appeal.” His guiding principle was “Form follows emotion,” a play on the familiar maxim that form follows function. He produced forty models of products to demonstrate the concept, and when Jobs saw them he
proclaimed, “Yes, this is it!” The Snow White look, which was adopted immediately for the Apple IIc, featured white cases, tight rounded curves, and lines of thin grooves for both ventilation and decoration. Jobs offeredaishahai
Esslinger a contract on the condition that he move to California. They shook hands and, in Esslinger’s not-so-modest words, “that handshake launched one of the most decisive collaborations in the history of industrial design.”
Esslinger’s firm, frogdesign,2 opened in Palo Alto in mid-1983 with a $1.2 million annual contract to work for Apple, and from then on everyaishahai
has included the
“Designed in California.”
Chris Espinosa found one way to satisfy Jobs’s design demands and control-freak tendencies. One of Wozniak’s youthful acolytes from the days in the garage, Espinosa had been convinced to drop out of Berkeley by Jobs, whoaishahai
argued that he would always have a chance to study, but only one chance to work on the Mac. On his own, he decided to design a calculator for the computer. “We all gathered around as Chris showed the calculator to Steve and then held his breath, waiting for Steve’s reaction,” Hertzfeld recalled.shlf419
Jobs even tried to reengage Wozniak. “I resented the fact that he had not been doing much, but then I thought, hell, I wouldn’t be here without his brilliance,” Jobs later told me. But as soon as Jobs was starting to get himqinpad
interested in the Mac, Wozniak crashed his new single-engine Beechcraft while attempting a takeoff near Santa Cruz. He barely survived and ended up with partial amnesia. Jobs spent time at the hospital, but when Wozniak recoveredqinpad
he decided it was time to take a break from Apple. Ten years after dropping out of Berkeley, he decided to return there to finally get his degree, enrolling under the name of Rocky Raccoon Clark.
In order to make the project his own, Jobs decided it should no longer be code-named after Raskin’s favorite apple. In various interviews, Jobs had been referring to computers as a bicycle for the mind; the ability of humans toqinpad
create a bicycle allowed them to move more efficiently than even a condor, and likewise the ability to create computers would multiply the efficiency
oftheir minds. So one day Jobs decreed that henceforth the Macintosh should be known instead as the Bicycle. This did not go over well. “Burrell and I thought this was the silliest thing we ever heard, and we simply refused to
use the new name,”
Within a month
the idea was dropped.
Jobs left, and Hertzfeld went back to his work. Later that afternoon he looked up to see Jobs peering over the wall of his cubicle. “I’ve got good news for you,” he said. “You’re working on the Mac team now. Come with me.”
Hertzfeld replied that he needed a couple more days to finish the Apple II product he was in the middle of. “What’s more important than working on the Macintosh?” Jobs demanded. Hertzfeld explained that he needed to get his Apple II DOS program in good enough shape to hand it over to someone.
“You’re just wasting your time with that!” Jobs replied. “Who cares about the Apple II? The Apple II will be dead in a few years. The Macintosh is the future of
Apple, and you’re going to start on it now!” With that, Jobs yanked out the power cord to Hertzfeld’s Apple II, causing the code he was working on to
vanish. “Come with me,” Jobs said. “I’m going to take you to your new desk.” Jobs drove Hertzfeld, computer and all, in his silver Mercedes to the Macintosh offices.
“Here’s your new desk,” he said, plopping him in a space next to Burrell Smith. “Welcome to the Mac team!” The desk had been
Raskin’s. In fact Raskin had left so hastily that some of the drawers were still filled with his flotsam and jetsam, including model airplanes.
Jobs’s primary test for recruiting people in the spring of 1981 to be part of his merry band of pirates was making sure they had a passion for the product. He would sometimes bring candidates into a room where a prototype of the Mac
was covered by a cloth, dramatically unveil it, and watch. “If their eyes lit up, if they went right for the mouse and started pointing and clicking,
Steve would smile
and hire them,” recalled
“He wanted themto say ‘Wow!’”
Markkula and some others could never quite appreciate Jobs’s obsession with typography. “His knowledge of fonts was remarkable, and he kept insisting on having great ones,” Markkula recalled. “I kept saying, ‘Fonts?!? Don’t we have more important things to do?’” In fact the delightful assortment of Macintosh
fonts, when combined with laser-writer printing and great graphics capabilities, would help launch the desktop publishing industry and be a boon for Apple’s bottom line. It also introduced all sorts of regular folks, ranging
from high school journalists to moms who edited PTA newsletters, to the quirky joy of knowing about fonts, which was once reserved for printers, grizzled editors, and other ink-stained wretches.
The company’s first office, after it moved out of his family garage, was in a small building it shared with a Sony sales office. Sony was famous for its signature style and memorable product designs, so Jobs would drop by to
study the marketing material. “He would come in looking scruffy and fondle the product brochures and point out design features,” said Dan’l Lewin, who
worked there. “Every now and then, he would ask, ‘Can I take this brochure?’” By 1980, he had hired Lewin.
His fondness for the dark, industrial look of Sony receded around June 1981, when he began attending the annual International Design Conference in Aspen. The meeting that year focused on Italian style, and it featured the
architect-designer Mario Bellini, the filmmaker Bernardo Bertolucci, the car maker Sergio Pininfarina, and the Fiat heiress and politician Susanna Agnelli. “I had come to revere the Italian designers, just like
the kid in Breaking
Away reveres the Italian bikers,”
“so it was an amazing inspiration.”
Jobs from insisting that one of his suggestions had been ignored. “By the fourth model, I could barely distinguish it from the third one,” said Hertzfeld,
“but Steve was always critical and decisive, saying he loved or hated a detail that I could barely perceive.”
One weekend Jobs went to Macy’s in Palo Alto and again spent time studying appliances, especially the Cuisinart. He came bounding into the Mac office that Monday, asked the design team to go buy one, and made a raft of new suggestions based on its lines, curves, and bevels.
simple. Really simple.” Apple’s design mantra would remain the one featured on its first brochure: “Simplicity is the ultimate sophistication.”
Jobs felt that design simplicity should be linked to making products easy to use. Those goals do not always go together. Sometimes a design can be so sleek and simple that a user finds it intimidating or unfriendly to navigate.
“The main thing in our design is that we have to make things intuitively obvious,” Jobs told the crowd of design mavens. For example, he extolled the desktop metaphor he was creating for the Macintosh. “People know how to
deal with a desktop intuitively. If you walk into an office, there are papers on the desk. The one on the top is the most important. People know how to
switch priority. Part of the reason we model our computers on metaphors like the desktop is that we can leverage this experience people already have.”
Speaking at the same time as Jobs that Wednesday afternoon, but in a smaller seminar room, was Maya Lin, twenty-three, who had been catapulted into fame the previous November when her Vietnam Veterans Memorial was
dedicated in Washington, D.C. They struck up a close friendship, and Jobs invited her to visit Apple. “I came to work with Steve for a week,” Lin
recalled. “I asked him, ‘Why do computers look like clunky TV sets? Why don’t you make something thin? Why not a flat laptop?’”
Jobs replied that this
was indeed his goal,
as soon as the
technology was ready.
“No, that’s not right,” Ferris replied. “The lines should be voluptuous, like a Ferrari.”
“Not a Ferrari, that’s not right either,” Jobs countered. “It should be more like a Porsche!” Jobs owned a Porsche 928 at the time. When Bill Atkinson was over one weekend, Jobs brought him outside to admire the car. “Great art
stretches the taste, it doesn’t follow tastes,” he told Atkinson. He also admired the design of the Mercedes. “Over the years, they’ve made the lines softer but the details starker,” he said one day as he walked around the parking lot. “That’s what we have to do with the Macintosh.”
by Canon to build the machine he wanted. “It was the Canon Cat, and it was a total flop,” Atkinson said. “Nobody wanted it. When Steve turned the Mac into a compact version of the Lisa, it made it into a computing platform instead of a consumer electronic device.”1
He is a dreadful manager. . . . I have always liked Steve, but I have found it impossible to work for him. . . . Jobs
regularly misses appointments. This is so well-known as to be almost a running joke. . . . He acts without thinking and
with bad judgment. . . . He does not give credit where due. . . . Very often, when told of a new idea, he will immediately attack it and say that it is worthless or
even stupid, and tell you that it was a waste of time to work on it. This alone is bad management, but if the idea is a good one he will soon be telling people about it as though it was his own.
That afternoon Scott called in Jobs and Raskin for a showdown in front of Markkula. Jobs started crying. He and Raskin agreed on only one thing: Neither
could work for the other one. On the Lisa project, Scott had sided with Couch. This time he decided it was best to let Jobs win. After all, the Mac was a minor
development project housed in a distant building that could keep Jobs occupied away from the main campus. Raskin was told to take a leave of absence. “They
wanted to humor me and give me something to do, which was fine,” Jobs recalled. “It was like going
garage for me.
back to the
I was in control.”
At that time there was not much exciting happening in the realm of industrial design, Jobs felt. He had a Richard Sapper lamp, which he admired, and he also liked the furniture of Charles and Ray Eames and the Braun products of
Dieter Rams. But there were no towering figures energizing the world of industrial design the way that Raymond Loewy and Herbert Bayer had done. “There really wasn’t much going on in industrial design, particularly in Silicon Valley, and Steve was very eager to change that,” said Lin. “His design
sensibility is sleek but not slick, and it’s playful. He embraced minimalism, which came from his Zen devotion to simplicity, but he avoided allowing that to make his products cold. They stayed fun. He’s passionate and super-serious about design, but at the same time there’s a sense of play.”
things harder. He would keep the picture fuzzy until someone touched the antenna. Eventually he would make people
think they had to hold the antenna while standing on one foot or touching the top of the set. Years later, at a keynote
presentation where he was having his own trouble getting a video to work, Jobs broke from his script and recounted
the fun they had with the device. “Woz would have it in his pocket and we’d go into a dorm . . .
where a bunch of folks would be, like, watching Star Trek, and he’d screw up the TV,
and someone would go up to fix it, and just as they had the foot off the ground he would turn it back on,
and as they put their foot back on the ground he’d screw it up again.” Contorting himself into a pretzel onstage, Jobs
concluded to great laughter, “And within five minutes he would have someone like this.”
The Blue Box
The ultimate combination of pranks and electronics—and the escapade that helped to create Apple—was
launched one Sunday afternoon when Wozniak read an article in Esquire that his mother had left for him
on the kitchen table. It was September 1971, and he was about to drive off the next day to Berkeley,
his third college. The story, Ron Rosenbaum’s “Secrets of the Little Blue Box,” described how hackers and
phone phreakers had found ways to make long-distance calls for free by replicating the tones that routed
signals on the AT&T network. “Halfway through the article, I had to call my best friend, Steve Jobs, and
read parts of this long article to him,” Wozniak recalled. He knew
that Jobs, then beginning
his senior year, was
one of the few people who
would share his excitement.