Latest news with #Someday
Fast Company
3 days ago
- Business
- Fast Company
2024 was Apple's year for advertising—or was it?
The first iteration of Brand New World was a very specific look at how AI is changing how brands and marketers work. Now we're back to talk about brand culture more broadly. Of course that will involve AI from time to time, but I'll also be digging into sports, entertainment, music, comedy, and everywhere else brands squeeze their way into pop culture. Everyone says they hate advertising, but everyone loves at least one brand. Brand New World is here to talk about why. That means I'll be popping up in your feed once every month as part of the Fast Company Podcast Network. Okay, here's what you'll hear on the first episode of season two. Apple's big (creative) year For those who don't know or are unfamiliar, the Cannes Lions International Festival of Creativity is part awards show, part industry conference, and probably the biggest annual gathering of brands, marketers, entertainment folks, tech folks, and media on the planet. Anything and anyone that touches a brand—from social platforms to sports stars and celebrities—is there. This year, ahead of the festival that kicks off June 16, Apple has been named the Creative Marketer of the Year. Now, Apple is an iconic marketer, an all-time, first ballot Hall of Famer. But in my opinion, 2024 has been a bit of a mixed bag. So why is this Apple's year? To discuss where this past year fits in the pantheon of Apple's greatest hits, I called up Elizabeth Paul. A strategist by trade, Paul is the chief brand officer at award-winning ad shop the Martin Agency. You'll know their work for major brands like Geico, UPS, the new Axe work with Pete Davidson, and much more. More importantly, she's always up for some hot take banter about the work and culture around advertising and brands. Paul told me when she was rewatching a lot of Apple's 2024 work, she kept thinking about whether any of it would fit into her top 5 list of Apple's all-time work. 'Is there anything this year that would dislodge something else that I've loved for a long time?' she says. 'I would say the thing that got closest to me was 'Someday,' which is beautifully done and really powerful.' Listen to the podcast to hear us break down our top 5 lists of all-time Apple ads. Driving brand entertainment Last month, a new doc called The Seat debuted on Netflix about how Mercedes' Formula One team decided on a successor for racing legend Lewis Hamilton. Hamilton had announced his departure, so the racing giant was forced to strategize its next move quickly and discreetly. That's where WhatsApp comes in. The entire process of evaluating and naming young Italian driver Andrea Kimi Antonelli played out over the messaging app. The Seat is not only a feature documentary, but an excellent piece of brand entertainment, produced in partnership with WhatsApp. This episode I was excited to chat with Meta's head of global consumer marketing Eshan Ponnadurai to talk about the process behind the doc, as well as the role it plays in the brand's overall strategy. Esh has worked on major brands from Ford and P&G, to Uber, YouTube and Google. He's got a long history of finding compelling and authentic brand stories to tell in unique ways. Here, we find out what The Seat takes from past successful work, particularly WhatsApp's award-winning doc work We Are Ayenda, and its Giannis Antetokounmpo film Ugo: A Homecoming Story, as well as the precedent it sets for the future. 'The primary thing was knowing what people are going to be interested in,' says Ponnadurai. ''How did you get to this driver? Why him? What's his story?' That's the hook. That's what people are tuning in for. And then organically, how does WhatsApp play a role here? So I think the balance is always (between) what is the right story and what people are interested in, and where the product naturally fits. The danger sometimes can be the inverse: 'We wanna sell you something, where's the story?''
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GMA Network
30-05-2025
- Entertainment
- GMA Network
Ruby Ibarra performs her Tiny Desk Concert at NPR!
Ruby Ibarra continues to do the Philippines proud! The Fil-Am rapper (and scientist) just performed at NPR's super popular Tiny Desk Concert in Washington D.C., which is among her prizes for winning NPR's Tiny Desk Contest. Ruby and the all-Filipino band she assembled for the gig performed three songs — her winning entry "Bakunawa," "7,000 miles," and "Someday" — and repped the Philippines through and through. Where "Bakunawa" had her rapping in English, Tagalog, and Bisaya, "7,000 miles" had her talking about "my journey, of everything I've witness I've felt, and I've held from that distance from the Philippines to America." She ended the song by introducing herself triumphantly: "From Tacloban City, Philippines all the way to Washington DC, my name is Ruby Ibarra. Mama, I made it in America." Ruby closed off her set with "Someday," the song she used when she first entered the Tiny Desk Contest six years ago. "We didn't win at that time, and I admit I was heartbroken. Winning this time around feels so much better," Ruby said, adding "that journey in between those six years has allowed me to see myself more clearly. To recognize I never have to compromise my art and I never have to ask permission to be myself." "That journey has been everything," Ruby said, adding with flair: "This last song is called 'Someday,' but today is the day." Ruby won NPR's Tiny Desk Contest earlier in May, besting nearly 7,500 entries, "a record for the project, now in its 11th year," NPR said. Apart from the opportunity to perform her own Tiny Desk Concert, Ruby will also go on a 10-city tour. When Ruby and her family migrated to the US in 1991, her parents brought with them only one record: Francis Magalona's "Yo." She was only two years old then, and when she turned five, she was introduced to Francis M. "What attracted me were the melody and the tone of resistance. It's really the voice of the youth and the unheard. It's an expression that empowers people." And now Ruby's on NPR, repping the Philippines so beautifully. We say don't sleep on Ruby. Our fearless prediction is she's going to take on the world soon. — LA, GMA Integrated News
Daily Mirror
26-04-2025
- Entertainment
- Daily Mirror
Louise Redknapp reveals fate of Eternal reunion after bandmates outspoken views
Louise Redknapp was in Eternal with fellow singers Kéllé Bryan and Easther and Vernie Bennett - but a planned reunion in 2024 was shelved after two of the singers shared controversial views Louise Redknapp has ruled out reuniting with her Eternal bandmates after some of her former bandmates made controversial comments about the LGBTQ+ community. Louise was a member of the original Eternal line-up alongside Easther and Vernie Bennett. Louise later introduced the sister to her friend Kéllé Bryan who completed the line-up and they went on to enjoy huge success on the charts - with smash singles including Stay, Someday and the chart topper I Wanna Be the Only One. Louise, 50, quit the group in 1995 and went on to enjoy music success as a solo artist. Easther, Vernie and Kéllé continued as Eternal on and off over subsequent years, it was in 2024 that the group planned to enjoy a full reunion. However, Easther and Vernie caused waves when they made comments about the transgender community. This led to Louise and Kéllé to drop out of plans - and it appears this has created a rift within the group that may never be repaired. Easther and Vernie have continued to perform as Eternal and have drafted in Christel Lakhdar as a fellow singer. But Louise has hinted that she and Kéllé will never return to the line-up. In an interview with NME, the Naked singer said: "I make no judgements on other people's beliefs, but they should also respect that I don't want to be told what I should and shouldn't be able to do. I've performed at Prides and Mighty Hooplas throughout the whole of my career, and I truly believe that without the support of that community, I wouldn't have had the career I have had." She continued: "Though I respect everybody's choices, I was happy to stand firm on my choices and opinions, and these are shows and events that I enjoy and causes I will always carry on supporting. It was as simple as that." She insisted: "There was no big fallout; it was just, 'that doesn't work for me, I respect your stance on it – but it isn't mine'. I'm proud of standing up for the LGBTQ+ community and want to continue doing so.' Asked if the original line-up could ever re-form, Louise appeared to drive a nail into the coffin. She said: "There's no ill-will. Those girls [Easther and Vernie Bennett] are hugely talented and incredible singers, and I'm honoured we made the music we did. However, our baseline beliefs are different, and I can't see Eternal ever getting back together, but I wish them luck for their journey.' It wasn't all negative memories for Louise, however, as she also cast her mind back to some of the good times that she enjoyed in the group. She recalled selling huge numbers of records - and winning praise from some of the biggest names in music. She said: "Regardless of whether people's music tastes were indie or rock, Eternal sold 1.5million records in our first year and you can't deny that. We were a live vocal act, and people forget that element. "We weren't dancing onstage to a backing tape. Whitney Houston was a fan of ours, and Luther Vandross rang us up when we were in the studio, saying 'I love this new track girls – you've done a great job!', which was weird.' Next month, Louise will unleash her fifth studio album as a solo singer. Titled Confessions, the record sees her co-writing and collaborating with big hit producers including Little Mix collaborator MNEK and Rachel Steven's co-writer Hannah Robinson. Discussing the album with Attitude magazine back in February, she gushed: "Walking into the studio with some of the biggest songwriters in the UK at the moment, you feel, 'Am I good enough?' Then you go, yeah, I really am, actually. It's backing yourself."
Forbes
28-03-2025
- Entertainment
- Forbes
March 2025 Ushers In A New Era Of Hearing Health
As it does each year, March began with World Hearing Day on March 3rd, a global initiative led by the World Health Organization to raise awareness about hearing health and access to care. The 2025 theme, 'Changing Mindsets,' called for ending the stigma around hearing loss and making ear and hearing care a universal priority. That message set the tone for a month filled with remarkable developments in auditory accessibility. What began as a campaign for awareness quickly evolved into industry-defining moments — shifting the conversation from hearing loss to hearing life. Apple, long known for emotional storytelling wrapped in elegant product messaging, released its Someday video on the first day of spring to introduce the upcoming AirPods 4. Starring Pedro Pascal, the cinematic short follows a man navigating the quiet aftermath of a breakup. In his solitude, active noise cancellation becomes more than a feature — it becomes a form of emotional regulation. The message is carried through more than just performance. The video's expressive use of music, movement, and color elevates the narrative. A dance choreography of everyday, kind of funky, motions — paired with bold, saturated hues and carefully placed moments of silence — creates a world where emotion and environment are visually and sonically intertwined. Sound is not just heard — it is felt. The behind-the-scenes footage, released alongside the campaign, further reveals Apple's creative process. It shows how directors, designers, choreographers, and engineers came together to create something that's part commercial, part art film. The goal was not to sell a feature. It was to create empathy for how we process noise that overwhelm us emotionally. Apple's intent was clear. This campaign wasn't just about promoting a new product but about illustrating how personal tech can support emotional wellness. Apple showed how noise cancellation can play a meaningful role in hearing health and wellbeing. A Sidney Opera House performance in Auracast Mark Jay Photography While Apple redefined the personal, GN Group showcased a leap forward in the public realm. At the Sydney Opera House, GN demonstrated the real-world potential of Auracast, a new broadcast audio standard built into its Nexia and newly launched Vivia hearing aids. In a recent conversation, Peter Karlstromer, CEO of GN Group, shared with me that Auracast represents more than a technical feature — it is a fundamental shift in how people experience sound in public. His view is that GN's work is not focused solely on hearing aids — it is about creating technologies that help people connect, communicate, and feel more fully part of the world around them. 'We don't see hearing technology as something that fixes a problem,' Peter said. 'We see it as a way to unlock participation — at work, at home, and in public. Auracast is an example of how we can take down barriers and create shared experiences through sound.' He described Auracast as a meaningful step toward eliminating the friction and stigma that have long accompanied hearing assistance in public environments. Whether in concert halls or transit systems, the aim is to provide direct, high-quality access to hearing — without requiring extra effort or explanation from the user. GN's contribution, as he framed it, is part of a broader mission: to design hearing technology that connect natural engagement with life. Importantly, GN's implementation of Auracast is not a standalone initiative but part of a much larger collaboration coordinated by the Bluetooth SIG, involving companies across sectors — from consumer electronics to AV infrastructure and public spaces. The real strength of Auracast lies in this multi-industry effort, which GN is helping to shape and accelerate with its leadership in hearing technology. As we look at the momentum building around hearing health, it is worth reminding ourselves that greater auditory accessibility does not happen in isolation. It is the result of collaboration. The progress we are seeing today is made possible by partners aligning around shared values and inclusive design. This kind of coordinated progress reflects a principle I have often heard from a colleague: 'It takes a village.' GN and Bluetooth show what is possible when companies align around inclusion — not just as a product but that value is imperative. On a personal note, I received the Vivia hearing aid this month. While I am still exploring its speech clarity technology, the improved Bluetooth connectivity and seamless Auracast integration are changing how I move through daily environments. It's not just about hearing better — it is about engaging more deeply with the world around me. To close out March, it was announced that select Galaxy, Android and Pixel smartphones will support Auracast, marking another important milestone in the technology's adoption. With this move, millions of Galaxy, Android and Pixel users — whether they use hearing aids, earbuds, or other receivers — can now tune into high-quality, broadcast audio in Auracast-enabled environments. This is more than just a feature update. It signals that interoperability and public sound access are becoming baseline expectations across the tech landscape. From museums and airports to arenas and office spaces, the idea that anyone can tap into live audio — clearly and personally — is no longer hypothetical. It is here. Auracast is set to redefine how we experience shared audio — think tuning into airport announcements, silently watching TVs at the gym, or sharing playlists with a crowd — all directly through your personal earbuds. It represents a shift from isolated listening to socially aware hearing. According to ABI Research, 2.4 million Auracast-enabled deployments are projected by 2030, nearly half expected to transform public venues into audio-accessible environments at scale. These developments point to a massive opportunity for tech manufacturers, transportation hubs, entertainment venues, and workplaces aiming to improve inclusivity through sound. Samsung's and Google's embrace of Auracast reinforces a broader shift: inclusive sound is no longer about specialized devices but mainstream access. As this article is being written, American Audiology of Academy (AAA) 2025 is underway in New Orleans. The event comes at a pivotal moment. The hearing care profession is navigating a transition between long-standing prescriptive models and a fast-moving over-the-counter market. These rapid shifts have introduced opportunity, disruption, and, at times, uncertainty. Audiologists and hearing care providers are now being challenged to think beyond devices, to consider new delivery models, new expectations, and new ways to meet people where they are. The goal is not just broader access to hearing care — it is meaningful, intuitive, and human-centered care. What we have witnessed this March is more than a collection of product launches and announcements. It is a collective movement built on storytelling, empathy, and partnership. Apple reframed noise management as emotional support. GN and Bluetooth turned technical infrastructure into a shared human experience. Samsung and Google made it clear that this is a future for everyone, not just a select few. And the hearing care profession is being challenged to rethink how it offers hearing solutions. This moment is not just about hearing technology. It is about designing for dignity, participation, and connection. March 2025 was not a bad month for auditory accessibility, after all. And that is what progress should look and sound like.
Forbes
23-03-2025
- Entertainment
- Forbes
Beat The Noise, What the Apple Noise Cancellation Story Gets Right
Someday, directed by Spike Jonze and featuring Pedro Pascal How do you tell a story about a noise cancellation feature? You don't start with specs or features. You start with the person using it. With the feeling. With the need to quiet the world just enough to feel again. You start with the moment someone hits — not just on a device, but on a shift in their emotional state. Because noise cancellation tells its own kind of story, it's the story of someone choosing to make space to take back control from the chaos outside. It does not erase the world; it clears enough room to hear something more profound. That opening leads to something powerful: reconnection through sound — with your breath, your thoughts, your memories, your emotions — sometimes even with other people. In a world where attention is fragmented and well-being is frayed, features like noise cancellation — carry more emotional weight than ever. They shape experience and how we cope, connect, and return to ourselves. We live in a world that constantly feels loud, noisy, distracting, and disruptive. Uncertainty, stress, and pressure are constant. Many of us feel worn down. For some, even finding a quiet moment has become harder than it should be. That is why Apple's recent video, Someday, directed by Spike Jonze and featuring Pedro Pascal, stayed with me. On the surface, it promotes AirPods 4 with Active Noise Cancellation. But it's a story about being overwhelmed — and how music can help us reconnect. The video opens in a gray, snow-covered city. Pedro walks alone, hunched slightly, his face carrying what seems to be the weight of a personal, emotional struggle. There's no dialogue, but you can feel something has happened—something private, unresolved. The city around him feels distant, cold, and muted — mirroring what he carries inside. Then he puts in his AirPods, turns on noise cancellation, and the scene begins to shift. Music rises. Color returns. He starts to move — first gently, then fully. Not to perform but to release something that's been held in. And he is not alone for long. Others appear as he moves through the streets —sometimes in silence, sometimes with brief spoken words. There's very little dialogue; the presence of others becomes part of the shift. Some moments feel dark and distant, others bright and alive. Whether noise cancellation is on or off, the connection grows through shared rhythm, music, and movement. The video suggests that healing does not always happen in isolation. Sometimes, it begins in motion, sound, or simply noticing one another. This is the power of music and dance. When the world becomes too much, they help us return to ourselves and sometimes to each other. Like the Apple video, certain songs and performances have long helped me find my footing when the world feels unsteady. One song I always return to is Here Comes the Sun, written by George Harrison of The Beatles. He wrote it during a difficult time — when perhaps he felt burned out, emotionally drained, and weighed down by the pressures of fame and business. Sitting in a friend's garden, he found a bit of peace. The 'long, cold, lonely winter' he sings about is not just about the season — it reflects that period in his life. And it speaks to the dark and challenging times we all go through. The song reminds me that even after long stretches of struggle, light does return. I have heard it played in many different ways — by George Benson, Yusuf/Cat Stevens, James Taylor, Richie Havens, Yo-Yo Ma, and Nina Simone. Each version carries something unique, yet the heart of the song stays the same. It does not matter how it is played. The message reaches people: things can get better. And that is enough. I get that same feeling from Revelations, the signature work of Alvin Ailey. Alvin Ailey was a choreographer who changed dance in America. 1958 he started the Alvin Ailey American Dance Theater to bring Black stories and spiritual traditions into modern dance. His work used gospel, blues, and spirituals — music full of emotion and memory. Revelations is built on those songs. It tells a story of pain, faith, and joy. And like Harrison's song, it reminds me that hardship isn't the end. I feel that shift when I see Revelations — live or on screen. It begins in sorrow and ends in celebration — not a celebration that forgets what came before, but one that moves through it. It shows strength. It shows healing. Someday and Revelations are very different, yet they share something. They use sound and movement to express things we often do not say out loud. They help us feel what we've been holding back. And sometimes, that is all it takes to shift your day. That message felt even more real to me the day the Someday video came out. It was the first day of spring. That morning, I reached out to my friend Jay Moon Fields, a writer and teacher whose work I deeply respect. I had just read her piece, Why I've Stopped Doing Yoga, and I wanted to tell her how much it meant. Jay responded simply: 'Thank you for reading, Bill. I hope you're well on this first official day of spring!' And it was. Cold. Gray. Nothing is blooming yet. But still—spring. The season had turned, even if the weather had not caught up. That thought stuck with me. Because Someday feels like that, too. The shift comes before we see it. Before we're ready. The music begins before the joy is visible. The body starts to move before the warmth returns. And that movement is what makes space for change. So when I hear Here Comes the Sun — whether it is George Harrison or someone else — I hear more than a song. I hear a reminder: things change. The clouds move — the season shifts. Even if today feels cold, better days are coming. And maybe that is the point. Whether it is an AirPod in your ear, a piece of choreography, or a familiar song, sound can help us move forward, process, and believe there is light, even if we cannot see it yet. We don't always talk about this in business or tech, yet we should. These tools—music, stillness, rhythm—are how many of us make it through. Sometimes, what we need most is not a fix but a feeling. And sound, at its best, can guide us back to that place, back to focus, back to feeling, back to connection. In these moments — when we create space to hear what matters — sound becomes more than audio. It becomes connection, clarity, and a quiet kind of strength. When the world is too loud — when everything feels too much — sometimes the most powerful thing we can do is pause to play to shift. Maybe it is spiritual. Maybe it is the soul. Maybe it is George Harrison saying: 'It's been a long, cold, lonely winter.' And maybe that is exactly what we need to hear because the following line still matters most: 'Here comes the sun.' And that is how you tell the story of a noise cancellation feature: not through specs or silence alone, but through its ability to create space for better outcomes — for grounding, for joy, for resilience, and for the chance to move forward with a little more peace.
