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      Apple’s New iPad Ad Leaves Its Creative Audience Feeling … Flat

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      An ad meant to show how the updated device can do many things has become a metaphor for a community’s fears of the technology industry.The trumpet is the first thing to be squished. Then the industrial compressor flattens a row of paint cans, buckles a piano and levels what appears to be a marble bust. In a final act of destruction, it pops the eyes out of a ball-shaped yellow emoji.When the compressor rises, it reveals Apple’s latest commodity: the updated iPad Pro.Tim Cook, Apple’s chief executive, posted the advertisement, called “Crush,” on Tuesday after the company held an event to announce new tablets. “Meet the new iPad Pro: the thinnest product we’ve ever created,” Mr. Cook wrote, adding, “Just imagine all the things it’ll be used to create.”Meet the new iPad Pro: the thinnest product we’ve ever created, the most advanced display we’ve ever produced, with the incredible power of the M4 chip. Just imagine all the things it’ll be used to create. pic.twitter.com/6PeGXNoKgG— Tim Cook (@tim_cook) May 7, 2024

      For decades, Apple has been the toast of the creative class. It has won over designers, musicians and film editors with promises that its products would help them “Think Different.”But some creators took a different message from the one-minute iPad ad. Rather than seeing a device that could help them create, as Mr. Cook suggested, they saw a metaphor for how Big Tech has cashed in on their work by crushing or co-opting the artistic tools that humanity has used for centuries.The image was especially unnerving at a time when artists fear that generative artificial intelligence, which can write poetry and create movies, might take away their jobs.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Frank Olson, Executive Who Linked O.J. Simpson With Hertz, Dies at 91

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      He negotiated Mr. Simpson’s star turn in commercials, tapping into his football fame, and formed a social bond with him — until there were murder charges. They died on the same day.Frank A. Olson, who as a top executive of Hertz cast the running back O.J. Simpson as the star of the company’s commercials — a corporate marriage that shined up both parties and that lasted two decades, until Mr. Simpson was charged in a double homicide in 1994 — died at his home in Palm Beach, Fla., on Wednesday, the same day Mr. Simpson died. Mr. Olson was 91.The cause was complications of Covid, his sons, Christopher and Blake, said.The coincidental timing of the deaths of Mr. Olson, who had steered Hertz through years of corporate turbulence, and Mr. Simpson, the athlete turned pitchman turned infamous criminal defendant, linked the two men in a way that Mr. Olson had once embraced but that he later distanced himself from.More than business partners, Mr. Olson and Mr. Simpson, both San Francisco natives, forged an alliance, beginning in the 1970s, that spoke of that mutually beneficial zone where corporate and social life intertwine. Mr. Olson, an avid golfer, sponsored Mr. Simpson for membership in the private Arcola Country Club in Paramus, N.J., where in 1992 Mr. Simpson, a former Heisman Trophy winner and Pro Football Hall of Famer, became the first Black member.In a letter that Mr. Simpson left at his Los Angeles home before his arrest in the stabbing murders of his former wife, Nicole Brown Simpson, and her friend Ronald L. Goldman, he listed friends he was sending “love and thanks to.” Mr. Olson was one of them.“I took him places where I think very few Black men had ever been,” Mr. Olson said in the acclaimed 2016 documentary “O.J.: Made in America.”Mr. Simpson was 76 when he died of cancer at his home in Las Vegas.The idea of featuring him in Hertz commercials to symbolize speedy service, beginning in 1974, originated with the company’s ad agency. But because Mr. Simpson was Black and most Hertz customers where white businessmen, the choice made the agency nervous, according to a 1994 article in The Washington Post. So the decision was kicked up to Mr. Olson, who at the time was executive vice president and general manager of the rental-car division. (The company also rented trucks.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Hertz Turned O.J. Simpson Into the ‘Superstar in Rent‐a‐Car’

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      The famous ad campaign paid dividends for both the company and its pitchman, who died on Wednesday.Executives at the rental car company Hertz knew what they wanted to project to potential business travelers in the 1970s: speed, reliability and efficiency.They quickly realized that one man radiated all of those qualities. So they made the football player O.J. Simpson, who died on Wednesday at the age of 76, the first Black star of a national television advertising campaign.“They had a slogan — the Superstar in Rent‐a‐Car — and I was the current reigning superstar as far as the competition was concerned,” Simpson told The New York Times in 1976.The campaign would pay dividends for both the company and its pitchman, who in early Hertz ads was shown racing through an airport terminal and leaping over rope barriers, clutching a briefcase instead of cradling a football. In some of Simpson’s later ads, average Janes and Joes cheered him on as he ran, yelling, “Go, O.J., Go!”At that time, decades before Simpson was acquitted of killing his former wife and her friend, he was known for dazzling on the field for the University of Southern California and the Buffalo Bills. His athleticism and speed made Simpson the perfect choice for the Hertz commercials that widened his stardom beyond the gridiron, offering him up as a suave, smiling promoter known to football fans and businessmen alike.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Larry H. Parker, Famed Personal Injury Attorney, Dies at 75

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      In the Los Angeles area, Mr. Parker was a common sight on billboards and television commercials in which he promised to stand up to faceless insurance companies.Larry H. Parker, an accident and personal injury lawyer whose television commercials promised he’d “fight for you” and became staples in living rooms across Los Angeles, died on March 6 in San Juan Capistrano, Calif. He was 75.His death was confirmed by his son, Justin Parker, who did not cite the cause.Over the years, Angelenos became familiar with Mr. Parker’s personal brand of braggadocio and promise, as his face could be seen on billboards across the city and on television ads.“When it comes to the law, you want someone who carries a big stick,” a narrator says in one commercial that cuts from a hockey brawl to a shot of Mr. Parker in a suit and glasses, standing with both hands on a desk, ready for a courtroom showdown.“People sometimes ask me why I seem so angry in my television commercials,” Mr. Parker said in another ad. “Well the truth is I am angry. I’m angry when big insurance companies take advantage of little people.”His ads cultivated an image of a legal brawler whose menacing presence on the screen could be used in a plaintiff’s favor.It appeared that those who were injured were eager to engage the services of his firm, the Law Offices of Larry H. Parker. Since its founding 50 years ago, the firm has recovered more than $2 billion in verdicts and settlements, according to its website.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Designer Makes Fashion Brands Pop

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      For about a decade, people in the New York art and fashion scene have relied on Eric Wrenn, an unassuming designer known for his minimalist touch, to help shape the images of their brands.Mr. Wrenn, 38, has worked on ad campaigns, logos, books, websites, stationery, business cards and invitations to runway shows. Through it all he has kept a low profile, but his client list reads like a who’s who of downtown bluechips.“Eric feels like an industry secret,” said Emily Bode Aujla, the designer and founder of the brand Bode.“He has an art-world sensibility, and talking with him about a project can feel more like a therapy session,” she continued. “I lean on Eric to help me conceptualize Bode’s entire brand identity. When I hear a brand is working with him, it’s like: ‘Oh, they know.’”Images from Mr. Wrenn’s recent campaign for the fashion brand Eckhaus Latta.Michael HauptmanMr. Wrenn’s chicly simple logo for Bode.BodeWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tiger Woods Introduces His New Brand: Sun Day Red

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      Mr. Woods is trading in the Nike swoosh he wore for decades for the tiger logo of Sun Day Red, which will be a stand-alone unit within TaylorMade Golf.For even those who have only a passing interest in golf, one of the sport’s most memorable images is of Tiger Woods playing his way to another major tournament victory while wearing a red polo shirt with a white Nike swoosh.That image is officially in the past, however. In January, Mr. Woods announced the end of his 27-year deal with Nike, which had made him hundreds of millions of dollars. The partnership was marked by memorable ads and, of course, the red Nike shirts that Mr. Woods wore during many final rounds on Sundays.When Mr. Woods announced the ending of his partnership with Nike, he said there would “certainly be another chapter.” On Monday, he and his new brand sponsor, TaylorMade Golf, made clear that the next chapter would again include a red polo shirt. It will be stitched with a tiger in the center, the logo for his new brand under TaylorMade: Sun Day Red.Sun Day Red is marketed as a “lifestyle brand” for both sports fans and non-athletes and will include apparel — even cashmere sweaters — and shoes, David Abeles, chief executive of TaylorMade, said in an interview. (Mr. Woods switched to FootJoy shoes from Nike after his car crash in 2021.)How much of a role design will play in that apparel was not entirely clear, but Mr. Abeles said that “the design language of the products is completely different” from products Mr. Woods wore in his last sponsorship deal. Initial promotional images showed a new logo — a tiger with 15 stripes to mark the number of major championships Mr. Woods has won; a black, long-sleeve T-shirt with the brand’s name, Sun Day Red, on it; and its version of the red polo, which is on the bloodier end of the red spectrum and includes black buttons, suggesting attention to detail. (To be fair, there’s only so much anyone can do with a polo.)Mr. Woods’s affinity for red stems from his mother, who is from Thailand, where the color has significance.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Taylor Swift, Usher and a Kansas City Chiefs’ Super Bowl Win in Las Vegas

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      Take America’s biggest game, add Taylor Swift and Usher, and put it all in Las Vegas, and Kansas City’s repeat as Super Bowl champion makes perfect sense.At some point, the Super Bowl stopped being entirely about football and evolved — or is it devolved — into a corporate carnival with lavish parties, halftime extravaganzas and commercials whose budgets seemed to rival a blockbuster movie.The apex of that transformation arrived with the N.F.L. planting this year’s event in Las Vegas, where the prevailing ethos might well be that a bellyful of anything is barely enough.But Super Bowl LVIII, with its attendant flash — and America’s favorite football fan, Taylor Swift, chugging a beer in a private box — demonstrated on Sunday night how sports stands apart from other types of entertainment.If the Kansas City Chiefs’ 25-22 overtime victory over the San Francisco 49ers was as tightly scripted as Usher’s elaborate choreography, the teams might have been pelted with rotten tomatoes or booed off the stage by halftime. It was mostly an evening of stumbles and bumbles: two fumbles, an interception, a muffed punt, a blocked extra point, a raft of untimely penalties — and for the 49ers enough regrets to last a lifetime.But all the mistakes and all those field goals — seven in all — would eventually be subsumed by the tension that unfolded in the fourth quarter and continued on into overtime of what became the longest game in Super Bowl history.Kansas City receiver Mecole Hardman caught the winning touchdown with three seconds left in the first overtime period.Bridget Bennett for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Super Bowl Could Make Mint for the NFL

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      An overtime classic, featuring appearances by Usher and Taylor Swift, could make this year’s Super Bowl a hugely profitable money-maker for the N.F.L.Did the Taylor Swift effect vault this year’s Super Bowl into the record books?John G Mabanglo/EPA, via ShutterstockThe N.F.L. scores bigIn many ways, the N.F.L. couldn’t have asked for a better outcome for the Super Bowl. It got a thrilling overtime victory that cemented the Kansas City Chiefs as the league’s latest dynasty; a well-reviewed halftime show by Usher; a full roster of pricey ads; and, of course, Taylor Swift in person.It was a powerful reminder of the Super Bowl’s singular perch in America’s cultural landscape, and how that can translate into billions for a juggernaut sports league.The game was a place to see and be seen. Yes, Swift arrived in time from Japan to cheer on her boyfriend, the Chiefs star Travis Kelce. And A-list celebrities like Jay-Z, Beyoncé and LeBron James were spotted at Allegiant Stadium in Las Vegas.Also in attendance were corporate moguls including Elon Musk — who touted a surge in activity on his X social network during the game — Tim Cook of Apple and the Twitter and Block co-founder Jack Dorsey, who was wearing a crypto in-joke T-shirt.The game could set a record. The broadcast, perhaps aided by an army of Swift fans, may surpass the 115 million viewers who tuned in last year, making that the most-watched show in U.S. history. (Viewership for N.F.L. games has rebounded strongly in recent years; the A.F.C. and N.F.C. championship matches on Jan. 28 accounted for nearly 39 percent of national linear TV viewing.)That would help explain why advertisers were still willing to fork over $7 million for a 30-second spot during last night’s broadcast. (More on the ads later.) “In this era of fragmentation, the Super Bowl is what television used to be,” Brad Adgate, a veteran media analyst, told The Times.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More