ImprovEverywhere organiza coletiva de imprensa surpresa para pedestres em Nova York

improv-coletiva-imprensa

O grupo de flashmob ImprovEverywhere é conhecido por ter executado algumas ações memoráveis com um grande número de pessoas. Uma delas é a Frozen Grand Central, que praticamente colocou o grupo no mapa. Mas ao longo dos anos eles continuaram realizando diversas outras, incluindo a anual “Viagem de metrô sem calças”, que acontece até no […]

> LEIA MAIS: ImprovEverywhere organiza coletiva de imprensa surpresa para pedestres em Nova York

Great Prices Inspire Crazy Fun in W+K's Seriously Loopy T.K. Maxx Ads

Be careful: If you buy a designer dress and a leather biker jacket at British discount chain T.K. Maxx, you’ll soon find yourself regularly practicing ballet on a motorcycle—just to match your beloved outfit.

It’s the absurd, entertaining conceit at the heart of a new ad for the retailer (known as T.J. Maxx in the U.S.) created by Wieden + Kennedy London. A young woman daintily balances on the tail of her heavy black bike while popping a wheelie and spinning circles in slow motion. All the while, an elderly woman named Doris plays an art deco organ that sounds an awful lot like a piano—a service that, according to the protagonist, is quite expensive.

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Heineken Hyperbole Motivates Global Soccer Fans


The European Champions League is soccer’s biggest competition after the FIFA World Cup. Every year Europe’s most successful clubs where the top global players come together compete for the trophy, which Heineken has sponsored since 2005.

With the tournament kicking off this week, Heineken is launching a blockbuster ad by Publicis Italy with a global theme. The spot stars charismatic and sometimes controversial soccer manager Jose Mourinho, who has won the trophy twice with two different clubs and currently manages the world’s most profitable team, Manchester United.

(Manchester United didn’t even make it into the Champions League this year, which is why Mr. Mourinho was hired to sort them out.)

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Fall TV's 10 Most Promising New Shows, According to TVGuide.com's Watchlist


Since 2012, Ad Age has had an informal editorial partnership with TVGuide.com focused on its Watchlist, a customizable entertainment guide that lets users make a list of their favorite shows, actors, etc. We keep a close eye on Watchlist because each season the top 10 most Watchlisted new shows tend to have a high probability (averaging 80% over the past four years) of being picked up for full seasons. Think of Watchlist as a massive “wisdom of the crowds” focus group (with more than 3 million registered users) of informed TV fans.

A caveat we repeat every time: Watchlist users are, essentially, publicly expressing hope that these shows will live up to hype. Series that exhibit early promise and score full-season orders can and do, of course, still end up getting canceled later on (as hype gives way to reality, storylines run out of steam, networks stick good shows in bad time slots, etc.).

To add some context to this chart, TVGuide.com Editor-in-Chief Mickey O’Connor offered Ad Age a few thoughts on the fall’s most-wanted new series:

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Laughing All the Way to the Bank: Rio Olympics Make NBC $250 Million Richer


While the ratings for the 2016 Summer Olympics didn’t quite measure up to NBC’s early projections, the Peacock still managed to strut away from Rio with a tidy profit of over a quarter-billion dollars.

Speaking Wednesday at the Bank of America Merrill Lynch Media, Communications and Entertainment Conference, NBC Universal CEO Steve Burke characterized the Olympics as a “tremendous success,” adding that the company “made over $250 million in Rio,” thanks to a 20% increase in ad sales volume compared to what it took in during the London Games.

The Rio cash surplus more than doubled the $120 million NBC pocketed four years ago in London. Mr. Burke noted that the profit marked a stark contrast versus the NBC-produced Olympics of yesteryear, when the network would lose as much as $200 million on the 17-day event.

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Lowdown: Audi and Airbnb Hook Up in Emmys Ad


The Lowdown is Ad Age’s weekly look at news nuggets from across the world of marketing, including trends, campaign tidbits, executive comings and goings and more.

Olive Garden is giving its Never Ending Pasta Pass quite a boost in its third year. Darden Restaurants Italian chain will put 21,000 of the $100 all-the-pasta-you-can-eat-in-seven-weeks passes on sale Thursday, up from 2,000 a year ago. The bump, it says, is in honor of the 21st anniversary of its Never Ending Pasta Bowl promotion. Plus, it handed some early ones out to brand fans to help spread the word. The $100 passes let patrons visit the restaurant for seven weeks of unlimited pasta and Coca-Cola soft drinks plus, as any visitor to Olive Garden knows, unlimited soup or salad and breadsticks.

Fashion Week keeps getting more non-fashion sponsors, including the Energizer Bunny. And Unilever has hopped harder onto the bandwagon too, bringing one of its food brands Magnum into the fold alongside Tresemme, which is in its 17th year as a sponsor. The two brands joined in Rebecca Minkoff’s Sept. 10 fashion show on the streets of Manhattan near her store and Magnum’s new store on Prince St., the latter serving as a backstage. The pairing “just makes sense,” said Alfie Vivian, VP-North American Refreshments at Unilever. “Tresemme and Magnum are lifestyle brands that have fashion in their DNA.” Indeed, Karl Lagerfeld made a 2011 commercial for Magnum. And Tresemme stays involved to bolster its credentials as the leading hair styling brand in the U.S. and foster the idea that women can achieve the same styles at home as women on the runways have, said Rob Candelino, VP-marketing and general manager-hair care of Unilever U.S. “You can’t make it more democratic than actually taking a runway onto a street in Manhattan,” he said.

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Peru21: Ni una a menos


Online
Grupo El Comercio

Advertising Agency:McCann WorldGroup, Lima, Peru
General Creative Director:Mauricio Fernandez-Maldonado, Christian Caldwell
General Creative:Omar Polo, Giovanni Macco
Accounts Director:Mirjana Slavkovic
Account Executive:Maria Gracia Vasquez
Production Director Agency:Alonso Palomino
Agency Producer:Pimi Ravizza
Casa realizadora:Locomotor
Productor ejecutivo:Carlos Cía Almeida
Directores:Sebastian Vereau, Ariel Ormeño
Animaciónes:Raul Diaz
Audio:Kazoo

After Years of War, Celebrities Find a Syrian Group to Back

Some in Hollywood are lobbying for the White Helmets to receive the Nobel Peace Prize.

Snapchat's Imran Khan Sounds Off On Video Ads Without Sound


Snapchat’s Chief Strategy Officer Imran Khan sounded a warning shot at video ads that play with the volume off.

Speaking at the DMEXCO conference in Cologne, Germany, Mr. Kahn said sound is a core part of the video ad experience. It was a clear jab at rival Facebook, which mostly shows videos on mute to users scrolling through its newsfeed.

“Basically when you’re buying advertising without sound,” Mr. Khan said, “You’re not really buying video, you’re buying moving banner.”

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Office of Baby Launches Etsy’s First-Ever Global Campaign

Office of Baby, the New York agency founded by GS&P veteran Paul Caiozzo and partners, has launched the first-ever global campaign for Etsy, the online marketplace where you can buy everything from a taxidermy beetle playing the banjo to cat hair jewelry to elephant boxers (complete with strategically placed trunk).

While the Brooklyn-based company has expanded its site to include 54 million members and 35 million products, it has yet to launch a comprehensive ad campaign. That’s where Office of Baby and “Difference Makes Us” comes in. The work focuses on two types of everyday items — mugs and bedside tables — to demonstrate how seemingly minute differences in personal taste help define who we are.

Both “Mugs” and “Table” were shot on iPhones, allowing Etsy sellers to match the vignettes and edit in their own products, and set to music by 90-year old children’s folk singer Ella Jenkins. “Mugs” opens on a woman using a floral design mug to catch rain water from a leaky roof, before showing a woman grabbing the last mug in the office break room (which happens to say “Best Dad Ever”) before her coworker walks in. Other mugs in the spot include a “Big Hug Mug,” rainbow mug, some kind of fantasy-themed mug, the requisite cat mug and a smiley face mug. 

“Bedside Tables” applies a similar approach to the furniture staple. The variety of styles of bedside table all say something about their owner, particularly when it’s revealed what’s inside them and how neatly (or not) they are kept.

“When we started collaborating, the idea of Difference Makes Us felt natural, coming right out of the core of what Etsy has always been doing,” Office of Baby creative director Paul Caiozzo said in a statement. “It was an incredible honor to work with Etsy, a company that’s been celebrating creativity and uniqueness since its inception.”

The approach makes a lot of sense for the brand, for which uniqueness and individuality is a distinct selling point. After all, where else can you buy a four-foot long carrot body pillow?

CREDITS

Client: Etsy
Campaign: Difference Makes Us

Agency: Office of Baby
Creative: Nathan Frank, Paul Caiozzo, Kate Wadia
Producer: Chris Patton
Music: Ella Jenkins
Music Label: Smithsonian Folkways Recordings
Edit: Kathy Gatto
Colorist: Jason Crump
Sound Design + Mix: Geoff Strasser
Animation: Jason Jones

Kids Playing This Devious Game in a Car Lose Points If Their Parents Speed for Real

Kids get bored in the backseat. But instead of suffering through an often fight-inducing game of “Slug Bug,” or anesthetizing them with a tablet movie, what if you could teach them how to make you a better driver? 

We can tell you’re into that. 

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Library Bedroom Hybrids – This Isolated Guest House Functions as a Cozy Getaway (GALLERY)

(TrendHunter.com) This isolated guest house functions as a separate addition to a vacation home in a wooded area of upstate New York.

The structure was designed by Studio Padron and works as both a library and a…

How AOL's Science Guild Is Guiding Data Innovations


As AOL integrates with its new parent Verizon and even newer sibling Yahoo to form one of the largest consumer data powerhouses around, classically trained data scientists are working together with specialists in less obvious fields including genetics, neuroscience and electrical engineering.

Verizon employees with traditional STEM backgrounds have been joining biweekly meetings of AOL’s Science Guild, so named by AOL CEO Tim Armstrong, to advance capabilities like ad viewability optimization. The Science Guild takes a grad school-esque approach to guiding independent research toward common company goals such as developing algorithms, building products and determining where to source data.

To ensure AOL makes the most of Verizon’s data and capabilities for advertising-related services, the company has also recruited from outside traditional data science practice areas.

Continue reading at AdAge.com

More Magazine Is Reborn Online and Now Targeting Millennials


When publisher Meredith announced in February that More magazine would be closed, citing advertising challenges, the company did not seem to leave the door open for a reboot down the road.

But, recently, the magazine brand was revived online. The new More.com came out of beta testing a few weeks ago, according to a company spokesperson. Lilliana Vazquez, during Meredith’s first BrandFront presentation for advertisers Wednesday, announced that her new show, “Office Hours,” would be airing next year on the “completely revamped More.com.” A press release referenced “the reinvented More.com.”

Whereas the original More magazine was targeted at older, well-heeled women, or “women of style and substance,” the digital version of the brand is aimed at a much younger audience, more akin to the readership of a brand like Refinery29 or Bustle.

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P&G Hires New Global Media Director From Mondelez in Push to Hire More Outside Talent


Delivering on a promise to hire more talent from outside — even in marketing — Procter & Gamble Co. has hired a Mondelez executive as its new global media director.

Gerry D’Angelo, currently the top European media executive for Mondelez International, who also handles global partnerships with Google and Facebook, has been named to the newly created role of global media director at P&G.

He’ll report to Doreen Bayliff, VP-worldwide brand operations, in the new role and oversee the world’s biggest media budget. P&G spent $7.2 billion on advertising for the fiscal year ended June 30, up 0.8% and 11% of its $65.3 billion in global sales.

Continue reading at AdAge.com

More Magazine Is Reborn Online and Now Targeting Millennials


When publisher Meredith announced in February that More magazine would be closed, citing advertising challenges, the company did not seem to leave the door open for a reboot down the road.

But, recently, the magazine brand was revived online. The new More.com came out of beta testing a few weeks ago, according to a company spokesperson. Lilliana Vazquez, during Meredith’s first BrandFront presentation for advertisers Wednesday, announced that her new show, “Office Hours,” would be airing next year on the “completely revamped More.com.” A press release referenced “the reinvented More.com.”

Whereas the original More magazine was targeted at older, well-heeled women, or “women of style and substance,” the digital version of the brand is aimed at a much younger audience, more akin to the readership of a brand like Refinery29 or Bustle.

Continue reading at AdAge.com

DigitasLBi Names David Chriswick as Creative Strategy Lead for its Chicago, San Francisco Offices

DigitasLBi hired David Chriswick as senior vice president, creative strategy lead for its Chicago and San Francisco offices. In the role, Chriswick will be based out of Chicago and report to senior vice president, connections and brand experience planning Jonathan Tatlow

“David has a proven track record of award winning work with a passion for insightful thinking and brave ideas,” Tatlow said in  a statement. “His expertise to inspire and create across a breadth of categories, makes him a perfect fit for DigitasLBi. We look forward to him continuing to set the bar ever-higher.”

Chriswick joins DigitasLBi from DDB Worldwide, where he served for over three and a half years as global strategy director out of the agency’s Chicago office. While there, he led strategic planning on the agency’s international Mars account, which includes Wrigley, Mars Chocolate and Mars Petcare. Before that he spent nearly two and a half years as a planning director for DDB Sydney, leading the office’s strategic offering and working with clients including Mars, McDonald’s and Campbells Arnotts. A native of Wales, he began his career with Ogilvy Heathworld (formerly Bates Healthworld) in London as an account executive, leaving two years later to become a senior account manager with In Vivo Communications in Melbourne, later joining McCann and then DDB in account management roles. 

“The concoction of in-house capabilities at DigitasLBi is mouthwatering for an account planner like myself,” said Chriswick.  “Transformative creative opportunities lie in so many places nowadays, so with these resources within arm’s reach, I’m very excited. DigitasLBi can become the future-proof agency model that more and more clients are realizing they need.”

Book review: Drone. Remote Control Warfare

Drone. Remote Control Warfare, by anthropologist Hugh Gusterson.

It’s on amazon USA and UK.

9780262034678

Publisher MIT Press writes: Advocates say that drones are more precise than conventional bombers, allowing warfare with minimal civilian deaths while keeping American pilots out of harm’s way. Critics say that drones are cowardly and that they often kill innocent civilians while terrorizing entire villages on the ground. In this book, Hugh Gusterson explores the significance of drone warfare from multiple perspectives, drawing on accounts by drone operators, victims of drone attacks, anti-drone activists, human rights activists, international lawyers, journalists, military thinkers, and academic experts.

Gusterson examines the way drone warfare has created commuter warriors and redefined the space of the battlefield. He looks at the paradoxical mix of closeness and distance involved in remote killing: is it easier than killing someone on the physical battlefield if you have to watch onscreen? He suggests a new way of understanding the debate over civilian casualties of drone attacks. He maps “ethical slippage” over time in the Obama administration’s targeting practices. And he contrasts Obama administration officials’ legal justification of drone attacks with arguments by international lawyers and NGOs.

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U.S. soldiers fly an RQ-7B Shadow unmanned aerial vehicle at Hurlburt Field, Fla., from inside their ground control station, 2011. U.S. Air Force photo by Staff Sgt. Andy M. Kin/Released

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The aftermath of a drone strike in Yemen (photo)

Drone. Remote Control Warfare is a compact book that efficiently wraps up and reviews the most urgent topics explored in other books about drones (for example, A Theory of the Drone and Sudden Justice: America’s Secret Drone Wars.) In particular: the condition of a warfare that is so asymmetric it almost becomes unilateral; the psychological suffering of people who live under the constant threat of a drone attack but also the new forms of PTSD developed by drone operators who find it difficult to compartmentalize battlefield and domestic life; the strategies insurgents adopt to fight back (using couriers to communicate, taking advantage of urban topography to make it harder to be tracked, hacking drones); the globalization of the battlefield and the break from international rules that govern war zones and treatment of the people suspected of terrorism; the undermining of local cultural and religious practices; the many civilian casualties and the myth of the ‘surgically precise’ strike; the loosening of the interpretation of what constitutes a terrorist threat; the moral framing of the strikes (or rather the lack thereof); the crashes, lethal errors and other glitches associated with operating drones; the slow chain of command and diffused responsibility behind a drone strike, etc.

A man walks past a graffiti, denouncing strikes by U.S. drones in Yemen, painted on a wall in Sanaa November 13, 2014. Yemeni authorities have paid out tens of thousands of dollars to victims of drone strikes using U.S.-supplied funds, a source close to Yemen's presidency said, echoing accounts by legal sources and a family that lost two members in a 2012 raid. REUTERS/Khaled Abdullah (YEMEN - Tags: CIVIL UNREST MILITARY POLITICS SOCIETY TPX IMAGES OF THE DAY) - RTR4E1VF
A man walks past a graffiti, denouncing strikes by U.S. drones in Yemen, painted on a wall in Sanaa November 13, 2014. Photo: Khaled Abdullah/REUTERS

The book also brings new perspective on drone warfare.

Gusterson believes that the danger of drones doesn’t lie in the technology itself but in the way it is currently used. As he writes:

A drone is a socio-technical ensemble, not just a machine, and the same drone will be deployed to different effects in different cultural and organizational contexts.

In his view, the United States have little chance to achieve their national security objectives if they keep on using drones as neo-colonial weapons (i.e. similarly to how British and French colonial soldiers used powerful fire arms against spear-carrying Africans) that anger local populations, demonstrate no trace of moral superiority and further militarizes relationship between ‘us’ and the Muslim world.

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U.S. airmen prepare an RQ-4A Global Hawk unmanned aerial vehicle aircraft for takeoff, 2010. U.S. Air Force photo by Staff Sgt. Eric Harris/Released

The author believes than it would make far more sense to police the use of drones than to attempt to ban the technology altogether. Such carefully controlled deployment of drones won’t be implemented without a strong pressure from the public and that’s where there is still a lot of work to do.

Drones have been deployed in the ‘war on terror’ for 15 years already. Yet, the American public knows relatively little about the violence spread in their name in faraway countries.

What makes drones so attractive to the US government is that they don’t involve the return of American body bags from the battlefront. The public doesn’t see casualties and therefore doesn’t question the legitimacy of drone warfare. Few congressmen will then challenge the use of drones and the threshold for military action can be lowered.

The author suggests that what is needed is some kind of new Guantanamo to rally against. If the American public realizes that drones are blackening the international reputation of the U.S. and actually make little contribution to the safety of the country, they might ask their representatives to surround the use of these new weapons with strict ethical regulations and greater transparency.

IMG_6786LeveledScaled
Red White and Blue Drone woven in Pakistan featuring Reaper drones, 2014. Photo: War Rug

As usual, the book focuses on drone warfare from the USA. I would be interested to read a similar book that also explores into more details the way Israel (a pioneering exporter, developer and proponent of drone violence) uses drones on its own and on neighbouring territories.

More drone books: Book review: A Theory of the Drone, Sudden Justice: America’s Secret Drone Wars.
And even more drone stories: Eyes from a distance. Personal encounters with military drones, A screaming comes across the sky. Drones, mass surveillance and invisible wars, A dystopian performance for drones, The Grey Zone. On the (il)legitimacy of targeted killing by drones, Tracking Drones, Reporting Lives, KGB, CIA black sites and drone performance. This must be an exhibition by Suzanne Treister, Under the Shadow of the Drone, etc.

Source

The Wall Street Journal Claims Y&R Won the Census Account By Undercutting Rival Agencies

Last month, a representative for the U.S. Census confirmed that the organization had chosen Y&R as its new lead creative agency after a pitch that lasted nearly a year.

Late yesterday, The Wall Street Journal’s newest advertising reporter Alex Bruell filed a story centered on a document that demonstrated how Y&R won: by severely under-bidding its rivals. In fact, according to this document which we admittedly have not seen, the agency’s bid was lower than those of competitors FCB, DDB, McCann and Droga5 by as much as 50 percent.

From the WSJ story:

A team led by Y&R submitted a proposal for the three-year deal that would cost the government agency about $14 million, far lower than the bids submitted by four other players, which ranged from roughly $25 million to over $30 million, according to people familiar with the matter.

According to a document reviewed by The Wall Street Journal that ranked agency fee proposals by price, Y&R’s team came in the least expensive, followed by teams led by Interpublic Group’s creative shop FCB, Omnicom Group’s DDB, and IPG-owned McCann World Group, as well an Accenture-led team that included people from creative shop Droga5.

For the record, the story also claims that Y&R beat the other agencies in the “technical” ranking, which somehow quantifies the abstract by assigning a number to indicate how well each respective shop could “perform the work.” It also notes that, according to unnamed sources, the agency has  been discussing a possible partnership with PwC to handle what will obviously be a large, complicated account. Y&R unsurprisingly declined to comment to us and the WSJ regarding a contract worth $415 million over three years.

We hadn’t heard about Y&R’s alleged pitch strategy before the WSJ story ran yesterday. That said, the federal contract for the business makes for an interesting read — especially the part in which the government answers agencies’ questions about how the media partnership portion of the deal will go down.

You’ll have to download the PDF here and wade through a lot of verbiage to review the whole thing, but given the recent brouhaha about the 4A’s and the agency world’s relationship with various media outlets, we think you will find the part about small business media partners particularly interesting.

The contract stipulates that 49 percent of the winning agency’s ultimate subcontracting spend on the U.S. Census account must go to “small businesses.” This number is quite high, especially given that very, very few media organizations or other major ad buyers would qualify as “small” by any real measure.

From page 41:

“The Contractor shall submit an updated Small Business Subcontracting Plan within twenty (20) business days after contract kick-off and then each year thereafter with task order proposals. In addition the contractor shall submit a quarterly report that includes the progress towards small business subcontracting goals that includes first, second, and third tier subcontractors.”

A January 11 version of the RFP includes questions and answers, with the questions submitted by the competing agencies and the answers provided by the Census organization itself. Here is one key exchange:

Question: A portion of subcontracted work may be National Broadcast Media Vendors. The majority of these vendors are Large Businesses and not available to meet the Small Businesses goals without significant compromise to the government’s ability to receive the financial discount benefits of a large buying agency. Would the U.S. Census provide a waiver of these vendors against the Small Business Goals?

Answer: No. The small business subcontracting goals applies to the overall contract value and not to specific subcontractors.

In other words, the unnamed agency was asking the Census whether it could get a waiver that would classify its national broadcast media partners as “small businesses.” Here’s the official requirement table for some context:

small business

One can tell the agencies are nervous about this requirement.

Question: Small Business: 49% of the total contract value Is the 49% small business goal evaluated on a quarterly basis or as an average across multiple years?

Answer: [It’s “based off of total contract value.”]

Here’s another exchange in which an unnamed agency asks whether potential media partners can “self-certify” as small businesses:

Question: It is our understanding that SBA regulations permit small, small women-owned, and small disadvantaged businesses to self-certify. Please confirm this to be the case.

Answer: Yes, this is the case.

No word on which businesses this question might be referring to, what their actual size might be, or whether the government would subject their self-certifications to any sort of review.

In other words, it could be a great way to satisfy the requirement that 49 percent of your spend goes to “small businesses” even if some of the partners in question would not normally qualify for such a designation under any other circumstances. This would be especially easy if the government chooses not to review each of those claims individually.

Another agency had an interesting idea on that front:

Question: The Government’s requirement is that all printing be accomplished through the GPO and its vendors. By limiting Contractors to printing through GPO and its approved vendors, the Government is missing an opportunity for use of small and/or Economically Disadvantaged Small Businesses; this requirement also eliminates the opportunity for Contractors to work with vendors to negotiate the most effective and efficient terms for the Government. Can Contractors assume that printing costs for work conducted through GPO are not included in the Contractor’s budget?

Answer: No, the Contractor cannot make this assumption.

You don’t get that level of bureaucracy on most pieces of business. This should be a simultaneously fascinating and tedious account to work on.

H&M's Stunning New Ad Subverts What You Think a Lady Should Look or Act Like

Tom Jones’ 1971 hit “She’s a Lady” was a braggadocio anthem to all the men who’d found the right kind of woman—the kind who has “style and grace,” but, and this is important, “always knows her place.” 

Of course, the Paul Anka-penned song wasn’t really about a woman—the titular lady could be anyone—but about a man. That man, in 1971, as second-wave feminism was spreading, had managed to find a lady who would rather go to dinner with him than join NOW. 

In any case, that’s exactly why H&M’s use of the song—a new version from duo Lion Babe—in this new ad is so wonderful. H&M has created a feminist anthem soundtracked by a classically misogynist song, for a spot meant to redefine how you think women should look, act and think, where they stand in society, etc. 

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