Any other CEO would have jumped into a mosh pit to have U2 in an ad, but Jobs pushed back a bit.
Apple didn't feature recognizable people in the iPod ads, just silhouettes.
(The Dylan ad had not yet been made.)
"You have silhouettes of fans," Bono replied, "so couldn't the next phase be silhouettes of artists?"
Jobs said it sounded like an idea worth exploring.
Bono left a copy of the unreleased album, How to Dismantle an Atomic Bomb, for Jobs to hear.
"He was the only person outside the band who had it," Bono said.
A round of meetings ensued.
Jobs flew down to talk to Jimmy Iovine, whose Interscope records distributed U2,
at his house in the Holmby Hills section of Los Angeles.
The Edge was there, along with U2's manager, Paul McGuinness.
Another meeting took place in Jobs's kitchen, with McGuinness writing down the deal points in the back of his diary.
U2 would appear in the commercial,
and Apple would vigorously promote the album in multiple venues, ranging from billboards to the iTunes homepage.
The band would get no direct fee, but it would get royalties from the sale of a special U2 edition of the iPod.
Bono believed, like Lack, that the musicians should get a royalty on each iPod sold,
and this was his small attempt to assert the principle in a limited way for his band.
"Bono and I asked Steve to make us a black one," Iovine recalled.
"We weren't just doing a commercial sponsorship, we were making a co-branding deal."
"We wanted our own iPod, something distinct from the regular white ones," Bono recalled.
"We wanted black, but Steve said, 'We've tried other colors than white, and they don't work.'"
A few days later Jobs relented and accepted the idea, tentatively.