Steve Jobs didn't change the world by playing nice
When filmmaker Stanley Kubrick died, the steely perfectionist who ground actors into submission died with him. Kubrick was a good man -- Matthew Modine once described him as "probably the most heartfelt person I ever met" -- but by all accounts, his shoots were crucibles for which the faint of heart need not apply. When he walked onto a set, Stanley Kubrick would get exactly what he wanted, and he would exact this vision without mercy. Upon his death, however, only a mythical Saint Stanley remained, a slightly taller Yoda with a slightly better complexion.
Part of this can be explained by decorum. No one wants to speak ill of the dead, and it's hard to casually reconcile the loving father and husband with the man who verbally flayed Shelley Duvall until her frail character in The Shining seemed Byronic in comparison. Still, revising the methods of such a genius is to diminish exactly what made his genius work. A Clockwork Orange didn't happen by accident. Stanley Kubrick made it happen, and though anyone could direct a Kubrick script, only the man himself could make a Kubrick film.
Last year a former Apple employee related his favorite Steve Jobs story to me. I have no way of knowing if it is true, so take it for what it's worth. I think it nicely captures the man who changed the worldfourtimesover. When engineers working on the very first iPod completed the prototype, they presented their work to Steve Jobs for his approval. Jobs played with the device, scrutinized it, weighed it in his hands, and promptly rejected it. It was too big.
The engineers explained that they had to reinvent inventing to create the iPod, and that it was simply impossible to make it any smaller. Jobs was quiet for a moment. Finally he stood, walked over to an aquarium, and dropped the iPod in the tank. After it touched bottom, bubbles floated to the top.
"Those are air bubbles," he snapped. "That means there's space in there. Make it smaller."
Steve Jobs was a genius, and one of the most important businessmen and inventors of our time. But he was not a kindly, soft-spoken sage who might otherwise live atop a mountain in India, dispatching wisdom to pilgrims. He was a taskmaster who knew how to get things done. "Real artists ship" was an Apple battle cry from the earliest days. Everyone, by now, knows about the Steve Jobs "reality distortion field" -- the charismatic Care Bear Stare that compels otherwise reasonable people to spend weeks in line for a slightly faster telephone. In his biography of Jobs, journalist Alan Deutschman described the Apple co-founder's lesser-known hero-shithead roller coaster. "He could be Good Steve or he could be Bad Steve. When he was Bad Steve, he didn't seem to care about the severe damage he caused to egos or emotions so long as he pushed for greatness." When confronted with the full "terrifying" wrath of Bad Steve (even over the slightest of details), the brains at Apple would push themselves beyond all personal limits to find a way to meet Jobs's exacting demands, and somehow return to his good graces. And the process would repeat itself. "Steve was willing to be loved or feared, whatever worked." As Bud Tribble, Vice President of Software Technology at Apple explained. "It let the engineers know that it wasn't OK to be sloppy in anything they did, even the 99 percent that Steve would never look at."
That attention to detail makes Apple products unique and desired. Does any other company produce ubiquitous, mass-market devices that still feel so rare, and deeply personal? Steve Jobs did that.
His life was too short, but never wasted, and his impact reaches even those who've never touched an Apple product. He ushered in the personal computing era, and rallied from pancreatic cancer to show us a glimpse of the post-PC world. That didn't just happen; it was made to happen.
When Apple announced his resignation in August, the canonization began. Barrels of ink recounted all of the carrot and none of the stick. With the announcement of his death, coverage and conversations continue along those lines. That's to be expected, and like Kubrick, is set to become conventional wisdom. Steve Jobs was a good man who loved and was loved, and earned every accolade he's garnered. But he doesn't deserve a hagiography, and I doubt he would have wanted one. Apple wasn't built by a saint. It was built by an iron-fisted visionary. There are a lot of geniuses in the world, and a lot of aesthetes. But that's not enough. Sometimes it takes Bad Steve to bring products to market. Real artists ship.
What if the problem isn’t the president—it’s the presidency?
I. A Broken Office
Donald Trump often appears to be a president in rebellion against his office. A president, we have come to expect, hastens to the scene of a natural disaster to comfort the afflicted. After Hurricane Maria devastated Puerto Rico, President Trump arrived tardily and behaved unseriously, tossing rolls of paper towels at storm-battered residents as if he were trying to drain three-point shots.
We have come to expect that when the national fabric rends, the president will administer needle and thread, or at least reach for the sewing box of unity. After white supremacists marched through Charlottesville, Virginia, shouting “Jews will not replace us,” President Trump’s instinct was to emphasize that there were good people among the neo-Nazis.
Ross Douthat's views on the pope are intensely unpopular. But has he identified a fundamental tension in the Church?
Across every continent, in every country, Catholics “find themselves divided against one another,” writes the New York Times columnist Ross Douthat in his new book, To Change the Church. On one side stand the orthodox, who see doctrine and tradition as the best antidote to a changing world. On the other stand the liberals, who yearn for a Church that focuses on pastoring rather than enforcing rigid rules. This “widening theological and moral gulf,” Douthat argues, is potentially “wider than the chasm that separated Catholicism from Orthodoxy, and later from Lutheranism and Calvinism.”
That’s a bold claim to make. After all, the schisms of East and West, Catholic and Protestant, were world-shaking, often bloody events. But in today’s Church—and specifically in this pope—Douthat sees the possibility that the Roman Catholic Church will once again break apart.
The peppy mixed messaging of I Feel Pretty is only the latest reminder: American culture doesn’t fully know what it’s talking about when it talks about attractiveness.
Every once in a while I’ll re-watch an old episode of Friends, because it’s familiar and soothing and there. The other day, Netflix served up one of those flashbacks the show would sometimes air to poke light fun at the friends and at the visual absurdities involved with being alive in the ’80s: Rachel in chintz, Ross and Chandler in tragicomic Flock of Seagulls bouffants, etc. Watching the meta-nostalgia, I was reminded of the existence of a minor character who nonetheless plays a major role in the show’s universe: Fat Monica.
Fat Monica is technically just a younger—and slightly larger—version of Standard-Issue Monica; what becomes wincingly clear, though, as the Friends flashbacks play out, is that Fat Monica differs from the other Monica not just in scale, but in kind. Padded by her former girth, Monica Geller—the person who categorizes her hand towels and designates committees for the planning of birthday parties and is, in general, in thorough control of her life and her Type-A-tastic self—undergoes a transformation: Her voice gets higher. Her movements become jerking and awkward. She giggles a lot, uncomfortably. Remember when, in those late-series episodes of Family Matters, Steve Urkel would go into that flashing box and emerge as the suave Stefan Urquelle? Fat Monica’s metamorphosis is a little like that, but in reverse: The transformation depletes her dignity rather than compounding it. She becomes bashful. Childish. Foolish. Watching the proceedings, you start to wonder whether Monica Geller, for the purposes of the flashback scenes, was given a fat suit or a lobotomy.
Eisenhower—embodying prudence, diligence, and broad-mindedness—offers conservatives in the age of Trump a different model of leadership.
I stood, not long ago, on a chilly, damp, and windy Korean hill at the edge of Demilitarized Zone. With 40 of my students and half-a-dozen faculty we were conducting what the military calls a staff ride—a kind of in-depth treatment of a campaign as a case study in leadership. Mine was one of the concluding talks, in which I played President Dwight D. Eisenhower, telling the American people on July 26, 1953 that the Korean War had ended. But, he reminded them “we have won an armistice on a single battleground—not peace in the world.” His was a sober, moving tribute to America’s allies as well as her soldiers, an expression of “sorrow and solemn gratitude,” ending with a quote from Lincoln’s second inaugural, “with firmness in the right as God gives us to see the right.”
As the Trumps prepare to host their first state dinner on Tuesday, a look back at state dinners held by past U.S. presidents, from Eisenhower to Obama.
On Tuesday, President Donald Trump and First Lady Melania Trump will host the first official state dinner of this administration at the White House, honoring visiting French President Emmanuel Macron. As Mrs. Trump’s team and White House staff work on the final details for the formal event, we present a look back at some state dinners held by past U.S. presidents, from Eisenhower to Obama.
Fixating on offensive speech amplifies its harms—often, the best course is simply to ignore it.
Last week, the Fresno State creative writing professor Randa Jarrar sparked the latest round of debate about free speech on college campuses when she reacted to Barbara Bush’s death by speaking ill of the dead on Twitter. “Barbara Bush was a generous and smart and amazing racist who, along with her husband, raised a war criminal,” she wrote. “Fuck outta here with your nice words.”
In an unintentional echo of President George W. Bush’s “with us or against us” moral logic, she declared, “PSA: either you are against these pieces of shit and their genocidal ways or you're part of the problem. That's actually how simple this is,” adding the sentiment, “I'm happy the witch is dead. Can't wait for the rest of her family to fall to their demise the way 1.5 million Iraqis have. byyyeeeeeeee.”
It only took five minutes for Gavin Schmidt to out-speculate me.
Schmidt is the director of NASA’s Goddard Institute for Space Studies (a.k.a. GISS) a world-class climate-science facility. One day last year, I came to GISS with a far-out proposal. In my work as an astrophysicist, I’d begun researching global warming from an “astrobiological perspective.” That meant asking whether any industrial civilization that rises on any planet will, through their own activity, trigger their own version of a climate shift. I was visiting GISS that day hoping to gain some climate science insights and, perhaps, collaborators. That’s how I ended up in Gavin’s office.
Just as I was revving up my pitch, Gavin stopped me in my tracks.
This next installment comes from the author of the original message, who is now willing to be identified. He is Michael Doolittle. As he explains, he is a Harvard College alumnus, and he works as a photographer in New Haven. In the message below he talks about the under-publicized but important role of sports in elite-college admissions. As he says an introductory note:
I have set up a website, www.michaeljdoolittle.com where readers can go and click on a black button titled "Introduction: Sports in Admissions" if they want more detail about a lot of these themes. You could just say that I am trying a writing project exploring why the US is the only major country in the world that has tied sports so tightly into their colleges and universities and what that says about admission policies.
The HBO show returns with multiple story threads to unravel and decipher.
The first thing you might notice about Season 2 of Westworld is that the opening credits have changed. During the first season of the HBO drama about an adult theme park staffed by humanoid “hosts,” the introductory title sequence featured a variety of images showing robots being sculpted into life by machines: sinews being painstakingly stretched over bone, skeletal hands playing a piano, a bone-white “couple” who appeared to be making love. In the very first shot a “sun” appears to rise over a mass of muscle and tissue, hinting that the frontier of Westworld isn’t the Old West but the new technology within the hosts. In the second season, though, the image of the lovers has been replaced by a mother cradling an infant. And the homage to Leonardo da Vinci’s Vitruvian Man that closes out the credits now features a body that’s distinctly female.
As people spent more and more time in cars, auto interiors transformed into living spaces, where food and drink became necessities. An Object Lesson.
The 2019 Subaru Ascent will have 19 of them. Not airbags, but cupholders. That’s more than any mass-market vehicle ever produced, amounting to almost two-and-a-half cupholders for each passenger. There’s room for a Starbucks skinny latte, an unnaturally colored Big Gulp, a Yeti Rambler, and juice boxes galore. So many cupholders, in fact, that The Wall Street Journal recently declared: “We are approaching peak cupholder.”
Although it might be hard to imagine now, eating and drinking in cars was once next to impossible. Beyond a quick swig from a flask, rough roads and a lack of power steering and advanced suspension systems made it difficult and unpleasant to eat or drink on the road.
Cupholders began as an afterthought, mere circular indents on the inside of the door of the glove compartment, but they have become an absolute necessity and a key feature that shoppers evaluate when purchasing a new car, even for a time supplanting fuel efficiency as a consumer’s most sought-after attribute.