You’re probably thinking “Viral hold music?? This guy sounds amazing.” And you’re right, but that wasn’t always the case.

In 2017, I was just a dude with an advertising degree resigned to the idea that I might remain a bartender for the rest of my life. I’d been to Chicago, where everyone told me I needed portfolio school. But with so much debt already from making fake ads, I chose the sketch and improv route thinking I’d just “yes, and…” my way into an agency.

Then I met a guy at a party. By the end of the night, I had a job offer to a place I’d wanted to work for, even gotten rejected from, for years. My Don Draper dream was happening. I’d start in the mailroom in two weeks.

For the next three years, I worked my way up, from sorting mail and picking up trash around the office to overseeing the whole damn mail operation. The entire time, I was soaking it in and learning things they don’t teach in portfolio school—like, trash always smells worse in the summertime.

Back then I cornered more than one creative in the elevator saying I wanted to be just like them (it wasn’t weird). Eventually that led to my first brief for Universal Studios but ONLY if I dressed like Justin Timberlake and sang songs on piano for a project manager’s birthday party. Deal.

I did the party, nailed the brie, and got my first rejection in advertising. I kept pressing Creative Resources to move me up and after a ton of NOs, I finally got the magic word: “fine” in 2020. I was officially a writer. And as a writer with no proof that I could actually write, they put me on the only projects that you’d trust someone who was just plunging toilets a week before to do: Radio and On-Hold messages.

I did those for months with Pizza Hut. Then in 2021, I got to write for spokesperson Craig Robinson for a package of spots. Knowing his and my own musical talents, I had the unoriginal idea to write a song for him to perform. “Chicken Wings” was born.

@noraeinhellll #holdmusic #pizzahut #wings #chickenwingsong #funny ♬ original sound – noraeinhellll

It lived on the phones of random franchisees for years until 2024. Someone heard the song, loved it, shared it on TikTok and enough people smashed that like button that it got millions of eyeballs and news coverage. I didn’t even know until my aunt reached out to me during paternity leave asking “Who made the Pizza Hut song?”

That led to the agency’s first Radio Mercury Award, a Cannes Shortlist and my mom telling all her Facebook friends that I’m a songwriter now.

All this to say, be nice to the guy in the mailroom. Even if they aren’t award-winning writers today, they could be tomorrow.

“Half-court shots
And mascots
Buzzer beaters
Pizza’s at the door
And unlimited 1.5 percent cash back with 
  the capital One Quicksilver Card…
That’s what march is for.”

It’s an amusing evocation of ’80s mega-star videos like “We Are the World” and “Do They Know It’s Christmas?” Everyone seems to be having a great time—even the Visigoth (a nod to brand commercials of yore).

“It’s rare to get all those celebrities on set together, and watching them be in awe of Dionne Warwick, sing this ridiculous March Madness anthem together and crack jokes in between takes was amazing,” recalls Ryan Carroll, group creative director at GSD&M, which helped develop the campaign. “No one wanted that day to end.”

Pop music always drives these outings to some degree. Fans may recall that Gladys Knight co-starred in CapOne’s 2021 March Madness extravaganza (with Spike, Sam and Charles as her Pips).

“Every year, our goal is to raise the bar and ensure that we are adding to the fan viewing experience,” Carroll says. “We see this work as an extension of the entertainment and excitement of the games, and that’s why fans look forward to it.”

As always, Spike served as director. The campaign’s four other commercials also amuse, with a ginormous Chuck blimp stealing the show. (No jokes about waistlines and hot air, people!)

For those of you keeping track, it’s been 12 years since we last saw Fruit of the Loom’s “Fruit People” in advertising. Not only is the wait over, but Apple, Leaf, Green Grape and Purple Grape have joined TikTok, ripe for Gen Z eyeballs.

The social campaign, from GSD&M, adds another player to the salad: Fruit of the Loom’s chief TikToker, whose job is to go viral with the team while showing how the characters interact in workplace scenarios.

@fruitoftheloom time to go viral – pls help #thefruitpeople #fruitoftheloom #workinsocial #chieftiktoker ♬ original sound – Fruit of the Loom

“Fruit of the Loom is always looking to brighten our customers’ days and our social media content is one of the ways we get creative and have fun with our brand,” says Bryse Yonts, director of brand communications for Fruit of the Loom. “We’ve recently used legacy elements such as our logo in content, but reinvented for a modern audience, and our followers have loved it. So, we can’t wait to introduce the ‘Fruit People’ to a new set of fans.”

The brand wants to connect with a younger demographic, and the Fruit People will return via Instagram Reels as well as TikTok. We’ll get a series of humorous videos that channel social media trends and riff on IRL scenarios, like return-to-the-office policies.

@fruitoftheloom hey tiktok ? this is how we office #thefruitpeople #corporatetiktok #9to5 #backtooffice #rto #fruitoftheloom ♬ original sound – Fruit of the Loom

“Fruit of the Loom has been making people look and feel good throughout our history and many customers who have shopped with us over the past several decades know and love us for our brand heritage,” Yonts says. “We want to bring Fruit of the Loom into its next chapter by taking the best parts of our past and reshaping them for this next generation.”

Traveling both comfortably and bougie is a challenge that Fruit of the Loom and Southwest Airlines seek to solve with “The Get Away Collection.”

For $200, travelers could score a sweat set made from Fruit’s comfort fleece and a $350 gift card to Southwest.

The brainchild of GSD&M, lead agency for both brands, the collection was promoted on Fruit of the Loom’s social platforms, and the agency enlisted TikTok influencer Rich Caroline to hype the merch, too.

“We recognized that Fruit of the Loom and Southwest Airlines share the belief that premium quality doesn’t have to come at a premium,” says Jay Russell, chief creative officer at GSD&M. “With this in mind, “The Get Away Collection” came to life. It’s all about providing luxury for any traveler, from two brands who have always been about giving you more for less.”

The collab targets Gen Z and millennials 23-34 years old who want affordable, luxury travel wear. Needless to say, items flew off the (virtual) shelves.

Click images to enlarge:

“We’ve been working with Fruit of the Loom to find ways to authentically connect and engage with Gen Z and millennials and this collaboration was one way we were able to do that,” Russell tells Muse.

OK, he was wearing a hoodie, too. But still.

Breaking today, :15s and :06s introduce the tag “Well Made. Well Priced. Loom Large.” (Given that we see guys in their briefs, well, that last bit does beg a question.)

Other spots show a junk-trunk dance routine, an expectant couple with issues and a Jackass-style spoof that should spark a smile:

“Loom large, ass-on-fire!” The campaign merits a write-up based on that line alone. Actor and comedian Judah Friedlander (30 Rock) provides zippy narration that enhances the package.

“Judah’s persona embodies this idea of, not just doing what feels comfortable, but doing it proudly,” says GSD&M creative director Jessica Zalaznick.

“We wanted to talk about the great quality Fruit of the Loom offers and the longstanding value they’re known for in a bold, new way,” she adds. “‘Loom Large’ is based on the insight that when you’re in well-made clothes, you’re comfortable enough to be yourself.”

The work runs across digital and social media platforms including connected TV and online video.

CREDITS

Fruit of the Loom
Angela Minton Dennison, VP of Fruit of the Loom
Karen Kendrick, VP Brand Communications & Creative Service
Bryse Yonts, Director of Brand Communications
Katie Over, Brand Communications Manager

GSD&M  
Jay Russell, Chief Creative Officer
Wade Alger, Group Creative Director
Jessica Zalaznick, Creative Director
Tiff McKee, Creative Director
Ty Harper, Creative Director
Additional creative support: Leigh Browne, Jon Williamson 
John McAdorey, Executive Producer
Shawn Mackoff, VP Group Account Director
Alissa Pineda, Account Director
Katie Stout, Account Supervisor
Margy Arendes, Account Manager
Luke Dryer, VP, Group Strategy Director
Christina Hirsch, Strategy Director
Lindsay Wakabayashi, Business Affairs
Kerry Winn, Business Affairs
Tyson Maley, Project Manager
Chief Media Officer: Dave Kersey
VP/Media Director: Kathleen Pittman
Associate Media Director, Planning: Matt Yasgar
VP/Director of Digital Solutions, Evan Walker

Paid Social Media Supervisor: Paige Kelton
Paid Social Campaign Manager: Alexandria Perez
Digital Media Director: Deleyla Glass
Media Supervisor, Planning: Zayna Thompson
Associate Media Director: Ed Hausser
Senior Campaign Manager: Chase Hillhouse

Live Action Film production: Sanctuary
Director: Brandt Lewis
Managing Director: Preston Lee
Partner/Executive Producer: Kristen Bedard Johnson
Executive Producer: Noah Thomason
Producer: Chris Cho
DP: Marie Secco

Production Service Company:  The Roots
Executive Producer: Ariel Leon Isacovitch
Head of Production: Francisco “Pancho” Rojas
Producer: Rodrigo “Yeye” Diaz-Baezo

Editorial: Mackenzie Cutler
Editor: Ian Mackenzie
Assistant Editor: Cooper McLane
Executive Producer: Gina Pagano
Producer:  Kayla Robinson
Flame: Jimmy Hayhow
Mixer: Sam Shaffer 

Telecine: Rare Medium
Fergus McCall – colorist/partner
Heath Raymond – Managing Partner
Nicholas Hiltner – Assistant Colorist 

Music: Duotone Audio Group
Executive Music Producer: Ross Hopman
Senior Producer: Gio Lobato
Creative Director: Peter Nashel

Voice Casting: Janet Eisenberg Casting
Casting Director: Janet Eisenberg 
Voice Talent: Judah Friedlander

Around this time every year, we learn so much when Samuel L. Jackson, Charles Barkley and Spike Lee make their annual NCAA March Madness pilgrimage for Capital One.

For instance, sportscaster Jim Nantz smells divine. Always suspected as much, but now we know for sure. And Spike can’t take the heat when he’s heckled like those refs he’s always razzing As for what a Barkley-themed convenience store would be like, well, it’s called a Chuck Stop, natch, and boasts the stupidest subs in town.

We learn all that and more in the latest edition of the beloved campaign dropping today from agency GSD&M.

Five :30s have plenty to offer—with Magic Johnson and Jennifer Garner returning from past iterations, too. But best of all, there’s country music icon Willie Nelson, who joins the crew on the road and performs one of his signature songs. Can you guess which one? It sure ain’t “Always on My Mind.”

At this point, these guys are like flesh-and-blood versions of college sports mascots: cuddly yet crotchety, hyped on college hoops, human cartoons that deliver the low-brow comic goods and seem to have a blast. They all smell divine, too. Well, maybe not Spike. (Just adding to the heckles, dude!)

“Adding Willie was great because the other celebrity talent on set were all just as excited as we were to be working with such a legend,” says GSD&M SVP, group CD Scott Brewer. “As an agency based in Austin, Texas, we couldn’t be prouder to have brought him into this collaboration. The fact that we got to shoot with Willie on his actual tour bus only made for a more authentic and entertaining spot.” 

The push spans TV, OLV, social and on-site activations at the NCAA Men’s Basketball Tournament starting on March 14.

A TikTok challenge the day before will give fans the chance to duet with Willie and Jennifer. Garner’s channel will host the event.

CREDITS

Agency: GSD&M
Jay Russell: Chief Creative Officer
Scott Brewer: SVP, Group Creative Director
Ryan Carroll: SVP, Group Creative Director
Kristi Flango: Creative Director (On The Road Again, Chuck Stop)
Sarah Weigl: Creative Director (On The Road Again, Chuck Stop)
Brett Baker: Creative Director (Heckling Spike)
Justin Han: Assoc. Creative Director, Writer (Halftime at Home, March Magic Lamp)
Ryan Warner: Assoc. Creative Director, Art Director (Halftime at Home, March Magic Lamp)
Kendal Steffen: Senior Art Director (Heckling Spike, Social)
Clare Davis: Senior Writer (Heckling Spike, Social)
Jon Ellis: Executive Producer
Rolando Romero: Producer
Nancy Ryan: SVP, Managing Director
Lindsey Kuhn: Account Director
Kackie Hensen: Account Supervisor
Jenny Terway: Account Manager
Lindsay Wakabayashi: Director, Business Affairs
Georgette Bivins: Sr. Business Affairs Manager
Kim Tarter:  Assoc. Business Affairs Manager
Adam Gill: Project Manager
Tyson Maley: Project Manager
Jim Firestone: SVP, Group Strategy Director
Chelsea Vargas: trategy Director
Randy Romero: Social Media Director
Sammy Rippon: Senior Social Strategist

Director: Spike Lee
Production Company: Pony Show Entertainment
Editorial: MackCut
VFX: Framestore

The ultimate dream team returns for March Madness—and we don’t mean Gonzaga, Duke or Villanova.

We’re talking Samuel L. Jackson, Charles Barkley and Spike Lee, back on the road for a series of fresh Capital One commercials in their annual pilgrimage to the NCAA men’s basketball tournament. This marks the beloved campaign’s seventh iteration—directed by Spike, of course. (The trio sat out 2020, at the height of Covid-19.)

By now, we know the drill. And as ever, zippy zingers, in-jokes, madcap musical moments and star cameos drive five spots created by GSD&M.

But nothing prepared us for Chuck U—or the school’s “Fighting Sam” mascot, an MVP-caliber highlight:

Chuck U? They must’ve gotten bounced in the opening round. Memo to Capital One: We want Sammy bobble-heads, preferably atop gleaming Academy Award statuettes!

“Of course, Chuck would absolutely have a badass mascot. And Sam is the most badass guy he knows. From there, it was all about striking the perfect expression,” GSD&M creative director Kevin Dunleavy tells Muse.

In other installments, Magic Johnson conjures up some plays…

… while two Birds—Larry and Sue—prove better than one:

Elsewhere, veteran Capital One endorser Jennifer Garner pops into Chuck’s barber shop, and quickly wishes she hadn’t:

“Chuck is historically the idea man in these campaigns, coming up with crazy plans or inventions,” says GSD&M cd Brett Baker. “One of his most prominent physical features is his baldness. So, what would a bald guy like Chuck think of? Easy—a barbershop.”

Finally, Chuck claims a championship—er, make that a “Champion Ship”—as the guys roll down the river in high-steppin’ style:

“We really wanted to connect the men’s and women’s tournaments, so we were super excited when we realized that the Mississippi river literally connects the two cities where the championships are being played. The team turned that insight into the ‘Champion Ship,'” says agency cd Jon Williamson.

CREATIVE CREDITS:
Jay Russell Chief Creative Officer
Scott Brewer SVP, Group Creative Director
Ryan Carroll SVP, Group Creative Director
Leigh Browne Creative Director (Campaign)
Jon Williamson Creative Director (Campaign)
Kevin Dunleavy Creative Director (Champion Ship, Magic & Bird, Chuck U)
Daniel Burke Creative Director (Champion Ship, Magic & Bird, Chuck U)
Dina Young Creative Director (Champion Ship, Magic & Bird, Social)
Brett Baker Creative Director (Chuck Kuts)
Phil Davies Assoc. Creative Director, Copywriter (Final Fourtune)
Matt Barker Assoc. Creative Director, Art Director (Final Fourtune)
Kendal Steffen Senior Art Director (Social)
Tj Vining Senior Art Director (Social)
Jon Ellis Executive Producer
Stefany Strah Producer (Social)
Rolando Romero Producer (Social)
Nancy Ryan SVP, Managing Director
Jodi Bucciarelli VP, Account Director
Lindsey Kuhn Account Director
Blake Balser Account Supervisor
Lindsay Wakabayashi Director, Business Affairs
Lisa Dalian Associate Director, Business Affairs
Teonna Anderson Project Manager
Jim Firestone SVP, Strategy Studio Lead
Mikael Greenlief Director of Communications Strategy
Jessica Peltzman Senior Social Strategist
Sammy Rippon Senior Social Strategist
Evan Walker Director, Paid Social

You don’t make it 50 years in this business using creativity to solve business problems if you can’t put those skills to work for yourself. Take the time two of GSD&M’s co founders, Roy Spence and Tim McClure, slaved over a new-business pitch for weeks but came up with a whole lot of nothing. 

When it came time to travel to the client’s for the big meeting, they employed a bit of dramatic flair—and some basic survival instinct—by stuffing a portfolio with blank sheets of paper. When they got to the client’s, Roy and Tim plunked down the portfolio and said, “You know, we’ve worked on this for weeks, but we’re not going to show you the work today—it’s just not there yet. We’ll be back in 10 days and we’re going to present to you the best campaign ever.” (They did, and got the business.)

Roy often sold ideas in flight with Herb Kelleher, the founder of Southwest Airlines. The two would come to be known for hopping around Texas on Southwest routes while enjoying a few libations along the way. Legend has it they’d sometimes arrive in a given city and, perhaps having enjoyed the journey a little too much, have no idea where they were. That is until Herb was given strict instructions to head back to HQ by Colleen Barrett, who would go on to become president of the airline.

It’s nearly impossible to talk about the rise of GSD&M without talking about politics. Roy and another of the agency’s founders, Judy Trabulsi, worked together on Walter Mondale’s run for president in 1984. Years later, Roy, Judy and I went on one of my earliest pitches for the agency, for Fannie Mae, whose chairman, Jim Johnson, Roy and Judy had a close relationship with because he had been chairman of the Mondale campaign.

Earlier, in 1972, Judy and Roy would get to know an ambitious young political duo from Arkansas, Bill and Hillary Clinton, when they came to Texas to register voters for the McGovern ’72 campaign. Roy and Judy were working to get former U.S. Senator Ralph Yarborough elected to that post once again. The group formed a long-lasting and deep friendship that has lasted decades. Years later in the post-Clinton presidency era, GSD&M went on to proudly serve as the agency for the Clinton Foundation and the Clinton Global Initiative.

It is our political connections that helped build some of our most enduring relationships and produce some of our most iconic work, including our campaign for the Ad Council after 9/11 (“I Am an American”) and PSAs we did after Hurricanes Katrina and Harvey (for one of those, Roy persuaded the five living U.S. presidents at the time to participate).

The founders of GSD&M, you might’ve guessed by now, were larger-than-life personalities whose hard work and natural talents formed the foundation of our agency and cemented their standing in the history of advertising. 

I see it as my job—after more than 30 years here, starting as an intern and working my way up—to build on what the founders delivered by bringing together the unique talents and work of today’s diverse group of employees, who have assumed the mantle, formed their own important brand partnerships and produced some of the most award-winning work in the business.

Yes, there have been challenges. Most recently, our agency, like everyone else, has suffered through the worst global health crisis in our lifetime. But even in the middle of that epic disruption, we have taken big swings and scored big hits, scooping up more awards than at any time in our history, building on the iconic work that made us famous—campaigns like “Don’t Mess With Texas,” Southwest’s “Bags Fly Free” and Popeye’s Chicken Wars, for which we just won the Grand Effie.

Also in the past year, we happened to score our biggest account win ever with Capital One, followed by Avocados of Mexico, Tyson Chicken and the Fruit of the Loom business.

While the pandemic has led to “The Great Resignation” and millions of us rethinking our lifestyles and career choices, I am pleased about our agency’s track record for attracting and retaining talent, with some of our employees notching 20 years or more with our company. This, even as the Googles and Amazons of the world keep coming for our industry’s best people.

Our scrappy and entrepreneurial culture has been part of our DNA since the founders set out on this adventure, and keeps us thinking and acting all these years later like some indie shop—even though we’ve been part of the Omnicom Group for more than 20 years. 

It is our work ethic and values that positioned us to shoot for the moon from day one, that enabled us to help put Southwest on the map, empowered us to help make Walmart a global retail juggernaut, and drove us to execute killer campaigns for brands ranging from BMW and Goodyear to the U.S. Air Force. And who could forget our work for Chili’s and that tagline you haven’t been able to get out of your head for decades now: “I want my baby back, baby back, baby back ribs”? (That one has definitely secured its place in pop culture, even making its way into an Austin Powers movie.)

And the hundreds of employees who have walked through our doors since the very first pitch have carried on the traditions of our founders, enabling us to retain our singular identity and keep our eye on that North Star—creating First & Only Brands by delivering the very best creative work and winning results for our clients—as we drive this proud agency located at the “weird” capital of the world to its greatest triumphs yet.

Here’s to the next 50 years.

Lightsabers, wormholes and Martians are the stuff of science fiction. Alas, such fun and fantastical conceits don’t jibe with off-world reality. In fact, “space is hard,” and “our entire way of life” may depend on efforts to explore and safeguard the planet’s upper atmosphere and regions beyond.

U.S. Space Force operations chief Gen. John “Jay” Raymond makes that point forcefully in GSD&M’s latest video for the newest branch of our nation’s armed services.

Themed “Space Is Hard,” the spot doubles as a brand-builder and recruitment vehicle. It takes a down-to-earth approach, with Raymond talking into the camera, explaining why the USSF’s mission should matter to all of us.

“Space is hard,” Raymond begins, over some low-key visuals of orbiting craft and USSF control centers. “It used to be, all we had to worry about was astrophysics, Kepler’s Law, gamma rays, solar flares, rocket science, black holes and the theory of relativity.”

But now, he continues, “we also track about 30,000 objects orbiting at over 17,500 miles an hour. And our entire way of life depends on us to protect our satellites from attack day and night. So yeah, space is hard.”

The ad fades after the USSF’s Star Trek-style logo and web address flash on screen.

Of course, the organization has absorbed considerable criticism since former President Donald Trump announced its formation in 2019—and the Trekkie design flourishes haven’t helped. So, the campaign’s matter-of-fact approach feels about right, asserting the USSF’s goals with a refreshing lack of fanfare and hype. Yes, there’s patriotic intensity—but it’s a frank appeal that leaves pie-in-the sky promises back on the pad.

Unveiled by Raymond at today’s 36th Annual Space Symposium in Colorado Springs, the work will mainly run on the U.S. Air Force Recruiting Service’s YouTube channel, targeting Gen Zers proficient in STEM and intrigued by pursuing a space career to serve their country.

The initiative follows GSD&M’s intro effort for the USSF last year, which proclaimed, “Earth is only half the battle.”

CREDITS

AGENCY
Agency:  GSD&M                                                  
Chief Creative Officer: Jay Russell
Group Creative Director/SVP: Jeff Maki      
Creative Director:  Christopher Colton
Creative Director: Clay Hudson                        
Director of Production/SVP: Jack Epsteen        
Senior Producer: Andy Rosenthal                        
Account Service: Bo Bradbury, Norah Rudyk, Maddie Page, Madison Pfleiderer
Strategy: Luke Dreyer
Social Media: Jennifer Siegel, Maggie Rosenbohm, Grace Amiss
Executive Media Director: Dave Kersey
Digital Media Director: David Baker
Media: Natalia Perez, Carson Chiu, Jenna Caputo
Business Affairs Manager: Karen Gatewood
Project Manager: Lisa Valencia, Lucas Fiser

PRODUCTION COMPANY: SCHOLAR

Production Company: Scholar (ONLY USED FOR LIVE ACTION JOBS)
Director(s): Will Johnson, Chris Finn
Managing Director / E.P.: Jo Arghiris
Head of Production: Tyler Locke
Line Producer: Richard Kaylor
DP: Dallas Sterling

Editorial: Scholar
Editor: Healy Snow
Telecine:
Colorist: Seth Reicart, RCO

SOUND DESIGN & MIX: TBD Post
Design & Animation: Scholar
Creative Director(s): Will Johnson, Chris Finn
Managing Director / E.P.: Jo Arghiris
Head of Production: Tyler Locke
Producer: Seth Gantman
Designers: Hana Yean, Madison Kelly
2D Animators:  Wu Hyun Lew, Zach Herdman, Jaewoo Park, Matthew McLelland
3D Generalists: Timur Salikov, Jensen Abler
Dynamics/FX: Tim Hayward, Jaewoo Park
Compositors: Michael Loney, Cris Kong
Flame Artist: Ryan Kaplan

Storyboards: Fred Fassberger
ENGINEER: Brad Engleking
PRODUCER: Francess Tom-Sahr
MANAGING DIRECTOR/EP: Karen Jacobs

One memorable moment in the Billie Eilish documentary The World’s a Little Blurry was when her family surprised her with a gift from her record label—a matte-black Dodge Challenger. It was an emotionally charged moment in the film, with Billie’s father wondering where his little girl went as she drives off. “Her childhood went somewhere a long time ago,” he says. “Everybody feels that way when you get a license. You’re off to see what your life turns into.”

No surprise, then, that Dodge is now fully on board in support of Eilish as the 19-year-old releases her second studio album, Happier Than Ever.

Below, check out a new :60 from GSD&M called “Power Uncaged,” which features Eilish’s new track “Oxytocin” alongside the Dodge Challenger, Charger and Durango SRT Hellcats.

A 30-second version of the spot began airing last week.

“Billie is one of the most creative and innovative artists of our generation,” Olivier François, global chief marketing officer at Dodge owner Stellantis, says in a statement. “The power and subtlety of her music perfectly embody the spirit of the Dodge brand. Her new song ‘Oxytocin’ makes the perfect soundtrack for our ‘Power Uncaged’ campaign.”

Eilish has encouraged use of her music and likeness in ad campaigns from the beginning, working with brands including Adobe, Bleacher Report, Deutsche Telekom and ESPN, among others.

In 2019, she and her brother Finneas, along with Kobalt Music Group, accepted the Grand Clio for Use of Music at the Clio Music Awards for their collaboration with Apple and TBWAMedia Arts Lab on the 2018 holiday commercial “Share Your Gifts.” Eilish and Finneas wrote and performed an original track for that spot.