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great products, not crap like Android.”
Flash, the App Store, and Control Jobs’s insistence on end-to-end control was manifested in other battles as well. At the town hall meeting where he attacked Google, he also assailed Adobe’s multimedia platform for websites, Flash, as a
“buggy” battery hog made by “lazy” people. The iPod and iPhone, he said, would never run Flash. “Flash is a spaghetti-ball piece of technology that has lousy performance and really bad security problems,” he said to me later that week.
He even banned apps that made use of a compiler created by Adobe that translated Flash code so that it would be compatible with Apple’s iOS. Jobs disdained the use of compilers that allowed developers to write their products once and have them ported to multiple operating systems. “Allowing Flash to be ported across platforms means things get dumbed down to the lowest common denominator,” he said. “We spend lots of effort to make our platform better, and the developer doesn’t get any benefit if Adobe only works with functions that every platform has. So we said that we want developers to take advantage of our better features, so that their apps work better on our platform than they work on anybody else’s.” On that he was right. Losing the ability to differentiate Apple’s platforms—allowing them to become commoditized like HP and Dell machines—
would have meant death for the company.
There was, in addition, a more personal reason.
Apple had invested in Adobe in 1985, and together the two companies had launched the desktop publishing revolution. “I helped put Adobe on the map,” Jobs claimed. In 1999, after he returned to Apple, he had asked Adobe to start making its video editing software and other products for the iMac and its new operating system, but Adobe refused. It focused on making its
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products for Windows. Soon after, its founder, John Warnock, retired. “The soul of Adobe disappeared when Warnock left,” Jobs said. “He was the inventor, the person I related to. It’s been a bunch of suits since then, and the company has turned out crap.”
When Adobe evangelists and various Flash supporters in the blogosphere attacked Jobs for being too controlling, he decided to write and post an open letter. Bill Campbell, his friend and board member, came by his house to go over it. “Does it sound like I’m just trying to stick it to Adobe?” he asked Campbell. “No, it’s facts, just put it out there,” the coach said. Most of the letter focused on the technical drawbacks of Flash. But despite Campbell’s coaching, Jobs couldn’t resist venting at the end about the problematic history between the two companies. “Adobe was the last major third party developer to fully adopt Mac OS X,” he noted.
Apple ended up lifting some of its restrictions on cross-platform compilers later in the year, and Adobe was able to come out with a Flash authoring tool that took advantage of the key features of Apple’s iOS. It was a bitter war, but one in which Jobs had the better argument. In the end it pushed Adobe and other developers of compilers to make better use of the iPhone and iPad interface and its special features.
Jobs had a tougher time navigating the controversies over Apple’s desire to keep tight control over which apps could be downloaded onto the iPhone and iPad. Guarding against apps that contained viruses or violated the user’s privacy made sense; preventing apps that took users to other websites to buy subscriptions, rather than doing it through the iTunes Store, at least had a business rationale. But Jobs and his team went further: They decided to ban any app that defamed people, might be politically explosive, or was deemed by Apple’s censors to be pornographic.
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The problem of playing nanny became apparent when Apple rejected an app featuring the animated political cartoons of Mark Fiore, on the rationale that his attacks on the Bush administration’s policy on torture violated the restriction against defamation. Its decision became public, and was subjected to ridicule, when Fiore won the 2010 Pulitzer Prize for editorial cartooning in April. Apple had to reverse itself, and Jobs made a public apology. “We’re guilty of making mistakes,” he said. “We’re doing the best we can, we’re learning as fast as we can—but we thought this rule made sense.”
It was more than a mistake. It raised the specter of Apple’s controlling what apps we got to see and read, at least if we wanted to use an iPad or iPhone. Jobs seemed in danger of becoming the Orwellian Big Brother he had gleefully destroyed in Apple’s “1984”
Macintosh ad. He took the issue seriously. One day he called the New York Times columnist Tom Friedman to discuss how to draw lines without looking like a censor.
He asked Friedman to head an advisory group to help come up with guidelines, but the columnist’s publisher said it would be a conflict of interest, and no such committee was formed.
The pornography ban also caused problems. “We believe we have a moral responsibility to keep porn off the iPhone,” Jobs declared in an email to a customer.
“Folks who want porn can buy an Android.”
This prompted an email exchange with Ryan Tate, the editor of the tech gossip site Valleywag. Sipping a stinger cocktail one evening, Tate shot off an email to Jobs decrying Apple’s heavy-handed control over which apps passed muster. “If Dylan was 20 today, how would he feel about your company?” Tate asked.
“Would he think the iPad had the faintest thing to do with ‘revolution’? Revolutions are about freedom.”
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To Tate’s surprise, Jobs responded a few hours later, after midnight. “Yep,” he said, “freedom from programs that steal your private data. Freedom from programs that trash your battery. Freedom from porn.
Yep, freedom. The times they are a changin’, and some traditional PC folks feel like their world is slipping away.
It is.”
In his reply, Tate offered some thoughts on Flash and other topics, then returned to the censorship issue.
“And you know what? I don’t want ‘freedom from porn.’
Porn is just fine! And I think my wife would agree.”
“You might care more about porn when you have kids,” replied Jobs. “It’s not about freedom, it’s about Apple trying to do the right thing for its users.” At the end he added a zinger: “By the way, what have you done that’s so great? Do you create anything, or just criticize others’ work and belittle their motivations?”
Tate admitted to being impressed. “Rare is the CEO who will spar one-on-one with customers and bloggers like this,” he wrote. “Jobs deserves big credit for breaking the mold of the typical American executive, and not just because his company makes such hugely superior products: Jobs not only built and then rebuilt his company around some very strong opinions about digital life, but he’s willing to defend them in public.
Vigorously. Bluntly. At two in the morning on a weekend.” Many in the blogosphere agreed, and they sent Jobs emails praising his feistiness. Jobs was proud as well; he forwarded his exchange with Tate and some of the kudos to me.
Still, there was something unnerving about Apple’s decreeing that those who bought their products shouldn’t look at controversial political cartoons or, for that matter, porn. The humor site eSarcasm.com launched a “Yes, Steve, I want porn” web campaign.
“We are dirty, sex-obsessed miscreants who need
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access to smut 24 hours a day,” the site declared.
“Either that, or we just enjoy the idea of an uncensored, open society where a techno-dictator doesn’t decide what we can and cannot see.”
At the time Jobs and Apple were engaged in a battle with Valleywag’s affiliated website, Gizmodo, which had gotten hold of a test version of the unreleased iPhone 4 that a hapless Apple engineer had left in a bar. When the police, responding to Apple’s complaint, raided the house of the reporter, it raised the question of whether control freakiness had combined with arrogance.
Jon Stewart was a friend of Jobs and an Apple fan.
Jobs had visited him privately in February when he took his trip to New York to meet with media executives. But that didn’t stop Stewart from going after him on The Daily Show. “It wasn’t supposed to be this way!
Microsoft was supposed to be the evil one!” Stewart said, only half-jokingly. Behind him, the word
“appholes” appeared on the screen. “You guys were the rebels, man, the underdogs. But now, are you becoming The Man? Remember back in 1984, you had those awesome ads about overthrowing Big Brother?
Look in the mirror, man!”
By late spring the issue was being discussed among board members. “There is an arrogance,” Art Levinson told me over lunch just after he had raised it at a meeting. “It ties into Steve’s personality. He can react viscerally and lay out his convictions in a forceful manner.” Such arrogance was fine when Apple was the feisty underdog. But now Apple was dominant in the mobile market. “We need to make the transition to being a big company and dealing with the hubris issue,” said Levinson. Al Gore also talked about the problem at board meetings. “The context for Apple is changing dramatically,” he recounted. “It’s not hammer-thrower
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against Big Brother. Now Apple’s big, and people see it as arrogant.” Jobs became defensive when the topic was raised. “He’s still adjusting to it,” said Gore. “He’s better at being the underdog than being a humble giant.”
Jobs had little patience for such talk. The reason Apple was being criticized, he told me then, was that
“companies like Google and Adobe are lying about us and trying to tear us down.” What did he think of the suggestion that Apple sometimes acted arrogantly? “I’m not worried about that,” he said, “because we’re not arrogant.”
Antennagate: Design versus Engineering In many consumer product companies, there’s tension between the designers, who want to make a product look beautiful, and the engineers, who need to make sure it fulfills its functional requirements. At Apple, where Jobs pushed both design and engineering to the edge, that tension was even greater.
When he and design director Jony Ive became creative coconspirators back in 1997, they tended to view the qualms expressed by engineers as evidence of a can’t-do attitude that needed to be overcome. Their faith that awesome design could force superhuman feats of engineering was reinforced by the success of the iMac and iPod. When engineers said something couldn’t be done, Ive and Jobs pushed them to try, and usually they succeeded. There were occasional small problems. The iPod Nano, for example, was prone to getting scratched because Ive believed that a clear coating would lessen the purity of his design. But that was not a crisis.
