Steve Jobs (A Biography) – Walter Issacson

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Note: The following passages are all direct quotes from the book. I didn’t want to completely litter this summary with parentheses so I left in ambiguous pronouns that obviously refer to Jobs. All italics are Issacson’s, all bold sections were highlighted by me.

 
“He was more philosophical than the other people I worked with,” (Atari boss Nolan) 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.” (43)

Jobs’s father had once taught him that a drive for perfection meant caring about the craftsmanship even of the parts unseen. (74)

(Apple partner Mike) Markkula wrote his principles in a one-page paper titled “The Apple Marketing Philosophy” that stressed three points. The first was empathy, an intimate connection with the feelings of the customer. “We will truly understand their needs better than any other company.” The second was focus: “In order to do a good job of those things that we decide to do, we must eliminate all of the unimportant opportunities.” The third and equally important principle, awkwardly named, was impute. It emphasized that people form an opinion about a company or product based on the signals that it conveys. “People DO judge a book by its cover,” he wrote. “We may have the best product, the highest quality, the most useful software etc.; if we present them in a slipshod manner, they will be perceived as slipshod; if we present them in a creative, professional manner, we will impute the desired qualities.” (78)

Throughout his career, Jobs liked to see himself as an enlightened rebel pitted against evil empires, a Jedi warrior or Buddhist samurai fighting the forces of darkness. IBM was his perfect foil. He cleverly cast the upcoming battle not as a mere business competition, but as a spiritual struggle. “If, for some reason, we make some giant mistakes and IBM wins, my personal feeling is that we are going to enter sort of a computer Dark Ages for about twenty years,” he told an interviewer. “Once IBM gains control of a market sector, they almost always stop innovation.” (136)

On the day he unveiled the Macintosh, a reporter from Popular Science asked Jobs what type of market research he had done. Jobs responded by scoffing, “Did Alexander Graham Bell do any market research before he invented the telephone?” (170)

Jobs had latched onto what he believed was a key management lesson from his Macintosh experience: You have to be ruthless if you want to build a team of A players. “It’s too easy, as a team grows, to put up with a few B players, and they then attract a few more B players, and soon you will even have some C players,” he recalled. “The Macintosh experience taught me that A players like to work only with other A players, which means you can’t indulge B players.” (181)

His diet obsessions reflected a life philosophy, one in which aestheticism and minimalism could heighten subsequent sensations. “He believed that great harvests came from arid sources, pleasure from restraint,” (Jobs’s daughter Lisa) noted. “He knew the equations that most people didn’t know: Things led to their opposites.” (260)

(Jobs and ex-girlfriend Tina Redse) had a basic philosophical difference about whether aesthetic tastes were fundamentally individual, as Redse believed, or universal and could be taught, as Jobs believed. She accused him of being too influenced by the Bauhaus movement. “Steve believed it was our job to teach people aesthetics, to teach people what they should like,” she recalled. (265)

In (Jonathan) Ive, Jobs met his soul mate in the quest for true rather than surface simplicity. Sitting in his design studio, Ive described his philosophy:
 

Why do we assume that simple is good? Because with physical products, we have to feel we can dominate them. As you bring order to complexity, you find a way to make the product defer to you. Simplicity isn’t just a visual style. It’s not just minimalism or the absence of clutter. It involves digging through the depth of the complexity. To be truly simple, you have to go really deep. For example, to have no screws on something, you can end up having a product that is so convoluted and so complex. The better way is to go deeper with the simplicity, to understand everything and how it’s manufactured. You have to deeply understand the essence of a product in order to be able to get rid of the parts that are not essential. (343)

 
“When I went to Pixar, I became aware of a great divide. Tech companies don’t understand creativity…On the other hand, music companies are completely clueless about technology…I’m one of the few people who understands how producing technology requires intuition and creativity, and how producing something artistic takes real discipline.” -Steve Jobs (397)

Like many companies, Sony worried about cannibalization. If it built a music player and service that made it easy for people to share digital songs, that might hurt sales of its record division. One of Jobs’s business rules was to never be afraid of cannibalizing yourself. “If you don’t cannibalize yourself, someone else will,” he said. (408)

His desire to delight the user led him to resist empowering the user. (563)
 
There were many times when he reflected on what he hoped his legacy would be. Here are those thoughts, in his own words: (567-570)
 

My passion has been to build an enduring company where people were motivated to make great products. Everything else was secondary.

 

Some people say, “Give the customers what they want.” But that’s not my approach. Our job is to figure out what they’re going to want before they do. I think Henry Ford once said, “If I’d asked customers what they wanted, they would have told me, ‘A faster horse!’” People don’t know what they want until you show it to them. That’ why I never rely on market research. Our task is to read things that are not yet on the page.

 

I hate it when people call themselves “entrepreneurs” when what they’re really trying to do is launch a startup and then sell or go public, so they can cash in and move on. They’re unwilling to do the work it takes to build a real company, which is the hardest work in business. That’s how you really make a contribution and add to the legacy of those who went before.

 

“(Firing people) was hard. But somebody’s got to do it. I figured that it was always my job to make sure that the team was excellent, and if I didn’t do it, nobody was going to do it.

 

What drove me? I think most creative people want to express appreciation for being able to take advantage of the work that’s been done by others before us. I didn’t invent the language or mathematics I use. I make little of my own food, none of my own clothes. Everything I do depends on other members of our species and the shoulders that we stand on. And a lot of us want to contribute something back to our species and to add something to the flow. It’s about trying to express something in the only way that most of us know how – because we can’t write Bob Dylan songs or Tom Stoppard plays. We try to use the talents we do have to express our deep feelings, to show our appreciation of all the contributions that came before us, and to add something to that flow. That’s what has driven me.

Linchpin – Seth Godin (Chapter 12: When it Doesn’t Work)

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This is the final chapter of Linchpin. As you can tell, I really enjoyed this book and I hope you got some value out of my notes. Next up on The Bank of Notes is Rework by 37signals; I recently read it again and I have a lot more to say about it now (my previous notes were far too brief for such a brilliant book).

 
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“My boss won’t let me” is the most common objection to the Linchpin philosophy. As Godin says:

Nine times out often, this isn’t true. One time out of ten, you should get a new job. (225)

If your company actually demands conformity and mediocrity, there’s no good reason to stay. You’re not building any valuable skills, you can’t be enjoying it, and your value in the marketplace depreciates the longer you stay.

What’s more common is that your boss doesn’t understand why you’re not more enthusiastic and would love for you to become a linchpin.

There’s a difference between “my boss won’t let me” and “my boss won’t explicitly endorse everything I do and take the fall if I mess up.”

“The vivid truth is this: now that we have the freedom to create, we must embrace the fact that not all creations are equal, and some people aren’t going to win. That doesn’t mean you’re a loser…perhaps your art lies somewhere else.” (226-227)

“Do your art. But don’t wreck your art if it doesn’t lend itself to paying the bills. That would be a tragedy.” (228)

As you figure out how to make money doing what you love without compromising it, find a way to love whatever you currently happen to be doing to make money.

The system is still adjusting to the new economy and the increasing importance of linchpins. Even if you have some awesome idea, it’s still your responsibility to sell it to your boss.

“Your boss has a worldview, too. When you propose something that triggers his resistance, what do you expect will happen?” (229)

“Focus on making changes that work down, not up. Interacting with customers and employees is often easier than influencing bosses and investors.”

“Don’t ask your boss to run interference, cover for you, or take the blame. Instead, create moments where your boss can happily take credit. Once that cycle begins, you can be sure it will continue.”

Linchpin – Seth Godin (Chapter 11: The Seven Abilities of the Linchpin)

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Linchpins do two things for the organization. They exert emotional labor and they make a map. Those contributions take many forms. Here is one way to think about the list of what makes you indispensible… (218)

 

1. A Unique Interface Between Members of the Organization

 
“In great organizations, there’s a sense of mission. The tribe is racking up accomplishments, going somewhere. That mission doesn’t happen accidentally. A linchpin helps lead, and he connects people in the organization, actively and with finesse.” (219)
 

2. Delivering Unique Creativity

 
“If you want to create a unique guitar riff, it sure helps if you’ve heard all the other guitar riffs on record. Unique implies that the creativity is focused and insightful.”

The word “delivering” in this context means that you have to be passionate enough to overcome resistance and fear of rejection in order to ship.
 

3. Managing a Situation or Organization of Great Complexity

 
The more complex something becomes, the more unlikely it is that there’s a perfectly appropriate manual to rely on.

Linchpins are extremely valuable for precisely this reason: they are able to make their own maps. Linchpins “allow the organization to navigate much more quickly than it ever could if it had to wait for the paralyzed crowd to figure out what to do next.” (220)
 

4. Leading Customers

 
Usually, the mission and purpose of a company is something that only circulates internally, between its employees. But the Linchpin also expresses it through the way in which he interacts with customers.

In this sense, he sees marketing as an exercise in leadership.
 

5. Inspiring Staff

 
Definition of “inspire”:

Fill (someone) with the urge or ability to do or feel something, esp. to do something creative: “his enthusiasm inspired them”.

Since their environment is more dynamic, employees of modern organizations are usually more unclear about their responsibilities than a factory worker is. Not the linchpin. His focus is always to make something happen, and he inspires people to unleash their own art as well.
 

6. Providing Deep Domain Knowledge

 
“Mapmakers often have the confidence to draw maps because they understand their subject so deeply.” (222)
 

7. Possessing a Unique Talent

 
“When you meet someone, you need to have a superpower. If you don’t, you’re just another handshake. It’s not about touting yourself or coming on too strong. It’s about making the introduction meaningful. If I don’t know your superpower, then I don’t know how you can help me (or I can help you). (222-223)

Both parts of the portmanteau “superpower” are key: “super” implies that it’s a unique skill; “power” implies that you’re one of the best in the world at it.

But no matter what, we all fail sometimes. Accept it, it’s okay.

Linchpin – Seth Godin (Chapter 9: Making the Choice)

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Seth Godin hates the board game “Candy Land” (and all other games of pure chance) because all you do is draw cards and follow their instructions; it just train you to follow instructions mindlessly.

“You can either fit in or stand out. Not both.” (194)

The relationship between a customer and a business is transactional; the customer gives the business money and receives a commodity in return. The customer is the boss. If he finds a business that has a better offering (cheaper, better, faster), he’ll spend his money elsewhere. This dynamic also exists between a boss and an employee, the latter is also a commodity.

The key to making yourself more than just a commodity, the key to becoming indispensable, is your gift.

“If you give your boss the gift of art, insight, initiative, or connection, she’s less likely to shop around every day looking to replace the commodity work you do, because the work you do isn’t a commodity.” (196)

This is also true in the customer/business context; if the store gives a customer the unexpected gift of great service, connection, etc., he’ll be less likely to switch to another store because he’s getting more than just a commodity. The customer is getting a unique, personal experience that, by definition, can’t be found anywhere else.

“Creating a career where you are seen as the indispensable linchpin may at first seem to be a selfish goal on your part, but you will achieve this goal by giving selfless gifts, and those benefit everyone.” (197)

The conventional wisdom is that your job should match your passion, but Godin argues that this is backwards. He claims that it is possible and, in fact, very easy to transfer your passion to your job.

The three choices a linchpin has in a linchpin-scarce world:
1. Hire a bunch of factory workers and build an empire as you scale like crazy, taking advantage of people that undervalue their own labor (which is most).
2. Find a boss who appreciates and needs a linchpin, and who will reward you appropriately for making a difference.
3. Start an organization and stuff it with indispensable linchpins, thus making the organization itself indispensable.

“If you are not currently doing any of (the above options), refuse to settle. You deserve better.” (202)

A great sentence stem to complete in order to gain personal insight: “I could be more creative if only…”

In fact, any sentence stem that ends with “if only” is great because it exposes, and leads to the subsequent removal of, all barriers to action.

“For many of us, the happiest future is one that’s precisely like the past, except a little better.” (203)

Nostalgia for the future is an unhealthy attachment to a positive future outcome that you’ve visualized. It will make you overvalue the details that lead to that outcome and undervalue alternatives that could dramatically improve your situation.

For example, the New York Times turned down a potentially game-changing mega-deal with Amazon.com because management has nostalgia for a future of steady growth with little changes otherwise.

When you fall in love with a specific future outcome, you’ll feel irrational stress and take irrational action in order to maintain the future quo.

“Don’t let your circumstances or habits rule your choices today. Become a master of yourself and use your willpower to choose.” (206)
 

Nothing about becoming indispensable is easy. If it’s easy, it’s already been done and it’s no longer valuable.

What will make someone a linchpin is not a shortcut. It’s the understanding of which hard work is worth doing. (207)

Linchpin – Seth Godin (Chapter 7: The Powerful Culture of Gifts)

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The internet has lowered the marginal cost of giving things away for free.

When an artist gives something of value away for free, it creates an emotional vacuum – since we can’t repay him, we’re eager to do something else for him in return at some point.

That being said, the key to gift-giving (besides making sure that the gift is of value) is that the act of generosity is an end in itself for you; in other words, that you don’t NEED anything else in return.

Gifts also signal others that we have plenty more to share, even and especially if the gifts are grandiose (eg: 200-page PDF offered for free online).

When you give a gift, you’re going beyond the idea of a simple transaction. You’re relinquishing an opportunity to profit directly in order to build a bond with someone.

Three ways people think about gifts:
1. Give me a gift!
2. Here’s a gift; now you owe me, big-time.
3. Here’s a gift, I love you.

In the short-term, it’s certainly possible for gift-giving artists to give more than they get. But the market values these generous, creative geniuses far too much for them not to succeed in the long-term.

“If you are fortunate enough to find an artist, you should work hard to pay him as much as you can afford, because if you don’t, someone else will.” (172)

Linchpin – Seth Godin (Chapter 6: The Resistance)

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In order to be an artist, you have to ship. The only point of starting something is to eventually finish it; as Godin puts it: “Shipping is the collision between your work and the outside world.” (103)

“Thrashing” – brainstorming and adjusting; amateurs do this near the end of a project, professionals do it early. Have the discipline to get your thrashing done early and then be stubborn near the end when it’s time to ship.

Our creativity, what the Greeks called the Daemon and the Romans called “the genius”, stems from the neocortex – the newest part of the brain.

The part of us that just wants to survive, even at the expense of our art, is our lizard brain.

The lizard brain is newer and stronger than our neocortex; when both are fully activated and pitted against each other, the lizard brain usually wins.

“The challenge, then, is to create an environment where the lizard snoozes. You can’t beat it, so you must seduce it. One part of your brain worries about survival and anger and lust. The rest of it creates civilization.” (109)

“If we go down the list of behaviors that are highly valued because of their scarcity, almost all of them are related to bringing a conscious and generous mind to the work, instead of indulging our lizard brain’s reflexes of fear, revenge, and conquest.” (112)

(After explaining how even just simple eye contact can cause gorillas to go crazy at the zoo) “Eye contact, all by itself, is enough to throw your lizard brain into a tizzy. Imagine how scary it must be to set out to do something that will get you noticed, or perhaps even criticized.”

The lizard brain loves school – he can postpone putting himself on the line in the real world, and he’s fine obeying authority figures as long as they help him survive.

“A well-defined backup plan is sabotage waiting to happen. Why push through the dip, why take the risk, why blow it all when there’s the comfortable alternative instead? The people who break through usually have nothing to lose, and they almost never have a backup plan.” (116)

In order to be creative and come up with good ideas, you need to be willing to have terrible, and even dangerously bad ideas.

Your lizard brain hates the prospect of coming up with an idea so bad that others will laugh at it. But realize that this is an inevitable part of the idea-generating process, and that this process is the only way that you can ever come up with brilliant ideas.

A sub-title Godin uses in Chapter 6: “You Don’t Need More Genius. You Need Less Resistance.”

Your resistance is always comfortable with low expectations.

The less freedom you have in a given field, the less resistance you face. This is why it’s feels so natural to do a job where all you have to do is follow instructions.

“Our economy has reached a logical conclusion. The race to make average stuff for average people in huge quantities is almost over. We’re hitting an asymptote, a natural ceiling for how cheaply and how fast we can deliver uninspired work.” (123)

As a society, we’ve tried to establish an entire economic system where one can go through the motions, give in to their resistance (by doing menial jobs), and still be supported – but it’s just not working anymore.

“Don’t listen to the cynics. They’re cynics for a reason. For them, the resistance won a long time ago.” (126)

The resistance/the lizard brain exists “to make you safe, which means invisible and unchanged.” (127)

Signs that the lizard brain is at work:
-Procrastination
-You excessively criticize the work of your peers, thus unrealistically raising the bar for your work
-You criticize anyone who is doing something differently. If they succeed, it means you’ll have to do something differently too.
-Having an emotional attachment to the status quo
-Inventing anxiety about the side effects of a new approach
-Believing that it’s about gifts and talents, not skill
-Announcing that you have neither
 

A great tactic to combat resistance is to announce it out loud: “I’m doing this because of the resistance.” The lizard brain will retreat in shame.

 
“The difference between a successful artist and a failed one happens after the idea is hatched. The difference is the race to completion. Did you finish?” (136)

Anxiety is just a pointless form of fear, it’s fear about fear. The resistance is really anxiety; real fear is a response to actual threats and it’s a perfectly healthy response.

Reality is the best antidote for anxiety.

“You can’t make a useful map when you’re busy exaggerating the downside of every option.” (139)
 

The best way to overcome your fear of creativity, brainstorming, intelligent risk-taking, or navigating a tricky situation might be to sprint. When we sprint, all the internal dialogue falls away and we focus on going as fast as we possibly can.

You can’t sprint forever. That’s what makes it sprinting. The brevity of the event is a key part of why it works. (143-144)

 
It’s easier to work downhill than uphill. So take the time to build a better platform for you to launch your ideas from – this seperates the hard work of preparation from the sometimes scary work of creativity.

Linchpin – Seth Godin (Chapter 5: Is It Possible to Do Hard Work in a Cubicle?)

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“An artist is someone who uses bravery, insight, creativity, and boldness to challenge the status quo.” (83)

Seth Godin hates the idea of “a day’s work for a day’s pay.” He thinks it cheapens us.
 

Are you really willing to sell yourself out so cheap? Do you mortgage an entire (irreplaceable) day of your life for a few bucks? The moment you are willing to sell your time for money is the moment you cease to be the artist you’re capable of being.

The alternative is to treasure what it means to do a day’s work. It’s our one and only chance to do something productive today, and it’s certainly not available to someone merely because he is the high bidder. A day’s work is your chance to do art, to create a gift, to do something that matters. As your work gets better and your art becomes more important, competition for your gifts will increase and you’ll discover that you can be choosier about whom you give them to. (87)

 

“It’s impossible to make art for everyone. There are too many conflicting goals and there’s far too much noise. Art for everyone is mediocre, bland, and ineffective.” (94)

“An artist’s job is to change us. When you have a boss, your job is to please the boss, not to change her.” (95)

“The job is not the work” – The job is what you do because you are told to do it. There will always be someone who can do your job more cost-efficiently than you. Your art can only be done when no one can tell you exactly how to do it. It is, as Godin puts it, “the act of taking personal responsibility, challenging the status quo, and changing people.” (97)

Ask yourself, are you indispensible with your family and friends? Now what about at work? Why are you so expendible in one setting and not the other?

Most people are afraid of expressing their art, which stems from their indoctrinated fear of standing out.

“Now, though, the economy is forcing us to confront this fear. The economy is ruthlessly punishing the fearful, and increasing the benefits to the few who are brave enough to create art” (100)

The Romantic Lifestyle: Becoming Your Own Magnum Opus

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She was looking up at the face of a man who knelt by her side, and she knew that in all the years behind her, this was what she would have given her life to see: a face that bore no mark of pain or fear or guilt. The shape his mouth was pride, and more: it was as if he took pride in being proud.

-Atlas Shrugged, page 531, Dagny Taggert’s first impression of John Galt

 

This weekend I finished The Romantic Manifesto by Ayn Rand. In it, Rand argues that all art is “a selective recreation of reality according to one’s metaphysical value judgments.” This means that any work of art intrinsically says, “This is life as I see it”, either intentionally or unintentionally. If an artist defaults on this responsibility, his work will still represent a certain world-view, but it will be perverse, scattered, and portray some sort of malevolent universe.

Its viewers have to decide whether they agree or disagree with the work’s world-view, again, a process that cannot be avoided even by default.

The objective standard of value that art should be judged by, however, is not whether it is generally agreeable, but by how well it represents its particular metaphysical world-view. For example, even if you disagree with Shakespeare’s view that people have a predetermined fate and a tragic flaw that will lead them to that fate, it does not mean that Shakespeare is not still brilliant. You just won’t personally enjoy his work quite as much.

(A nice illustration of the opposite effect is my love of the HBO series Entourage; I get an infinite amount of enjoyment from that show because of its general themes of friendship and prosperity, despite the fact that it has little objective aesthetic value.)

Essentially, the standard of value for a work of art is not what it is, just that it is.

An easy false conclusion to come to from all of this is that art is a medium of teaching others about your views, but that is only a consequence of art, not the purpose. The purpose of aesthetics, according to Rand, is simply to show. She offers a brilliant analogy to explain:

The primary purpose of an airplane is not to teach man how to fly, but to give him the actual experience of flying. So is the primary purpose of an art work.

-The Romantic Manifesto, page 163 (emphasis added)

In the book Rand is referring to literature, paintings, sculptures, plays, and music. But this got me to think: could this apply to your physical appearance as well?

The answer: of course!

Just as a disheveled and feeble appearance with no thought put into it suggests a weak internal constitution of beliefs and values, a congruent, physically-fit appearance can serve as an aesthetic demonstration of the potential of human beings, what man could and ought to be like. This is romanticism, or, as Rand refers to her particular brand of it, romantic realism.

Crafting your appearance into an aesthetic experience is not the kind of endeavor that one can dabble in, however. Half-measures are pointless; mediocre-to-average is not something to aspire to. It requires a serious amount of sustained effort, but after reading The Romantic Manifesto it’s hard to deny how absolutely worthwhile it is.

Treating your physical appearance as a Romantic work of art is such a brilliant frame of mind to have in your daily life. It’s one of my best ideas in months, and that’s saying something because I am smart.