Jobs’s vision that your computer could become your digital hub went back to a technology called FireWire, which Apple developed in the early 1990s. It was a high-speed serial port that moved digital files such as video from one device to another. Japanese camcorder makers adopted it, and Jobs decided to include it on the updated versions of the iMac that came out in October 1999. He began to see that FireWire
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could be part of a system that moved video from cameras onto a computer, where it could be edited and distributed.
To make this work, the iMac needed to have great video editing software. So Jobs went to his old friends at Adobe, the digital graphics company, and asked them to make a new Mac version of Adobe Premiere, which was popular on Windows computers. Adobe’s executives stunned Jobs by flatly turning him down. The Macintosh, they said, had too few users to make it worthwhile. Jobs was furious and felt betrayed. “I put Adobe on the map, and they screwed me,” he later claimed. Adobe made matters even worse when it also didn’t write its other popular programs, such as Photoshop, for the Mac OSX, even though the Macintosh was popular among designers and other creative people who used those applications.
Jobs never forgave Adobe, and a decade later he got into a public war with the company by not permitting Adobe Flash to run on the iPad. He took away a valuable lesson that reinforced his desire for end-to-end control of all key elements of a system: “My primary insight when we were screwed by Adobe in 1999 was that we shouldn’t get into any business where we didn’t control both the hardware and the software, otherwise we’d get our head handed to us.”
So starting in 1999 Apple began to produce application software for the Mac, with a focus on people at the intersection of art and technology. These included Final Cut Pro, for editing digital video; iMovie, which was a simpler consumer version; iDVD, for burning video or music onto a disc; iPhoto, to compete with Adobe Photoshop; GarageBand, for creating and mixing music; iTunes, for managing your songs; and the iTunes Store, for buying songs.
The idea of the digital hub quickly came into focus.
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“I first understood this with the camcorder,” Jobs said.
“Using iMovie makes your camcorder ten times more valuable.” Instead of having hundreds of hours of raw footage you would never really sit through, you could edit it on your computer, make elegant dissolves, add music, and roll credits, listing yourself as executive producer. It allowed people to be creative, to express themselves, to make something emotional. “That’s when it hit me that the personal computer was going to morph into something else.”
Jobs had another insight: If the computer served as the hub, it would allow the portable devices to become simpler. A lot of the functions that the devices tried to do, such as editing the video or pictures, they did poorly because they had small screens and could not easily accommodate menus filled with lots of functions. Computers could handle that more easily.
And one more thing . . . What Jobs also saw was that this worked best when everything—the device, computer, software, applications, FireWire—was all tightly integrated. “I became even more of a believer in providing end-to-end solutions,” he recalled.
The beauty of this realization was that there was only one company that was well-positioned to provide such an integrated approach. Microsoft wrote software, Dell and Compaq made hardware, Sony produced a lot of digital devices, Adobe developed a lot of applications. But only Apple did all of these things.
“We’re the only company that owns the whole widget—
the hardware, the software and the operating system,”
he explained to Time. “We can take full responsibility for the user experience. We can do things that the other guys can’t do.”
Apple’s first integrated foray into the digital hub strategy was video. With FireWire, you could get your video onto your Mac, and with iMovie you could edit it
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into a masterpiece. Then what? You’d want to burn some DVDs so you and your friends could watch it on a TV. “So we spent a lot of time working with the drive manufacturers to get a consumer drive that could burn a DVD,” he said. “We were the first to ever ship that.” As usual Jobs focused on making the product as simple as possible for the user, and this was the key to its success. Mike Evangelist, who worked at Apple on software design, recalled demonstrating to Jobs an early version of the interface. After looking at a bunch of screenshots, Jobs jumped up, grabbed a marker, and drew a simple rectangle on a whiteboard. “Here’s the new application,” he said. “It’s got one window. You drag your video into the window. Then you click the button that says ‘Burn.’ That’s it. That’s what we’re going to make.” Evangelist was dumbfounded, but it led to the simplicity of what became iDVD. Jobs even helped design the “Burn” button icon.
Jobs knew digital photography was also about to explode, so Apple developed ways to make the computer the hub of your photos. But for the first year at least, he took his eye off one really big opportunity. HP
and a few others were producing a drive that burned music CDs, but Jobs decreed that Apple should focus on video rather than music. In addition, his angry insistence that the iMac get rid of its tray disk drive and use instead a more elegant slot drive meant that it could not include the first CD burners, which were initially made for the tray format. “We kind of missed the boat on that,” he recalled. “So we needed to catch up real fast.”
The mark of an innovative company is not only that it comes up with new ideas first, but also that it knows how to leapfrog when it finds itself behind.
iTunes
It didn’t take Jobs long to realize that music was going to be huge. By 2000 people were ripping music
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onto their computers from CDs, or downloading it from file-sharing services such as Napster, and burning playlists onto their own blank disks. That year the number of blank CDs sold in the United States was 320
million. There were only 281 million people in the country. That meant some people were really into burning CDs, and Apple wasn’t catering to them. “I felt like a dope,” he told Fortune. “I thought we had missed it. We had to work hard to catch up.”
Jobs added a CD burner to the iMac, but that wasn’t enough. His goal was to make it simple to transfer music from a CD, manage it on your computer, and then burn playlists. Other companies were already making music-management applications, but they were clunky and complex. One of Jobs’s talents was spotting markets that were filled with second-rate products. He looked at the music apps that were available—
including Real Jukebox, Windows Media Player, and one that HP was including with its CD burner—and came to a conclusion: “They were so complicated that only a genius could figure out half of their features.”
That is when Bill Kincaid came in. A former Apple software engineer, he was driving to a track in Willows, California, to race his Formula Ford sports car while (a bit incongruously) listening to National Public Radio.
He heard a report about a portable music player called the Rio that played a digital song format called MP3. He perked up when the reporter said something like, “Don’t get excited, Mac users, because it won’t work with Macs.” Kincaid said to himself, “Ha! I can fix that!”
To help him write a Rio manager for the Mac, he called his friends Jeff Robbin and Dave Heller, also former Apple software engineers. Their product, known as SoundJam, offered Mac users an interface for the Rio and software for managing the songs on their computer. In July 2000, when Jobs was pushing his
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team to come up with music-management software, Apple swooped in and bought SoundJam, bringing its founders back into the Apple fold. (All three stayed with the company, and Robbin continued to run the music software development team for the next decade. Jobs considered Robbin so valuable he once allowed a Time reporter to meet him only after extracting the promise that the reporter would not print his last name.) Jobs personally worked with them to transform SoundJam into an Apple product. It was laden with all sorts of features, and consequently a lot of complex screens. Jobs pushed them to make it simpler and more fun. Instead of an interface that made you specify whether you were searching for an artist, song, or album, Jobs insisted on a simple box where you could type in anything you wanted. From iMovie the team adopted the sleek brushed-metal look and also a name.
They dubbed it iTunes.
Jobs unveiled iTunes at the January 2001
Macworld as part of the digital hub strategy. It would be free to all Mac users, he announced. “Join the music revolution with iTunes, and make your music devices ten times more valuable,” he concluded to great applause. As his advertising slogan would later put it: Rip. Mix. Burn.
That afternoon Jobs happened to be meeting with John Markoff of the New York Times. The interview was going badly, but at the end Jobs sat down at his Mac and showed off iTunes. “It reminds me of my youth,” he said as the psychedelic patterns danced on the screen.
That led him to reminisce about dropping acid. Taking LSD was one of the two or three most important things he’d done in his life, Jobs told Markoff. People who had never taken acid would never fully understand him.
The iPod
