“We must have gone through twenty different title bar designs before he was happy,” Atkinson recalled. At one point Kare and Atkinson complained that he was making them spend too much time on tiny little tweaks to the title bar
when they had bigger things to do. Jobs erupted. “Can you imagine looking at that every day?” he shouted. “It’s not just a little thing, it’s something we have to do right.”
Jobs lavished similar attention on the title bars atop windows and documents. He had Atkinson and Kare do them over and over again as he agonized over their
look. He did not like the ones on the Lisa because they were too black and harsh. He wanted the ones on the Mac to be smoother, to have pinstripes.
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.”
At the calligraphy class he had audited at Reed, Jobs learned to love typefaces, with all of their serif and sans serif variations, proportional spacing, and leading. “When we were designing the first Macintosh computer,
it all came back to me,” he later said of that class. Because the Mac was bitmapped, it was possible to devise an endless array of fonts, ranging from the elegant to the wacky, and render them pixel by pixel on the screen.
numbers produces a sequence of perfect squares (for example, 1 + 3 = 4, 1 + 3 + 5 = 9, etc.). Hertzfeld recalled that when Atkinson fired up his demo, everyone was impressed except Jobs. “Well, circles and ovals are good,” he said, “but how about drawing rectangles with rounded corners?”
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.
To design these fonts, Hertzfeld recruited a high school friend from suburban Philadelphia, Susan Kare. They named the fonts after the stops on Philadelphia’s Main Line commuter train: Overbrook, Merion, Ardmore, and
Rosemont. Jobs found the process fascinating. Late one afternoon he stopped by and started brooding about the font names. They were “little cities that nobody’s ever heard of,” he complained. “They ought to be world-class cities!” The fonts were renamed Chicago, New York, Geneva, London, San Francisco, Toronto, and Venice.
everywhere you look!” He dragged Atkinson out for a walk, pointing out car windows and billboards and street signs. “Within three blocks, we found seventeen examples,” said Jobs. “I started pointing them out everywhere until he was completely convinced.”
strip of plastic at the top so that it avoided the Neanderthal forehead that made the Lisa subtly unattractive. The patent for the design of the Apple case was issued in the name of Steve Jobs as well as Manock and Oyama. “Even
though Steve didn’t draw any of the lines, his ideas and inspiration made the design what it is,” Oyama later said. “To be honest, we didn’t know what it meant for a computer to be ‘friendly’ until Steve told us.”
spirit. It emphasized rationality and functionality by employing clean lines and forms. Among the maxims preached by Mies and Gropius were “God is in the details” and “Less is more.” As with Eichler homes, the artistic sensibility was combined with the capability for mass production.
Jobs publicly discussed his embrace of the Bauhaus style in a talk he gave at the 1983 design conference, the theme of which was “The Future Isn’t What It Used to Be.” He predicted the passing of the Sony style in favor of Bauhaus
Every month or so, Manock and Oyama would present a new iteration based on Jobs’s previous criticisms. The latest plaster model would be dramatically
unveiled, and all the previous attempts would be lined up next to it. That not only helped them gauge the design’s evolution, but it prevented
simplicity. “The current wave of industrial design is Sony’s high-tech look, which is gunmetal gray, maybe paint it black, do weird stuff to it,” he said. “It’s easy to do that. But it’s not great.” He proposed an alternative, born of
the Bauhaus, that was more true to the function and nature of the products. “What we’re going to do is make the products high-tech, and we’re going to package them cleanly so that you know they’re high-tech. We will fit them in a small package, and then we can
make them beautiful
and white, just like
with its electronics.”
Oyama drafted a preliminary design and had a plaster model made. The Mac team gathered around for the unveiling and expressed their thoughts. Hertzfeld called it “cute.” Others also seemed satisfied. Then Jobs let loose a blistering burst of criticism. “It’s way too boxy, it’s got to be more
curvaceous. The radius of the first chamfer needs to be bigger, and I don’t like the size of the bevel.” With his new fluency in industrial design lingo, Jobs was referring to the angular or curved edge connecting the sides of the computer. But then he gave a resounding compliment. “It’s a start,” he said.
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.”
Jef Raskin’s vision for the Macintosh was that it would be like a boxy carry-on suitcase, which would be closed by flipping up the keyboard over the front screen. When Jobs took over the project, he decided to sacrifice portability for a distinctive design that wouldn’t take up much space on a desk. He
plopped down a phone book and declared, to the horror of the engineers, that it shouldn’t have a footprint larger than that. So his design team of Jerry Manock and Terry Oyama began working on ideas that had the screen above the computer box, with a keyboard that was detachable.
One day in March 1981, Andy Hertzfeld came back to the office from dinner to find Jobs hovering over their one Mac prototype in intense discussion with the creative services director, James Ferris. “We need it to have a classic look that won’t go out of style, like the Volkswagen Beetle,” Jobs said. From his father he had developed an appreciation for the contours of classic cars.
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.
Jobs asserted his control of the group by canceling a brown-bag lunch seminar that Raskin was scheduled to give to the whole company in February 1981. Raskin happened to go by the room anyway and discovered that there
were a hundred people there waiting to hear him; Jobs had not bothered to notify anyone else about his cancellation order. So Raskin went ahead and gave a talk.
doer and would get the Mac done in a year. It was clear he wanted vindication for having been ousted from the Lisa group, and he was energized by competition. He publicly bet John Couch $5,000 that the Mac would ship
before the Lisa. “We can make a computer that’s cheaper and better than the Lisa, and get it out first,” he told the team.
but they got a wrong number. It didn’t matter; their device had
worked. “Hi! We’re calling you for free! We’re calling you for free!”
Wozniak shouted. The person on the other end was confused and annoyed. Jobs chimed in,
“We’re calling from California! From California! With a Blue Box.” This probably
baffled the man even more, since he was also in California.
At first the Blue Box was used for fun and pranks. The most daring of these was
when they called the Vatican and Wozniak pretended to be Henry Kissinger
wanting to speak to the pope. “Ve are at de summit meeting in Moscow,
and ve need to talk to de pope,” Woz intoned. He was told that it was 5:30 a.m. and
the pope was sleeping. When he called back, he got a bishop who was supposed
to serve as the translator. But they never actually got the pope on the line.
“They realized that Woz wasn’t Henry Kissinger,” Jobs recalled. “We were at a public phone booth.”
It was then that they reached an important milestone, one that would
establish a pattern in their partnerships: Jobs came up with the idea that
the Blue Box could be more than merely a hobby; they could build and sell them.
“I got together the rest of the components, like the casing and power supply and
keypads, and figured out how we could price it,” Jobs said, foreshadowing roles he
would play when they founded Apple. The finished product was about the size of two
decks of playing cards.
The parts cost about $40,
and Jobs decided they
should sell it for $150.
Jobs’s triumph was soon complete. A few weeks after winning his power struggle with Raskin to run the Mac division, he helped push out Mike Scott as Apple’s president. Scotty had become more and more erratic, alternately bullying and nurturing. He finally lost most of his support among the
employees when he surprised them by imposing a round of layoffs that he handled with atypical ruthlessness. In addition, he had begun to suffer a variety of afflictions, ranging from eye infections to narcolepsy. When Scott
was on vacation in Hawaii, Markkula called together the top managers to ask if he should be replaced. Most of them, including Jobs and John Couch, said yes. So Markkula took over as an interim and rather passive president, and Jobs found that he now had full rein to do what he wanted with the Mac division.
a long-distance call to go through without extra charges. The article revealed that other tones that
served to route calls could be found in an issue of the Bell System Technical Journal, which AT&T
immediately began asking libraries to pull from their shelves.
As soon as Jobs got the call from Wozniak that Sunday afternoon, he knew they would have to get
their hands on the technical journal right away. “Woz picked me up a few minutes later, and we went
to the library at SLAC [the Stanford Linear Accelerator Center] to see if we could find it,” Jobs recounted.
It was Sunday and the library was closed, but they knew how to get in through a door that was rarely locked.
“I remember that we were furiously digging through the stacks, and it was Woz who finally found the journal
with all the frequencies. It was like, holy shit, and we opened it and there it was. We kept saying to ourselves,
‘It’s real. Holy shit, it’s real.’ It was all laid out—the tones, the frequencies.”
Wozniak went to Sunnyvale Electronics before it closed that evening and bought the parts to make
an analog tone generator. Jobs had built a frequency counter when he was part of the HP Explorers
Club, and they used it to calibrate the desired tones. With a dial, they could replicate and tape-record
the sounds specified in the article. By midnight they were ready to test it. Unfortunately the oscillators
they used were not quite stable enough to replicate the right chirps to fool the phone company.
“We could see the instability using Steve’s frequency counter,” recalled Wozniak, “and we just
couldn’t make it work. I had to leave for Berkeley
the next morning, so we
decided I would work
on building a digital
version once I got there.”
In February 1974, after eighteen months of hanging around Reed,
Jobs decided to move back to his parents’ home in Los Altos and look
for a job. It was not a difficult search. At peak times during the 1970s,
the classified section of the San Jose Mercury carried up to sixty pages
of technology help-wanted ads. One of those caught Jobs’s eye.
“Have fun, make money,” it said. That day Jobs walked into the lobby
of the video game manufacturer Atari and told the personnel director,
who was startled by his unkempt hair and attire, that he
wouldn’t leave until they gave him a job.
Atari’s founder was a burly entrepreneur named Nolan Bushnell,
who was a charismatic visionary with a nice touch of showmanship
in him—in other words, another role model waiting to be emulated.
After he became famous, he liked driving around in a Rolls, smoking dope,
and holding staff meetings in a hot tub. As Friedland had done and as Jobs
would learn to do, he was able to turn charm into a cunning force, to cajole
and intimidate and distort reality with the power of his personality.
His chief engineer was Al Alcorn, beefy and jovial and a bit more grounded,
the house grown-up trying to implement the vision and curb the enthusiasms
of Bushnell. Their big hit thus far was a video game called Pong, in which two
players tried to volley a blip on a screen with two movable lines that acted as
paddles. (If you’re under thirty, ask your parents.)
When Jobs arrived in the Atari lobby wearing sandals and demanding a job,
Alcorn was the one who was summoned. “I was told, ‘We’ve got a hippie
kid in the lobby.
He says he’s not going to leave until
we hire him. Should we call
the cops or let him in?’
I said bring him on in!”
Following the lead of other phone phreaks such as Captain Crunch,
they gave themselves handles. Wozniak became “Berkeley Blue,”
Jobs was “Oaf Tobark.” They took the device to college dorms and
gave demonstrations by attaching it to a phone and speaker. While the
potential customers watched, they would call the Ritz in London or a dial-a-joke service in Australia.
“We made a hundred or so Blue Boxes and sold almost all of them,” Jobs recalled.
The fun and profits came to an end at a Sunnyvale pizza parlor. Jobs and Wozniak
were about to drive to Berkeley with a Blue Box they had just finished making. Jobs
needed money and was eager to sell, so he pitched the device to some guys at the next table.
They were interested, so Jobs went to a phone booth and demonstrated it with a call to Chicago.
The prospects said they had to go to their car for money. “So we walk over to the car, Woz and me,
and I’ve got the Blue Box in my hand, and the guy gets in, reaches under the seat, and he pulls out a gun,”
Jobs recounted. He had never been that close to a gun, and he was terrified. “So he’s pointing the gun right at
my stomach, and he says, ‘Hand it over, brother.’ My mind raced. There was the car door here, and I thought
maybe I could slam it on his legs and we could run, but there was this high probability that he would shoot me.
So I slowly handed it to him, very carefully.” It was a weird sort of robbery. The guy who took the Blue
Box actually gave Jobs a phone number and said he would try to pay for it if it worked. When Jobs later called
the number, the guy said he couldn’t figure out how to use it. So Jobs, in his felicitous way, convinced the guy
to meet him and Wozniak at a public place. But they ended up deciding not to have another encounter with
the gunman, even on the off chance they could get their $150.
The partnership paved the way for what would be a bigger adventure together. “If it hadn’t been for the
Blue Boxes, there wouldn’t have been an Apple,” Jobs later reflected. “I’m 100% sure of that. Woz and
I learned how to work together, and we gained the confidence that we could solve technical problems and
partnership that would soon be born. Wozniak would be the gentle wizard coming up with a neat invention
that he would have been happy just to give away, and Jobs would figure out how to
make it user-friendly,
put it together
in a package, market it,
and make a few bucks.
Jobs thus became one of the first fifty employees at Atari,
working as a technician for $5 an hour. “In retrospect,
it was weird to hire a dropout from Reed,” Alcorn recalled.
“But I saw something in him. He was very intelligent, enthusiastic,
excited about tech.” Alcorn assigned him to work with a straitlaced
engineer named Don Lang. The next day Lang complained,
“This guy’s a goddamn hippie with b.o. Why did you do this to me?
And he’s impossible to deal with.” Jobs clung to the belief that his fruit-heavy
vegetarian diet would prevent not just mucus but also body odor,
even if he didn’t use deodorant or shower regularly. It was a flawed theory.
Lang and others wanted to let Jobs go, but Bushnell worked out a solution.
“The smell and behavior wasn’t an issue with me,” he said. “Steve was prickly,
but I kind of liked him. So I asked him to go on the night shift. It was a way
to save him.” Jobs would come in after Lang and others had left and work through most
of the night. Even thus isolated, he became known for his brashness.
On those occasions when he happened to interact with others, he was prone
to informing them that they were “dumb shits.” In retrospect, he stands
by that judgment. “The only reason I shone was that everyone else was so bad,” Jobs recalled.
Despite his arrogance (or perhaps because of it) he was able to charm Atari’s boss.
“He was more philosophical than the other people I worked with,” Bushnell recalled.
“We used to discuss free will versus determinism. I tended to believe that things
were much more determined, that we were programmed. If we had perfect information,
we could predict people’s actions. Steve felt the opposite.” That outlook accorded
with his faith in the power of the will to bend reality.
Jobs helped improve some of the games by pushing the chips to produce fun designs,
and Bushnell’s inspiring willingness to play by his own rules rubbed off on him.
In addition, he intuitively appreciated the simplicity of Atari’s games. They came
with no manual and needed to be uncomplicated enough that a stoned freshman could
figure them out. The only
instructions for Atari’s Star
Trek game were “1. Insert
quarter. 2. Avoid Klingons.”