(TrendHunter.com) Aside from ordering the occasional shot of wheatgrass from their local juice bar, many health-conscious consumers are investing in shots for health that are bottled in convenient ready-to-drink…
What do you get when you cross a robot with a car dealer? We’re tempted to say, the fiery end of civilization. And ultimately, that may prove to be correct. For now, though, you get Kelley Blue Book’s new brand mascot, the Haptic Android Navigable Dealmaker (H.A.N.D.), developed with ad shop Zambezi and the techies…
Three fashion brands — Louis Vuitton, Chanel and Mango — take unusual prominence in this week’s chart of the top branded videos. But don’t worry, regulars like Samsung and LG showed up to represent as well.
Our Viral Video Chart, compiled by Visible Measures, includes both paid and organic views.
A Fox News spokeswoman would not say whether the vacation was planned before the host made what some saw as a lewd joke about Ms. Trump.
Grey New York has parted ways with chief creative officer Andreas Dahlqvist, who has elected to return to Sweden to serve as CCO NORD DDB, a new agency combining offices in Stockholm, Oslo, Copenhagen and Helsinki, leading the agency along with CEO Niclas Melin.
We’ve been hearing rumors of his potential departure and an interest in other jobs for several months, but according to the press releases this was a mutual decision.
“The Nordics is a unique mix of talent, tech, pop culture and inventiveness fueled by a need to survive the long winters,” Dahlqvist said in a statement. “It feels great to get a chance to help write the next chapter of the DDB story in the region, at a time when our industry is going through the next big creative revolution. I think this part of the world is uniquely set up to figure out what true creative agencies should look like going forward.”
“This is of course great news on many levels – for our culture, clients and employees, but also for me personally,” Melin added. “I have had the privilege to work with Andreas and know what a great business partner he is. I’m really looking forward to working with him again and to launch this new agency together.”
Grey New York CEO Debby Reiner announced Dahlqvist’s departure in an internal memo this morning, stating that Dahlqvist is “leaving after two-and-a-half successful years for a new venture,” while noting that Grey New York was” ranked #1 Agency in the U.S. and North America and the #2 Agency in the world by Cannes Lions in 2016? under his creative leadership.
In the memo, Reiner announced that the agency has “recruited a new creative leader whom we will announce shortly.”
Reiner declined to name the new CCO in the memo, because, “this individual has yet to inform his or her current clients about the pending move,” a source told Adweek.
She also announced the promotions of executive creative directors Jeff Stamp and Rob Lenois to roles as deputy chief creative officers. In doing so she cited Stamp as being “instrumental in our global Gillette win and the great work that has followed,” as well as commending his work for clients such as the NFL, Marriott and Febreze. Reiner received kudos as a creative force who “helped to win Weber,” led the agency’s first global campaign for Febreze and “created memorable ads for Ally Bank and Ketel One.”
Here’s the memo in full:
I wanted to share some news with you. Andreas Dahlqvist, Chief Creative Officer of Grey New York, has elected to leave after two-and-a-half successful years for a new venture.
Under Andreas’s leadership, Grey New York was ranked #1 Agency in the U.S. and North America and the #2 Agency in the world by Cannes Lions in 2016. By my count, we’ve won 45 Lions in the last two years, an all-time record, with great creative work across big brands and big clients that has resonated across popular culture.
Andreas takes with him our warmest wishes for continued success as he opens a new chapter in his career and our thanks for all his contributions to Grey.
Importantly, we have recruited a new creative leader whom we will announce shortly.
In addition, I am delighted to announce that we are expanding our creative leadership to take full advantage of the firepower we already possess. Jeff Stamp and Rob Lenois, both Executive Creative Directors, have each been promoted to Deputy Chief Creative Officer, a well-deserved new title. In addition, they will join the Grey New York Executive Management Group.
In his nearly five years at Grey, Jeff has led teams on some of our most challenging businesses. He was instrumental in our global Gillette win and the great work that has followed; the reboot of the NFL and its Super Bowl Babies; Marriott’s global campaign and the relaunch of Febreze with outstanding results and recognition.
A seven-year veteran of Grey, Rob helmed the first global campaign for Febreze that won Cannes acclaim and has created memorable ads for Ally Bank and Ketel One. He has overseen an extensive creative portfolio, working on Hasbro, LongHorn, Advil and Papa John’s. Along the way, he’s found time to contribute to our award-winning gun safety efforts and helped to win Weber. He’s brought home 15 Cannes Lions for Grey.
Please give Jeff and Rob your congratulations and full support as we build on our Walgreens and Applebee’s wins and prepare for another killer award season.
Best,
Debby
Three fashion brands — Louis Vuitton, Chanel and Mango — take unusual prominence in this week’s chart of the top branded videos. But don’t worry, regulars like Samsung and LG showed up to represent as well.
Our Viral Video Chart, compiled by Visible Measures, includes both paid and organic views.
Grey New York Chief Creative Officer Andreas Dahlqvist has left his post at the WPP agency to return to DDB as chief creative officer of newly formed Nord DDB, which brings the Stockholm, Copenhagen, Oslo and Helsinki shops together under one roof.
Dahlqvist, who has been at Grey for two-and-a-half years, will rejoin DDB in September. During his previous time at DDB, he served as executive creative director of its Stockholm office, which earned acclaim for its campaigns for the Swedish Armed Forces, McDonald’s and Volkswagen, including the last’s much-celebrated “Fun Theory” campaign.
Grey New York CEO Debby Reiner wrote in an internal memo that the agency has “recruited a new creative leader whom we will announce shortly.” The shop has seen a number of creative leaders leave in the last 18 months, including Tor Myhren, former Grey Worldwide chief creative officer and New York president who left to head creative at Apple in December 2015, and Doug Fallon and Steven Fogel, the creative team behind the agency’s much-lauded DirecTV work who moved to BBDO.
Ilona Gaynor, The Ascent. Exhibition view at the International Biennial of Design in Saint Etienne. Photo: Ilona Gaynor
Ilona Gaynor, The Ascent. Exhibition view at the International Biennial of Design in Saint Etienne. Photo: Ilona Gaynor
Corporations and other large firms, especially U.S. ones, routinely send their employees on team-building survival courses. Most of these one or two-day experiences teach participants how to light a fire, build a shelter, find edible plants and otherwise ‘survive in the jungle.’
For some companies, however, a survival experience is not enough. They want to see how individuals within their team can handle extreme situations, how much it takes for them to ‘hit their threshold’. That’s how white-collar workers find themselves in fake aircraft cabins, real indoor pools and inflatable raft, learning how to survive plane crashes, fires, war scenarios and other catastrophes.
Organizations that had so far instructed people working for the police, the army or security firms are now adapting their equipment, training and simulations to coach these new, usually desk-bound workers.
A preliminary exercise in learning to escape from a submerged cockpit. Credit George Etheredge for The New York Times
When Olivier Peyricot, Scientific Director of the International Biennial of Design in Saint Etienne, invited Ilona Gaynor to reflect on the main theme of the biennale, work, its shifting paradigms and future, she didn’t come up with an object, didn’t propose any near-future scenario nor speculated on the impact that AI, 3D printing or climate change will have on jobs.
Instead, she found inspiration in an article about plane crash simulation for office employees, reflected on the dynamics of social mobility, wrote a 4 act play and designed a set for a theater performance that might never take place.
Ilona Gaynor, The Ascent. Photo: Ilona Gaynor
The play is called The Ascent. It centers around a law firm that goes on a morale boosting training day. The exercise takes place inside a plane designed specifically to simulate a plane crash and teach people how to escape the mayhem that ensues. However, there’s a (real) technical problem and things quickly get out of hands inside the fake plane. Everything goes terribly terribly wrong for the characters of this fiction inside a fiction. Not that you care for any of them. They are rude, catty and supremely unpleasant.
In their daily life, these people scramble for a promotion. On the plane, they compete as ruthlessly for sheer survival.
The Ascent is an intriguing parable about the ecosystems of power, about people who have lost any illusion they might have had about their job but still fight for it, even if that means hitting their colleagues below the belt or submitting themselves to some inane team-building activity.
Ilona Gaynor, The Ascent. Exhibition view at the International Biennial of Design in Saint Etienne. Photo: Ilona Gaynor
Ilona Gaynor, The Ascent. Exhibition view at the International Biennial of Design in Saint Etienne. Photo: Ilona Gaynor
The work attempts to examine the discrete nature of class politics; paralleling contemporary workplace geometries from multiple vantage points; subtly questioning the assumption that all progress in life or in the workplace is purely vertical. It’s as much about finding escape routes as it is about ‘climbing a ladder’.
I asked Ilona Gaynor to tell us more about her participation to the Design Biennale in Saint-Etienne:
Hi Ilona! The Ascent seems to push the boundaries of design, the discipline itself but also the way it is exhibited and experienced. Visually, the work is very seductive but to experience it, the visitors have to properly sit down, read the full play, imagine the protagonists, perform the interactions in his or her head and form their own conclusions and associations with what work culture means to them. Why did you choose a setting that resists so many of the usual codes of design and design exhibitions?
It was a commission from Olivier Peyricot for the 10th edition of the St Etienne Biennale and it seemed somewhat important for him that the constraints of the previous editions be addressed, in wanting to make it a more conceptually challenging design exhibition. As opposed to somewhere like the Milan, Salone del Mobile – which is very market oriented and relies heavily on expensive spectacle and brand association. Olivier asked a team of writers, curators and researchers from backgrounds in philosophy and art criticism (rather than designers) to search for writers, artists and designers that worked in contrary to this and I suppose this was myself, amongst others.
Designers for a while now have been describing their work as “narrative” or “fiction” without really pertaining to what that might entail and how to utilize fiction within design as tool for exploring language, sequence, chronologies and so on (and of course there are exceptions.) But it’s become a fairly benign turn of phrase: ‘design fiction’, ‘fiction futures’, ‘speculative fictions’, ‘virtual fictions’ and so on; for the justification of making work that needn’t exist or be imagined within the critical constraints, complexities or nuances of our reality. It’s become a confusing and lost space that has somehow separated itself too far apart from both: its original critical intent and the opposite end of the spectrum; in so much that I wonder where the motivations for making all this work lies… I’m fairly certain that it no longer lies in the nature of criticism, but elsewhere… design has begun to reposition itself as a sort of stubbed, depoliticized science fiction; rather than shaping and regulating the contemporary critical imagination.
As such I wanted to stay away from the conventions of design; particularly speculative design. The Ascent is an experiment. Whilst I’m not suggesting at all that this work comes close to resolving my own thoughts about the broader issues of design… it is an attempt to relate design, language and image in a way that is more than simply suggestive of fiction, but a written work of fiction. An affirmed allegory; grounded in its criticism (in its most traditional semantic sense) that examines a particular aspect of the contemporary working condition – presented as a four act play and its accompanying set. It was also important for me to exhibit something that wasn’t burdened with the reliance of an object as its only voice with which to speak.
So I wrote a play that uses design to reinforce its spatial and political narrative; as opposed to the reverse.
Ilona Gaynor, The Ascent. Exhibition view at the International Biennial of Design in Saint Etienne. Photo: Ilona Gaynor
Ilona Gaynor, The Ascent. Exhibition view at the International Biennial of Design in Saint Etienne. Photo: Ilona Gaynor
How do you manage to make visitors of the biennale engage with a theater play that is never performed?
I’ve always thought the magic of an experience was in never experiencing it. In that designing and writing in anticipation was far more interesting, more imaginative somehow… I loved the book designed by M/M Paris Napoleon: The Greatest Movie Never Made. It’s a curated collection of the research materials for Kubrick’s unrealised film Napoleon. A pantheon of a project in that it was all the preparatory material for a film that would only ever come to exist as a dense collection pre-production notes. Depicted through: 15,000 locations that were scouted and documented, Napoleonic images, sketches, architectural drawings, costumes, typographic title studies and dialogues between film studios and historians. It’s a beautiful collection of research materials that I imagine would have been disappointing if eventually realized, in contrast to the vast and acute details of his proposal. I often think that most events and films were probably more imaginative and compelling on paper then in their final realization.
In contrary to this, it would have been very difficult to keep up a performance of longevity throughout the course of an exhibition with thousands of visitors. It was hard to tell how many engaged with the work… and it’s never been something that’s really concerned me; but it is a question that always comes up and I think it’s a question that’s highly unique to design. But my primary attempt to engage with the audience was in the design of the set itself. Minimal in its geometry; the planes structure is formed in tubular steel and designed to be a reduced three dimensional line drawing, that could be seen in plan section from above as printed in the play manuscript. The structure; rendered in white; details the fuselage, wing span, tail fin and pointed nose of the cockpit. The interior is divided into four sections: First Class, Business Class, Economy Class and Pilots Quarters and in each of these sections sits rows of folding chairs that are proportionally spaced in correspondence to the class they are located in; some having more leg room then others. As written in the play, the characters are separated amongst the three class sections according to their position within the law firm they all work at: junior staff, administrative and secretarial staff were sat in economy, the partners in first class and the senior staff within business class. Positioned on selected back rests of the seats are signs labelling character seat assignments; freezing them in position for the audience to imagine them sitting in position; undisturbed after boarding.
Insert United Airlines joke here
I chose the location of a plane for The Ascent for a variety of reasons… but one aspect that was particularly important is the pre-existing connotations that relate to class and the tensions that surface when thinking about air travel.
The visual and spatial divide of wealth, status and political standing that occurs within such an acute space is always really striking to me upon boarding. Of course, the ironic overbearance being that if it were to crash, we’d probably all die just as equally. In act four however; entitled “Dying,” the plane tips backwards, submerging economy class in water, forcing the passengers to ascend; climbing up the seats to reach first class – which ultimately sets on fire. Those whom have managed survive that sequence of disasters, are either forcibly drowned by other co-workers (other lawyers) or are electrocuted when a powerline falls into the water.
Ilona Gaynor, The Ascent. Photo: Ilona Gaynor
Ilona Gaynor, The Ascent. Exhibition view at the International Biennial of Design in Saint Etienne. Photo: Ilona Gaynor
If you had the money, would you consider having it performed? or turned into a video?
There will be several readings of it with each of the characters being read by actors, separate from the set. But no performance in any kind of a spatial way, although I’d certainly change my mind if the appropriate opportunity presented itself.
The work evokes a TV series (you mention House of Cards for example in your essay) and also Hollywood disaster movies. So why did you choose to communicate your idea through a theatre play?
I don’t remember mentioning Hollywood disaster films.
You didn’t. I’m the one who thought about disaster movies…
Historically, theatre existed as a political tool to enhance the popularity of leaders needing support. Funded by the rich and powerful through taxation; with the hopes that the success of the plays they had sponsored would provide them with a way into politics. But it soon evolved… becoming a medium with which to critically investigate the world they lived in and what it meant to be human through three strands of dramatization: comedy, tragedy and satyr. I chose theatre, rather than television as a way to refer back to these traditions of political theatre; whereby the subjects of contention were always class related and often dealt with ideas of labor, abuse of power and man’s relationship with the gods.
When I think of “work” I’m immediately drawn into an aesthetic of air conditioned office spaces, with shitty stained carpets and suffocating plants gasping for fresh air; amongst the smell of cheap percolated coffee and the sound of photocopiers. It’s a rich behavioral and acutely aesthetic environment; rife with cynicism. I’ve been captivated by it for years and was something I was keen to take a closer look at. I love the original British TV series The Office (2001) and Chris Morris’s Jam (2000) and I somehow wanted to captivate and exaggerate the criticisms that could be drawn out through amplifying what might happen in the event of putting a clash of archetypes in a pressured, but perilous environment or situation.
The play is set on an airplane simulator that is used as a training environment for coping with extreme scenario situations. These types of simulation experiences are used by organisations; such as investment banking and law firms as away-day experiences for training their staff; the implied implication being that it would improve team work under pressure and a boost staff morale. I came across this phenomenon upon reading an article published in the New York Times titled “Need a better morale boost in the workplace? Simulate a plane crash.” It was a title I imagined would have been read aloud by a character from Beetlejuice. The article detailed the nature of simulating plane crashes, whereby the fuselage crashes into water and you and your colleagues are all trapped under water and must escape before drowning. There’s a lovely quote that reads “There are specific types of groups that like high-risk activities,” he said, citing lawyers and people in sales, public relations or marketing. Those in social work, nursing, finance or engineering, he said, might not be as keen to face the fear of drowning.” Quite simply I thought that this was it… this is enough material here to shape a comedy; a unique situation that would escalate the typical work place tensions in a pressured environment; where politics, bias, life and death was all conflated to margins of time.
Trainees brace before entering the water in the simulator. Credit George Etheredge for The New York Times
Students help one another board an inflatable raft. Credit George Etheredge for The New York Times
Participants learn to swim as a group. Credit George Etheredge for The New York Times
The Ascent is part of a biennale that explores the work practices of the future. Your vision on the theme is bleak. The employees of the company are rude and selfish, there is still a lot of sexism, the plane staff advertise coca cola and starbucks as the only way to appease nervous passengers, etc. Does this scenario echo the direction that work culture is taking?
I think I was the only designer that didn’t position my work within the future. I never do; optimists belong in the future and I’m certainly not an optimist. We already live in a dystopia and any attempt to imagine it in the future would be a facile endeavor somehow. As such I imagine (the western and middle class) working environment is already this way… although, much subtler in its ruthlessness. I’m not sure my framing is all that bleak but rather an outwardly cynical view. The play was actually written as a black comedy and I was told when it was translated into French became a much, much darker read.
The characters were highly exaggerated, so much so that they were written as paired archetypes; notated as (One and Two) that were designed to reflect one another’s selfish, uncompromising and draconian nature. As previously mentioned all the characters were organised and positioned by class within the corresponding sections of the plane. Among them: The Pricks are located in First Class, The Passives in Business Class and The Nobodies and numbered seats were located in Economy Class. Female characters have no personal identification and were simply labeled as Woman One and Two. I felt it was important to heighten the sexist and abusive nature directed at the female characters, whilst at the same time making light of it…
The essay “Our Attempts to Ascend. Escape Routes and Cosmic Trapdoors” was written for the exhibition catalogue and puts forth a repositioning of the current definitions of work, as a form of contemporary escapology. A spatial practice that is navigated between those that move horizontally– adopting moves, conflicts and entanglements; as a reckoning material force with which to escape their shrinking space, whilst afterwards recover their expansiveness (the Frank Underwoods). And those that attempt to move vertically– but either through mental exhaustion and exploitation; fail to fully discern the required amount of complexity in relations, impulses and directives… resulting in compelled attempts to escape in an effort to save themselves, rather than being able to successfully maneuver.
The Ascent attempts to reflect a moment in time, when these two definitions collide.
Ilona Gaynor, The Ascent. EExhibition view at the International Biennial of Design in Saint Etienne. Photo: Ilona Gaynor
Thanks Ilona!
There are a lot of reasons for joining the Swedish Armed Forces. The most apparent, is probably to defend one of the most progressive countries in the world*. But there are also more individual reasons. For instance, the chance to move out of your parents´ house or getting a break from your studies. This campaign focuses on a variety of reasons for joining The Swedish Armed Forces. Each of the three films exemplify a few of them – some broad, some highly personal.
* According to a study by the Institute for Future Studies
There are a lot of reasons for joining the Swedish Armed Forces. The most apparent, is probably to defend one of the most progressive countries in the world*. But there are also more individual reasons. For instance, the chance to move out of your parents´ house or getting a break from your studies. This campaign focuses on a variety of reasons for joining The Swedish Armed Forces. Each of the three films exemplify a few of them – some broad, some highly personal.
* According to a study by the Institute for Future Studies
There are a lot of reasons for joining the Swedish Armed Forces. The most apparent, is probably to defend one of the most progressive countries in the world*. But there are also more individual reasons. For instance, the chance to move out of your parents´ house or getting a break from your studies. This campaign focuses on a variety of reasons for joining The Swedish Armed Forces. Each of the three films exemplify a few of them – some broad, some highly personal.
* According to a study by the Institute for Future Studies
Channel 4 and ITV are uniting for the first time for a major brand campaign for Alzheimer’s Society, created by McCann London.
“United Against Dementia” launched on April 24 and is the first time either TV station has partnered with one another to simultaneously introduce a new advertising campaign with a bespoke co-branded introductory message.
How can brands create long-term relationships with their customers? Five marketers have some advice.
Digital agency space150 named Dutch Thalhuber as its president, tasking him with overseeing the agency’s network across its New York, Los Angeles and Minneapolis offices while reporting directly to founder and CEO Billy Jurewicz.
Thalhuber fills a role last held by David Denham, who left the agency to serve as president for Peterson Milla Hooks back in December of 2015. Denham and Peterson Milla Hooks parted ways last month.
“Dutch has been committed to space150 and continually evolving our business to better serve clients and our creative output for over a decade,” Jurewicz said in a statement. “He has shown time and time again that he can lead our cross-discipline teams to new levels and ensure our clients are partnering with us on new and defining creative work.”
“I cannot be more excited about where we are and where we’re going,” added Thalhuber. “Our digital roots put us in a perpetually unique position to understand and connect with today’s consumer. To realize results never seen before, we believe that you have to try things never done before – I love that about space150.”
An 11-year agency veteran, Thalhuber was promoted to president from his most recent position as chief operating officer. He originally joined space150 in 2006, following six years as a senior program manager at Oracle Retail.
Thalhuber’s promotion follows several years of growth for the agency, in terms of both revenue and personnel. Last February, Schwan’s Consumer Brands, Inc. selected space150 as agency of record for seven of its brands, including Red Baron, Bon Appétit, Freschetta and Mrs. Smith’s. The following month the agency promoted Marc Jensen to chief innovation officer and Brock Davis to chief creative officer. Last summer, space150 welcomed Ulli Appelbaum as executive vice president, strategy and Stan Fiorito as executive vice president, client and brand development. In October, Char Roseblade joined the agency from BBDO Minneapolis as senior vice president, account services.
Ad Age “Media Guy” columnist Simon Dumenco’s media roundup for the morning of Wednesday, April 26:
Does the world need more live streaming video? Twitter seems to think so. (See No. 2, below.) Do we need more Trump-related comedy? Based on what I saw last night (No. 3), I’m going to say yes. What does it mean that Facebook is coming to grips with its “dangerous side,” per The New York Times Magazine? Unclear! (No. 6.) And where did Sean Spicer lose his virginity? Seth Meyers has the “answer.” (No. 7.) Anyway, let’s get started …
1. A bit of a stretch pun-wise, Daily News, but OK, fine:
Ad Age “Media Guy” columnist Simon Dumenco’s media roundup for the morning of Thurday, April 27:
Some things I think you should know: The Trump team gets along really, really well! (See No 2, below.) Steve Bannon was a major Hollywood dealmaker! (No. 3.) Strongman duo Chop & Steele are very strong! (No. 7.) And the outfit you’re wearing is totally on point! (No. 5.) Anyway, let’s get started …
1. ICYMI elsewhere on AdAge.com, Anthony Crupi has the story on this week’s medialand carnage: “ESPN Cuts 100 Household Names as Rights Fees, Viewer Habits Eat Into Profits.” Elsewhere, the New York Post turns to former ESPN host Colin Cowherd (now at Fox Sports, a Post corporate sibling) for a grim assessment: “Colin Cowherd: This ‘awful’ day is only the beginning for ESPN.”
Innocence in Danger – a worldwide association for the protection of children – and McCANN Paris partnered to create @GuiltyTags, a social media campaign that demonstrates how an entire community can be is responsible for the death of one child.
In France, two children die every day from violence and one in ten adults claim to have experienced abuse as children. Violence against children has become an urgent public health issue. Even more disturbing is a lack of community action to combat it. Often, people involved in the child’s life fail to speak up or take action at the signs associated with violence and neglect.
Using Instagram, @GuiltyTags, tells the stories of 9 murdered children, all based on real cases. In all Instagram pictures all the people responsible for what happened to those children are tagged.
To recreate each community – 60 profiles and more than 1650 posts were created. By exploring each profile linked to each child – people can discover how each person was responsible – whether by neglect, direct action or simply by failing to speak up about the signs.
A Amazon apresentou nessa semana o seu mais novo dispositivo, o Echo Look, um assistente com câmera embutida que ajuda a catalogar as peças de roupa que você tem no guarda-roupa e avalia as melhores combinações através de machine learning e dicas de especialistas.
Funciona como um espelho inteligente que tira fotos de corpo inteiro e diferentes ângulos para avaliar quais roupas combinam.
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Além disso, o Echo Look também funciona como um Amazon Echo, dando a possibilidade de conversar com a Alexa, a assistente pessoal, para ler notícias, tocar música ou estimativa do trágefo.
O dispositivo vem com um LED embutido, um microfone e uma base para que o usuário possa colocar na parede ou deixar em pé.
Os interessados em ter um Echo Look em casa precisam encomendar o produto diretamente no site da Amazon e desembolsar US$199,99.
> LEIA MAIS: Amazon lança dispositivo que vai te ajudar escolher o #LookDoDia
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