Novo Nordisk debuted a new direct-to-consumer campaign for Ozempic, its once-weekly injectable Type 2 diabetes drug. The ad is set to the song “Magic,” first popularized by Scottish pop rock band Pilot in 1974.
The narrator shares that individuals in a recent study lost an average of 12 pounds while taking the drug. Additionally, Ozempic has no increased risk of heart attack or stroke.
Magic (Pilot song)
The latest entrant into the diabetes drug wars, Ozempic (glucose lowering medication), is the subject of a new direct to consumer commercial that launched Monday. The ad is set to the tune of the ’70s pop hit, Magic, and makes a clever change to the song’s iconic chorus.
You have to be old enough to remember the ’70s to appreciate the song’s enduring appeal, but even for those of us born in the 80s it’s difficult not to smile and be swept up by Pilot’s melodic merriment. The band was formed in 1973 by Scottish musicians David Paton and Billy Lyall, and was joined by drummer Stuart Tosh.
They released a number of singles that reached the pop charts, but “Magic” was their first big hit. The aptly titled track was written by two of the four band members, and was produced by Alan Parsons for their debut album From the Album of the Same Name. It is the most recognizable pop song to have ever hit the airwaves, and it’s likely to be remembered fondly by generations of music lovers for years to come. It is also a good reason to celebrate the song’s 50th anniversary. In honor of the milestone, Novo Nordisk rolled out its first DTC campaign for Ozempic this week, which features a 90-second TV ad to the tune of Magic.
The Passenger
The ozempic commercial, which launched Monday, is based on the ’70s pop hit “The Passenger,” a song about traveling and a lyric that describes a person who is looking out the window of their vehicle and seeing the beauty of the world. The commercial features the song’s key refrain, “Oh, oh, oh, it’s magic.”
Iggy Pop wrote the song while riding on the Berlin S-Bahn train. He later released it as the B-side to his 1977 album, Lust for Life. It is also considered one of his most popular songs.
In a new music video for the track, black and white images of Iggy are juxtaposed with vignettes of nighttime motorway driving. The imagery suggests that the lyrics are describing the experience of being a hardcore rock musician who is constantly on the move.
While the song is primarily known for its signature guitar riff, it is much more than just a simple piece of guitar playing. The music was written by Ricky Gardiner and was completed by David Bowie (1947-2016).
There are many different versions of this song that have been recorded over the years, but there are several that stand out. The most famous cover is probably the version by Michael Hutchence of INXS, who released it on the Batman Forever soundtrack in 1995.
Another cover of this song by Siouxsie and the Banshees was released in 1999, as part of their live album. This cover was a bit of a departure from Iggy’s original, as the vocals sounded a lot more like that of a traditional folk group.
The song was also covered by Big John Bates and his band, the Kentucky Boys, on their 2015 album, From the Bestiary to the Leathering Room. The springy groove of the song suited their sound perfectly, as they had an Americana vibe to their music.
Several other artists have also performed covers of The Passenger, including Folk Grinder, Bauhaus, and Tim Myers. These cover versions are all different from each other, but they all have one thing in common: they convey the sentiment of the song in a way that is completely unique.
Dreams (Beck song)
If you’re a fan of Beck, then you’ve probably been hearing about his newest single, “Dreams,” and how it’s a great way to show off his eclectic and funky side. It’s the first song from the upcoming album, and it’s much more upbeat than anything on his Grammy-winning 2014 album Morning Phase.
The song’s title track is a catchy pop hook, and it’s a polar opposite sound from the mellow, folk-heavy Morning Phase. As such, it’s an interesting step in a new direction for the chameleon songwriter.
In a way, it’s a bit like what he did on his acclaimed Midnite Vultures record, or how he played around with dance-pop on Modern Guilt. It’s a big, slick number that throws Beck’s voice over some liquid disco-funk guitars and a high-stepping stadium-rock drum beat. The result is a lot more fun than what’s on Morning Phase, but it’s also much less visionary and inspired – and it certainly doesn’t sound like something Beck would have done with his signature grit and soulfulness.
But it’s still a nice earworm, and it does feel like a return to the more dancy Prince-inspired days of Beck’s career, which makes me think that this could be a sign that his next upcoming album isn’t going to be as sombre and serious as his last one was.
It’s definitely the kind of track you’d want to listen to in a club, and it’s a lot more upbeat than what you’d expect from the man behind “Loser” and “Scar” (which is a little ironic, considering how he won the Grammy for best album for Morning Phase). The song’s got a catchy chorus that’s almost sexy, and its lyrics are pretty cute, too.
It’s a bit of a surprise to hear Beck return to the funkier dance-pop that he’s so often associated with, but it works here and is definitely a good example of his creativity. It’s a fun song, and it has a great hook that should be a hit with fans. Hopefully, this will be the first of many more wildly different songs from the man who’s been able to keep himself fresh and interesting for so long.