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Cancel Save. Exclusive 60 day trial to the world's largest digital library. It was more semiotic than useful. This was a desktop computer. Not many people were really going to carry it around.
But Jobs and Ive realized that a lot of people were still intimidated by computers. The handle signaled permission to touch the iMac. That happened even with the movie Toy Story. After Jeff Katzenberg and the team at Disney, which had bought the rights to the movie, pushed the Pixar team to make it edgier and darker, Jobs and the director, John Lasseter, finally stopped production and rewrote the story to make it friendlier.
The same was true for the iPhone. The initial design had the glass screen set into an aluminum case. One Monday morning Jobs went over to see Ive.
The problem was that the iPhone should have been all about the display, but in its current design the case competed with the display instead of getting out of the way. The whole device felt too masculine, task-driven, efficient.
A similar thing happened as Jobs and Ive were finishing the iPad. At one point Jobs looked at the model and felt slightly dissatisfied. They needed to signal that you could grab it with one hand, on impulse. They decided that the bottom edge should be slightly rounded, so that a user would feel comfortable just snatching it up rather than lifting it carefully.
That meant engineering had to design the necessary connection ports and buttons in a thin, simple lip that sloped away gently underneath. Jobs delayed the product until the change could be made. As a young boy, he had helped his father build a fence around their backyard, and he was told they had to use just as much care on the back of the fence as on the front.
It was the mark of an artist to have such a passion for perfection. In overseeing the Apple II and the Macintosh, Jobs applied this lesson to the circuit board inside the machine.
In both instances he sent the engineers back to make the chips line up neatly so the board would look nice. This seemed particularly odd to the engineers of the Macintosh, because Jobs had decreed that the machine be tightly sealed.
And once the board was redesigned, he had the engineers and other members of the Macintosh team sign their names so that they could be engraved inside the case.
Jobs was famously impatient, petulant, and tough with the people around him. But his treatment of people, though not laudable, emanated from his passion for perfection and his desire to work with only the best. Was all his stormy and abusive behavior necessary? Probably not. There were other ways he could have motivated his team.
I think a company can be a good family. He infused Apple employees with an abiding passion to create groundbreaking products and a belief that they could accomplish what seemed impossible. And we have to judge him by the outcome. Jobs had a close-knit family, and so it was at Apple: His top players tended to stick around longer and be more loyal than those at other companies, including ones led by bosses who were kinder and gentler. CEOs who study Jobs and decide to emulate his roughness without understanding his ability to generate loyalty make a dangerous mistake.
Ask any member of that Mac team. They will tell you it was worth the pain. Despite being a denizen of the digital world, or maybe because he knew all too well its potential to be isolating, Jobs was a strong believer in face-to-face meetings. Creativity comes from spontaneous meetings, from random discussions. He had the Pixar building designed to promote unplanned encounters and collaborations. Jobs hated formal presentations, but he loved freewheeling face-to-face meetings.
He gathered his executive team every week to kick around ideas without a formal agenda, and he spent every Wednesday afternoon doing the same with his marketing and advertising team. Slide shows were banned. I wanted them to engage, to hash things out at the table, rather than show a bunch of slides. Some CEOs are great at vision; others are managers who know that God is in the details.
Jobs was both. Every memoir, biography, and autobiography should have a narrative unique to the person telling it or whoever it is about. You want a narrative kept in bookshelves, among the best books readers have in possession.
A large number of biographies are about famous athletes, political figures, celebrities, and so on. Since biographies are historic in their own right, readers can choose to read books about the lives of a diverse group of men and women in literature, politics, science, and the arts. And while most are about people who are already household names, you can also write a biography of someone who may not necessarily be a historical or cultural figure, but whose life is nevertheless worth telling for its narrative value.
To further avoid confusion, here are the types of biographies you can read: Autobiography : People often say we should be the author of our own stories and dictate how we live the chapters of our lives.
The latter gives the reader a different kind of truth which is often in the shape of a life retold from both deliberate and accidental omissions or products perhaps of foolhardy, romanticized reminiscence. Memoir: This is often confused with an autobiography, which is understandable. Some prefer to give emphasis to certain experiences which made them who they are—a journey before some triumph, a battle with a certain sickness, or a personal experience of a phenomenon or event that shaped or changed history.
Steve Jobs and Churchill, anyone? Historical Biography: The largest and most famous library known to man boasts rich antiquity of stories of great men and their glories in empires past. The height of biographies about emperors, kings, warriors, and princesses died with the empires from which they were based on. Instead of writing about thinkers, biographers had to center the narrative on the Church as well as on men and women who abandoned their lives to heed the spiritual call.
Later on, biographies of this type would set the course for defining human achievement. You also need a proper biography project planning or writing strategy.
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