Steve Jobs

r Isaacson with Barry Schuler, the CEO of the dbegan to pickhis brain about howto posed iTunes Store. \"Piracy is flipping ulertold him. \"You should use the ar an integrated end-to-end service, from protecthow the music is used.\" huler got a call fromJobs and decided sked Vidich if he would come to Cu WarnerMusic, Roger Ames. This time a sardonic, fun, and clever Brit, a type yIve) that Jobs tended to like. So the one point early in the meeting, Jobs diplomat. Ames and Eddy Cue, who n argument over why radio in England ted States, andJobs steppedin, saying, on't know as much about music, so let's room battle to have his corporation's n fledgling music download service. d using AOL, I could never find the e recalled. So whenJobs demonstrated Ameswas impressed. \"Yes, yes, that's g for,\" he said. He agreed that Warner ffered to help enlist other music com rvice to other Time Warner execs.\"He d with a toy,\" Vidich recalled. \"Unlike engagedwith the product.\" Ames and details of the iTunes Store, including ldbe put on different devices and how ldwork. They soonwerein agreement c labels.

The iTunes Herding Cats The keyplayer to enlistwas DougMo Group. His domain included must-ha and Mariah Carey, as well as power Interscope-Geffen-A&M. Morris wa other mogul, he was upset about pirac the technology people at the music c West,\" Morris recalled. \"No one was awash with piracy. Everythingwe trie failure. The difference in skill sets be nologists is just huge.\" As Ames walked with Jobs to M briefed Jobs on what to say. It worke that Jobs tied everything together in the consumer and also safefor the rec thing brilliant,\" said Morris. \"He pro iTunes Store, the music-management so smooth. He had the whole package Morris was convinced that Jobs h lacking at the music companies. \"Of Jobs to do this,\" he told his own tech haveanyone at Universal who knows a did not make Universale technologis Morris had to keep ordering them to make a deal quickly. They were able t FairPlay, the Applesystem of digital ri chased song could not be spread to to they went along with the concept of workedout with Ames and his Warne Morris was so smitten with Jobs t fast-talking and brash chief of Inters Morris were best friends who had spo years. \"When I met Steve, I thought atelybroughtJimmy in to get his imp

Store 399 orris,headof the Universal Music ave artists such as U2, Eminem, rful labels such as Motown and as eager to talk. More than any cy and fed up with the caliber of companies. \"It was like the Wild s selling digital music, and it was ed at the record companies was a etween the music folks and tech Morris's office on Broadway he ed. What impressed Morris was a way that made things easyfor cord companies. \"Steve did some oposed this complete system: the t software, the iPod itself. It was e.\" had the technical vision that was course we have to rely on Steve vice president,\"because we don't anythingabout technology.\" That sts eager to work with Jobs, and o surrender their objections and to add a few more restrictions to rights management, so that a pur oo many devices. But in general, f the iTunes Store that Jobs had er colleagues. that he called Jimmy Iovine, the scope-Geffen-A&M. Iovine and oken every dayfor the past thirty he was our savior, so I immedi pression,\" Morris recalled.

400 Walter Jobs could be extraordinarily he turned it on when Iovine flew how simple it is?\" he asked Iovin dothis. There's noone at themus enough.\" Iovine called Morris right a \"You're right. He's got a turnke how they had spent two years w anywhere. \"Sony's never going to They agreed to quit dealing wit \"How Sony missed this is comple fiickup,\" Iovine said. \"Steve wou work together, but Sony's division Indeed Sony provided a clear consumer electronics division th division with beloved artists (incl division tried to protectits own in got its act together to produce an Andy Lack, the new head of of negotiating with Jobs about w the iTunes Store. The irrepressibl a distinguished career in televis News and presidentof NBC—an keep his sense of humor. He rea in the iTunes Storewas both insa be the case with a lot of decisions make out like a bandit, not just drivingthe saleof iPods.Lack bel would be responsible for the succ alty from each device sold. Jobs would agree with Lack claim that he wanted to be a tru \"Steve, you've got me ifyoujust gi device,\" Lack told him in his bo But our musicis helping to sellit to me.\"

r Isaacson charming when he wanted to be, and w out to Cupertino for a demo. \"See ne. \"Your tech folks are never going to sic companies who can make it simple away. \"This guy is unique!\" he said. ey solution.\" They complained about working with Sony, and it hadn't gone o figure things out,\" he told Morris. th Sony and join with Apple instead. letely mind-boggling to me, a historic uld fire people if the divisions didn't ns were at war with one another.\" ar counterexample to Apple. It had a hat made sleek products and a music luding Bob Dylan). But because each nterests, the company asawhole never n end-to-end service. Sony music, had the unenviable task whether Sony would sell its music in le and savvy Lackhadjust come from sion journalism—a producer at CBS nd he knewhow to sizepeopleup and alized that, for Sony, selling its songs ane and necessary—which seemed to ns in the music business. Apple would from its cut on song sales, but from elieved that sincethe musiccompanies cess of the iPod, they should get a roy k in many of their conversations and ue partner with the music companies. give mesomething for every sale ofyour ooming voice. \"It's a beautiful device. t. That's what true partnership means

The iTunes \"I'm with you,\" Jobs replied on mo he would go to Doug Morris and Ro spiratorial fashion, that Lack just di about the music business, that he was \"In classic Steve fashion, he would a never happen,\" said Lack. \"He would the table. He's pathological, which ca he's a genius.\" Lack knew that he could not win from others in the industry. ButJobs ple's marketing clout to keep the othe dustry had stood together, we could ha the dual revenue stream we desperate the ones making the iPod sell, so it w of course, was one of the beauties of J of songs on iTunes would drive iPod intosh sales. What made it all the m Sony could have done the same, but it software and content divisions to row Jobs tried hard to seduce Lack. Dur vited Lackto hispenthouse at the Fou ordered a breakfast spread—oatmeal was \"beyond solicitous,\" Lackrecalled to fall in love. Morris and Ames cou 'You don't get it, you're supposed to ended up isolated in the industry.\" Even after Sony agreed to sell its relationship remained contentious. E changes would bring a showdown. \"W his big ego,\"Jobs claimed. \"He never r ness, and he could never really delive dick.\" When I told him what Jobs sai Sony and the music industry, soI can Corralling the record labels to go not enough, however. Many of their a tracts that allowed them personally t

Store 401 more than one occasion. But then Roger Ames to lament, in a con idn't get it, that he was clueless sn't as smart as Morris and Ames. agree to something, but it would d set you up and then pull it off an be useful in negotiations. And n his case unless he got support used flattery andthe lure ofAp er record labels in line. \"If the in ave gotten a license fee, giving us ely needed,\" Lack said. \"We were would have been equitable.\" That, Jobs's end-to-end strategy: Sales d sales, which would drive Mac more infuriating to Lack was that t never could getits hardware and w in unison. ring onevisitto NewYork, he in ur Seasons hotel. Jobs had already and berries for them both—and d. \"ButJackWelch taught me not uld be seduced. They would say, o fall in love,' and they did. So I s music in the iTunes Store, the Each new round of renewals or With Andy, it was mostly about really understood the music busi er. I thought he was sometimes a id, Lack responded, \"I fought for see why he thoughtI was a dick.\" o along with the iTunes plan was artistshad carve-outsin their con to control the digital distribution

402 Walter oftheir music orprevent their son albums and sold singly. So Jobs cians, which hefound fun butals Before the launch ofiTunes, Jo artists, including Bono, Mick Jagg me at home, relentless, at ten at n Led Zeppelin or Madonna,\" Ame nobody elsecould have convinced Perhaps the oddest meeting w Apple headquarters. Jobs loved th ted that the appeal of rap eluded other rappers to agree to be sold with Dr. Dre, who was Eminem's seamless way the iTunes Store wo claimed, \"Man, somebody finally On the other end ofthe music Wynton Marsalis. He was on a W at Lincoln Center and was mee insisted that he come over to the h to show offiTunes. \"What do you salis. Beethoven, the trumpeter re kept insistingwhen Marsalis's at interface works.\"Marsalis later rec puters, and kept telling him so, b a man possessed. After a while, I computer, because I was so fascin Jobs unveiled the iTunes Store o Moscone Center. With hair now studied unshaven look, Jobs pace ster\"demonstrated that the Intern offspring, such as Kazaa, he said, compete with that?To answer th the downsides of using these free able andthe quality was often bad seven-year-olds, and they don't do

r Isaacson ngs from being unbundled from their set about cajoling various top musi so alotharder than he expected. obs met with almost two dozen major ger, and Sheryl Crow. \"He would call night, to say he still needed to get to es recalled. \"He was determined, and d someof these artists.\" was when Dr.Dre came to visit Jobs at he Beatles and Dylan, but he admit him. Now Jobs needed Eminem and d in the iTunes Store, so he huddled s mentor. AfterJobs showed him the ould work with theiPod, Dr. Drepro gotit right.\" ical taste spectrum was the trumpeter West Coast fund-raising tourfor Jazz eting with Jobs's wife, Laurene. Jobs house in Palo Alto, andhe proceeded u want to search for?\" he asked Mar replied. \"Watch what it can do!\" Jobs ttention would wander. \"See how the ecalled, \"I don't care much about com but he goes on for two hours. He was I started looking at him and not the nated with his passion.\" on April 28, 2003, at San Francisco's w closely cropped and receding, and a ed the stage and described how Nap net was made for music delivery.\" Its , offered songs for free. How do you hat question, he began by describing services. The downloads were unreli d. \"A lot ofthese songs are encoded by o a greatjob.\"In addition, there were

The iTunes no previews oralbum art. Then he add best not to mess with karma.\" Why had these piracy sites prolife there was no alternative. The subscrip andMusicNet, \"treat you like a crimina inmate in striped prison garb. Then a screen. \"People want to own the music Aftera lot of negotiating withthe were willing to dosomething with us t Store would start with 200,000 tracks, using the store, he said, you can own be assured of the download quality, ge download it, and use it with your iM soundtrack of your life.\" The price? Ju third of what a Starbucks latte cost. W get the rightsong from Kazaa took ab a minute. By spending an hour of yo lars, he calculated, \"you're working for one more thing ... \"With iTunes, it's karma.\" Clapping the loudest for that line bels in the front row, including Dou Iovine, in his usual baseball cap, and Music. EddyCue, who was in charge o would sell a million songs in six month a million songs in six days. \"This will point for the music industry,\" Jobs dec Microsoft \"We were smoked.\" That was the blunt emailsent to fo Microsoft executive in charge of Wind dayhe sawthe iTunes Store. It had on get the music companies to go along?\"

Store 403 ded, \"Worst ofall it's stealing. It's erated, then? Because, Jobs said, iption services, such as Pressplay nal,\" hesaid, showing a slide ofan a slide ofBob Dylan came on the c theylove.\" e record companies, he said, \"they to change theworld.\"The iTunes s, and it would grow each day. By your songs, burn them on CDs, et a preview of a songbefore you Movies and iDVDs to \"make the ust 99 cents, he said, less than a Why was it worth it? Because to bout fifteen minutes, rather than our time to save about four dol under the minimum wage!\" And s not stealing anymore. It's good were the heads of the record la ug Morris sitting next to Jimmy d the whole crowd from Warner ofthe store, predicted that Apple hs. Instead the iTunes Storesold l go down in historyas a turning clared. our colleagues byJim Allchin, the dows development, at 5 p.m. the nlyone other line: \"How did they \"

404 Walter Later that evening a reply ca ning Microsoft's online business Windows (I assume they won't to Windows), we will really be s team needed \"to bring this kind will require focus and goal alig which delivers direct user value, s though Microsoft had its ownIn to providing end-to-end service t Bill Gates himselfweighed in \"Apple's Jobs again,\" indicated h focus in on a few things that co face right, and market things as r said. He too expressed surprise th music companies to go along wi me. The music companies' own o unfriendly to the user. Somehow to do something prettygood.\" Gates also found it strange th that allowed people to buy songs basis. \"I am not saying this strang ifwe did, so did Real and Presspla one else,\" he wrote. \"Now that Jo to get something where the user I think we need some plan to pr bit flat footed again, we can mov better.\" It was an astonishing pri been caught flat-footed, andit wo Apple. Butlike Sony, Microsoft c Jobs showed the way. Instead Apple continued to sm had predicted: It ported the iTu But that took some internal agon decide whether they wanted the i ers. Jobs was initially opposed. \"B was driving the sales ofMacs even

r Isaacson ame from David Cole, who was run s group. \"When Apple brings this to make the mistake of not bringing it smoked.\" He said that the Windows ofsolution to market,\" adding, \"That gnment around an end-to-end service something we don't have today.\" Even nternet service (MSN), it was not used theway Apple was. n at 10:46 thatnight. His subject line, his frustration. \"Steve Jobs's ability to ount, get people who get user inter revolutionary are amazing things,\" he hatJobs had beenable to convince the ith his store. \"This is very strange to operations offer a service that is truly w they decide to give Apple the ability hat no one else had created a service s rather than subscribe on a monthly geness means we messed up—at least ay and MusicNet and basically every obs has done it we need to move fast interface and Rights are as good rove that, even though Jobs has us a ve quick and both match and do stuff ivate admission: Microsoft had again would again try to catch up by copying could never make it happen, even after moke Microsoft in the way that Cole unes software and store to Windows. nizing. First,Jobs and his team had to iPod to work withWindows comput By keeping the iPod for Mac only, it n more thanweexpected,\" he recalled.

The iTunes But lined up against him were all fo Rubinstein, Robbin, and Fadell. It w future ofApple should be. \"We felt w business, notjust in the Macbusiness Jobs always wanted Apple to creat cal walled garden where hardware and worked well together to create a grea cess of one product drove sales of a facing pressure to have his hottest n machines, and it went against his nat for months,\" Jobs recalled, \"me agai he declared that Windows users wou body.\" But still his team kept pushin said Fadell. Finally Jobs declared, \"Until you business sense, I'm not going to do backing down. If you put aside em prove thatit made business sense to a Experts were called in, sales scenario cluded thiswould bring in more profi said Schiller. \"Under all scenarios, th ization of Mac sales that would outw sometimes willing to surrender, des won any awards for gracious concessi onemeeting where they showed him to you assholes. Go do whatever the That left another question: Whe compatible withWindows machines iTunes to serve asthe music-managem users? As usual, Jobs believed the h together: The userexperience depend plete sync (so to speak) withiTunes s was opposed. \"I thought that was cra software,\" Schiller recalled. \"But Stev do it, we should do it right.'\" Schiller prevailed at first. Apple d

s Store 405 our of his top executives: Schiller, was an argument about what the we should be in the music player s,\" said Schiller. ate its own unified Utopia, a magi nd software and peripheral devices at experience, and where the suc all the companions. Now he was new product work withWindows ture. \"It was a really big argument inst everyone else.\" At one point uld get to use iPods \"over mydead ng. \"This needs to get to the PC,\" can prove to me that it will make it.\" That was actually his way of motion and dogma, it was easy to allow Windows users to buy iPods. os developed, and everyone con its. \"We developed a spreadsheet,\" here was no amount of cannibal- weigh the sales of iPods.\" Jobs was spite his reputation, but he never ion speeches. \"Screw it,\"he said at m the analysis. \"I'msick oflistening hellyou want.\" en Apple allowed the iPod to be s, should it also create a version of ement software for thoseWindows hardware and software should go nded on the iPodworking in com software on the computer. Schiller azy, since we don't make Windows ve kept arguing, If we're going to decided to allow the iPod to work

406 Walter withWindows by using software pany. But the software was so clu Apple embarked onafast-track ef Jobs recalled: To make the iPod work on PCs, company that had a jukebox, gave the iPod, and theydid a crappy jo because this other company was experience. Sowe lived with this months, and then we finally got end, you justdon't want someone experience. People may disagree w about that. Porting iTunes to Windows m companies—whichhad made dea ance that it wouldbe for onlythe and negotiate again. Sony was esp it another example ofJobs changi It was. But bythen the other label Store was working and went along Jobs announced the launch o 2003. \"Here's a feature that peopl happened,\" he said, waving his ha \"Hell froze over,\" proclaimed the pearances and videos from MickJa cool thing for musicians and music \"That's why I'mhere to kiss the co Jobswas never proneto underst he declared, \"iTunes for Windows ever written.\" Microsoft was not grateful. \"They they pursued in the PC business, software,\" Bill Gates told Busines

r Isaacson from MusicMatch, an outside com unky that it proved Jobs's point, and ffort toproduce iTunes for Windows. , we initially partnered with another e them the secret sauce to connect to ob. That was the worst of allworlds, controlling a big piece of the user crappy outside jukebox for about six iTunes written for Windows. In the else to control a big partof the user with me, but I am pretty consistent meant going back to all of the music als to be in iTunes based on the assur small universe of Macintoshusers— pecially resistant. Andy Lack thought ging the terms after a deal was done. els were happy about how the iTunes g, so Sony was forced to capitulate. of iTunes for Windows in October le thought we'd never add until this and at the giant screen behind him. slide. The show included iChat ap agger, Dr. Dre, and Bono. \"It's avery c,\" Bono said of the iPod and iTunes. orporate ass. I don't kiss everybody's.\" tatement. To the cheers of the crowd, s is probably the best Windows app y're pursuing the same strategy that , controlling both the hardware and ss Week. \"We've always done things

The iTunes a little bit differently than Apple in It was not until three years later, in N was finally able to release its own answ Zune, andit looked like an iPod, thoug it had achieved a market share of less the cause of the Zune's uninspired des The older I get, the more I see how Zune was crappy because the people at or art the way we do. We won becaus made the iPod for ourselves, and wh yourself, oryour best friend orfamily, y you don't love something, you're notgo extraweekend, challenge the status qu Mr. Tambourine Man Andy Lack's first annual meeting at S week that Apple launched the iTunes of the music division four months ear time negotiating withJobs. In fact h Cupertino, carrying the latest version the iTunes Store. In front of the two pulled the iPod out of his pocket. \"H buyuki Idei and Sony's North Americ on. \"Here's the Walkman killer. There you bought a music company isso tha device like this. You can do better.\" But Sonycouldn't. It had pioneere man, it had a greatrecord company, a ingbeautiful consumer devices. It had Jobs's strategy of integration of hardw tent sales. Why did it fail? Partly beca Time Warner, that was organized int ominous) with their own bottom line

Store 407 terms of giving people choice.\" November 2006, that Microsoft wer tothe iPod. It was called the ugh a bit clunkier. Two years later s than 5%.Jobs was brutal about sign and market weakness: w much motivations matter. The tMicrosoft don't really love music se we personally love music. We hen you're doing something for you're notgoing to cheese out. If oing togotheextra mile, work the uo as much. Sony was in April 2003, the same s Store. He had been made head rlier, and had spent much of that he arrived in Tokyo directly from n ofthe iPod and a description of o hundred managers gathered, he Here it is,\" he said as CEO No- ca head Howard Stringer looked e's no mystery meat.The reason atyou could be the one to make a ed portable music with the Walk and it had a long history of mak d all of the assets to compete with ware, software, devices, and con ause it was a company, like AOL to divisions (that word itselfwas es; the goal of achieving synergy

408 Walte insuch companies by prodding th ally elusive. Jobs did not organize Apple closely controlled all of his team cohesive and flexible company, w \"We don't have 'divisions' with th run one P&L for the company.\" In addition, like many compan tion. If it built a music player and to share digital songs, that migh ofJobs's business rules was to nev \"If you don't cannibalize yourself though an iPhone might canniba cannibalize sales of a laptop, that That July, Sony appointed a Samit, to create its own iTunes which would sell songs online an table music devices. \"The move way to unite the sometimes con sions,\" the New York Times report many as thereason Sony, theinve player in the portable audio ma Sony Connect launched in May before Sony shut it down. Microsoft was willing to license digital rights format to other co its operating system in the 1980s license out Apple's FairPlay to ot aniPod. Norwould he allow othe iPods. A variety of experts said t lose market share, as it didin thec continues to rely on a proprietary School professor Clayton Christe becomea niche product.\"(Other t of the world's most insightful bu

r Isaacson he divisions to work together was usu e into semiautonomous divisions; he ms and pushed them to work as one with one profit-and-loss bottom line. heirown P&L,\" said Tim Cook. \"We nies, Sony worried about cannibaliza- d service that made it easy for people hthurt sales of its record division. One ver be afraid ofcannibalizing yourself. f, someone else will,\" he said. So even alize sales ofan iPod, oran iPad might t did not deterhim. a veteran of the music industry, Jay s-like service, called Sony Connect, nd allow them to play on Sony's por e was immediately understood as a nflicting electronics and content divi ted. \"That internal battle was seen by entor oftheWalkman and the biggest arket, was being trounced by Apple.\" y 2004. It lasted just over three years e its Windows Media software and ompanies, just as it had licensed out s.Jobs, on the other hand, would not ther device makers; it worked only on er online stores to sell songs foruse on this would eventually cause Apple to computer wars ofthe 1980s. \"IfApple yarchitecture,\" the Harvard Business ensen told Wired, \"theiPod will likely than in this case, Christensen wasone usiness analysts, andJobs was deeply

The iTunes influenced by his book The Innovator same argument. \"There's nothing uni storyhas played out on the PC.\" Rob Glaser, the founder of Rea Apple's restrictions in July 2004 wit had attempted to convince Jobs to lic Harmony, butwhen that didn't happe it and used it with the songs that Har that the songs sold by Harmony wou an iPod or a Zune or a Rio, and he with the slogan \"Freedom of Choice release saying thatApple was \"stunned the tactics and ethics of a hacker to works responded by launching an I \"HeyApple! Don'tbreak my iPod.\" J but in October he released a new v caused songs bought through Harmo is a one-of-a-kind guy,\" Glaser said. you do business with him.\" In the meantime Jobs and his tea Ive—were able to keep coming up w extended Apple's lead. The first majo 2004, was the iPod Mini. Far smaller size of a business card—it had less c price. At one pointJobs decided to kil wantto pay the same forless. \"He do to how it would be great on a run or the Mini was what truly launched th eliminating the competition from sm eighteen months after it was introdu portable music player market shot fro The iPod Shuffle, introduced in J olutionary. Jobs learned that the shu played songs in random order, had b to be surprised, and theywere also to vising their playlists. Some users eve

s Store 409 rs Dilemma.) Bill Gates made the ique about music,\" he said. \"This alNetworks, tried to circumvent th a service called Harmony. He cense Apple's FairPlay format to en, Glaser justreverse-engineered rmonysold. Glaser's strategywas uld play on any device, including launched a marketing campaign e.\" Jobs was furious and issued a d thatRealNetworks has adopted o break into the iPod.\" RealNet Internet petition that demanded Jobs kept quiet for a few months, version of the iPod software that ony to become inoperable. \"Steve \"You know that about him when am—Rubinstein, Fadell, Robbin, with new versions of the iPod that or revision, announced in January r than the originaliPod—justthe capacity and was about the same ll it,notseeing why anyone would oesn't do sports, so he didn't relate r in the gym,\" said Fadell. In fact he iPod to market dominance, by maller flash-drive players. In the uced, Apple's market share in the om 31% to 74%. January 2005, was even more rev uffle feature on the iPod, which become verypopular. People Uked oo lazy to keep settingup and re en became obsessed with figuring

410 Walter out whether the song selection w iPod keptcoming back to,say, the the iPod Shuffle. As Rubinstein a flash player that was small and ine making the screen tinier. At one gestion: Getrid ofthe screen alto \"Just get rid ofit,\"Jobs insisted. F the songs. Jobs's insight was that songs would play randomly. After All that was needed was a button the mood forit. \"Embrace uncerta As competitors stumbled and became a larger part of Apple's b were half of Apple's revenues. T Apple brand. But an even bigger s sold one million songs in the firs April 2003, the store went on to year. In February 2006 the store s Ostrovsky, sixteen, ofWest Bloom \"Speed of Sound\" and got a cong upon himten iPods, an iMac, and The success ofthe iTunes Stor 2011 an important new business people trusted with their online Along with Amazon, Visa, PayPal services, Apple hadbuiltup databa their email address and credit ca easy shopping. This allowed App subscription through its online sto the magazine publisher, would hav scriber. AstheiTunes Store sold vi up a database of 225 million acti tioned Apple for the next age of d

r Isaacson was truly random, and if so, why their e Neville Brothers. That feature ledto and Fadell were working on creating a expensive, they kept doing things like point Jobs came inwith a crazy sug ogether. \"What?!?\" Fadell responded. Fadell asked how users would navigate t you wouldn't need to navigate; the r all, they were songs you had chosen. n to skip over a song ifyou weren't in ainty,\" the ads read. Apple continued to innovate, music business. In January 2007 iPod sales The device also added luster to the success was the iTunes Store. Having st sbc days after it was introduced in sell seventy million songs in its first sold itsone billionth song when Alex mfield, Michigan, bought Coldplay's gratulatory call from Jobs, bestowing d a $10,000 music giftcertificate. ore also had a more subtle benefit. By had emerged: being the service that identity and payment information. l, American Express, and a few other ases ofpeople whotrusted themwith rd information to facilitate safe and ple to sell, for example, a magazine ore; when that happened, Apple, not ve a direct relationship with the sub ideos, apps, and subscriptions, it built ive users byJune 2011, which posi digital commerce.

CHAPTER THIR MUSIC M The Sound Track Jimmy Iovine, BonoyJobs, andTheEdge> 2 On His iPod As the iPod phenomenon grew, it spa of presidential candidates, B-list cele England, and just about anyone else w your iPod?\" The parlor game took off a piece in the NewYork Times in early President George W. Bush gave whe \"Bush's iPod is heavy on traditional co has selections by Van Morrison, who favorite, and byJohn Fogerty, most pr 411

RTY-TWO MAN k of His Life 2004 awned a question that was asked ebrities, first dates, the queen of with white earbuds: \"What's on f when Elisabeth Bumiller wrote y 2005 dissecting the answer that en she asked him that question. ountrysingers,\" she reported. \"He ose 'Brown Eyed Girl' is a Bush redictably 'Centerfield.'\" She got

412 Walte a Rolling Stone editor, Joe Levy, mented, \"One thing that's intere who don't like him.\" \"Simply handing over your the total stranger sitting next to book,\" Steven Levy wrote in Th to do is scroll through your libra speaking, you're naked. It's not j So one day, when we were sitting I asked Jobs to let me see his. A favorite songs. Not surprisingly, there were a ries, including the tracks Jobs ha and Wozniak were able toscore t the series was officially released. Dylan albums, starting with his f upto Oh Mercy (1989). Jobs had Hertzfeld and others that Dylan his albums after Blood on the Tr his early performances. The one \"Things Have Changed\" from blyhis iPod did not include Em Hertzfeld hadbrought him thew The other great trove on his songs from seven of their album Help!, LetItBe, MagicalMystery T Lonely Hearts Club Band. The sol Stones clocked in next, with six Jump Back, Some Girls, Sticky Fing Dylan and the Beatles albums, But true to his beliefthat album those of the Stones and most ot three or four cuts. His onetime g sentedby selections fromfour alb of\"Love Is Just a Four-Letter W His iPod selections were tho

r Isaacson to analyze the selection, and he com esting is that the president likes artists iPod to a friend, your blind date, or you on the plane opens you up like a he Perfect Thing. \"All somebody needs ary on that click wheel, and, musically just what you like—its who you are'' g in his living room listening to music, As we sat there, he flicked through his all six volumes of Dylan's bootleg se had first started worshipping when he them onreel-to-reel tapes years before . In addition, there were fifteen other first, Bob Dylan (1962), butgoing only spent alotoftime arguing with Andy n's subsequent albums, indeed any of racks (1975), were not as powerful as exception he made was Dylan's track the 2000 movie Wonder Boys. Nota mpire Burlesque (1985), the album that weekend hewas ousted from Apple. s iPod was the Beatles. He included ms: A Hard Days Night, Abbey Road, Tour, Meet the Beatles! and SgtPepper's lo albums missed the cut. The Rolling albums: Emotional Rescue, Flashpoint, gers', and Tattoo You. In the caseof the most were included in their entirety. ms can and should be disaggregated, ther artists on his iPod included only girlfriend Joan Baez was amply repre bums, includingtwo differentversions Word.\" ose of a kid from the seventies with

Music M his heart in the sixties. There were A Buffalo Springfield, Don McLean, D lin,Jefferson Airplane, JimiHendrix, Simon and Garfiinkel, and evenThe Sam the Sham (\"Wooly Bully\"). On were from more contemporary artists Keys, Black Eyed Peas, Coldplay, D friend of both his andApple), Moby Heads. As for classical music, there including the Brandenburg Concertos Jobstold Sheryl Crowin May200 Eminem tracks, admitting, \"He's star centsubsequently tookhimto anEmi missed making it ontoJobs's iPod. A concert, \"I don't know...\" He later t artist, but I just don'twant to listen t his values the wayI can to Dylan's.\" His favorites did not change over out in March 2011, he transferred hi noonwe sat in his living room as he s new iPad and, with a mellow nostalg hear. Wewent throughthe usual Dylan came more reflective and tapped on a mini,\" performed by Benedictine mo out, almostin a trance. \"That's really lowed with Bach's Second Brandenb The Well-Tempered Clavier. Bach, he d composer. He was particularly fond tween the two versions of the \"Goldb recorded, the first in 1955 as a twent nist and the second in 1981,a yearbe and day,\"Jobs saidafterplaying them first is an exuberant, young, brilliant tion. The later one is so much more deep soul who's been through a lot in

Man 413 Aretha, B. B. King, Buddy Holly, Donovan, the Doors, Janis Jop- Johnny Cash, John Mellencamp, e Monkees (\"I'm a Believer\") and nly about a quarter of the songs s, such as 10,000 Maniacs, Alicia Dido, Green Day, John Mayer (a (likewise), U2, Seal, andTalking e were a few recordings of Bach, s, andthree albums byYo-Yo Ma. 03 that he was downloading some rtingto growon me.\" James Vin minem concert. Even so, the rapper As Jobs said to Vincent after the told me, \"I respect Eminem as an to his music, and I can't relate to the years. When the iPad 2 came is favorite music to it. One after scrolled through the songs on his gia, tapped on ones he wanted to nandBeatles favorites, then he be a Gregorian chant, \"Spiritus Do onks. For a minute or so he zoned beautiful,\" he murmured. He fol burg Concerto and a fugue from declared, was his favorite classical d of listening to the contrasts be bergVariations\" that Glenn Gould ty-two-year-old little-known pia before he died.\"They're like night m sequentially one afternoon. \"The t piece, played so fast it's a revela spare and stark. You sense a very n life. It's deeper and wiser.\" Jobs

414 Walter was onhis third medical leave tha sions, and I asked which he liked much better,\" he said. \"I used to nowI can see where he was comi He then jumped from the sub the Wind.\" When he noticed me van did some really good stuff, re low,\" and then admitted that perh sounded betterwhenwewere you I asked what music from ourc days. He scrolled down the list on Dead's 1969 song \"Uncle John's B ics: \"When life looks like Easy Str a moment we were back at that tu of the sixties was endingin discor is, are you kind?\" Then he turned to Joni Mitc adoption,\" he said. \"This song is \"Little Green,\" and we listened to describe the feelings ofa mother w the papers in the family name / Y not ashamed.\" I asked whether he up for adoption. \"No, not much,\" These days, he said, he thou about his birth. That led him to \"Both Sides Now,\" with its lyrics looked at life from both sides now, how, / It's life's illusions I recall, Glenn Gould had done with Bac had recorded \"Both Sides Now\" then in an excruciatingly haunting latter. \"It's interesting howpeople Some people, he added, don't I asked who he had in mind. \"Jo players who's ever lived, and I'm Jobs replied. Jobs liked Mayer and

r Isaacson atafternoon when heplayed bothver better. \"Gould liked the later version o like the earlier, exuberant one. But ing from.\" blime to the sixties: Donovan's \"Catch e look askance, he protested, \"Dono eally.\" He punched up \"Mellow Yel haps it was not the best example. \"It ung.\" childhood actually held up well these n his iPad and called up the Grateful Band.\" He nodded along with thelyr reet, there isdanger atyour door.\" For umultuous time when the mellowness rd. \"Whoa, oh, what I want to know chell. \"She had a kid she put up for s about her little girl.\" He tapped on o themournful melody andlyrics that who gives up a child. \"So you sign all You're sad and you're sorry, but you're e still often thought about being put he said. \"Not too often.\" ught more about getting older than o play Joni Mitchell's greatest song, s about being older and wiser: \"I've w, / From win and lose,and still some / I really don't know life at all.\" As ch's \"Goldberg Variations,\" Mitchell many years apart, first in 1969 and g slow version in 2000. He played the e age,\" he noted. age well even when they are young. ohn Mayer is one of the best guitar just afraid he's blowing it big time,\" d occasionally had him overfor din-

Music Man 415 ner in Palo Alto. When he was twenty-seven, Mayer appeared at the January 2004 Macworld, where Jobs introduced GarageBand, and he became a fixture at the event mostyears. Jobs punched up Mayer's hit \"Gravity.\" The lyrics are about a guy filled with love who inexplicably dreams ofways to throw it away: \"Gravity isworking against me, / And gravity wants to bringmedown.\"Jobs shook hisheadand commented, \"I think he's a really good kid underneath, but he's just been out of control.\" At the end of the listening session, I asked him a well-worn ques tion: the Beatlesor the Stones? \"If the vaultwason fireand I could grab only one set of master tapes, I would grab the Beatles,\" he answered. \"The hard one would be between the Beatles and Dylan. Somebody else could have replicated the Stones. No one could have been Dylan or the Beatles.\" As he was ruminating about how fortunate we were to have all of them when we were growing up, his son, then eigh teen, came in the room. \"Reed doesn't understand,\" Jobs lamented. Or perhaps he did. He was wearing a Joan Baez T-shirt, with the words \"Forever Young\" on it. Bob Dylan The only time Jobs can ever recall being tongue-tied was in the pres ence of Bob Dylan. He was playing near Palo Alto in October 2004, and Jobs was recovering from his first cancersurgery. Dylan was not a gregarious man, not a Bono or a Bowie. He wasneverJobs's friend, nor did he care to be. He did, however,invite Jobs to visit him at his hotel before the concert. Jobs recalled: We sat on the patio outside his room and talked for two hours. I was reallynervous, because he was one of my heroes. And I was also afraid that he wouldn't be really smart anymore, that heel be a caricature of himself, like happens to a lot of people. But I was delighted. He was as sharp as a tack. He was everything Id hoped. He was really open and honest. He was just telling me about his life and about writing his songs. He said,\"They just came through me, it wasn'tlike I was having

416 Walter to compose them. That doesn't ha that way anymore.\" Then he paus andlittle smile, \"ButI still cansin The next time Dylan played n tricked-up tour bus just before th his favorite song was, Jobs said \"O sang it that night. After the conc the tour bus came by and screech \"So, did you hear my song I san drove off. WhenJobs tells thetale Dylan's voice. \"He's one ofmy all forhimhas grown over the years, did it when he was soyoung.\" A few months after seeing h grandiose plan. The iTunes Store every Dylan song every recorded, $199. Jobs would be the curator o Lack of Sony, whichwas Dylan's withoutsome serious concessions felt the price was toolowandwou treasure,\" said Lack, \"and Steve w commoditized him.\" It got to the other record executives were hav the price points, not them. So La \"Okay, then I will call Dylan the type of thingthat Dylan ever Rosen,to sort things out. \"It's a really bad idea,\" Lack bers. \"Bob is Steve's hero. He'll professional and a personal desir chain a bit. So he made an offer for a million dollars tomorrow if Lack later explained, it was an a of those accounting things recor forty-five minutes laterand accep

r Isaacson appen anymore, I justcan't write them sed and said to me with his raspy voice ng them.\" nearby, he invited Jobs to drop by his he concert. When Dylan asked what One Too Many Mornings.\" So Dylan cert, as Jobs was walking out the back, hed to a stop. The door flipped open. ng for you?\" Dylan rasped. Then he e, hedoes apretty good impression of l-time heroes,\"Jobs recalled. \"My love , it's ripened. I can't figure out how he him in concert, Jobs came up with a e should offer a digital \"boxed set\" of d, more than seven hundred in all, for ofDylan for the digital age. ButAndy label, was in no mood to make a deal s regarding iTunes. In addition, Lack uld cheapen Dylan. \"Bob is a national wanted him on iTunes at a price that e heart of the problems that Lackand ving withJobs: He was getting to set ack said no. n directly,\" Jobs said. But it was not r dealt with, soit fell to his agent, Jeff told Rosen, showing him the num sweeten the deal.\" Lack had both a re to fend Jobs off, even to yank his r to Rosen. \"I will write you a check f you hold off for the time being.\" As advance against future royalties, \"one rd companies do.\" Rosen called back pted. \"Andy worked thingsout with us

Music Man 417 and asked us not to do it, which we didn't,\" he recalled. \"I think Andy gave us some sort of an advance to holdoffdoing it.\" By2006, however, Lackhad stepped aside asthe CEO ofwhatwas by then Sony BMG, andJobs reopened negotiations. He sent Dylan an iPod with all of his songs on it, and he showed Rosen the type of marketing campaign that Apple could mount. In August he an nounced a grand deal. It allowed Apple to sell the $199 digital boxed set of allthe songs Dylan ever recorded, plus the exclusive right to offer Dylan's new album, Modern Times, for pre-release orders. \"Bob Dylan is one of the most respected poets and musicians of our time, and he is a personal hero of mine,\" Jobs said at the announcement. The 773- track set included forty-two rarities, such as a 1961 tape of \"Wade in the Water\" made in a Minnesota hotel, a 1962 version of \"Handsome Molly\" from a live concert at the Gaslight Cafe in Greenwich Vil lage, the truly awesome rendition of \"Mr.Tambourine Man\" from the 1964 Newport Folk Festival (Jobs's favorite), and an acoustic version of\"Outlaw Blues\" from 1965. As part of the deal, Dylan appeared in a television ad for the iPod, featuring his new album,Modern Times. This was one of the most as tonishing cases of flipping the script since Tom Sawyer persuaded his friends to whitewash the fence. In the past, getting celebrities to do an ad required paying them a lot of money. But by 2006 the tables were turned. Major artists wanted to appearin iPod ads;the exposure would guarantee success. James Vincent had predicted this a few years earlier, when Jobs said he had contacts with many musicians and could pay them to appearin ads. \"No, things are going to soon change,\" Vincent replied. \"Apple is a different kind of brand, and it's cooler than the brand of most artists. We should talk about the opportunity we offer the bands, not pay them.\" Lee Clow recalled that there was actually some resistance among the youngerstaffers at Apple and the ad agency to using Dylan.\"They wondered whether he was still cool enough,\" Clow said. Jobs would hear none of that. He was thrilled to have Dylan. Jobs became obsessed by every detail of the Dylan commercial. Rosen flew to Cupertino so that they couldgo through the album and pick the song they wanted to use, which ended up being \"Someday

418 Walter Baby.\" Jobs approved a test vide for Dylan, which was then shot when it came back, Jobs hated wanted a new style. So Clow hi able to convince Dylan to retape was done with a gently backlit co strumming and singing, while a with her iPod. Jobs loved it. The ad showed the halo effe Dylan win a younger audience, computers. Because of the ad, D Billboard chart its first week, top Aguilera and Outkast. It was th top spot since Desire in 1976, t Apple's role in propelling Dyla run-of-the-mill celebrity-endors signs a big check to tap into the e one flipped the formula, with t Mr. Dylan access to younger de sales to places they hadn't been si The Beatles Among Jobs's prized CDs was so taped sessions of the Beatles It became the musical score to product. Andy Hertzfeldhad fou Jobs in 1986, though Jobs someti Yoko Ono. Sitting in the living r Jobs rummaged around in some then put it on while describing w It's a complex song, and it's fascin they went back and forth and fina non was always my favorite Bead

r Isaacson eo that Clow made using a stand-in in Nashville with Dylan himself. But it. It wasn't distinctive enough. He ired another director, and Rosen was e the entire commercial. This time it owboy-hatted Dylan sitting on a stool, hip woman in a newsboy cap dances ect of the iPod's marketing: It helped just as the iPod had done for Apple Dylan's album was number one on the pping hot-selling albums by Christina he first time Dylan had reached the thirty years earlier. AdAge headlined an. \"The iTunes spot wasn't just a sement deal in which a big brand equity of a big star,\" it reported. \"This the all-powerful Apple brand giving emographics and helping propel his ince the Ford administration.\" a bootleg that contained a dozen or revising \"Strawberry Fields Forever.\" his philosophy of how to perfect a und the CD and made a copyof it for imes told folks that it had come from room of his Palo Alto home one day, e glass-enclosed bookcases to find it, what it had taught him: nating to watch the creative process as ally createdit over a few months. Len- de. [He laughs as Lennon stops during

Music Man 419 the first take and makes the band go back and revise a chord.] Did you hear that little detour they took? It didn't work, so they went back and started from where theywere. It's so rawin this version. It actually makes them sound like mere mortals. You could actually imagine other people doing this, up to this version. Maybe not writing and conceiv ing it, but certainly playing it. Yet theyjust didn't stop. They were such perfectionists they keptit going and going. This made a big impression on me when I was in my thirties. You couldjust tell how much they worked at this. They did a bundle of work between each of these recordings. They kept sending it backto make it closer to perfect. [As he listens to the third take,he points out howthe instrumentation hasgotten more com plex.] The waywe buildstuffat Apple is often this way. Eventhe num ber of models we'd make of a new notebook or iPod. We would start off with a version and then begin refining and refining, doing detailed models of the design, or the buttons, or how a function operates. It's a lot of work, but in the end it just gets better, and soon it's like,\"Wow, how did they do that?!? Where are the screws?\" It was thus understandable that Jobs was driven to distraction by the fact that the Beatles were not on iTunes. His strugglewith Apple Corps, the Beatles' business holding com pany, stretched more than three decades, causing too manyjournalists to use the phrase\"longandwindingroad\" in stories about the relation ship. It began in 1978,when Apple Computers, soon after its launch, was sued by Apple Corps for trademark infringement, based on the fact that the Beatles' former recording labelwas calledApple.The suit wassettledthreeyears later, whenApple Computers paidApple Corps $80,000. The settlement had what seemed back then an innocuous stipulation:The Beatles would not produce any computer equipment and Apple would not market any music products. The Beatles kept their end of the bargain; none of them ever pro duced any computers. But Apple ended up wandering into the music business. It got sued again in 1991, when the Mac incorporated the abilityto playmusical files, then again in 2003,when the iTunes Store was launched. The legal issues were finally resolved in 2007, when

420 Walter Apple made a deal to pay Apple C rights to the name, and then lice use Apple Corps for their record Alas, this did not resolve th iTunes. For that to happen, the B the rights to mostof theirsongs, h over how to handle the digital ri iTunes,\" Jobs laterrecalled, \"butt couple. Theyhate each other but favorite bandwas the last holdou much hoped I would live to resolv Bono Bono, the lead singer of U2, de muscle. He was confident that h best in the world, but in 2004 it together, to reinvigorate its imag album with a song that the bands be \"the motherof all rock tunes.\" to get it some traction, so he plac \"I wanted something specific had a song called 'Vertigo' that f I knew would be contagious, bu many, manytimes.\" He was worr through airplay on the radio was in Palo Alto, walked around the Over the years U2 had spurned o commercials. Now he wanted Jo mercial for free—or at least as p \"They had never done a commer they were getting ripped off by fr were doing with iTunes, and they a younger audience.\" Any other CEO would have

r Isaacson Corps $500 million for allworldwide ensed back to the Beatles the right to and business holdings. he issue of getting the Beatles onto Beatles and EMI Music, which held had to negotiate their owndifferences ights. \"The Beatles all want to be on theyand EMI are like an old married t can't get divorced. The fact that my ut from iTunes was something I very ve.\" As it turned out, he would. eeply appreciated Apple's marketing his Dublin-based band was still the t was trying, after almost thirty years ge. It had produced an exciting new s lead guitarist,The Edge, declared to \" Bono knew he needed to find a way ced a callto Jobs. c from Apple,\" Bono recalled. \"We featured an aggressive guitar riff that ut only if people were exposed to it ried that the era of promoting a song s over. So Bono visited Jobs at home e garden, and made an unusual pitch. offers as high as $23 million to be in obs to use the band in an iPod com part of a mutually beneficial package. rcial before,\" Jobs later recalled. \"But free downloading, they liked what we y thought we could promote them to jumped into a mosh pit to have U2

Music Ma in an ad, but Jobs pushed back a bit. A people in the iPod ads, just silhouette been made.) \"You have silhouettes of f the next phase be silhouettes of artists idea worth exploring. Bono left a copy toDismantle anAtomic Bomb, forJobs t outside the band who had it,\" Bono sa A round of meetings ensued. Job Iovine, whose Interscope records distr Holmby Hills sectionof Los Angeles. U2'smanager, PaulMcGuinness. Anot kitchen, with McGuinness writing do of his diary. U2 would appear in the vigorously promote the album in mul boards to the iTunes homepage. The b it would get royalties from the sale of a Bono believed, like Lack, that the mu each iPod sold,and this washis small a a limited way for his band. \"Bono and I one,\"Iovinerecalled. \"We weren'tjust d we were making a co-branding deal.\" \"We wanted our own iPod, some white ones,\" Bono recalled. \"We want tried other colors than white, and the Jobs relented and accepted the idea,ten The commercial interspersed high partial silhouettewith the usualsilhou ing to an iPod. But evenas it wasbeing with Apple was unraveling. Jobs bega the idea of a special black iPod, and pinned down. He called James Vincen him to call London and put things on happen,\" Jobs said. \"They don't realize them, it's going south. Let's think of s lifelongU2 fan, knew how big the ad w Apple, and begged for the chance to c

an 421 Apple didn't feature recognizable es. (The Dylan ad had not yet fans,\" Bono replied, \"so couldn't s?\" Jobs said it sounded like an y of the unreleased album, How to hear. \"He was the only person aid. bs flew down to talk to Jimmy ributed U2, at his house in the The Edge was there, alongwith ther meetingtook place in Jobs's own the deal points in the back e commercial, and Apple would ltiple venues, ranging from bill band wouldget no direct fee,but a special U2 edition of the iPod. usicians should get a royalty on attempt to assertthe principlein I asked Steveto make us a black doing a commercial sponsorship, ething distinct from the regular ted black, but Steve said, 'We've ey don't work.' \"A few days later entatively. h-voltage shots of the band in uette of a dancingwoman listen g shot in London, the agreement an having second thoughts about the royalty rates were not fully nt, at Apple's ad agency, and told hold.\"I don't think it's going to e how much value we are giving some other ad to do.\" Vincent, a would be, both for the band and call Bono to try to get things on

422 Walte track. Jobs gave him Bono's mob in his kitchen in Dublin. Bono was also having a few is going to work,\" he told Vinc asked what the problem was. \" we said we would never do naff being British and familiar with that meant. \"Doing rubbishy thi are all about our fans. We feel went in an ad. It doesn't feel righ Vincentasked what more Ap giving you the most important music,\" said Bono. \"And what ar our fans willthink it's for you. W pliedthat the offer of the special arrangement was a huge deal. \"T give,\" he told Bono. The singer said he was ready so Vincent immediately called J first seen them in concert in N situation. Then he called Jobs an showwhat the blackiPodwould Bono back, and asked if he knew beforeand admiredeachother.\" that guy. I drink his bathwater.\" \"That's a bit strong,\" Vincen comevisit and show how coolyo \"I'm going to pick him up m \"He's going to stay at my house get him reallydrunk.\" The next day, as Ive headedto Jobs,who was still havingsecond the right thing,\" he said. \"We d He was worried about setting th from each iPod sold. Vincent as special.

er Isaacson bile number, and he reached the singer w second thoughts. \"I don't think this cent. \"The band is reluctant.\" Vincent \"When we were teenagers in Dublin, fstuff,\" Bono replied. Vincent, despite h rock slang, said he didn't know what ings for money,\" Bono explained. \"We like we'd be letting them down if we ht. I'm sorrywe wastedyour time.\" pplecould do to makeit work. \"We are thing we have to give, and that's our re you giving us back? Advertising, and We need something more.\" Vincent re l U2 edition of the iPod and the royalty That'sthe mostprizedthingwe have to y to try to put the deal back together, Jony Ive, another big U2 fan (he had Newcastle in 1983), and described the nd suggested he send Ive to Dublin to d looklike. Jobs agreed. Vincent called wJony Ive, unaware that they had met \"KnowJony Ive?\" Bono laughed.\"I love nt replied, \"but how about letting him our iPod would be?\" myselfin my Maserati,\" Bono answered. e,I'm going to take him out, and I will owardDublin, Vincent had to fend off dthoughts.\"I don't know if we'redoing don't want to do this for anyone else.\" he precedent of artists getting a royalty ssured him that the U2 deal would be

Music M \"Jony arrived in Dublin and I put rene place over a railway trackwith a \"He shows me this beautiful black iP and I say okay, we'll do it.\"They wen of the details, and then called Jobs i agree. Jobs haggled for a while over over the design, before he finally em Bono. \"It's actually amazing that a CE he said. When it was resolved, Ive and drinking. Both are comfortable in pub to call Vincent back in California. H message on his answering machine, w to erase. \"I'm sitting here in bubbling it said. \"We're both a bit drunk, and iPod and I can't even believe it exists Thank you!\" Jobs rented a theater in SanJose f mercial and special iPod.BonoandTh album sold 840,000 copies in its firstw on the Billboard chart. Bono told the p the commercial without chargebecaus of the commercial as Apple will.\" Jim allowthe band to \"reacha younger au What was remarkable was that a electronics companywas the best way appeal to young people. Bono later sponsorships were deals with the de Greg Kot,the Chicago Tribune music c of creative minds, more creative than The lead singeris Steve Jobs.These m beautiful art objectin music culture si iPod.The job of art is to chase uglines Bono got Jobs to do another dea his Product Red campaign that raise AIDS in Africa.Jobswas never much agreed to do a special red iPod as part

Man 423 him up at my guest house, a se a view of the sea,\" Bono recalled. Pod with a deep red click wheel, nt to a local pub, hashedout some in Cupertino to see if he would each detail of the finances, and mbraced the deal. That impressed EO cares that much about detail,\" d Bono settled into some serious bs. After a fewpints, they decided He was not home, so Bono left a which Vincent made sure never g Dublin with your friend Jony,\" we're happywith this wonderful s and I'm holding it in my hand. for the unveiling of the TV com he Edgejoined him onstage. The week and debuted at number one press afterward that he had done se \"U2 will get as much value out mmy Iovine added that it would udience.\" associating with a computer and yfor a rock band to seem hip and explained that not all corporate evil. \"Let's have a look,\" he told critic. \"The 'devil' here is a bunch n a lot of people in rock bands. men have helped design the most ince the electric guitar. That's the ss away.\" al with him in 2006, this one for ed money and awareness to fight interested in philanthropy, but he t of Bono's campaign. It was not a

424 Walter Isaacson wholehearted commitment. He balked, for example, at using the cam paign's signature treatment ofputting the name ofthe company in pa rentheses with the word \"red\" in superscript afterit, asin (APPLE)1^0. \"I don't wantApple in parentheses,\" Jobs insisted. Bono replied, \"But Steve, that's how we show unity for our cause.\" The conversation got heated—to the F-you stage—before they agreed to sleep on it. Finally Jobs compromised, sort of. Bono could do what he wanted in his ads, but Jobswould never put Apple in parentheses on anyof his products or in any of his stores. The iPod was labeled (PRODUCT)1^0, not (APPLE)**0. \"Steve can be sparky,\" Bono recalled, \"but those moments have made us closer friends, because there are not many people in yourlife where you can have those robust discussions. He's very opinionated. After our shows, I talkto him and he's always got an opinion.\"Jobs and his family occasionally visited Bonoand hiswife and four kids at their home near Nice on the French Riviera. On one vacation, in 2008,Jobs chartereda boat and moored it near Bono's home.They ate meals to gether, and Bono played tapes of the songs U2 was preparing for what became the NoLine on the Horizon album. But despite the friendship, Jobswas still a tough negotiator. They tried to makea dealfor another ad and special release of the song\"Get On Your Boots,\" but they could not come to terms. When Bono hurt his back in 2010 and had to can cel a tour, Powell sent him a gift basket with a DVD of the comedy duo Flight of the Conchords, the bookMozart's Brain and the Fighter Pilot, honeyfrom her beehives, and pain cream. Jobs wrote a note and attached it to the last item, saying, \"Pain Cream—I love this stuff.\" Yo-YoMa There was one classical musician Jobs revered both as a person and as a performer: Yo-Yo Ma, the versatile virtuoso who is as sweet and profound as the tones he creates on his cello. They had met in 1981, when Jobs was at the Aspen Design Conference and Ma was at the Aspen Music Festival. Jobs tended to be deeply moved by artists who displayed purity, and he became a fan. He invited Ma to play at his

Music Man 425 wedding, but he was out of the country on tour. He came by the Jobs house a few years later, sat in the living room, pulled out his 1733 Stradivarius cello, and played Bach. \"This is what I would haveplayed for your wedding,\" he told them. Jobs teared up and told him, \"You playing is the best argument I've ever heard for the existence of God, because I don't really believe a human alone can do this.\" On a sub sequent visit Ma allowed Jobs's daughter Erin to hold the cello while they sat around the kitchen. Bythat timeJobs had been struckby can cer, and he made Ma promise to playat his funeral.