17416: ICYMI US Army RFI BS.

 

Advertising Age reported the US Army launched an RFI, moving in advance of an official account review process projected to start in spring 2027.

 

Given the anti-DEIBA+ positions of the White House and White advertising agencies, will multicrumbtual shops be denied the opportunity to participate and experience Prime Redlining?

 

US Army launches RFI for its $4 billion account, which is currently with Omnicom

 

By Brian Bonilla

 

The U.S. Army has begun laying the groundwork for a review of its multibillion-dollar marketing and advertising business, signaling a potential shake-up for one of the industry’s largest government accounts.

 

The government launched a “sources sought” and RFI on March 12, which is the first step leading up to an official review process slated to begin in late spring 2027.

 

The account was originally with DDB Chicago since 2018, before the agency was folded into TBWA after Omnicom’s acquisition of IPG.

 

The current contract is valued at up to $4 billion, which would seem to make the Army one of the agency’s largest accounts. The current contract is worth about $40 million annually in agency revenue for Omnicom, according to a person familiar with the contract, which is similar to what was reported when DDB initially won the business.

 

DDB’s contract included a five-year base period and “two award-term option periods,” for a total potential 10-year ordering period. It’s not known whether Omnicom is planning to defend the account. The contract is expected to conclude in 2028.

 

TBWA and the U.S. Army weren’t immediately available for comment.

 

The winning agency or agencies will be tasked with driving enlistment and retention across a broad set of audiences at a time when military recruitment has faced sustained challenges.

 

However, there have been recent signs of a turnaround. In January 2025, the U.S. Army had its best recruiting numbers in 15 years, Defense Secretary Pete Hegseth stated last year. After missing its recruitment goals in 2022 and 2023 by 15,000 troops a year, the government entity revised downward its goals and has since reached or exceeded them. In 2025, the U.S. Army surpassed its 60,000 recruit target by more than 1,000 recruits.

 

The RFI details wanting help to target high school and college students, working professionals under 35, specialized talent such as medical and legal professionals, as well as “influencers” such as parents, family members, high school counselors and coaches. It also includes a need for messaging aimed at veterans and recruits to fill civilian workforce positions.

 

The RFI implies that the U.S. Army is open to a one-agency solution or multiple agency partners, which is significant, according to Mike Kapetanovic, a business development consultant at GrowthLab, that is focused on supporting advertising and marketing agencies that work in the public sector.

 

Kapetanovic said there have been growing conversations around government entities pushing for a multiple-agency approach, which could be beneficial for mid-size and independent agencies and less so for holding companies such as Omnicom.

 

“Just the notion that the Army has gone on public record through this RFI exercise, it is contemplating a decentralization of this contract, has massive implications for both the incumbent as well as the future competitive set,” he said. “[If that’s done] there’s a very good chance that that $4 billion contract quickly becomes $50 million to $1 billion contracts in which Omnicom will not retain all of it. Right there, Omnicom gets an immediate hit.”

 

The selected partner or partners will be expected to handle a full suite of services, including creative development, media planning and buying, production, CRM, digital and website management, public relations, events, sponsorships and advanced analytics.

 

The value in winning a contract like this is not only its massive size, but its stability in an increasingly project-based and roster-first industry.

 

MullenLowe, which has been folded into TBWA as well, continues to do work for the government’s Joint Advertising, Market Research & Studies program (JAMRS), which is focused on recruiting volunteers for all branches of the military. MullenLowe retained the account in 2023 and launched a campaign last year called “You Have a Calling, We have an Answer.”

 

In 2024, WPP retained its Marine Corps account, which was previously with Wunderman Thompson before it was merged into VML.

 

Contributing: Ewan Larkin

17415: BTW Bolloré, Bribes, Brothers, BS.

 

MediaPost reported Vincent Bolloré will finally stand trial on political corruption charges related to allegedly bribing politicians in Africa over 15 years ago.

 

Bolloré is accused of delivering discounted services via Havas to two presidential contenders in Togo and Guinea—helping them win elections—in exchange for shipping port contracts.

 

Oddly enough, the scenario could represent a rare and unique DEIBA+ initiative for the White holding company.

 

No word yet if Bolloré will appoint one of his sons to make court appearances in his place.

 

Vincent Bolloré To Stand Trial On Political Corruption Charges

 

By Steve McClellan

 

Bolloré Group controlling shareholder Vincent Bolloré will stand trial on corruption charges related to election campaigns in Togo and Guinea from 2009 to 2011, according to Reuters which cited a statement from the French financial prosecutor’s office on Thursday.

 

Bolloré was formally arrested in 2018 when authorities were looking into allegations that Bolloré provided discounted communications services via Havas to two African country presidential contenders (both won) in exchange for contracts to run shipping port concessions.

 

While Vincent Bolloré stepped down as Chairman and CEO at Bolloré Group in 2022, he is said to remain a major influence at the firm through his control of an entity called Financière de l’Odet, the largest shareholder of the group.

 

His son Cyrille succeeded him as Chairman and CEO at Bolloré Group. Entertainment firm Vivendi and ad holding company Havas, which Bolloré Group has controlling stakes in, are both headed by another son, Yannick Bolloré.

 

Reuters reported that two other persons are co-defendants in the case, including Gilles Alix, a former board member of Vivendi, and Jean-Philippe Dorent, who is currently head of Havas International Consulting, which provides reputation management and related services.

 

The trial is scheduled to start in December, according to reports.

 

Representatives from Havas and Bolloré had not responded to requests for comment by deadline.

17414: Discerning The True Lesson On Culture From This Year’s Oscars.

Advertising Age published a perspective titled, “What marketers can learn about culture from this year’s Oscars.”

 

The author opined, “The most compelling moments [at the Academy Awards] all came from collision—across cultures, art forms, generations, and ways of seeing the world.”

 

Can’t help but think the op-ed presented an optimistic notion bordering on pollyannaish delusion.

 

For starters, marketers—and their partnering White advertising agencies—were likely more interested in the commercials that aired during the 98th Academy Awards versus the actual Oscar victories.

 

The advertisements did not represent a collision across cultures; but rather, a domination of White culture—from content to creators.

 

In short, what everyone can learn about Adland’s culture from this year’s Oscars—based on viewing commercials that aired during the broadcast—is the industry runs on privilege, exclusivity, and cultural cluelessness.

 

Adland deserves an Oscar for outstanding performance of systemic racism.

 

What marketers can learn about culture from this year’s Oscars

 

By Aaron Walton

 

If you watched closely, a pattern kept showing up at this year’s Oscars. The most compelling moments all came from collision—across cultures, art forms, generations, and ways of seeing the world.

 

And that matters, because we’re living in a moment that rewards division. Social feeds sort us. Algorithms separate us. Even storytelling is often reduced to sides. But the work that breaks through doesn’t avoid difference. It brings it together.

 

One of the most talked-about films of the night, “Sinners,” takes this idea to new heights. The film brings together creative perspectives that don’t typically sit in the same room—a Swedish composer scoring a deeply American story, a Filipina-Black cinematographer shaping its visual language, and a narrative that draws echoes between Irish and Black histories, to name a few.

 

The Best Original Song category told a similar story. “Golden,” from “KPop Demon Hunters,” became the first K-pop song to win an Oscar. K-pop is, by design, a hybrid—Korean music shaped by hip-hop, R&B, electronic production and global internet culture. It was built for audiences who don’t live inside a single cultural lane.

 

On its best day, Hollywood isn’t just exporting culture anymore. It’s collaborating with it.

Another striking moment came with the presence of legendary artists Misty Copeland and Buddy Guy. At first glance, ballet and Chicago blues don’t exactly share a playlist. One comes from centuries-old European tradition. The other from African American musical innovation rooted in lived experience. And yet, there they were—part of the same cultural moment.

 

At the request of filmmaker Ryan Coogler, Copeland wore a Firebird costume created by Geoffrey Holder, on loan from the Dance Theatre of Harlem’s landmark 1982 production. Embedded in the design was a Sankofa symbol, a West African concept meaning “go back and get it,” a way of saying: draw from the past to move forward.

 

It’s hard to imagine a more precise metaphor for what was happening across the night. Film borrowing from dance. Music shaping narrative. History informing the present. That’s what cultural collision looks like at its best. Intentional. Layered. Forward-moving.

 

And let’s not underestimate the recognition of Amy Madigan. In an industry that often equates relevance with youth, her win felt like an awakening. Because experience brings something different to storytelling. Some things that can’t be rushed.

 

And yet, age remains one of the least talked-about dimensions of inclusion. Brands chase what’s next and often overlook what endures. Longevity isn’t the opposite of innovation. It’s often what makes it possible. Persistence and resilience don’t describe anything that happens overnight.

 

This year also introduced Casting as a new Oscar category. It’s also easy to overlook, but I agree with those who say it’s one of the most important additions in years. Because casting is where culture ignites the story.

 

Who gets placed at the center determines who gets seen, who gets heard, and who feels invited in. Great casting is about more than identifying great talent. It’s about cultural insight, understanding nuance, recognizing authenticity, and seeing what a story can become when the right person steps into it.

 

In many ways, casting is strategy. It shapes the story before the first scene is ever shot.

 

Even the tone of the Oscar ceremony reflected collision. Conan O’Brien approached the night with satire as he tested the audience’s appetite for political humor, and acknowledged tension without losing the room. Jimmy Kimmel, in contrast, took a more direct route, leaning into political commentary.

 

Both approaches worked. And together, they pointed to something brands are still figuring out. Do you meet people where they are, or do you push them somewhere new? There’s no single answer. But taking a position, however you do it, is part of staying relevant.

 

The Oscars are easy to dismiss as entertainment. But they’re also a real-time read on what resonates. And this year, the signal was clear.

 

The work that breaks through doesn’t come from a single perspective. It comes from intersection, which requires different voices in the same room, different histories in the same story, and people who don’t see the world the same way—and aren’t supposed to.

 

Because that’s where something new happens. For years, the conversation around diversity has focused on fairness. And we shouldn’t forget how much that matters. But we also need to focus on something more active.

 

Not just inclusion. Integration.

 

Not just representation. Collaboration.

 

Because division may be louder. But collision is more powerful.

 

Division narrows the story. Collision expands it.

 

And the most interesting work right now, the work that moves people, is doing something even more ambitious. It’s reaching back. Pulling forward. Holding multiple influences at once. Not smoothing them out but letting them shape something new.

 

Because if this year’s Oscars showed us anything, it’s that the future doesn’t come from choosing sides. It comes from what we’re willing to bring together.

 

Aaron Walton is CEO at Walton Isaacson

17413: IBM Dumps BM On WPP.

 

Campaign reported Ogilvy is no longer the White advertising agency of record for IBM, ending a 32-year alliance.

 

That surely adversely affects WPP CEO Cindy Rose’s chances of collecting the full $19.1 million payout spotlighted in a previous post.

 

Looks like Rose couldn’t leverage any relationship connections from the IBM and Microsoft partnership.

 

It’s not a good sign for the White holding company—er, White single operating company—aspiring to be a trusted growth partner for clients in the era of AI.

 

IBM and Ogilvy end 32-year creative partnership

 

The WPP-owned agency has been the technology brand’s creative AOR since 1994.

 

By Luz Corona

 

Campaign has learned that WPP’s Ogilvy is no longer IBM’s creative agency of record after 32 years of partnership.

 

The partnership began in 1994 following IBM’s decision to consolidate its US $500 million advertising account with Ogilvy. Past campaigns include Solutions for a Small Planet, E-Business, Smarter Planet, Watson, Think and Let’s Create. IBM’s Smart Ideas for Smarter Cities campaign, created by Ogilvy France, won the Outdoor Grand Prix in 2013 at the Cannes Lions International Festival of Creativity. IBM also became the first B2B brand to be inducted as the corporate honoree into the Advertising Hall of Fame in 2022. The brand and agency commemorated the 30-year milestone in August 2024 with a celebration at the agency’s global headquarters at 3 World Trade Center.

 

“Ogilvy has made the decision not to participate in the upcoming creative RFP for IBM. We are immensely proud of our 32-year partnership, a tenure nearly unrivaled in this industry,” an Ogilvy spokesperson told Campaign in a statement. “Together, we have built one of the world’s most iconic brands through campaigns that defined eras of technological progress. While we have chosen not to move forward in this process, we celebrate our shared history and wish the IBM team continued success.”

 

According to a source with knowledge of the relationship, this was a business decision made because of longstanding balance-of-trade friction between WPP and IBM, rather than a reflection of the creative partnership. IBM previously held a media account review in December 2025. Incumbent WPP Media decided not to participate in the review.

 

The news follows WPP CEO Cindy Rose’s recent announcement to divide the holding company into four operating units — WPP Media, WPP Creative, WPP Production and WPP Enterprise Solutions. They will be led across four regions: North America, Latin America, EMEA and APAC. “We don’t want to be a holding company anymore,” Rose told Campaign in an interview after announcing the new three-year strategy, “Elevate28,” in a bid to stem its worsening revenue decline.

 

Campaign has reached out to IBM for comment.

17412: For WPP Employees, 19.1 Million Reasons To Run.

 

Two more points on the previous post spotlighting how WPP CEO Cindy Rose could collect a maximum payout of up to $19.1 million:

 

1. That’s roughly $19.1 million more than the average salaries of countless WPP drones sure to become victims of Rose-rendered restructuring, razing, and RIFs.

 

2. Expect the WPP diversity budget to be roughly $19.10. Or less.

17411: On WPP CEO Cindy Rose Raise, Raising, And Reaching.

 

The Times reported WPP CEO Cindy Rose could collect a maximum payout of £14.2 million (roughly $19.1 million USD) if she manages to raise the White holding company’s share price by 50 percent.

 

If successful, Rose would earn more than her predecessor, Mark Read, whose 2024 salary was capped at £8.6 million.

 

It might sound like progress given the gender pay gap issues prevalent at WPP (and Adland overall). However, there are at least two critical points to consider:

 

1. Read took multiple pay cuts in recent years resulting from his failure to even slow WPP’s financial free fall.

 

2. The £14.2 million Rose deal is still dwarfed by former WPP Overlord Sir Martin Sorrell, who once pocketed almost £30 million.

 

In comparison, Omnicom Chairman and CEO John Wren received $21.67 million in 2024; Publicis Groupe CEO Arthur Sadoun has a base salary of roughly $1.25 million with perks and bonuses that could bump total compensation to over $10.7 million; Havas CEO Yannick Bolloré reportedly received roughly $11.4 million in 2024; Former Dentsu CEO Hiroshi Igarashi could’ve received a package exceeding $14 million (no word yet on new CEO Takeshi Sano); Stagwell CEO Mark Penn received $8.4 million in 2023. In short, holding company CEO salaries are all over the global map—and obscenely high.

 

Keep in mind too that WPP has been on a death spiral since at least 2018, making the goal of boosting the current share price by 50 percent downright delusional.

 

In the end, Rose will probably raise a White flag vs raising the share price.

 

WPP boss Cindy Rose could make £14.2m if she gets things right

 

The payout for her predecessor, Mark Read, was capped at £8.6 million for 2024, but she will only get the maximum amount if the shares rise by 50%

 

By Isabella Fish, Retail Editor

 

The new chief executive of WPP is in line for a significantly higher pay reward than her predecessor after the advertising group overhauled its remuneration structure to align UK packages with those in the US. 

 

Cindy Rose could receive a maximum payout of £14.2 million if she lifts the company’s share price by 50 per cent, under a newly proposed remuneration policy set out in the annual report. 

 

By comparison, the maximum potential payout for her predecessor, Mark Read, was £8.6 million for 2024. 

 

The advertising company said it was overhauling its pay structure to address what it described as a “disparity in incentive arrangements” between employees based in the UK and those in the US. In 2023 and 2024, total compensation for about a third of its US-based executive committee members exceeded that of the group chief executive under the previous framework, it said.

 

WPP said it “believes it is appropriate to narrow this disparity and alleviate some of the challenges of pay compression, creating a fair and sustainable framework across the global executive team”.

 

British companies have warned of a transatlantic pay gap and restrictive UK corporate governance frameworks. Unilever, the consumer goods giant, recently said it had missed out on high-calibre American candidates whose existing compensation packages far exceeded what the group could offer under its current structure. 

 

Rose, 60, is an American-British dual national who splits her time between the UK and the US. The former Microsoft executive, who took over at WPP in September, was appointed on a base salary of £1.25 million, with additional incentives paid in cash and shares depending on performance. 

 

Under the proposed policy, her maximum payout includes £5.9 million in bonuses and stock awards to compensate for those she forfeited by leaving Microsoft, as well as salary, benefits, pension, maximum annual bonus, and the combined value of long-term share awards, including a new restricted share plan.

 

The company is hoping to introduce a restricted share award worth 100 per cent of salary for the chief executive and chief financial officer, alongside existing long-term incentive plans. These awards would run over five years, with a three-year vesting period followed by a two-year holding period, and would be subject to performance conditions.

 

A 50 per cent share price increase might seem like a steep target for Rose to hit, but the stock is currently at a particularly low point. The group was ejected from the FTSE 100 in December after its shares fell to a near 30-year low. The stock is down 75 per cent over the past five years and about 63 per cent over the past 12 months.

 

Rose is seeking to stabilise the business through cost savings and having a simpler structure following a series of client losses and a downturn in advertising spending.

 

In February, she set out a plan aimed at cutting £500 million in costs, including removing duplication and combining human resources and back-office functions across parts of the group.

 

According to the company’s latest report, WPP employed 98,655 workers at the end of last year, 6,500 fewer than the year before. WPP declined to comment.

17410: The New Sprite Platform Is Not Fresh.

 

Advertising Age spotlighted Sprite’s new identity and pseudo culture-first platform: It’s That Fresh.

 

Yo, that’s anything but fresh.

 

For starters, fresh is an old-school term, arguably outdated for the youth audience targeted by the brand.

 

How did the word even gain legal approval? The FDA has guidelines for products to be labeled fresh. Sprite bottles and cans do not include freshness dates.

 

Sprite has embraced hip-hop culture for decades, and the refresh recruited rappers and music artists to deliver authenticity. Yet the agencies and enterprises Ad Age identified as responsible for the work appear to be predominately White—and lame to boot.

 

The scenario demonstrates how White advertising agencies and brands love hip hop—and use cultural appropriation as a marketing ploy.

 

Somebody should ask Will Smith to recreate The Fresh Prince of Bel-Air role and slap everyone behind the new Sprite platform.

Sprite unveils new identity and culture-first ‘It’s That Fresh’ platform

 

By Tim Nudd

 

Sprite is hitting refresh with a new global platform that turns up the flavor of culture.

 

The Coca-Cola-owned soda’s new “It’s That Fresh” effort brings its branding, partnerships and product pipeline under one umbrella across 180 markets. The push centers on culture, with a focus on music, streetwear, basketball and food trends that shape younger audiences. The campaign acts as a reset of sorts, aligning everything from visuals to collabs into a single global system.

 

At the core of the effort is a refreshed brand identity, updating Sprite’s look and feel across packaging and communications. The redesign revives the brand’s lemon-lime iconography and pairs it with a bolder wordmark. Also, cans now feature a vertical logo treatment. Alongside the visual overhaul, Sprite is introducing a new sonic identity developed with producer Mustard, designed to carry across ads, digital content and brand experiences.

 

Music plays a major role in the rollout. U.K. rapper LeoStayTrill is among the artists contributing original work tied to the platform, using a custom Sprite-branded instrument loaded with sounds inspired by the product. The move extends Sprite’s long-running association with emerging artists, positioning the campaign as both a branding effort and a content engine for social and streaming.

 

Coca-Cola’s internal design team worked with the agency forpeople on the new identity. Other agencies who worked on this campaign include WPP Open X, Zeno Group, Tuney and Ear Candy.

 

The brand is also expanding its footprint in street culture through a collab with Crenshaw Skate Club, a Los Angeles-based collective known for its crossover between skateboarding and fashion. The partnership is expected to include limited-edition drops and experiences throughout the year, adding a retail and experiential layer to the work while connecting Sprite to grassroots creative communities.

 

“Today’s generation isn’t looking to be told what’s cool—they’re defining it for themselves,” said Oana Vlad, VP of Sprite global brand. “‘It’s That Fresh’ is Sprite meeting them where they are, spotlighting the freshest takes across culture and the people who aren’t afraid to play by their own rules.”

 

Food is another pillar, with Sprite continuing its “Hurts Real Good” effort focused on spicy flavors. Partnerships with Takis, Tabasco and McDonald’s will include social activations, live events and co-branded offerings, tying the drink to late-night eating and bold flavor profiles. The campaign positions Sprite as a go-to pairing for heat-heavy dishes, a trend that has gained traction among younger consumers.

 

On the product side, the platform is backed by global expansion plans for Sprite Chill and Sprite+Tea, two newer offerings that reflect shifting tastes and online-driven experimentation. Sprite Chill introduces a cooling sensation layered onto the classic lemon-lime profile, while Sprite+Tea builds on a viral trend of mixing soda with tea. Both lines are expected to roll out in multiple flavors and formats depending on the market.

 

The campaign kicks off with an event in London called Sprite FreshFest, featuring performances, product showcases and brand-led experiences across music, fashion and food. From there, the platform will expand globally through the summer, with localized activations both online and in person.

17409: Pizza Hut Pasta Campaign Is Traditional BS.

 

This Pizza Hut campaign from Publicis Middle East in Dubai, UAE, is explained as follows:

 

Pizza Hut launched a new pasta range. But an American fast-food brand that doesn’t even exist in Italy isn’t exactly the most credible voice on pasta. So we went after approval from the ultimate experts: Italians.

The problem? Our pasta doesn’t follow tradition. Traditional Italians would never approve it. But we used them anyway.

 

Um, this concept probably should not have been approved.

17408: On The White House & White Advertising Agencies, Part 10.

President Donald J. Trump’s return to supremacy continues to mirror Adland.

 

The Independent reported Trump clumsily delivered a culturally clueless Pearl Harbor joke to a Japanese reporter and Japanese Prime Minister Sanae Takaichi.

 

Was Trump inspired by iconic Adman Jerry Della Femina?

 

Incidentally, the president’s comedy routine, well, bombed.

 

Trump cracks Pearl Harbor joke when pressed by Japanese reporter on lack of warning over Iran attack

 

Oval Office crowd left briefly silent after Trump makes light of 83-year-old attack

 

By Andrew Feinberg in Washington, D.C.

 

Just over 83 years ago, President Franklin Roosevelt called the Imperial Japanese Navy’s December 7, 1941 attack on Pearl Harbor “a date that will live in infamy” as he urged Congress to declare war.

 

On Thursday, President Donald Trump turned it into a punchline.

 

Trump was finishing up a question-and-answer session with reporters during a bilateral meeting with Japanese Prime Minister Sanae Takaichi when a Japanese journalist asked why he did not inform key American allies — such as Japan — before the start of the joint U.S.-Israeli air campaign against Iran on February 28.

 

The president initially replied that the U.S. “went in very hard” and “didn’t tell anybody about it because we wanted surprise.”

 

But Trump’s response took an awkward turn moments later when he said: “Who knows better about surprise than Japan?”

 

After some muted laughter from the U.S. officials who’d joined him for the meeting, he turned to Sanae — who was born two decades after the attack — to ask her another question.

 

“Why didn’t you tell me about Pearl Harbor, OK?”

 

At that point, laughter turned to audible groans. The room went silent.

 

Takaichi, who spent two years in Washington working on Capitol Hill during the Reagan administration and has a strong command of English, was clearly taken aback by the president’s attempt at humor.

 

The smile she’d had on her face disappeared and her eyes widened as she realized what Trump had just said.

 

After an awkward pause, Trump returned to the topic he’d been asked about, telling reporters, “He’s asking me about surprise, and we did.”

 

“And because of that surprise, we knocked out ... we probably knocked out 50 percent ... and much more than we anticipated doing. So if I go and tell everybody about it, there’s no longer a surprise,” he said.

 

The surprise Pearl Harbor airstrike against the U.S. Pacific Fleet on Dec. 7, 1941 left more than 2,400 American service members dead and nearly 1,200 injured from bombs and shells that sunk four American battleships and left four more severely damaged. It was the deadliest attack on American soil until the Sept. 11, 2001 terror attacks on New York, Washington and Pennsylvania.

 

Seven of those ships were salvaged and returned to service, while the seventh — the U.S.S. Arizona — was left where it had settled just below the harbor’s surface after a Japanese bomb detonated inside a explosive powder magazine.

 

The attack took place after months of failed negotiations between Tokyo and Washington over economic sanctions imposed by the U.S., the U.K., China and The Netherlands in an attempt to deny Japan’s military the raw materials it needed to prosecute wars in China and what is now Vietnam.

 

Japan declared war on the U.S. on the day of the strikes, but the official declaration did not arrive in Washington until afterwards.

 

The Pearl Harbor attack gave Roosevelt the leverage he needed to push for the U.S. to formally enter World War II — allowing him to join ally Great Britain in fighting Adolf Hitler’s march through Europe — with the House and Senate approving declarations of war against Japan by margins of 388-1 and 82-0, respectively.

 

Less than four years later, Japan would accept America’s demand for “unconditional surrender” after the U.S. dropped the first two — and thus far the only two — nuclear weapons to be used in combat in separate strikes on Hiroshima and Nagasaki.

 

The Japanese government has never formally apologized for the infamous sneak attack, though one of Takaichi’s predecessors — the late Shinzo Abe — delivered a speech expressing "sincere and everlasting condolences" to the American and Japanese personnel killed in the fighting that day during a 2016 visit to the Pearl Harbor memorial above the wreck of Arizona.

 

Abe, who was assassinated in July 2022, said at the time that the U.S. and Japan “must never repeat the horrors of war again.”