adobo magazine | July - August 2007 by Sanserif, Inc.

issue #10 Jul-Aug 2007

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IN THIS ISSUE

JWT HITS THE SPOT

Our 1st

GOLD LION THE PHILIPPINES BAGS 4 LIONS & MORE IN CANNES

Adobo Design Winners Fly to Milan O&M Rules the Ad of the Year C2 Explores the Wide Blue Ocean D&AD 2007 Winners Noel Lorenzana, Creatively Speaking Creative Review of local ads by David Searle, BBDO Singapore Mad about ECDs Book Reviews by Linda Locke and Paul Roebuck PROFILES OF LEGENDS David Droga Jun Urbano

THE BIG CANNES LIONS 2007 ISSUE www.adobomagazine.com

JWTâ&#x20AC;&#x2122;s Tin Sanchez, Dave Ferrer and Brandie Tan

CONTENTS

issue #10 July-August 2007

TOP STORIES 04 JWT Wins RP’s 1st Gold Lion 07 RP Young Creatives Score Silver 08 Gavin Simpson Transfers to O&M Hong Kong; 10 O&M Rocks the Ad of the Year;

16 18 21

TBWA Dominates DIWA Pinoy Filmmaker Wins in Cannes Film Fest adobo Design Winners Take Milan McCann, Y&R Find Silver at NYFest

REGIONAL/GLOBAL COVERAGE 34 AOA Opens for Entries 36 Johnson Tan Launches Anything, Whatever 37 DDB Scoops Singapore Effies 38 New York Festival Wraps Up 40 Making Ripples at D&AD 42 The Gunn Report: The Good and the Deadly 44 David Droga Gives Back: the Tap Project 47 Doc Martens Gives Saatchi The Boot EDITOR-IN-CHIEF

ANGEL GUERRERO

EDITOR CYNTHIA DAYCO ASSISTANT EDITOR DANZ HOLANDEZ COLUMNISTS NANETTE

FRANCO-DIYCO BONG OSORIO

SENIOR CORRESPONDENT HARRY MOSQUERA CONTRIBUTORS JAY CHIU

CRYSTAL REBUCAS BARNY RIVERA AYE UBALDO

ART DIRECTOR

JERRY MANALILI

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50 BOOK REVIEWS

Nigel Marsh’s Fat, Forty & Fired by Linda Locke Jon Steel’s The Perfect Pitch by Paul Roebuck

52 CREATIVE REVIEW

by Daniel Searle / BBDO Singapore

PROFILES OF LEGENDS 56 Jun Urbano, The View from Mongolia 64 David Droga, Having Fun Working hard

70 PRIVATE VIEW

Cents & Values by Nanette Franco-Diyco The Ad Industry’s Young Interns Logic & Magic by Bong Osorio Tell It All, Tell It Fast, Tell the Truth Marketing Leadership by Willy Arcilla 25 Lessons from 25 Years in Marketing

30 59 60 66

EXCLUSIVES The Economics of Branding at the Beach C2 Creates Waves in the Blue Ocean Strategy Noel Lorenzana, Creatively Speaking The Miami Ad School, Top Dawg

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Ad–alike Ad Nauseum adobo Ads of the Month Ambush Bang for the Buck Cloned! Creative Showcase Double Take Mad about ECDs Mediascape Nielsen’s Top 20 Advertisers The adobo Centerfold The Bigger Picture

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TOP STORIES

fter 22 months and almost as many creative awards later, Gavin Simpson is leaving Ogilvy and Mather’s Manila office. Beginning July, he replaces O&M Hong Kong’s two ECDs, Simon Hanford who was hired by M&C Hong Kong, and Annie Wong who took on a regional assignment.

creative powerhouse is long gone, the city is the gateway to China— and that, to Simpson, is his golden ticket. By offering clients in China work that comes ever closer to the global standards, he thinks O&M Hong Kong can achieve its goals. In that kind of office, Simpson won’t be just “a replacement—I can take it to a higher level.” On the road again: Mr. & Mrs. Simpson

tutelage, certainly held their attenWith his departure, the burtion and earned their respect. den of finding a replacement for The past two years have taught a much-admired ECD falls on him to like the Ogilvy network. Tina Coscolluela, group managHe explains, “Ogilvy has a ing director at O&M Philippines. very strong creative reputation in “Gavin has been a great part Asia, so it’s someof our company thing you can be In that kind of and has brought proud of…But the office, Simpson Ogilvy Manila best thing about back to number 1 won’t be just “a in creative ranking. Ogilvy is the very strong culture. You replacement— I am personally go to any office I can take it to sad to lose him in and right away, team but take a higher level.” our you fit in…and consolation in the here, you learn that you don’t have fact that he remains in the Ogilvy to be a bastard to be good.” network,” writes Coscolluela. “We Then without batting an eye- are grateful for having had the oplash, he adds, “But I’m still learn- portunity to work with Gavin and ing that part; I still have some he leaves behind a very strong crerough edges.” ative team who he has mentored Of his host country, Simpson and challenged to create great work said, “Manila has been kind to me. that works.” Things worked out for me in a short Unilever’s Noel Lorenzana period of time. We achieved our says of the man who sold him eyegoals…We built O&M into a force catching outdoor ideas and brought his Personal Care team its first Clio: “It’s a shame he’s leaving. We had our disagreements in the beginning. But it worked out in the end.” Simpson’s own recollection of his client is rosier. “I don’t think Unilever is a difficult client. They’re to be reckoned with, doing effective one of our best, in fact.” ads and winning awards.” Now that he is leaving, the other Simpson remembers that when Unilever club agencies are aching to he first arrived, it was shortly be- know how he succeeded where they fore the Araw Awards. had failed. What is the man’s secret? He gave out cigars to his staff, “Hard work, I guess,” he anbut told them to save it. swers, “and being honest about “We will not be lighting it this the work.” year, but in the next Araw.” He reminds the people he leaves Now, with the next Araw just behind “to be honest with ourselves, months away, he sees those same ci- to say that we’re not good enough gars being taken out and being dis- and to strive to do better work.” played on people’s desks and walls. Other than that, Gavin Simp“We had a plan. We had a goal. son has no parting words. Why? It’s nice to know that it has happened “The work speaks louder lah, and we can celebrate now.” than words.”

Gavin Simpson Transfers to O&M Hong Kong

Although Simpson says that he believed in quitting while one is ahead, he adds that his move was prompted by the opportunity to do greater things. “Hong Kong seems like a nice place, and the job is also a bigger role, (with) more challenges,” he tells adobo. “There’s a huge opportunity for Hong Kong. O&M is already no. 1 there (but) the task is to create a bigger presence for the O&M Hong Kong in Asia and make it more of a regional hub. What Hong Kong can give me is a bigger canvas to paint, bigger brands, more multinational accounts….” Although many people believe that Hong Kong’s hey day as Asia’s

“He’s a dream hire because of the international ambition of this office as a regional hub,” says Ogilvy Hong Kong managing director Adam O’Conor in an interview with Media Magazine. “He has the perfect hybrid skills.” Simpson arrived in Manila in 2005, after a short but fruitful stint at Leo Burnett Kreasindo in Indonesia. Initially, his frank, nononsense demeanor caused locals to shy away, but his can-do attitude eventually won them over. And if that did not, then the slew of awards that O&M Manila won, under his

Noel Lorenza, New Chairman of Unilever Malaysia/Singapore Unilever Philippines’ Managing Director for Home and Personal Care, Noel Lorenzana, left home again, to become chairman of Unilever Malaysia/Singapore. This was the latest in a long series of advancements for Lorenzana, who has worked for the manufacturing giant since he graduated from college. Although he began his career as a Management trainee on Lux, he first gained notice when he revitalized the Cream Silk brand in the 90’s, with the Sharon Cuneta campaign. From there, he rose up the hierarchy and became associate director for Business Planning, marketing director for the ULI-led Shanghai Toothpaste Company and brand director for Oral Care in Asia, working out of the Jakarta office. Among his achievements were the improvement of the company’s business planning process,

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the Close Up Brand Strategy for Asia, Africa, and Latin America, and the Global Oral Development program that focused on mixes for low-income, low-penetration markets. He returned to the Philippines in 2004, as marketing director for Personal Care. His tenure was marked by a number of very creative campaigns and initiatives, a few of which won awards and set global records. Close Up earned a place in the Guinness Book of World Records twice in 2005, for the most number of people locking lips (in Lovapalooza) and the world’s largest photo mosaic. The work on Pond’s, especially its outdoor ads, brought home numerous metals from the awards shows, including Unilever Philippines’ first Lotus and Clio. At his send-off during the ABC Awards, Lorenzana told adobo that he has always believed in Filipino creativity but added that in comparison to the Thais, “our eye for beauty is still lacking.” However, his faith was bolstered by the slew of international awards for local work, so he has offered his support to Unilever’s club agencies, especially for whatever creative modules they’re hosting at this year’s Ad Congress. Lorenzana assumed his new post last July 1, 2007. Taking his place in Manila were Gilbert Simpao, as managing director for Hair, Oral and Media, and Dondi Gomez, as managing director of Skin, Deo and Home Care.

TOP STORIES A consistent also-ran for many, many years, Ogilvy and Mather Philippines cemented its new top gun status at The Creative Guild’s 23rd Ad of the Year Awards, the Philippines’ annual ad show. It converted five of its entries into Golds, eclipsing the traditional front runners, BBDO Guerrero Ortega and TBWA \ Santiago Mangada Puno. O&M took the top honors in the Ad of the Year for Television (Max’s “Dancing Lights”), Conventional Outdoor (Pond’s “Pore”) and Non-conventional Ambient (Philippine Daily Inquirer “Volcanic Ash”); and the Campaign of the Year for Print (PDI “Shoeshine/Barbershop/ Pedicab”) and Conventional Outdoor (Pond’s “Pore/Curtain/Hiding Board”). BBDO GO won two Golds, in the Ad of the Year in Radio (FedEx “Delivery”) and Print (FedEx “Suzhou”), as did the unpredictable JWT, for Nonconventional Ambient Ad of the Year (Bonamine “Motion Sickness Bus”) and TV Campaign of the Year (Ponstan “No Escape”). TBWA\SMP took

O&M Philippine’s Tina Coscolluela, Lito Gemora and Alnair Langkay

O&M Bags 5 Golds in the Ad of the Year; TBWA Dominates DIWA the remaining Gold, for Non-conventional Ambient Campaign of the Year (Samsung “Slim”). Counting Silvers, Bronzes and technical awards, O&M took home 11 metals. BBDO GO

TV Campaign of the Year: Ponstan “No Escape”

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and TBWA\SMP were not far behind (with nine and seven metals, respectively), followed by JWT (four metals). Meanwhile, in the DIWA Ad of the Year (the sister competition for public service ads), TBWA\SMP walked away with half of the metals. It locked everyone out of the Film/Television category, with its work for UNICEF (“Education”—Gold winner) and TV network ABC-5 (“Speaker” and “Guimaras”). Ace Saatchi & Saatchi (Caritas “911”) and O&M (PDI “Shoeshine”) took home one Gold each. All three agencies received a cash prize of US$5,000 from the Ayala Foundation. The 23rd Ad of the Year was “A Night at the Museum” for The Creative Guild. The officers held the cocktails and presented the awards last May 30 at the Metropolitan Museum of Manila. The invite indicated formal attire, and uncharacteristically, the industry’s iconoclast jeans set complied. Talk show host Boy Abunda, who is also managing partner at fledgling ad agency MADD, held forth at the podium. Before the awards were handed out, incoming president Merlee Jayme and competition co-chairmen David Guerrero and Jake Tesoro announced that the Creative Guild would no longer hold the Ad of the Month competitions. In keeping with the global awards shows (partic-

ularly AdFest), it would expand the Ad of the Year into a two-day creative summit, held annually on the shores of Boracay. Like the revamped biennial Araw Awards, top creatives from the Philippines and other countries form the jury. DDB’s Bob Scarpelli, jury president of the Cannes Lions 2007, is expected to lead the judges. The next Ad of the Year is slated for February 2008. Among the highlights of the evening was the farewell speech of outgoing Creative Guild President Leigh Reyes of Y&R. Fresh from her acceptance of the country’s first Gold Clio in Miami, she joked that from now on, every generation of officers should produce an international metal, as proof of their proverbial pudding. The Guild singled out two individuals for special honors: the Leo Group’s Richard Irvine, and TBWA\SMP’s Jimmy Santiago. BBDO GO’s David Guerrero presented a simple, lighthearted video before inducting Irvine into the Hall of Fame. ABS-CBN’s (and former JWT executive creative director) Robert Labayen presented the Lifetime Achievement Award to Santiago. (See related story.)

Print Campaign of the Year: PDI “Shoeshine”

TOP STORIES ADS OF THE YEAR Television: O&M/Max’s “Dancing Lights” Print: BBDO GO/FedEx “Suzhou” Radio: BBDO GO/FedEx “Delivery” Conventional Outdoor: Pond’s “Pore” Non-Conventional Ambient: O&M/PDI “Volcanic Ash” JWT/Bonamine “Motion Sickness Bus” CAMPAIGNS OF THE YEAR Television: JWT/Ponstan “No Escape” Print: O&M/PDI “Shoeshine/Barbershop/Pedicab” Radio: No winner Conventional Outdoor: O&M/Pond’s “Pore/Curtain/Hiding Board” Non-Conventional Ambient: TBWA\SMP/Samsung “Slim” DIWA ADS OF THE YEAR Television: Print: Radio:

TBWA /SMP/UNICEF “Education” O&M/PDI “Shoeshine” Ace Saatchi & Saatchi/Caritas “911”

Incoming Officers of the Creative Guild

GUILD HONORS LEO GROUP’S IRVINE AND TBWA’S SANTIAGO ative Guild Hall of Fame. A native of England, he is the first foreigner to be so honored. ...a leader who He was used kindness and invited into this gentle words to rarified circle coax the best out for McDonof his people. ald’s ‘Lolo” TV, McDonald’s “Opening” TV, Perla “Lean on Me” Print, Perla “Touching Moments” Radio, Tide “Instinct ” TV and WSI “March to Millions” Radio. Irvine is also credited with building the agency’s creative profile on work for its biggest clients. In the video tribute to him, colleagues painted Irvine as a leader who used kindness and gentle words to coax the best out of his people. With his soft-spoken Aside from honoring last demeanor and personable year’s best work, The Creative nature, they said he was CauGuild also elevated two crecasian on the outside and ative executives to the panPinoy on the inside. theon—the Leo Group’s chief In accepting the honor, creative officer, Richard Irvine, Irvine offered a humble mesand Jimmy Santiago, managsage of thanks to a few of his ing partner at TBWA\Santiago, colleagues, close friends and Mangada & Puno. his family. In contrast, Jimmy After winning six Ads of Santiago thanked nearly the Year for Leo Burnett, Irvine everyone he met during his 33 was inducted into The Cre-

successor in Saatchi, Melvin years in advertising. After all, Mangada. Subsequently, their he was being given the Lifeagency was relaunched as time Achievement Award. TBWA\Santiago Mangada & Santiago began his Puno and became one of career in Ace Compton (now the most remarkable success Ace Saatchi & Saatchi) in stories in the industry today. 1973. He worked his way from At the end of his tribute, copywriter to vice president Santiago was grateful to The for Creative in 1989, a post he Creative Guild for “rememberheld for six years. ing the Good and forgetting He created campaigns the Bad.” for every product category imaginable, as well as some of the industry’s most memorable jingles (snippets of which were played in his tribute, to the glee of the younger members in the audience). During that time, he led the Creative Guild, the Philippine 4As, and the Philippine Ad Congress Creative Committee. Despite his many responsibilities, he had enough juice leftover to write librettos, plays and awardwinning pop ...grateful to songs like The Creative Guild Gary Valencifor “remembering ano’s “Babalik the Good and Ka Rin.” forgetting the Bad.” In 1996, Santiago joined Tong Puno to form Santiago & Puno. A few years later, he recruited his

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PC&V’s Socky Pitargue

Ad Night at the Museum Team JWT

Suited David G

MADD and MC, Boy Abunda

Egay Navalta with Larger Than Life’s Troy Montero

Outgoing President Leigh Reyes

AdFest Young Creative Corey Cruz Tequila’s Marci Reyes

Publicis’ Marlon Rivera adobo’s Angel with Burnett ladies Nonie and Mela

Proximity’s Tonypet Sarmiento and Dino Cabrera

adobo’s Cynthia Dayco with Lito of O&M

ABS-CBN’s Robert Labayen

Tanke Tankeko Mrs. Marite Irvine

Cannes Young Creative 12 Melajuly-august Advincula wins! 07

Sponsor Pepito Olarte of Phil Daily Inquirer

McCann’s Petra

Strike a pose

A gold for TBWA’s Jake Tesoro

200188507-001, Andrew Michael/Stone

gettyimages.com

NEWSLINE JET LI ENDORSES SAN MIGUEL In Philippine Star news report, it was confirmed that Asian superstar Jet Li will endorse San Miguel Corporation “to further strengthen its presence in the Asian region.” SMC executives said it will be their biggest and most ambitious advertising campaign. Jet Li arrived in the country early July, but it was not been confirmed which San Miguel brand will utilize Li. One guess is the flagship brand, San Miguel Pale Pilsen.

Piyush Pandey: New Vice Chairman of O&M Asia Pacific

TONGUES FLICK ANEW WITH MULTI-LINGUAL FLICKR The popular online photo-sharing community, Flickr, recently launched flickr.com in seven more languages. Now supporting French, German, Korean, Italian, Portuguese, Spanish, and Traditional Chinese, Flickr members can now overcome language barriers, freely participate in the community, and explore over 525 million photos taken and submitted by its members. Flickr will host a series of global community events starting in Berlin, then Paris, London and Montreal. Flickr will also unveil soon its 24 Hours of Flickr commemorative book illustrating life as it happened around the world in one day.

LARGER THAN LIFE CELEBRATES 1ST YEAR ANNIVERSARY The country’s fastest growing postproduction house, Larger Than Life Inc., celebrated its first year anniversary with a party that one could really call “larger than life.” Aptly titled “Louder than Life,” the event was a musical extravaganza that was simultaeneously held in three of Makati’s most popular hotspots. Larger than Life booked popular drinking hubs Gweilo’s, Sake Lab, and Bistro 110. Guests crossed over to the three different bars, depending on their preference in food, drinks and music. “This is our way of giving back to all our friends in the industry, who helped Larger Than Life achieve what it has in the span of only one year,” said Larger Than Life’s Marketing Director Dondon Monteverde. “We’re looking forward to an even bigger celebration on our second year.”

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Ogilvy & Mather’s regional board elected India’s Piyush Pandey as vice chairman of Ogilvy & Mather Asia Pacific. Despite his new responsibilities, Pandey continues as executive chairman and national creative

director of O&M India, which he has led since 1994. Under his watch, the Group was recognized as India’s most creative agency 10 times in the last 11 years. In 2004, Piyush became the first Asian to be president of the Cannes jury. In 2006, he was inducted into Ogilvy’s Worldwide Board. Miles Young, chairman of O&M Asia Pacific commented: “I can’t think of anyone who better embodies the values established by David Ogilvy or who better symboliz“I can’t think of anyone who better es the excitement of India. embodies the “The comvalues established bination is lethal. by David Ogilvy Piyush contribor who better utes not just to symbolizes the the development excitement of of our brand but India.”— Miles to the industry as a whole in a Young, O&M Asia remarkable way. Pacific chairman While he remains firmly based in India, we need his management counsel up and down Asia. India is becoming quite fundamental to many of our clients’ strategies in this part of the world, and when Piyush speaks for India he also speaks for Asia.”

Y&R Asia’s Steve Clay Moves to Lowe Manila Award-winning Executive Creative Director Steve Clay joined Lowe Manila, taking over the postion vacated by Raul Castro late last year. Originally hailing from Toronto, Canada, Clay held senior creative positions in Singapore, Malaysia, Hong Kong, Sri Lanka and the Middle East. Most recently, Clay worked with Y&R Singapore, where he was regional creative director, Asia-Pacific. He handled major international accounts including ABN-Amro, Accenture and Caltex. As ECD at Publicis Malaysia, he landed the agency its first ever local, regional and international awards. Among the over “Lowe’s global 40 accolades intention is to bring were metals from high value ideas D&AD, Cannes, to our clients. Clio, One Show, We are delighted AdFest, MC2 to have attracted and the Kancils. Comment- an ECD of such ing on Clay’s ap- international pointment, Lowe calibre as Steve Manila’s CEO to the agency.” Mariles Gustilo —Mariles Gustilo, said, “Lowe’s Lowe Manila CEO

global intention is to bring high value ideas to our clients. We are delighted to have attracted an ECD of such international calibre as Steve to the agency. His kind of talent and experience suits our mix of regional and local blue chip accounts and will no doubt fuel our drive for creative excellence.”

NEWSLINE NEW SHELL ADVERT COMMEMORATES FERRARI PARTNERSHIP Petroleum global giant Shell produced a TV ad entitled “Circuit” in celebration of its 60 years of technical partnership with Ferrari. The 60-seconder commercial encapsulates how the joint knowledge of Shell and Ferrari gained from Formula One racing is being transferred and experienced by Shell consumers around the world. The advert, filmed earlier this year, was crafted by the award-winning French director Antoine Bardou-Jacquet who has renowned adverts such as Honda’s “Cog” advert and promo “The Child” in his creative portfolio. Filmed on the streets of Rio, Australia, New York, Hong Kong, Monaco and Rome, he used five different Formula One cars from across the decades with even one dating back as early as 1952. The latest TVC will be shown in Australia, Brazil, Bulgaria, Czech, Finland, Greece, Guatemala, Hungary, Italy, Malaysia, New Zealand, Norway, Philippines, Poland, Slovakia, Sweden, and Turkey which started last April, and is part of Shell’s Made to Move brand communications campaign.

YAHOO! PARTNERS WITH GLOBE TELECOM Yahoo! oneSearch is now available in the Philippines through the recent strategic mobile partnership agreement between Yahoo! and Globe Telecom. First launched in the US last January, Yahoo! oneSearch is now available in 14 countries around the world (Canada, France, Germany, Indonesia, India, Italy, Malaysia, Philippines, Singapore, Spain, Thailand, United Kingdom, United States and Vietnam) and will soon be available in Korea and Taiwan. The distribution of Yahoo! oneSearch by Globe makes it easier for its 17 million subscriber base to search for and find better results and instant answers on their mobile devices. “Filipinos are some of the most advanced users of mobile technology in the world and we are proud to be chosen by Yahoo! to partner in delivering innovative services to the Filipino people.” said Gerardo C. Ablaza, Jr., president and CEO of Globe.

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Filipino Wins Best Short Film at Cannes

n unexpected triumph for Philippine media! Sydney-based filmmaker Carlo Ledesma won Best Film at the Short Film Corner for his six-minute short The Haircut at this year’s world-renowned Cannes Film Festival. Written, directed and produced by Ledesma under his company allorange Films, the awardwinning film tells the story of a bizaare connection between a barber (Dave Kirkham) and his customer (Michael Karolyi). Inspired by momentous encounters with random strangers, The Haircut delineates how one individual’s mindnumbing stupor can be broken by a rather surprising request. A barber doused in ennui welcomes a customer into his barbershop. Not unusual in itself, except the man is completely bald. He appears stupified at first but eventually decides that the customer is always right. He plays along, snipping and shampooing invisible locks. The man leaves, satisfied, and the barber reverts back to his state of unflinching boredom. While brainstorming for his graduation film at Sydney College of Arts, producer Mel Lozano came up with the idea. “I liked the idea immediately,” Ledesma says. “First, because barbershops have always had such a strong impact on my childhood– there’s such a sense of nostalgia whenever I walk into a barbershop. Maybe it’s because time seems to stand still in these places, probably because these aging barbers can’t be bothered to update themselves to the times. And I think that’s great. “Second, I thought the concept of two people meeting—each totally different from the other—and connecting briefly, then parting ways, was an interesting idea to explore. How many times have we chanced upon someone in the street, chatted with them for a bit, laughed, then said goodbye, never to see them again?” Playing on the idea of vanity and delusion was a successful gambit for Ledesma and Lozano. Aside from winning top honors in Cannes, the short film was also screened at Sony Tropfest Best Of The Rest, In The Bin Short Film Festi-

val and Canberra Short Film Festival, all in Australia. Sebastian Carlos Ranguis’s score, which added a vaudevillian flair to the film, bagged Best Music at the 6th Annual Bondi Short Film Festival where the film was a finalist in 2006. No stranger to cameras, Carlo Ledesma is the former host of the TV sports show “GamePlan” with Akiko Thomson, Rovilson Fernandez and Tricia Chiongbian. However, since moving to Australia, he has gone into short features (viewable on his website, allorangefilms.com). He has also become co-founder and manager of Nice Shorts (www.

niceshorts.com.au), an Australian-based website that provides filmmakers a platform for their short films, animations and music videos, by making them available to a wider audience. The Haircut by Carlo Ledesma can be viewed on allorangefilms.com

Manileños take Milan adobo Design Winners Head for Top Italian Design School Amazing how far your ideas can take you. Sometimes, as far as Italy. Just ask Mark Anthony Pasco, a creative visualizer from Egg Design and Mary Angeline Bagbaldo, an art director from Campaigns & Grey. They are cowinners both of the recent adobo Design Competition. The contest—organized by adobo and sponsored by the Nuova Accademia di Belle Arti (NABA Academy of Arts and Design), Societa Dante Aligheiri Comitato Di Manila, Lufthansa Airlines, the

adobo; Dave Ferrer, JWT executive creative director; David Guerrero, chairman and chief creative officer of BBDO Guerrero Ortega; Gavin Simpson, executive creative director, Ogilvy & Mather Manila; Giampiero Gastaldi, a top Italian lensman and the NABA representative; veteran fine art photographer Neal Oshima; and Marta Pedrosa, a famed architectural designer. The judges looked for original ideas that were executed well, relevant and appropriate to its chosen medium. After an afternoon of intense discussions, they unanimously declared Pasco’s and Bagbaldo’s efforts as the farand-away standouts in the poster design category. Guerrero noted that while most of the entries were lovingly and painstakingly crafted, in the end, Italy-bound winners Mark Anthony Pasco and Mary Angeline Bagabaldo, with Lufthansa Country it all boiled down Manager Christopher Zimmer, Marketing Manager to the concept. Minette Corpus and adobo Editor-in-Chief Angel Simplicity and clarity of message Philippine Daily Inquirer, Microsoft and the Philippine Creative Guild—invited students, enthusiasts and all graphic design practitioners to aspire for the global high bar of creative excellence by interpreting the theme: “The Filipino has what it takes. Creativity is the new Filipino currency.” Submissions were either posters or entailed the use of motion graphics. All entries were then re- led Simpson straightaway to the viewed by a multi-faceted panel winning entries, noting that Pasco of judges, each an authority in and Bagdaldo would be good hires their respective fields. They con- for ad agencies. (Sorry, Gavin, Camsisted of Cynthia Dayco, editor of paigns & Grey already beat you to

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Bagdaldo.) Gastaldi observed that a number of the entries were heavily influenced by graphic design of previous generations and found himself looking for fresh approaches. Alas, no motion graphic entry passed muster among the panel so it was further decided that the two young designers would each receive the top prizes. Likewise, there no winners in the wearable graphics category, due to insufficient number of entries. Lufthansa Airlines is flying both winners to Milan, Italy for a summer scholarship at the prestigious NABA School where they will be immersed in month-long graphic design courses. Bagbaldo, a Visual Communication graduate from the University of the Philippines, recalled how she spent almost two hours a day for month before she was satisfied with her submission. “I used several postage stamps as my main visual,” she states, “because, if you think about it, they can

go anywhere around the world.” In her winning poster, each row of stamps presented a uniquely whimsical reverence to common, everyday items , albeit with a Filipino touch. “Cabbage Patch Dogs” depicted the inexplicably acceptable method sticking several hotdogs-on-a-stick onto a head of lettuce. “My Sweet, Sweet Spagetchup” showcased the Pinoy’s penchant for the sugary, catsup-laden version of the pasta dish. And who isn’t familiar with “The do-it-yourself Shower Tabo”? (That’s a showering can, for those who have yet to meet this semi-permanent fixture of Filipino bathrooms.) In contrast, Pasco’s almost-stark subm ission took him only half an hour to finish. But that’s not to say that his idea was any less compelling. A painting major, also from the University of the Philippines, his design consisted of a smaller-than-life size image of Philippine national hero Jose Rizal as minted on the one-peso coin. Hand-drawn sketch lines were then added to lend him the appearance of—surprise, surprise—a painter at his canvas. “Based on the contest’s theme,

“Creativity is the new Filipino currency.”

1st Row: PDI AVP & Marketing Director, Jocel Adorable, Katrina Encanto, Arbee Bagbaldo and adobo’s Angel Guerrero. 2nd Row: PDI VP Advertising, Pepito Olarte, Hermie Cabrito, Mark Pasco and Philippine NABA Representative, Giampiero Gastaldi

Pasco’s stark entry, “Piso on the Move”

I immediately thought of our own currency,” Mark offers, “but then I figured that others would have probably come up with the same thing. So to be different, I extended the thought. And, given my college background, this particular approach really appealed to me the most.” Such a courageously spartan approach certainly helped his work rise above the sea of colourful entries. But still, only 30 minutes? “The longest thing about the poster was deciding whether to overlap the lines into the coin. Then it actually took me around five minutes to finish the whole thing. I submitted my entry and promptly forgot all about it…until adobo called. And then I thought my friends were just playing a trick on me.” Dave’s solution to bad ads

His co-winner experienced the same reaction: “When adobo called me on my cellphone to inform me that in won, I thought my officemates were pulling my leg,” recounts Mary. “That, plus I was in a noisy place at that time. So I hung up. Thank goodness, they called back!” With their win in the history books, what do they look forward to the most? “Everything. I’m really looking forward to everything,” Mary expresses. “The courses, the sights, the museums, you name it. Everything!” And as for Mark? “I’m really an art lover, and Italy is the center of the arts,” says he. “Hopefully I can go around and see the galleries, even with my NABA classes. It should be an exciting trip!” Get ready, Milan! Here they come!

Bagbaldo’s stamps of approval, “Ready to Fly ”

2nd place winner, “Eto Na,” by Katrina Enkanto

“Ginto,” by Sergio Bumatay, bags 3rd spot

Marta, Gavin and David share a light moment

july-august 07

McCann Erickson and Young & Rubicam Congratulations to McCann Erickson and Y&R for earning World Medals in the 2007 New York Festivals International Advertising Competition. McCann Erickson for their Silver World Medal TV spot for Operation Smile ‘Wish’; Y&R for their Silver World Medal and a New York Festivals United Nations Department of Public Information Bronze Award for their print campaign for Soroptimist International Malaysia ‘Bullets, Warships, Cross’ and to all of the Finalist winners including DDB Philippines, JimenezBasic Advertising, Leo Burnett and TBWA Santiago Mangada Puno.

MOVERS

Y&r Philippines and McCann Erickson Win Silver World Medals at NY Festivals

While most eyes were transfixed on the Cannes Lions, the Philippines bagged three metals across the Atlantic, at the New York Festivals 2007, last June 14. Fresh from their Gold Clio win last May, Y&R Philippines continued their timeline of awards. Their “Bullets/Warships/Cross” print campaign for Soroptimist International Malaysia took home a Silver World Medal for the Print category and a United Nations Department of Public Information (UNDPI) Bronze award. McCann Erickson’s “Wish” TVC, a heart-wrenching TV spot for Operation Smile also won a Silver World Medal. The jury was touched by its story of a young boy who, because of a facial deformity, couldn’t quite blow out his birthday candles. Outgoing ECD Micky Domingo accepted the award on behalf of the agency. Seven ads from five agencies in Manila reached finalist status in Print, Radio, TV and Outdoor. Namely, JimenezBasic’s “Happy” for Philippine Cerebral Palsy in Radio; their Western Union “Locations” in TVC, DDB Philippines’ “Plane/Boat/Kite” for outdoor campaign; their “Paper Plane” TVC for Ronald McDonald House Charities; Leo Burnett Manila’s “Washing Machine” TVC for P&G Mr. Clean; TBWA\Santiago Mangada Puno’s “Doña” TVC for Firefly; and Y&R Philippines “Bullets” print ad for Soroptimist International Malaysia. In addition, JimenezBasic “Happy” radio ad was also a finalist in the UNDPI Awards.

Bebeth Timbol of MTV Philippines is leaving the company after a two and a half year stint. “It is time for me to explore new things and take on new challenges in my career,” said Timbol upon her announcement. Cathay Pacific general manager of Marketing Charlie Stewart-Cox may be taking on a new role in the airline’s operations department after holding the role for many years. Cox has worked closely with the airlines’ global advertising agency McCann Erickson since the agency won the business from Leo Burnett in 1986. Cathay Pacific’s Country Manager James Ginns is expected to fill the vacancy. Pinoy top digital artist Raul Davadilla of Procolor Singapore is moving to Santa Monica to work for Rocket Studio (www. rocketart.com) as senior creative digital artist starting July 2007. Rocket Studio is the digital imaging company behind the iPod print campaign. Omnicom appointed Mike Cooper as the chief executive of PHD Worldwide. Cooper is currently the chief executive of Omnicom Media Group Asia. Barry Cupples of OMD in Central and Eastern Europe is replacing Cooper in Asia. Cooper’s move to PHD is seen as an attempt to increase the media agency’s geographical coverage in Europe and Asia.

…McCann’s wish did.

McCann Worldgroup announced that Dave McCaughan will take on the additional responsibility of regional director of Strategic Planning, Asia Pacific, a new position. In this new capacity, Dave heads a regional strategy council across all McCann Worldgroup marketing communications companies in APAC. “This comes at a fitting time since clients are increasingly looking for holistic communications solutions,” said Eric Einhorn, regional director Asia Pacific. Currently, Dave is head of Strategic Planning for McCann Erickson in Japan and most recently, regional director APAC for Human Futures Development, McCann’s training and development program. He retains his responsibility for Strategic Planning in Japan as he takes on this new role. july-august 07

20th Philippine Ad Congress

TOP

Reasons why the Subic adcon will rock!

Schmooze central If you think the 2,800 delegates in the 2005 Cebu Congress was a lot, then you’ll find this year’s projected 3,500 attendees positively claustrophobic. But think of it this way; that’s 3,499 potential referrals to that dream job with a corner office and a personal secretary. Time to mass produce those calling cards.

See the Tower of Power... live! Not the funk & soul band, but rather the huge conference hall where all of this year’s action will take place. Newly renovated just for the event, too. Beats hanging around Greenbelt any day.

IT ALL ADDS UP The Cost of Mounting the 20th Ad Congress

Every two years, the Philippine advertising and marketing industry shuts down for a week. Some 3,500 delegates pack their bags and hie off to a convention resort, where they are held captive for four days. In return, they are feted, showered with freebies and enticed with generous raffle prizes.

Less (stress) is more Spare the overworked office boy an unnecessary trip to Vanne Tomada’s office – just go online for your official tickets. More than 1,200 delegates have already done so through the official ad congress website. And you can even book your hotel while you’re at it. Even better, the powers-that-be will be setting up an official Ad Congress Call Center to field any and all queries. Speaker schedules, the best traffic routes, and other pertinent congress developments will soon be a phone call away.

7 6

Student volunteers galore Word of advice: treat them nice. You could be working for these future wunkerkinds in 10 years. Hey, it’s your karma.

By the third evening, the delegates are joined by a second wave of people—numbering anywhere from one to three thousand, mostly from ad agencies and production

houses—who come for the Araw Awards and the after parties. That’s thousands upon thousands of highly involved trade contacts who are wide open to well-targeted messages—and the promise of an open bar. Understandably, every marketing, production, media, event and PR outfit worth its business card wants in on the Philippine Ad Congress, provided it can afford the price of admission. Last May, the organizers of the 20th Philippine Advertising Congress, or AdCon as people call it, went on a roadshow. Presenting to major industry organizations like PANA, Philippine 4As and UPMG, the Ways and Means Committee offered a gamut of advertising, merchandising and sponsorship deals during the festival. Let’s browse through the menu of opportunities and ruminate. For starters, are you spending Php30,000? Then grab yourself a parasol outside the convention center, on which you can display your logo, park your promo girls underneath and hand out your samples. Shelling out a little more, say, Php50,000?

Will you survive Subic?

Traffic schmaffic The organizers have instituted free shuttle services for delegates for hassle-free transportation, to reduce your chances of getting pulled over by Subic’s morally upright men in blue. Carpooling is also encouraged—which means you’ve got three days to sidle up to your local advertising idol and innocuously strike up a conversation. Also worth trying on that hot goth chick from Lowe.

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Parties, after-parties and after-after-parties *hic*, *hic* and *hiiiiiic*.

The ARAW Awards What the big hullabaloo is all about. It’s the Philippines creative community’s biennial chance to find out who’s got the biggest, er, bragging rights for the next two years, a.k.a. a guaranteed meal ticket.

The girlie bars Ooops, wrong list. But if you’re raring to raise your pulse, a series of competitions have been lined up for the sports-minded amongst you: badminton, dodgeball, golf, go-kart, and an Amazing Race.

Neil Gaiman

And the number one reason why this year’s ad congress will be the best one yet…

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“Work? What work?”

july-august 07

The first TV commercial hyping the upcoming ad congress has finally hit the airwaves. Entitled “Survivor”, the 30-seconder features a long, uninterrupted panning shot of foreign soldiers who’ve managed to endure the harshness of war— thanks to the assistance of the tribesmen of Subic, the Aetas. Cut to a title card harping on how Subic can help one survive in unfamiliar territory. The pro bono material, from congress pitch winners Ace Saatchi & Saatchi, promises to be the first of five TVCs promoting the November ceremonies.

Agency: Ace Saatchi & Saatchi Creatives: Raoul Floresca/Cirio Cinco/ Chin Pangan Producers: Nanette Ramirez/Micheal Reyes Production house: Filmex Director: Henr y Frejas

For registration, hotel reservation and news updates, please visit www.20thadcongress-theneworder.com

You can wrap your ad around a bus, post a billboard above a tollgate, slip in your product into the delegate’s loot bag or sponsor the golf tournament. Add Php10,000 more, and you’ve got a full-page ad inside the souvenir program. Double that to Php120,000 and the back cover is yours. But if you can pony up to Php200,000, you can accessorize the delegates with a bag, pen, paper, jacket or an ID. The same amount buys you the right to call your backyard barbecue an official AdCon party. (Food and drinks, not included.) Now, do you have Php 0.6 to 1.2 million pesos to burn? Those are the package rates for a variety of ads, including banners, billboards, souvenir ads, website branding and live mentions during the sessions. But if you’re one of the big boys, that’s just a drop in the bucket. Why not go all the way? Invite all the delegates to an official meal and pick up the tab, amounting to three million pesos…. Yes, you read that correctly. What’s even more astounding is that when Ways and Committee Chairperson Inez Reyes presented the packages and rates, people blinked but signed up anyway. “By the end of the roadshow, all the packages were bought or reserved,” says AdCon’s Chief of Staff Lito Pangilinan. However, negotiations are still ongoing for a few items, including the meal sponsorship. The executive committee, led by Overall Chairperson Yoly Ong, is confident that it will meet all projected targets. After all, online registration tally is already past 1,200, generating Php12 million in fees. At this rate, come November, everyone—delegates, speakers, sponsors, and organizers—will be satisfied and ready to celebrate. And AdBoard, the biggest shareholder in the AdCon franchise, will be partying all the way to the bank.

CLONED by

Shaggy Scooby Doo

Erik Vervroegen TBWA\Paris

Buzz Lightyear Toy Stor y

David Guerrero BBDO Guerrero Ortega

Agency Of The Year Committee Heads Named JimenezBasic’s Mon Jimenez, Since this requirement was enchairman of the 2006 AOY Executive forced, it has put a damper on some Committee, announced the heads of agencies’ bid for the AOY—includthe various AOY juries. ing McCann Erickson, which did not For the most part, they repre- enter this year. Although it has won sent a sizeable cross-section of the Agency of Year seven times, getting industry’s senior leadership and into the Best in Creative finals has come from both the large and small been a persistent challenge of late. agencies. Namely, Mila Marquez of McCann Worldgroup Chairperson Lowe, as vice chairman and head of Ricki Arches and McCann Erickson Publicity and Research; Mio Tiong- President Nandy Villar have decided son of Blue Bottle, for Industry to pass up this year’s competition, Leadership & Participation; Lilit given the agency’s lackluster creative Reyes of Blackpencil, for Best in performance in 2006. Creative; Nandy C ompa r e d Villar of Mc- “Agency of the Year… to the local creCann Erick- remains the only ative awards son, for Best in competition that rewards shows, the AOY Business Per- overall excellence in all keeps a low proformance; De- aspects of the profession” file. However, lia Dacanay of unlike the CrePublicis Manila, for Best in Man- ative Guild’s Ad of the Month, which agement of Business; Lawrence Tan has lost some of its gleam in recent of PhD, for Best in Media; and Mer- years, Agency of the Year is still one lee Jayme of DM9 JaymeSyfu, for of the most coveted titles. Perhaps beProduction House of the Year. Once cause it remains the only competition again, Vanne Tomada represents the that rewards overall excellence in all 4As as executive director. aspects of the profession, and because While the composition of the the Philippine 4A’s, owner of the AOY different sub-commitees has yet to franchise, “has taken pains to make be finalized, the executive committee sure that the AOY rules and proceclosed its doors to entries last June 29, dures are friendly to small, medium 2007, and the annual Agency of the and large agency organizations.” Year competition is finally underway. As for the date, venue and theme There are virtually no changes of the AOY awards night, Jimenez to the requirements and conditions kept his cards close to his chest, statfor eligibility. Like last year, there are ing that the AOY was still in its early three awards for excellence in Media: phase and these details would anMedia Creativity, Media Business nounced as soon as possible. Performance and a grand trophy for Perhaps in a tacit reaction to Media Agency of the Year. The Pro- last year’s festive but chaotic tiangge duction House of the Year Awards (flea market), he did reveal that “the for Television, Sound & Music Pro- Committee has chosen to hold a more duction and Print/Printing Graphics formal, low key AOY Night to give remains as is, to be judged by the cre- the event the gravitas we feel it deative directors of the Creative Guild. serves—this being a summing-up of The committee continues to put a the total agency as a creatively-cenpremium on the importance of Creative tered and business-focused enterprise. quality, stipulating that an agency must We believe it would be appropriate to be at least top five in Creative scores to lend an air of importance and signifiqualify for Agency of the Year. cance to the gala evening.” july-august 07

MOVERS BatesAsia 141 (“BatesAsia”), the largest Asian marketing communications network and a WPP company, has hired John Lambie as regional integration director. One of Asia’s most respected and awarded digital talents, John has worked almost exclusively in the digital marketing and media space since 1994. In this newly created role, John is responsible for growing the digital and new media community within BatesAsia and 141. Based in Singapore, John reports to Digby Richards, chief operating officer of BatesAsia 141. “At BatesAsia, we’re embracing the biggest change in our industry by baking digital into our standard offerings, and hiring an expert such as John will help steer us closer to our vision as The Change Agency,” said Digby. The Association of Accredited Advertising Agents Singapore (4As) welcomes two senior members of the industry to its Executive Committee. Jeffrey Seah, chief executive officer of MindShare Singapore and Patricia Lim, general manager of Phd network were co-opted into the Executive Committee recently. 4As President Anthony Kang said, “The Association is committed to injecting fresh blood into the leadership. Therefore, we are constantly looking for new talents whom we can bring on board our Executive Committee. We are delighted that Jeffrey and Patricia have responded to our calls to step forward, and we are confident that they will bring with them fresh ideas to collectively serve and advance the needs of the industry.” Seah EMAP announced that Terry Savage, currently executive chairman of the International Advertising Festival, will take up a broader strategic role of chairman of the IAF, the holding Company for Cannes Lions, Eurobest and the new Dubai Lynx Advertising Festival. Day-to-day responsibilities for these businesses will be taken on by recently appointed CEO Philip Thomas, effective August 1, 2007. Terry Savage said “There is now a great team in place. Phil Thomas, our CEO, has shown immense capability and energy and is well placed to drive our three events Cannes Lions, Eurobest and Dubai Lynx to even greater levels. The restructure that we completed last year sees him supported by Festival Director Carolyn Lowery who brings a wealth of knowledge from many years in the business. This strong management team will ensure continued innovation and growth to these businesses.”

july-august 07

Nike and Team Pilipinas look to the heavens You’ve probably seen it along EDSA-Guadalupe. A gigantic billboard of basketball players set against a mirage of striking Filipino symbols, icons and landmarks. The

headline reads “Lead Us To Salvation.” The whole image is illustrated in multicolored stained glass fashion. “Gloria Team Pilipinas” looms in the background of the jerseyclad messiahs. It only takes one look to understand the innuendoes of the ad, whose help we are asking and for what. In its support of local athletes, Nike’s Gloria Team Pilipinas campaign urges the public to devote a little faith in the Philippine basketball team as they compete on the international hard court. The ad is made to appear like a cathedral window. It even has an actual

church in the picture. From billboard to print to website, Gloria Team Pilipinas is consistent in its theme of religion and redemption. On www.nikebasketball.com.ph, profiles of the players are arranged to look like saintly figures. There is a Flash version of the Holy Book, showing updates and articles instead of bible verses. The idea flows smoothly from all channels, but it also thumbs its nose at conventional religious beliefs and tradition. This is not the first time Ogilv y & Mather, Nike’s ad agency, has dipped its pens in holy water. Last year, Manny Pacquiao did our countr y proud and nearly deposed Jose Rizal as the national hero. Nike posters of a blood-splattered Pacquiao were released in honor of his victories. Designed in a way that outlines the boxer’s features, the poster might as well be the towel that was used to clean Pacquiao’s bloodied visage after the championship bout. Think “Shroud of Turin” and you get the idea.

The brand may have felt it appropriate, because Pacquiao restored the people’s faith in the Filipino athlete. However, faith is a tricky card to play, especially when more than 80 percent of the population is composed of Roman Catholics. Where do we draw the line? Are allusions to Christ acceptable? Short of convening a focus group, we can’t really say. But last May, Nike was emboldened enough to present Gloria Team Pilipinas, its second attempt at religious overtones. The ad showed national basketball team frozen in a heroic offensive. Soon after, Team Pilipinas became Champion of the 7th SEABA Championship for Men held in Ratchaburi, Thailand and placed fourth at the 18th FIBA Asia Champions Cup in Tehran, Iran.

Now that brand’s faith in the Filipino athletes has been tested and rewarded, let’s see if its advertising continues to go where angels fear to tread.

MOVERS Though somewhat formulaic in approach, the TV commercials nevertheless provide a gritty and authentic snapshot of life among ordinary Filipinos. It is a reality that is probably detached from the modern and luxurious amenities of the rich and famous. But the rich and famous, who comprise less than one percent of the total population, can probably afford to have all the filtration devices and filtered water that they need in their everyday lives. DM9 has to be credited for rightly targeting their message to the 99 percent who will be affected by by Harry Mosquera contaminated water in the La Mesa Watershed. care Tactics with a drinks the soapy water in a Execution of the commerGross-Out Factor. large washbasin. And then cials is simple, stark, straightThese are two tech- there’s a third, “Ligo” (Bath), forward; the message is too seriniques that most com- which shows a middle-aged ous to be treated otherwise. The munications practi- man taking a bath by the road- visuals appropriately “scare” tioners know will guarantee a side. A young boy takes a tabo viewers to the danger of contamresponse to their message. (dipper) traditionally used for ination, and not too subtly reinAnd these are used to bathing, and drinks the dirty force the message by “grossing great effectiveness by creative water straight from it. out” the viewers—the thought of agency DM9 JaymeSyfu for drinking dirty water is enough their “Stop the La Mesa Housto make one vomit! And masing Project” campaign. terfully, the agency uses chilThe La Mesa Watershed is dren—innocent and helpless, the only source of drinking waand the hope and future of the ter for the Mega Manila area. nation—to be the victims of Recently, 59 hectares of the wasuch bureaucratic thoughtlesstershed was awarded to a few ness and general public apathy. thousand claimants working This underscores an infor the water authority. While sight that has traveled through the intention to provide housing the ages and across various for the underprivileged seems cultures about society’s connoble, there is something not cern for children. In fact, in the quite right. Allowing for many 1960’s, Robert Kennedy said in people to take up residence a beautifully crafted speech that within the reservoir will only what “makes life worthwhile” increase the risk of contaminais “the health of our children, tion of drinking water for more the quality of their education, “...the agency than 12 million Filipinos living the joy of their play.” uses children...to in the sprawling metropolis. On another level, quite inbe the victims of Despite the obvious danger geniously, the commercials also such bureaucratic to the health and well-being of play on the qualities of water as thoughtlessness and millions, there is still not much an agent that cleanses away dirt, general public apathy. yet paradoxically becomes polconcern for the safety of Mega This underscores an Manila’s drinking water. The luted itself. The viewer is chalinsight that has traveled lenged, in a non-verbal way, to TV campaign, as envisioned by through the ages DM9, hopes to end the apathy address the inconvenient truth and across various and get people mobilized to of water as a limited resource. cultures about society’s support the movement. Raising awareness for concern for children.” The TV campaign is comimportant issues, especially posed of three well produced All three commercials concerning the public’s health commercials. The first in the se- end with simple copy that says: and well-being, is a noteworthy ries, “Pinggan” (Dish), shows “12 million Metro Manila resi- endeavor—and agencies and a woman washing used plates dents will soon be drinking the clients who give their time and in a sink. A young girl gets wa- same thing. Stop the La Mesa resources to causes should be ter from the wash, and drinks Housing Project.” Viewers are applauded and supported for it. The second, “Laba” (Wash), further encouraged to action, their public service. So let’s presents a traditional scene with by inviting them to participate drink to DM9, and may their the labandera (washerwoman) in the movement via texting, or efforts create a flood of awarewashing clothes. A young boy visiting a website, www.lame- ness on the importance to proapproaches, and with a straw, saecopark.com. tect the La Mesa Watershed.

LET’S DRINK TO

LA MESA DAM

Raymond Arrastia was promoted to managing director of Leo Burnett Manila. Over the last 16 months, his previous role as deputy managing director saw him work closely with Manila CEO Michael Constantine, Richard Irvine, Boyet Alvero and Ichay Bulaong in engineering the future of the Leo Burnett, Arc Worldwide and Blackpencil. “During that time, Arrastia had proven to be a shrewd leader with strong business acumen and a growing reputation for building client business and relationships,” Constantine said. “He is a fine example of the professionalism, dedication and hardworking ethos which we respect within the Leo Burnett world. He is cool under pressure; frank and fair in his dealings with others; open and approachable.” Arrastia first joined Leo Burnett in 2001 as account management director. In 2006, he took over as deputy managing director after a successful stint as general manager of Blackpencil, Leo Burnett’s second regional network in the country. Arrastia was the architect of the launch and Blackpencil’s swift growth through key clients such as Sun Cellular and URC. Leo Burnett Manila creative director Dino Jalandoni is going to work with Raul Castro at McCann Erickson as deputy executive creative director, effective August 6, 2007. This announcement happens a month after Micky Domingo vacated his role as ECD of the agency. During his 10year tenure, Jalandoni worked on a broad spectrum of the agency’s clients, including Standard Chartered Bank, Alabang Town Center, Bayantel, Petron Gasul, Camay, Pfizer Bengay, Coke Hero and recently Makati Medical Centre and Rejoice. Leo Burnett Chairman and Chief Creative Officer Richard Irvine, said “When he leaves, he takes with him our thanks for all his passion and hard work over the years and our best wishes for the new challenge ahead.” Antoni d’Esterre bids Beacon “sayonara” as he moves to Leo Burnett’s Hong Kong office. He is the new global brand director for Rejoice and Pert Plus. “Antoni is a true internationalist,” says Michelle Kristula-Green, president of Leo Burnett Asia Pacific, “which makes him ideal for this global role…(his) move to Hong Kong is reflective of the importance of Greater China and the wider Asia Pacific region, both to P&G and to Leo Burnett.” july-august 07

NEW BIZ/PITCHES BLOCK & WHITE HANDED TO GREY Sara Lee appointed Campaign & Grey as their advertising agency for the Block & White line of personal care products. It was a good win for Campaigns & Grey Group chairperson Yoly Ong who signed the contract with Leo Obias, Sara Lee President and Jeannie Abejo marketing director.

BBDO DOUBLE WIN BBDO, the incumbent for the GE Money Bank business, went through a pitch that included Ogilvy & Mather and Euro RSCG. Paul Roebuck, chief consultant of BBDO Guerrero Ortega said “We helped launched GE Money Bank here in The Philippines and we wanted to keep it. So we set out to prove to the Client that we were still the best partner to take them forward. And we did.” The high profile Department of Tourism (DOT) business was handed to BBDO Guerrero Ortega in two rounds in a multiagency pitch. “Apparently it was a close run thing, but Secretary Durano was won over by the scale and breadth of our vision which we put together in partnership with EON Stakeholder Relations,” said Paul Roebuck, chief consultant of the agency. Creative head David Guerrero is glad to have the DOT account back after creating the well-liked “More than the usual” Philippine tourism TV campaign in 2001.

PETRONAS AWARDS CREATIVE ACCOUNT TO LEO BURNETT & ARC MALAYSIA Malaysia’s fully integrated oil and gas corporation awarded the creatives for its lubricants and fuel products to Leo Burnett & Arc Malaysia, following a five-way pitch that included M&C Saatchi, Grey, McCann Erickson and BBDO. The incumbent was local shop, Astana. The new win, which also includes Petronas’s foreign retail marketing business, will see Leo Burnett & Arc handling total integrated creative development and execution. Tan Kien Eng, managing director of Leo Burnett & Arc Malaysia said, “This win offers another avenue for us to further develop the iconic Petronas brand. With the combined prowess of Leo Burnett and Arc, we look forward to working with the client to grow the business

july-august 07

SEXY ON THE BEACH

Century Tuna’s Superbods Search Culminates in Boracay So many six-packs and not a beer coaster in sight. That would be an apt description for Century Tuna’s 2nd Superbods Search Finals. Held at the height of summer at Pier One, Boracay, the search for the slim, trim and tuna lovin’ couple began weeks earlier with a memorable TVC that hit the airwaves full-blast. Directed by Adrian Calumpang, it featured a skinny young man boarding a plane, which, to his delight, was busting with rows upon rows of curvaceous, bikini-clad females. Dismay comes all too quickly, however, when he discovers his assigned seat falls between two shirtless and grumpy beefcakes. Aside from being memorable, the material also initiated a call for potential participants. From the hundreds of hopefuls that showed up to the open screenings, two dozen men and women were chosen as finalists. To further increase the buzz factor, print ads quickly followed along with a dedicated website. Flyers were distributed all over the city and radio reminders were aired constantly. The public was also encouraged to choose their favorites for the People’s Choice Award, with each vote doubling as a chance to win a free trip to the world-famous beach. At the end, the two dozen contestants all received thousands of votes each and ten lucky voters won free flights to witness the finals.

Meet the Superbods: Ram Sagad and Patty Ortega

The sea of hot bodies on Finals Night

The actual Superbods Finals lasted the whole day, with beach games and product sampling galore and one final go-see for last-minute contestants. The contest proper saw college varsity player Ram Sagad and model Patty Ortega declared as this year’s winners. All the contestants displayed gorgeous faces and bodies, but only Sagad and Ortega were deemed by the judges as the embodiment of Century Tuna’s health and wellness values.

The entire Century Superbods campaign was the brainchild of PC&V Communications. “Century Tuna has become the standard bearer of health,” shared Creative Director Kat Gomez-Limchoc. “By creating this comprehensive activation, we could make more people experience the brand and its values in an exciting and sexy way.” Now, folks, that’s a true fish story.

he secrets of marketing excellence were revealed at the 38th National Marketing Conference last May 23 and 24. With the revelation of the marketing code, the conference gave the participants the opportunity to improve their marketing skills and provided relevant tools to help their companies stay competitive in today’s highly complex environment. The two-day national marketing conference cracked the key core marketing aspects and relevant trends that affect almost any business. With the knowledge shared by the country’s most prominent professionals in the field, the conference succeeded in inspiring marketers to implement world-class and innovative marketing strategies that would benefit their respective organizations. All the invited speakers gave timely and relevant marketing trends to the participants such as Publicis Manila’s chairman and chief executive officer, Matec Villanueva, who inspired both budding and established marketing professionals to embrace out-ofthe-box concepts and set aside their “conservative” way of mar-

Raymond Legaspi

Once Upon a Daster

PMA unlocks Da Marketing Code keting. On the other hand, B r a n d l a b’s director for Brand Anthropology, Gayia Beyer, helped participants in “Understanding the Filipino Shopping Code in Metro Manila.” Ruby Ramores, President & CEO of Brandpartner; N i el s e n’s Ricky Alegre, VP-Corporate Affairs of Business Mirror; Pinky David, Licensing Director of Discovery president for Network Asia Pacific and India; Donald Lim, Asia-Pacific, President & CEO of Yehey! Corporation Bienven ido Niles Jr., shared his knowledge on “Understanding Consumer Generated Media.” Philippine Daily Inquirer’s executive vice president and chief operating officer, David Valdes, gave his insights on “Changing the Way People See Print Media.” ISOBAR Hong Kong’s network director for Asia Pacific, Barney Loehnis, spoke about “Unlocking the Evolution and Potentials of Digital Marketing.” Samsung Cheil country representative, Pen Roque, talked about their “Lessons Learned on the Road to Becoming a Global Brand.” As a unique activity for this year’s conference, the organizers hid a secret code behind all the elements used in the conference, be it in the speakers’ presentations, the props or the paintings in the grand ballroom, and the one who cracked the code took home a brand new Mitsubishi Lancer GLXi. Riding on the popularity of The Da Vinci Code, the conference kept its promise to be exciting and mysterious in ways that the attendees could relate to. Just when people had thought Dan Brown’s The Da Vinci Donald Lim (left) and Ricky Alegre (right) Code was one of the together with the lucky code buster in his most interesting things brand new Mitsubishi Lancer GLXi to come into the market, the recently concluded national marketing conference made them realize that it was much more interesting and beneficial to decode their respective markets.

The Ayala Museum relocated to the Visayas one Tuesday, last May. That, or artist-painter and Blackpencil’s former ECD Raymond Legaspi moved his hometown into Artistspace. The soul of Silay society was right smack in the bustling metropolis. Speaking Ilonggo, a dialect Maurice Arcache once called “the new French,” was practically a prerequisite. “Once Upon a Daster” pays homage to women in their glorious realm, at home wearing their dusters. The one majestic figure at the core of the collection, Woman, is central and integral to

family and to life. While the terno is the national dress, it is a costume. No matter how aged and morphed, the daster screams “wear me!” Legaspi’s art displays a robust and frivolous attitude toward life. “Orchard Behind our House” and “Night of the Fireflies,” Ilonggo-titled pieces “Ma Bituon” (Starry Night), “Toko! Toko! Toko!” (a native lizard), “Ay Sus Ah!” (Ilonggo for pest) and “Tuyo-Tuyo” (sleepy), are canvases that illustrate women larger than life. “Rosario” is a spectacle. From the window grills to the Virgin Mother on the wall, from the native divan to the magnificent woman lazing on it, pamaypay (fan) in one hand, and a rosary in the other. Then again, “Rosario” could easily just be the woman’s name. A huge church bell in the foreground with a sleeping bald man to the left, rotund hands clasping a rum bottle, the artist is most serious with Lapad (rum bottle). “Imagine,” says Legaspi, “he’s the guy in-charge of ringing that bell—that’s the town’s alarm, and he’s too drunk to wake up—and he’s in church!” “Resting in Peace No. 1” and “Resting in Peace No. 2” feature Legaspi’s dearly departed mother and aunt in heaven, garbed in daster-glory, but with tiny angel wings. How surreal is that?

AD NAUSEUM

Arthro TVC “Rudy” Not since starlet Pia Moran mangled the English language for 3D electric fans has an ad been so sad and so hilarious at the same time. “Rudy,” a 30-second TVC for Athro food supplements, is a testimonial by Rudy Victoria, who regains the use of his arthritic legs. And it beats even Kim Chiu’s music video for Rejoice as everyone’s favorite bad ad. Viewers have seen many a low budget ad before, but they could not forgive—much less, forget—this spot. From its hokey script to its haphazard sound editing, the ad begged for ridicule. Well, ridiculed it was. Posts in numerous blogs and forums panned the ad (“I’ve seen better wedding videos,” said one.). In You Tube, it inspired no less than 14 homemade videos, all posted by regular everyday people. Of course, an ad is never truly worthy until it’s been spoofed on the TV comedy “Bubble Gang,” where actor/ singer Ogie Alcasid demonstrated all the ways a man could walk “na paurong (backwards).” But the joke might be on us. Think of the free media values the brand wrangled in the dailies and on the Internet. Only recently, Mang Rudy appeared on the sitcom “John en Shirley,” spoofing his own performance. While Pia Moran’s “baks pan” ad ended her career, for both Arthro and its septuagenarian endorser, this may be just the beginning. july-august 07

Double Take

Ix Chel

Beauty by any other name

What could be worse than two women wearing the same dress? Two brands in the same product category, using the same concept and running almost identical ads at the same time. Incredible but true! In DM9 JaymeSyfu’s ad for Drixine nasal drops, a beautiful woman spritzes perfume over and over again, because her clogged nose can’t smell a thing. JimBasic does nearly the same in its spot for Decolgen, except that it features comic Ariel Villasanta (of the sartorially challenged Ariel-and-Maverick team). Of course, pundits have been saying that there are no more original ideas, and we’re sure that there was no plagiarism on anyone’s part. Nevertheless, we can’t wait to find out what happens when the organic fertilizer hits the fan. Selected by adobo’s editorial board and some of the countr y ’s top creative directors

May 2007 Berlitz “Adaptor ” Poster Agency: JWT Manila Creative Director: Dave Ferrer Art Director: Richie Perez/Dave Ferrer Copywriter: Lizanne Sarmiento/Jit Sandhu Photographer: Jake Fernandez Print Production: Jake Fernandez

july-august 07

x Chel, pronounced as is-shel, may seem like a strange name for a company offering professional hairstyling, make-up artistry and fashion styling service, but if you knew that the words were actually inspired by the Guatemalan goddess of creativity, then somehow that explains everything. “Anjoo Afed and Tricia Miranda were classmates in make up school, and they have been with me since it all started,” narrates Cecille Rebollos. “Anjoo has had over ten years experience as an executive producer of one of the industry’s biggest production houses. Tricia had an extensive experience in brand management for leading cosmetics brands like VMV Hypoallergenic and Max Factor before becoming a makeup artist. I have had over ten years experience in advertising, direct marketing and customer relationship management. We, together with the other members of the team, make sure that we are able to use our past experiences and network to know our customers better and hone our skills in order to add value to our services.” Creativity and experience coupled with passion and love for their craft will be the reasons why this team will go very far. In fact, to date they already have had winning tie-ups with big names such as MEGA Magazine for their 2006 Young Designers Competition, Rustan’s Department Store where Ix Chel’s hair & make up services are being offered to its A-list bridal registrants, and more recently adobo magazine by providing services for our exciting shoots. At the rate they are going, they may reach their goal of becoming the first Filipino world-class company of hair and makeup artists and stylists, with award-winning teams based here and abroad.

Some Like It

HOT MAXIM Magazine throws a sizzling shindig

To celebrate the hottest women in their universe, MAXIM Philippines recently held its first ever HOT 100 party at the Rockwell Tent. Members of the MAXIM Army, as the magazine calls its faithful, were treated to the sights of pole dancers, cage dancers, girl-ongirl jello wrestling, a Speedo bikini fashion show, as well as appearances by the several beautiful women who’ve graced the publication’s pages. Raising the room’s temperature even more was the night’s official announcement by host and MAXIM Editor-in-Chief Rovilson Fernandez that cover girl Angelica Panganiban had topped this year’s rankings. For the night’s climax, Sandwich, one of the country’s hottest bands, invigorated the crowd with their energetic set. Finally, with their excitement sated at last, the Army turned over, collectively smoked their figurative cigarettes and called it a night.

Hosts for the night Dylan and MAXIM’s executive editor Rovilson Fernandez

MAXIM’s associate editor Peejo Pilar, MAXIM’s hottest babe Angelica Panganiban, MAXIM editor Pierre Calasanz and ABS-CBN Publishing Head Ernie Lopez

july-august 07

The Economics of

Branding at the Beach just go out to have a good time. If people leave Bora with good memories, your product is one of those good memories.” What about those brands whose propositions are not appropriate for Boracay? With so much happening at once, there must be some misses, some events that are off-market and off-strategy. Yet clients and agencies still insist in holding them in Boracay. Why? Every summer, account executives will often say to the events planner: “Papasok ‘yan, basta Boracay. Gusto kasi talaga mag-Boracay ng client at agency. (The project is a sure thing, so long as it’s Boracay. The client and the agency really want to go to Boracay.)”

he party island of Boracay Manila. But for additional manis a favorite destination, not power requirements like promo atonly of people but also of tendants and those that help mount brands. As the influx of visi- our structures, we get them from tors increase, so do the num- Iloilo and Bora.” ber of marketing events on White She adds, “The choice of venBeach. Consequently, the island’s ue really depends on your brand economy is booming—good news proposition. Boracay is the best for the locals, not so for marketers. place to flaunt fit and bikini-worthy With overpriced cost of local sup- bodies, which is the essence of our pliers and the rising popularity of campaign. We can hold the event other island venues, will Boracay in Manila, but it will not have the still be the swish same impact.” place in 2008? “If people leave Bora Ja m by On the long with good memories, Caldo, group weekend of April your product is one of brand manager 28th, at the peak those good memories.” of Ginebra San of summer, more Miguel, shared than six events were lined up si- the positive impressions they remultaneously. At the posh Station ceived for their new ready-to-drink 1, there was a sports event, a radio cocktails. “Our launch of Infinit’ station’s sunset pampering party, in Boracay gave us a big boost in the finals of a model search and the terms of introducing the product to launch of a drink. Meanwhile, at the our target market, particularly at a more popular Station 2, there was a time when so many people were varock concert and a party for a TV cationing in the place. network. On top of this, each local “As to media coverage, it was establishment had some gimmick very substantial, given the highfor the dinner crowd. profile image of Boracay. More One can only wonder if all these than just a place, Boracay is a state events captured the attention of the of mind. When people are there, tourists and more importantly, if they they lose their inhibitions. They led to tangible marketing results. Nestlé Fitnesse is one of those companies that hold an annual marketing event in Boracay. Kittin Corcuera says of suppliers, costs and the thrust of her brand, “We have a mix of suppliers. It is more cost effective for us to source our events agency from

july-august 07

Now, there is really nothing wrong with trying to make business more pleasurable. But why force the issue on a brand that has little or nothing to do with the beach? Gadgets, for instance, are among the popular products being peddled to the Boracay crowd, because these are the same people who own iPods and laptops. But then again, is it really a great idea to promote gadgets on the beach? Imagine the logistics of product display. What a nightmare they must be to keep the products from being exposed to sand and water! Events people must creatively replace product display with some activity that’s only vaguely related to the category. In some cases, like last summer’s Canon small printers promotion, the draw— bikini-clad babes with printers on holsters—is inter-

esting. But in others, like a motor oil brand that attempted to capture the beach recently—it nets minimal product exposure. Of course, some clients don’t need product display, only branding. Was it only four years ago when practically every towel, umbrella, coconut tree and boat sail was emblazoned with telco logos? Until the local government discouraged excessive merchandising last year, the island was rife with branding opportunities. Timing is also of the essence. Once, a cigarette brand decided to hold a dawn party—a bad idea, because people were already dead tired from all-night partying. A few people did come but they were really just after the free breakfast. Over the years, Boracay has become a routine venue for event suppliers. You can find a supplier for everything on the island. It is only a matter of shopping for the best possible deal. However, local suppliers can be unreasonably expensive. “Generators are almost double the price in Boracay, and most of the time they don’t arrive on time,” says Gina Quizon, a freelance production manager who has at least one gig in Bora every year.

Quizon agrees that Boracay is becoming the “lazy” choice. A client wants an out of town gig; an event supplier immediately offers the magic word—Boracay. Attach the name to a campaign and it carries a “big brand” cachet all at once. Besides, it is so much easier to plan an activation where many events have already been staged. After all, holding it somewhere unfamiliar can present a real marketing risk. Without question, there are so many other places suited for your brand and perhaps one that will actually yield better returns. Until then, Boracay is still the paradise for advertisers. Now, if they can only make those junkets as imaginative and profitable as they are pleasurable.

ACER PHILIPPINES , 357 BORACAY, ACER PHILIPPINES, ALLIANCE TUNA, AMEC SERVICES, AMSLAI, ANNE KLEIN, ANTONINO GROUP OF COMPANY, AQUA TROPICAL SPORTS, ARANETA/CABALLERO ASSOCIATIONS, ARISTOCRATS, ARTIMSON W. LEONG, ASIAN COLLEGE OF SCIENCE AND TECHNOLOGY (ACSAT), ASIAN HOSPITAL, ASIAN INSTITUTE OF MANAGEMENT (AIM), ASIAN SPIRIT, ASIAN TERMINALS INCORPORATED, ASTORIA PLAZA, ASTRAZENECA, ATENEO CENTER FOR CONTINUING EDUCATION, AXIS GLOBAL, AXISGLOBAL TECHNOLOGIES INC., AYALA CORPORATIONS, BANBROS COMMERCIAL INC., BANCO CENTRAL OF THE

PHILIPPINES

BANCO DE ORO UNIVERSAL BANK, BANCO FILIPINO, BANK OF THE PHILIPPINE ISLAND (BPI), BAYVIEW PARK HOTE, BERGAMO, BERKLEY

I N T E R N AT I O N A L ,

BETTER THAN ICE CREAM , BOBSON, BORACAY REGENCY, BOSCH, BRITTANY, BURLINGTON, CANADIAN PROFESSIONAL, CANON IMAGE LPB, CANON SOHO LASER, CANON XEED PROJECTOR, CANON, CATS MOTORS, CEBU PARKLANE, CENTENNIAL SAVINGS BANK, CENTURY CHINA BANK (SOC), CHINA BANKING CORPORATION, CHINA SHIPPING LINES, CHINA TRUST/MOTIVATOR, CHOWKING, CIRCULAN/ OF MAKATI, MEDIALINE, CITY OF MANILA/JA COMMUNICATION, CMI, COCA COLA EXPORT CORPORATION, COCA COLA-HAL PAGE, PICTURE, COLUMBIAN AUTOCAR, CORPORATION (KIA), COMMISSION ON ELECTIONS, CONGRESS OF THE PHILIPPINES, CONSUMER CONTINENTAL MICRONESIA, COUNTRY CLUB, CROWN PLAZA, CYBERZONE PROPERTIES, DAVAO LIGHT & POWER CO., DEPARTMENT OF DEPARTMENT OF FINANCE, DEPARTMENT OF SOCIAL WELFARE AND DEVELOPMENT, DEPARTMENT OF TOURISM, DEPARTMENT INDUSTRY, DEVELOPMENT BANK OF THE PHILIPPINES, DISCOVER HONG KONG, DISCOVERY SUITES, EAST WEST BANK, EASTERN GUZMAN/CLASSIFIED, ENCHANTED KINGDOM, ENGINEERING EQUIPMENT INCORPORATED, EQUITABLE CARD, EQUITABLE PCI BANK, SPA, FEDERATION OF FORWARDERS ASSOCIATION OF THE PHILIPPINES, FEDERELLAND, INCORPORATION, FIGARO, FIL-ASIAN, FIRST FITNESS FIRST PHILIPPINES, FORD, FORD EXPLORER, FORLIFE, FUJITSU, FUTURE TRADE, G & W, GARDENIA BAKERIES PHILIPPINES, MALL, GE MONEY BANK, GENERAL ASSEMBLY GLAXO SMITH KLINE PHILIPPINES, INC, GLEE ELECTRONICS INC-NEO INTEL, GLOBE NETWORK, INC, GODIVA, GOLDS GYM, GOOD SHEPHERD-MOVIE,

GOODYEAR, GOVERNMENT SERVICE INSURANCE

GRAND BOULIVARD, HARBOUR CENTRE PORT TERMINAL

I N C , ,

PHILILIPPINES-NOTICE, HEIDELBERG, HEWLETT PHILIPPINES,

HOCHENG

CORPORATION,

HOLCIM

CLARK HOME

PAMPANGA,

PHILIPPINES PHILIPPINES,

HOLIDAY

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IGLESIA NI CRISTO, ILUSTRADO, INASAL,

INFOCOM,

CONTAINER TERMINAL SERVICES, INC CORPORATION,

IUVENIS,

(ICTSI),

JAGUAR,

KINGDOM, K LINE SHIPPING LINES,

JOHN MONCEF & KINGCARE,

INC. (PRIMA GOLD),

LAND BANK OF THE PHILS., LAUREN

INTERNATIONAL, LAZULI,

COLINS, LOREN MOVEMENT/CONCEPT,

LOYOLA PLANS, LYCEUM

& M, MABEY & JONHSON, MAGNOLIA,

MANILA

CITY MAYOR, MANILA DOCTORS, MANILA

INTERNATIONAL AIRPORT

MANILA POLO CLUB, MANILA WATERS

COM. INC, MASTERCARD,

MAZDA

TRIBUTE,

insight to news and

CITYHALL-JOSE

RUNNER,

CANON

PARK

HOTEL,

GENEGIS ADV., CITY COFFEY, COLUMBIA OIL PRICE WATCH, AGRARIAN REFORM,

current events through its

focus and insightful views

CORPOR AT ION,

on the impact of current events on business and the economy while upholding the

KMPG

& COMPANY, LA STRELLA DEL NORTE,

“For bringing a fresh

journalism.”

AND

F. SALON & BODY

INC.,

GATEWAY

TELECOM,

GMA

SYSTEM HEAD

(GSIS), STRONG,,

P A C K A R D

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GALLERIA MANILA, H O N G K O N G REPRESENTATIVES,

RESOURCES,

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principles of responsible

TRADE

TELECOM, ELENA DE

SAN

AGUSTIN

LACTEEZE,

LAKAS,

LENOVO-3000,

OF THE PHILS., M LITO ATIENZA, JR. AUTHORITY

MAZDA 3, MAZDA

McCORMICK,

MCDONALDS,

MERALCO,

MAINTENANCE, MERCURY , METAOPSIS

CONSULTANT,

METRO

METROBANK CARD, METROBANK(SOC),,

METROBANK, METROCARD., MICHELIN ASIA(SINGAPORE), MICROTEL INNS & SUITES, MOTOR IMAGE PILIPINAS, INC. (SUBARU), MOUNSELL,

MOZTRANSCRIPTION,

MSI

MUNICIPALITY

SAGUDAY,

COMPANY,

INC.,

ECS

CORP.,

PHILIPPINES, MUNICIPALITY OF AGLIPAY-QUIRINO, MUNICIPALITY OF ILAGAN, MUNICIPALITY OF JONES-ISABEL, MUNICIPALITY OF LIBERTAD, MUNICIPALITY OF TAYTAY, NACIONALISTA PARTY, NATIONAL HOME MORTGAGE FINANCE COPORATION, NEGROS NAVIGATION

NISSAN

FRONTIER, NISSAN MOTORS PHILIPPINES. INC, NISSAN MURANO, NISSAN PATROL, NISSAN URVAN, NOKIA CORPORATION,

OMF LITERATURE INC., PARKLANE

M E R A L C O PACIFIC

ORTIGAS & COMPANY, PACIFIC INTERNET, PACIFIC PAINT(BOYSEN) PHILIPPINES, INC., PAGCOR, PAG-IBIG, PANNZIAN BEACH,

HOTEL,

PASCUAL LABORATORIES, PENFOLDS, PEP COALITION/CARAT PHILS, PERMANENT PLANS,INC, PETRON/ACE SAATCHI, PEURTO

PRINCESA, PFIZER INC.,

PHIL. ECONOMIC ZONE AUTHORITY, PHIL. HEALTH INSURANCE, PHILAM ASSET, PHILAM LIFE, PHILAM/CREATIVE LICENSE,

P H I L C O M S AT / R O A R I N G , OIL PING

COMPANY, PING,

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SECURITY COMMUNICATION SORIAMONT

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AIRLINES, PHILIPPINES AXA LIFE, PHILIPPINES INFORMATION AGENCY , PHINMA CORP./MEDIAFORCE, PILIPINAS SHELL PETROLEUM, PLANTERS PRODUCT/PRODUCTIVE, PLANTERSBANK, PROFESSIONAL FINANCIAL, PUERTO PRINSESA, PURE GOLD, RAI RAIKEN, RAISINS/ SHIPPING LINES, REGUS PHILIPPINES, REPUBLIC OF THE PHILS/TAGAYTAY, RESOLUTIONS, RICH MONDE HOTEL, RICOH PHILS., RITEMED, BANKING CORPORATION (RCBC), ROMBLON AD, ROTARY, ROYALE & EVERCREST, RPN 9, RUSTANS SUPERCENTERS INC, (SHOPWISE),

COSJ,

SAISAKI/VISIONWORKS, SAN MIGUEL CORPORATION, SAPPORO, SEA AIR, SECURITY & EXCHANGE COMMISSION, SECURITY BANK,

BANK,

SHELL MOGAS, SHOP WISE, SIEMENS INC., SIGAW NG BAYAN, SKY FILMS-NEXT, SLIMMERS WORLD, SMALL BUSINESS CORP., SMART

INC.,

SMART COMMUNICATION, SOCIAL SECURITY SYSTEM, SOLAR ENTERTAIMENT, SOLAR SPORTS, SONY ERICSSON, SONY PHILIPPINES,

SHIPPING

LINES, SUBARU, SUN CELLULAR, SUN LIFE OF CANADA (PHILIPPINES) INC, SUPERMARKET DEPARTMENT STORE, SUPERMARKET

STORE,

SUPERMARKET DEPARTMENT STORE, SUPERMARKET DEPARTMENT STORE/, SUZUKI PHILIPPINES, TAGAYTAY HIGHLANDS,

COMMISSION,

TASMAN SHIPPING LINES, TEAM ASIA CORPORATION, TELETECH, THAI AIRWAYS, THE LEGEND VILLAS, THE MALAYAN PLAZA,

DEPARTMENT TARIFF

PHILEXIM, PHILIPPINE BIBLE SOCIETY, PHILIPPINE CHARITY SWEEPTAKES OFFICE, PHILIPPINE NATIONAL BANK, PHILIPPINE NATIONAL

PHILIPPINES

REAL

BANK,

THE SPA, TITANIA WINE CELLAR, INC., TKRL REALTY & DEVELOPMENT , TONY ROMAS, TOTAL PHILIPPINES CORPORATION,

TOYOTA PHILIPPINES,

TRADERS HOTELS, TRIPLE V, TRIPROD HYUNDAI, TRUST OFFICERS.TUNE - UP CLASSIFIED AD, TUTUBAN MALL, ULAP, UMBRA,

U N I L E V E R

PHILIPPINES, UNITED 93R., UNITED COCONUT PLANTERS BANK, UNITED LABORATORIES, INC., UNIVERSAL MOTORS CORPORATION, UNIVERSITY OF THE EAST, UNIVERSITY OF ZAMBOANGA, VICE MAYOR LACUNA, VIRGIN COCONUT OIL, VOICE,

WARNER

BROS. INC. , WENDYS PHILIPPINES, WERDENBERG, WESTERN UNION, WHITE BEAUTY, WHITE ROCK, WHY ARE WE SO POOR,

YITONG AN

TAT SHIPPING LINES, ZLUBEX INC./CLASSIFIED AD, ZOOBIC SAFARI & RESIDENCE INN

National Newspaper of the Year Rotary Club of Manila

2006 Journalism Awards

NEW BIZ/PITCHES MCCANN LOSES J&J TO JWT, MOTHER AND BBDO

Johnson & Johnson held a global pitch, with brands previously held by McCann Erickson Worldwide landing in the hands J&J’s roster agencies. WPP’s JWT landed the Reach and the BandAid accounts. Omnicom Group’s BBDO, won Splenda, Monistat and StayFree. Mother, an independent agency, will handle the K-Y sexual health brand, together with the Rembrant oral-care brand which they already hold.

WIEDEN & KENNEDY LONDON LANDS NOKIA GLOBAL CREATIVE BUSINESS Nokia, the world’s leading cellphone maker, has named Wieden & Kennedy as the lead strategic and creative agency for all its global campaigns, following a final review that included Wieden, Mother and JWT. The account is estimated to bill $300 million. Jo Harlow, senior VP for Marketing of mobile phones, Nokia, said in a statement to AdAge. “We expect this relationship to help take us to our goal of becoming the most loved and admired iconic brand.”

ADOBO ON THE LOOKOUT FOR A CREATIVE PARTNER adobo magazine, the Philippines’ first advertising and brand communications magazine as well as the fastest growing trade publication in the region, is calling for ideas for its next ad campaign. Open to ad agencies and freelance creatives, both local and regional, adobo expects all interested parties to send their intent to editorial@ adobomagazine.com by September 1 and to submit their concepts and creative execution by September 15, 2007.

ACE SAATCHI & SAATCHI LANDS DEL MONTE RECIPE TASK Rey Icasas, president of Ace Saatchi & Saatchi confirmed that his agency has recently been awarded the Kitchenomics project of Del Monte, Inc. The long running Kichenomics recipe campaign could use a fresh approach with the new agency.

july-august 07

Graphic Expo 07

Graphic Expo 07 was formally launched last June 06 at the Philippine Trade Training Center. The four-day event is the 12th in the series of trade exhibits produced by Fiera De Manila. The event, touted “Where creativity and technology fuse,” offered a series of seminars meant to fuse the latest in products and technology to meet the mounting demands of graphics designers. This year’s topics were a balance of advanced and very technical material, as well as basic courses. As part of Adobe’s massive marketing campaign, seminars on the

many features of Adobe CS3 and its multi-functions included “Beginning Adobe Photoshop CS3” and “Using Adobe Bridge.” For the advanced students, extensive training courses were on “Adobe CS3 Advanced Photoshop for Power User” and “Mastering Channels and Advanced Image Composition.” Video producers were treated to subjects like “Adobe Premiere Pro 2.0 Tips and Tricks”, “Basic Video Editing with Adobe Premiere Pro 2.0 and various Macromedia Flash 8 functions.” A couple of DVD production courses were also included.

Publications graced the event, with magazines like our very own adobo, Gadgets, and newspapers like BusinessWorld and Philippine Star, to name a few. The seminars also included “Adobe InDesign CS2 Styles Made Easy” and “Principles of Effective Publications Design.” Although large-format printing exhibitors dominated the event, Graphics Expo 07 was an attempt at integrating the different components of the graphics design trade. For many visitors, the nude and travel photography display was enough to merit a walk around the hall, mindful of tripping on the various tarpaulin samples that made for wall-to-wall carpeting.

Truth in Advertising? Once upon a multinational manufacturing corporation, there worked a bright managing director. Through his own hard work, he was plucked out of obscurity and placed on top of the company’s fastest growing region. As expected, he began to reshape the regional office and its many branch offices in his own image. He retired or demoted holdovers from the previous administration and replaced them with his own crew. He instituted his own style of management and ran a tight ship. After two years, his ef-

forts began to bear fruit. But just as he was about to enjoy his first bumper crop, the global boss showed up. The chairman of the board was so pleased with the progress that he decided to move in. He wanted to run the global office from within the world’s most profitable regional office. The regional guy was flummoxed. Was his boss really pleased with his performance, or just the opposite? Perhaps, he just missed life in the tropics? But if the leader of leaders held office on the same floor, didn’t that dimin-

ish his own leadership? At first, he tried to make it work. But after six months of quiet torment, the regional guy cashed in his chips. Now that he’s out, the carousel begins again. The regional directors and local managing directors, who came on board with him, are getting a little antsy, especially when they can see the people who had been thrown off, itching to get back on again. Heard any good tsismis lately? Want to start one? Send it to: rumors@adobomagazine.com

ver so slowly, Roxas Boulevard is making its way back to the list of hip destinations, and the most recent addition to its row of cool spots is the G Hotel. This novel boutique hotel, owned by the same Gatchalian family of the Pavillion and the Waterfront Hotels, offers people innovative luxuries, including a personal butler who is on call throughout your stay. To package the sophisticated indulgence that is G Hotel, Blue Bottle created a branding identity campaign that lets the hotel put its best foot forward. Clearly, the hotel’s minimal-

avoid monotony in the execution. The result is a striking but muted play of positive and negative spaces in everything from stationery, brochures, tent cards and even toiletries. In total, the brand was adapted into 90 different items in the hotel. This brings us to ask Mio Chongson, Blue Bottle’s managing director, about the experience of making a branding identity campaign compared to above-theline requirements. “We can’t compare ATL versus brand identity exercise because they give a different sense of empowerment,” says Chongson. “On brand

Blue Bottle Hits the G Spot identity, the fulfillment we get from the whole exercise is that the agency is empowered to make technical decisions which clients must adhere to. For instance, keeping the color integrity, matching color palettes, coherence across applications, etc.” Furthermore, she expounds that branding is not only a design exercise, because a lot of marketing knowledge is put into the process. The agency must understand the implication of a symbol, the typography, and other elements on all the touch points of a brand. It is undeniable ist black and white decor inspired that Blue Bottle’s strength is in Blue Bottle. The logo design is design because it did start as a dejust as stark. The letter G that fills sign company. This is now a key the frame so much that one can strength for the agency because it only see its inenables them to ner curves. Blue “...we needed to keep see their work Bottle wants to ourselves from ‘overfrom product conjure the idea designing’ the identity development all that the hotel is materials…Restraint was the way to the “raring to go out the intentional style.” advertising. of the box” and C hongson not just some letter signifying the adds, “Overall, it was an exercise initial of the owners. in self-control…It was so easy to The two versions of the logo in get carried away with all the fancy black and white have been adapted and flashy way to art-direct. by the hotel and is used alternately “Early on we knew we need-

ed to keep ourselves from ‘over-designing’ the identity materials…Restraint was the intentional style. As such, we were able to come up with a graphic, striking and tasteful branding campaign.” G Hotel Corporate Branding Identity Program Account Director: Malou Ty Executive Creative Director: Teddy Catuira Creative Team: Christelle Mariano, Bok Jamlang, Mike Calvan, Ariel Lumban and the Final Art Studio headed by Eleanor Roque

july-august 07

TAY GUAN HIN:

Taking Outdoors out of the Box Now that the Cannes Lions have been taken back to their cages, JWT’s Tay Guan Hin can concentrate on the AOA Awards, where he will sit as its first chief of jury. adobo’s editorin-chief, Angel Guerrero, caught Guan as he was leaving Cannes and quizzed him on this competition that’s fresh out of the box. adobo: What are you doing now with the AOA Awards? Guan: This being the first year (of the show), my intention is to appoint world-class jurors. But with Outdoor being threedimensional, we’re looking for jurors who are really good at Outdoor. adobo: What are you looking for in the entries? Guan: Our theme is “Change the Landscape.” There’s double meaning. One is that the landscape has changed in the category and obviously, there’s the environment that’s outdoor. So we’re looking two things. The normal stuff, the two-dimensional stuff. the point-of-purchase posters that are done really well. And then there’s the work that’s engaging, from an emotional point of a view. The one that has a conversation with the consumers, like NedBank’s “Power to the People.” The stuff that’s innovative and transcends different media. Like Xbox 360’s “Big Shadow.” adobo: This being the first year of AOA, do you expect a lot of innovation from Asia? Guan: Not as much. Innovation is more from Japan. But we are hoping. Like, the Philippines’ “Pore” is nice, quite innovative. Ideally, we want to look at Outdoor work and feel that’s not been done before. adobo: What does the future hold for Outdoor? Guan: If I look at the future of Interactive, it has gone beyond the computer. Nike+—that’s the future, the integration of two different media. Jean-Remy (Von Matt, president of the 2007 Outdoor Lions) once said, “Outdoor or outdated?” So we’re rewarding work that tries to make the medium fresh again and not just an enlarged print ad. adobo: Are you saying there’s no future for the enlarged print ad? Guan: You know when TV was introduced, people thought Print was dead, but it’s still alive. I think Outdoor will always have a special place in the landscape. But Outdoor is more than just a billboard or poster; Ambient is Outdoor. So I think Outdoor will be reclassified as Out-of-Home, anything mobile like a car or a bus, or a door handle. And a poster is just one of those things. adobo: There’s so many awards shows out there. Why should people enter their work in AOA? Guan: Yes, there’s AdFest Outdoor, Spikes Outdoor. This one is Asian Outdoor. And one thing good about AOA, it’s very affordable. SG$50 for an entry? So it’s their first chance to show their work to world-class judges, a good opportunity to test the waters.

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AOA 2007 Opens for Entries Organizers of the Asia Outdoor Advertising Tay Guan Hin, chief of jury and JWT’s Southeast made the Call for Entries for the Asia Pacific re- Asia regional executive creative director. “AOA gion’s first ever awards show exclusively focused is the only regional award show dedicated to the on Out-of-Home (OOH) advertising—the AOA growing importance of this form of advertising so Awards 2007. it’ll be great exposure for those who want to take Open to everyone involved in OOH adver- advantage of this opportunity to showcase their tising in Asia, Australia and New Zealand, the creative prowess.” awards showcase and honor the creative use of Out-of-Home media in the region. Namely, ideas that defy conventions, alter the environment and redefine the way we see things—ads that “Change the Landscape,” the appropriately chosen theme for AOA 2007. To generate excitement for the competition, the AOA Awards 2007 Call for Entries campaign was designed around four internationally awarded outdoor advertisements from Asia— JWT KL’s “Missile car,” TBWA\Japan’s “Vertical football,” McCann India’s “bursting bubble gum,” and Leo Burnett Bangkok’s “Big Comb.” Each of these ads has not only been showEntries may be submitted for consideration ered with accolades, but they have become icons in any one of nine broad categories, ranging from to creative professionals around the world…al- traditional posters to more cutting edge digital and most as recognisable in their eyes as major tour- mobile divisions. Entry kits may be downloaded ist attractions. from the Awards microEvery one practisite (www.asiaoutdoorad“AOA is the only regional cally dares creatives to vertising.com) from now award show dedicated to replicate its success, aluntil the deadline for enthe growing importance beit at the AOA 2007. tries on August 31, 2007. “The outdoor land- of this form of advertising...” While AOA Awards scape is changing so —Tay Guan Hin, Chief of Jury 2007 is only on its prerapidly, there’s a huge miere year, it has the poexplosion of new media platforms over the last tential to develop into one of Asia’s largest crefew years. Digital revolution is changing tradi- ative award shows. It is certainly among the most tional Out-of-Home advertising with new and ex- affordable to enter. Entry fees for single entries citing multi-media platforms that allow for bet- are SG$50 (Php 1,511); entry fees for campaigns ter flexibility, reliability and interactivity,” said are just SG$150 (Php 4,534). Winners of the AOA Awards 2007 will each receive a prestigious glass trophy especially designed for the event by one of the world’s most esteemed pate-de-verre glass studios, Liuli Gongfang. “We are extremely honoured to have Liuli Gongfang design such an inspirational award for us,” said Thomas Ang, AOA 2007 organizer and general manager of Fuse. “Having Liuli Gongfang design our award is as highly significant as having Mikimoto design the Miss Universe crown!” The Asia Outdoor Advertising Awards 2007 will be held in conjunction with the three-day long conference and exhibition that turns the spotlight on the growing importance of outdoor advertising in the region. Visit www.asiaoutdooradvertising.com for more information on the AOA 2007 awards, exhibition and conference.

REGIONAL NEWSBRIEFS LEO BURNETT MOST AWARDED AGENCY AT THE CHILLIES Leo Burnett Solutions Inc. (LBSI), the Sri Lankan office of Leo Burnett Worldwide, was the big winner when it walked away with 26 metals (one Gold, seven Silver and 18 Bronze) at the Sri Lankan Advertising

Awards, or The Chillies 2007. In the TV category, the agency won its second consecutive Gold for the well-crafted TV campaign for Good Knight. Last year, Leo Burnett also won the only TV Gold awarded in 2006. The agency won awards across a wide range of categories for a diverse group of clients such as Good Knight, Sri Lanka Telecom Mobitel, DFCC Vardhana Bank, Tim Tam, Sri Lanka Telecom, Hilton, ODEL, Information Communications Technology Agency (ICTA) / Government Information Centre, and Jetwing Hotels. Executive Creative Director Trevor Kennedy has made Leo Burnett one of Sri Lanka’s most awarded agencies. “We have endeavoured to raise the bar continually by pushing for the highest creative standards that can be achieved for every piece of work that we do. By continually pushing ourselves, we have proven that we can produce great work. Our success at the Chillies speaks for itself, especially since it has been recognised as great work by a jury of international caliber.” The agency’s metal count was nearly twice as much as the next winner.

THE AWARD CALLS FOR ENTRIES AWARD, the Australian-based awards show and part of Campaign Brief Asia’s rankings now accepts work that has appeared anywhere in the world, but must have originated in Asia, New Zealand or Australia and first published or aired between July 22, 2006 and July 8, 2007. This year’s AWARD chairman is Toby Talbot, executive creative director of DDB New Zealand. The AWARD Call for Entry website is open until Friday, 6th of July.

july-august 07

Procolor’s Johnson Tan Tries Anything and Whatever

proceeded to manufacture his uniquely generic Singapore beverage. Anything effervescent carbonated soda flavours are Cola, Cola with Lemon, Apple, Fizz Up, Cloud Lemon and Root Beer. Whatever, flavors of refreshing non-carbonated tea are Ice Lemon, Peach, Jasmine Green, White Grape, Apple and Chrysanthemum. Drawing on decades of media savvy, Tan spares no expense in marketing Anything and Whatever. Out of the Box’s trendy and hip advertising are boosting brand awareness. Tan’s own team took the print and merchandising materials from concept to production. But apparently, TV was still out of bounds for this emerging Renaissance Man. For its quirky TV campaign, he turned

Out of the Box, Pte Ltd, a Singapore-based company, broke new ground, by launching two sodas with generic brand names. Dubbed Anything and Whatever, respectively, the drinks generated interest and patronage barely a month after its launch last May. The brains behind Out of the Box was none other than “Whenever we were out... Procolor’s Johnson people kept telling us Tan. Perhaps he was they just wanted ‘anything’ on the lookout for challenges bigger or ‘whatever’ whenever than winning Lotus- we asked them what es, Spikes and Lions. they wanted to drink.” Perhaps he wanted to —Johnson Tan walk in the client’s and agency’s shoes. So this master of digital retouching to Thanonchai Sornsriwichai, ventured into manufacturing and marketing. As managing director of this new enterprise, a multi-awarded Tan said the brands’ names were a no-brainer to commercial diwhip up. In fact, they were unsolicited. “When- rector, winner of ever we were out at a gathering, a coffee shop, Cannes Lions, or even at home. People kept telling us they just the One Show, Awards, wanted ‘anything’ or ‘whatever’ whenever we Clio Media Awards asked them what they wanted to drink.” Having done with the brand names, what and the Adman proved difficult was switching trades. Out of Awards. R e c e n t l y, the Box Pte Ltd was the leadAnything and ing name for golf-related Whatever marmedia projects, preferred by keting disbig name golf companies. Thanonchai-directed plays featuring Emboldened As you can canned drinks “Whatever” TVC by the fresh see, not your in 450 bus stops were found tampered. What concept, Tan typical frame took a dozen experts 60 hours to prepare became a potential PR and environmental mess overnight, thanks to that anonymous Singapore vandal. (How many lashings would punishment be?) Potential receptacles for dengue-carrying mosquitoes, the displays had to be dismantled in the middle of its one-month permit. Of the matter, the witty Johnson Tan quips, “Even though we will incur additional costs, we feel that as this is a public concern, we will do anything and whatever to address it immediately.” Quick to the draw.

REGIONAL NEWSBRIEFS OGILVYONE GAINS MAJORITY STAKE IN LEE & JANG, KOREA

DDB scoops the S’pore Effies

or the fourth year running, DDB ruled the Effie Singapore Awards. In total, three Golds, seven Silvers and seven Bronzes were awarded at the Effie Singapore Awards 2007. DDB won two Gold, three Silver and three Bronze Awards, to make eight wins of the 18 awards given out. The next best agencies were local shop Eleven (one Gold) and Ogilvy (two Silvers and one Bronze) and Saatchi & Saatchi (one Silver, two Bronzes). DDB won two of the three Gold Awards for StarHub Cable TV “You Deserve” and the Republic of Singapore Air Force (RSAF) “It’s all in the details.” Both campaigns were highly creative in standards, and marked the rise of the Effie Awards as a showcase, not only for effectiveness but creativity. The 17 Effie Singapore winners, representing the full spectrum of Singapore’s advertising and marketing community, were judged according to the effectiveness when compared with their clients’ original brief and objectives. The Effie awards have become the internationally recognized benchmark for judging creative effectiveness in communications. The Effie programme was launched in 1968 by the New York American Marketing Association to recognize effectiveness in marketing communications. Currently, 33 countries host national Effies, with the Effie Singapore awards launched in 2003. Sorab Mistry, chairman of the Effie Singapore Awards Steering Committee and executive vice president, McCann Erickson World Group Asia Pacific, said the number of entries increased by 16 percent over the previous year, with a total of 107 submissions. Of these, 40 entries were judged to be of a high enough quality to be rated finalists, which was a record. Mistry said: “Quality entries were not confined to the better-established Singapore and international advertising agencies. It was good to see relatively small agencies having a go at gaining instant fame.”

He added: “This year, the entries were not just confined to agencies. Large advertisers also took on the responsibility for submitting entries. This is a wholly laudable development and shows their determination to stand behind their decisions.” The Gold Effie awards were presented by the evening’s keynote speaker, Craig Davis, worldwide chief creative officer for JWT. Silver awards were presented by Sorab Mistry. Goh Shu Fen, partner in R3 Asia Pacific and a member of the judging panel, presented the Bronze awards.

YOLY ONG TO SPEAK AT ADASIA 2007 Yoly Ong has been named one of the forum speakers at AdAsia 2007 in Jeju, Korea. She is one of several industry leaders to talk to the regional delegates about moving “Beyond Asia.” This is one of the biennial congress’s subthemes, tackling the need to overcome pre-existing, outdated conventions in Asian advertising without losing our Asian identity. As group chairman of Campaigns & Grey and industry statesperson, Ong is expected to focus on the aspect of society and culture. AdAsia is the largest congress that deals with advertising, marketing, communication and media. On its 50th year, it celebrates the most effective business ideas, strategies and marketing solutions. Organizers expect around 1,200 advertising professionals from Asia and the rest of the world to attend the three-day event that runs from October 21 to 24, 2007.

OgilvyOne Korea acquired a majority stake in Lee & Jang, one of the country’s top digital marketing agencies. Founded in 2001, Lee & Jang brings with it strong experience in website design and development, a solid roster of local blue-chip clients and an established track record. Lee & Jang clients include blue-chip financials Daewoo Securities, Samsung Securities, Citibank, Woori Investment & Securities, and PCA Life. Korea is the ninth largest advertising market in the world, and is considered a global leader in the digital space. Financial services companies in particular are investing considerably in their websites and digital marketing. “In Korea, we see an increased demand from companies for digital marketing and search, as well as a substantial need to revitalize their entire web presence with higher quality websites. These websites are quickly becoming the center of their marketing and communications strategy,” said Ken Mandel, vice president of Digital, OgilvyOne Asia Pacific. “As the leading digital network in Asia, OgilvyOne is pleased to invest in Lee & Jang, and it represents our commitment to remain ahead of the digital growth curve in the region.”

OGILVY PR CHINA AND JL MCGREGOR IN STRATEGIC ALLIANCE

Ogilvy Public Relations Worldwide, China and JL McGregor & Company, a premier China research and advisory company, have signed an exclusive strategic alliance to offer comprehensive client support. Under the strategic alliance, the two companies jointly offer clients services in the areas of China government relations, public relations, communications, and commercial complexities involving China. JL McGregor & Company is a China-focused research and advisory company with offices in Beijing, Shanghai and New York. Ogilvy PR is the largest public relations agency in China. The partnership builds on the existing cooperation between Ogilvy PR and James McGregor, the founder of JL McGregor & Company. McGregor has served as senior China advisor to Ogilvy PR for four years. “We’ve been working with Jim for many years, and his knowledge, experience and deep insights into China are widely respected by government officials and the international business community. His team also brings a very strong skill set,” said Scott Kronick, president of Ogilvy PR China. “Coming together in an alliance is a natural fit.” july-august 07

JUNG VON MATT IS NYFEST’S AGENCY OF THE YEAR. VOLKWAGEN, CLIENT OF THE YEAR Jung von Matt AG, the largest independent agency in Germany, won Agency of the Year at the New York Festivals 2007 International Advertising Awards. The agency hauled away a total of seven Gold, 11 Silver and 11 Bronze medals at the awards show held last June 12 to 14 in Manhattan. For the second year in a row, Volkswagen was lauded as Advertiser of the Year. This topped off the car maker’s collection of nine Gold, six Silver and seven Bronze medals for its campaigns in Print and TV media.

Western-based agencies dominated all five categories in the show’s 50th round: Television and Radio Advertising; Design, Print and Outdoor Advertising; Film & Video; Television Broadcasting; Radio Broadcasting; and Interactive & Alternative Media. Vegaolmosponce Buenos Aires received the top honor for Television with Axe “Shower/Fishes,” a humorously exaggerated commercial depicting a man’s ordeals with underarm perspiration. Narrating the possible hassles of

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visiting zoos, Grand winner for Radio DDB Canada, Vancouver hit the funny bone with the “Koala/Platypus/Shrew” campaign for Vancouver Aquarium. For Mercedes-Benz SLK “Blown Away,” Leo Burnett Chicago won the top plum for Print by putting together a speeding car, a boy and his toupee. German agency Scholz & Friends ruled the Outdoor category with “The Wrong Working Environment” for Jobsintown.de, which illustrated just how unbearable the wrong job can be. An interactive show of iridescent colors and mobile phones made up the Motorola “Moto Colors” website, winning DraftFCB New York/Paris the Grand Award for Design. The Philippines won two Silver World Medals in the NY Fest: Y&R’s “Bullets/Warships/Cross” print campaign for Soroptimist International Malaysia and McCann Erickson’s “Wish” TV spot for Operation Smile. In addition, the works of seven other Manila agencies made it to the finals. (See related story in Top Stories.) Senior creative directors from 49 countries determined winners from over 68 countries. Underground Logic’s director for Post-Production, Adrian Tecson judged entries in the Technical Design category.

Making Ripples

A Recap of the 2007 D&AD Awards

Almost ten years ago, when BBDO Guerrero Ortega started winning international awards show, they came out with a memorable “before-and-after” house ad. It featured two maps; a quick glance at the “before” section showed a picture of the southeast portion of Asia where a familiar archipelago consisting of over 7,100 islands was noticeably missing. The “after” portion presented the same picture, except that it had the Philippines back on the map. The message was sublime, understated and well-communicated, and the agency would go cils in TV & Cinema Adveron to establish its creative presence worldwide. tising for their humorous takes Fast forward to 2007. with the Masterfoods’ Skittles and ComWhile BBDO Guerrero Ortega, Y&R, O&M and the country’s other ad agencies have made bos brands. Three Yellow Pencils were awarded strong inroads in other major award-giving bod- for Gaming—two of which went to Nintendo ies—AdFest, Cannes, Clio, New York Festivals, for “Wii Sports” and “Dr. Kawashima’s Brain et al—recognition by the most desirable of the lot Training: How Old is Your Brain?” Flame, Inc. remains disappointingly minimal. The D&AD, won two Yellow Pencils for Fukutake House in the educational charity which represents the inter- Japan in Graphic Design: Signage & Informanational creative, design and advertising commu- tion Graphics and Typography: Graphic Design. nities and whose Global Awards remain the most Devilfish led the way in Viral with two Yellow prestigious in the world for creative industries for Pencils for “Come Home to the Simpsons” for the past 45 years, remains almost impenetrable. Sky One. Last but not least, McCann Erickson Singapore won its single Yellow Almost. If it’s any consolation, Pencil for Illustration: Press Fact is it’s never been the (Philippines) did Advertising for work done in easy to win a D&AD Pencil better than Taiwan... behalf of the National Council (as the awards are aptly nickon Problem Gambling. named). This year’s panel Could’ve been worse; This year’s topmost honors consisted of more than 300 could’ve done better. judges from nearly 30 countries, and through went to an illustration and, for the second year several intensive rounds of scrutiny, they went running, a website. Judges bestowed the D&AD Black Pencils, the rarest prize in advertising and through 25,000 entries from 58 nations. With such high creative standards to preserve, design, to Nike+ (www.nikeplus.com) by USthe mortality rate was understandably overwhelm- based R/GA in New Uses of Websites, and to ing. From the final 151 nominated entries, only “War Orphans” in Illustration: Press Advertising 59 were deemed Yellow Pencil-worthy for the by Germany’s Kolle Rebbe Werbeagentur. The Nike+ website was a model of digital D&AD’s 23 categories. Graphic Design and Viral juries awarded the most, with seven Pencils each. sleekness as well as a symbol of innovative funcTBWA\Chiat Day won three Yellow Pen- tionality which demonstrated how Nike’s train-

“Father of the Web” recognized with D&AD President’s Award D&AD has announced that Tim BernersLee, inventor of the World Wide Web in 1989, will receive the President’s Award for outstanding contribution to creativity. The annually bestowed honor was revealed at the D&AD Global Awards Ceremony & Dinner in London tonight. “HTML, URL, HTTP—all these things that people around the world take for granted are down to Sir Tim Berners-Lee,” said D&AD President Tony Davidson. “He had the vision to create a network that allows people to share knowledge freely across the Internet. The amazing thing is that he told everyone how to use it for free by—you guessed it—posting it on the In-

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ternet. Thanks to his innovation, designers have taken the Web to whole new levels of creativity, resulting in two D&AD Black Pencil-awarded websites in two years.” “Think back ten years and you realise how much the Web’s changed our lives. We bid for products on eBay, communicate with Skype and Facebook, and discover new music that has never been played over the airwaves. We share files, photos and advice with people we’ll never meet and create whole other worlds for ourselves in Second Life—and this is only the beginning of the Web’s potential. We owe the very shape of our lives today to Sir Tim.”

GLOBAL ROUND-UP ers could ably co-exist with Apple’s iPod to create an immersive running experience. “This is the second time a Black Pencil has been awarded in the Websites category, which saw a huge increase in entries this year,” said D&AD President Tony Davidson. “Overall, not a classic year. However what is interesting is that one of my favorite pieces was heavily technology-led. Nike+ challenges its category. It’s a totally integrated consumer experience that redefines the running industry.” Kolle Rebbe’s entry, in contrast, took tried-and-tested approach of using a page-stopping visual and then complementing it with empathic copywriting to evoke compassion for the war victims of Chechnya, Iraq and Somalia. “It’s been a while since Illustration picked up a Black Pencil,” Davidson added. “But the simple idea behind the campaign for ‘War Orphans’ made the jury’s decision easy. Naïve family wall paintings they may be, but seeing where shells of bullets have shattered the images is a great and easily understood metaphor.” When collated by country, the biggest Pencil winners were the United Kingdom and the United States with 27 and 10 Pencils respectively, Germany was a distant third with six winning submissions. Japan got

three and Singapore scored one. And where’s the Philippines in all this? Ah, that’s where “The Book” comes in. The D&AD Annual, as it’s officially known, provides the ultimate visual record of the year’ best advertising and design work and is widely acknowledged as the definitive reference book for creative practitioners worldwide. This year, a mere 714 entries were selected for inclusions—still a drop in the ocean when you consider the total number of entries.

Once more, Japan led the Asian charge with an outstanding 25 selections, followed by Singapore with 25, then Malaysia with 11. The Philippines (Here, here!) managed a still-impressive two inclusions, both courtesy of—surprise, surprise!—BBDO Guerrero Ortega, thanks to their thought-provoking print and point-of-sale work

for the World Wildlife Fund. This is not the first time a Philippine-based agency has been honored by the D&AD judges (JWT Manila’s “Trees” was featured in last year’s annual), although it has been the country’s best and most prolific showing to date. If it’s any consolation, the country did better than Taiwan, which managed only a single In-the-Book inclusion. Could’ve been worse; could’ve done better. That’s about the gist of things.

Perhaps BBDO Guerrero Ortega could be swayed to rerun their “map” ad for those who missed it the first time around, albeit with a minor copy revision or two. After all, their 2007 D&AD showing only proved that Philippine creativity won’t be disappearing anytime soon, and can rise to the top along with the rest of the world.

Truth in Advertising?

Before many ad people lived for the work, the work, the work, they logged a bit of office time sampling substances, substances, substances and indulging in af-

fairs, affairs, affairs. This, of course, was not acceptable behavior, nevertheless it was commonplace. Alas, the Eighties are long past, and the characters that typified its excesses have moved on. Including this couple that sadly have just gone their separate ways. One is a high profile creative director. The other is a copywriter. Not married (at least not to each other). They met in an ad agency they both worked for, years back. Since then, to whichever agency the CD went, the copywriter was sure to go. This pair could not get enough of each other. They soon realized they had to get a room. So they took the

restroom, the conference room, the editing room, the boss’s office, the pantry…. Eventually, their officemates became accustomed to finding a surprise behind every door. Then came an offer the CD couldn’t refuse, a dream job in a faraway metropolis. Unfortunately, there were already enough copywriters in the new office, so the longtime companion had to be left behind. Thus ended the last of the great passionate love affairs. We’ll miss them, the way we miss shoulder pads.

INTERPUBLIC PLEDGES $1M FOR GRADUATE AD SCHOOL

The Interpublic Group, one of the world’s leading holding group of advertising agencies, is donating a million dollars toward a development campaign for the Virginia Commonwealth

University Adcenter. This makes the company a lead donor to the nationally acclaimed graduate advertising school. The VCU Adcenter is in the midst of a $10 million development campaign that will help pay for its new home, a Clive Wilkinson-designed building slated to open in December. Interpublic’s gift is to be paid over five years, for identifying, attracting and training the next generation of advertising and marketing leaders. Michael I. Roth, chairman and CEO of Interpublic, said, “We commend the school on its ambition of bringing into our industry young people that are prepared to raise the standards of performance in every facet of the business. That’s consistent with our stated goals of developing our talent base to meet the increasingly complex needs of clients in today’s marketing environment.” The VCU Adcenter was founded in 1996 is ranked the No. 1 advertising program in the United States by Creativity magazine in 2005, has about 175 students, 38 percent of whom are women.

NEW GUIDEBOOK TELLS HOW TO REALLY GET AHEAD IN ADVERTISING

Goodbye Uni…Hello Job, a young creative guidebook to getting a job is now available free of charge from OpenAd.net. It is co-written by industry insiders from trade charity NABS, online ideas company OpenAd. net and the headhunter LIZ H, which already co-operate on a number of services for students. It boasts of insights from top UK creatives including Ben Priest, creative director of RKCR/Y&R; Owen Lee, creative director of Farm; Kim Papworth, creative director of Wieden and Kennedy and Simon Learman, executive creative director of McCann Erickson. Amanda Wallace, the guide’s co-writer and creative client services manager at OpenAd.net says some of the insights came from her former life as an advertising creative. And finally, keep listening.

and for those of you without a portfolio...

“A great book is important for getting your foot in the door - but that's only the beginning. Just as important is enthusiasm, hard work and a willingness to listen and learn once you're in. Oh, and not turning up in suit and tie on your first day. Trust me, I know. Good luck.”

Rob Mosley - Creative director, Nonsense Ltd.

“Never give up. If you can take all the heartbreak, all the disappointment and still dust yourself down and come back for more, you’ll be just fine. The last man standing is the only man who can win.” Ben Priest, creative director, RKCR/Y&R

Heard any good tsismis lately? Want to start one? Send it to: rumors@adobomagazine.com

july-august 07

A Gunn Report review

by Danz Holandez

The Good and the Deadly

In the early 1300s, Dante Alighieri wrote The Divine Comedy which presented a culmination of medieval world-view of the afterlife. Dante’s book is widely considered as the central epic poem of Italian literature as well as one of the greatest literary works of that time. Fast forward some 700 years to the present and you have a similarly weighty tome called The Gunn Report. Regarded by many as the foremost collection of the world’s best creative work, the annual publication ranks the performances of agencies and their respective output based on a point-per-medal system. The Report strictly showcases past winners, so chances are good that you’ve seen most of them before, sometime, somewhere. Thus, in the spirit of Signore Alighieri’s masterpiece, here’s a take on the The Gunn Report using the seven deadly sins as a template. Right, in no particular order then….

Gluttony

Some people like to hoard cash. Others prefer credit—more specifically, official acknowledgement that they’ve done well. Outstandingly well, above and beyond well. And The Gunn Report gives them that in spades. Every November since 1999, The Gunn Report has combined the winner’s lists from all of the most important award contests to establish the annual, worldwide league tables for the advertising industry. Even more amazing is how they’ve pared all that data to eight simple categories. Here’s the summary: Commercial or TV/Cinema Guinness “noitulovE” Campaign of the Year

Abbot Mead Vickers BBDO

Print Ad or Campaign

Harvey Nichols

of the Year

“Calendar” DDB London

Country of the Year

Great Britain

Advertiser of the Year

Volkswagen

Production Company of

MJZ (Los Angeles,

the Year

New York, London)

Director of the Year

Thanonchai Sornsrivichai (Thailand)

Agency of the Year

DDB London

Agency Network

BBDO Worldwide

of the Year

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How did the the Philippines do in the aforementioned categories? Keep on reading. Or go directly to ENVY.

Pride

Ah, vanity! Simply fascinating how certain agencies feel the need to further promote themselves via press ads in a book that, well, already promotes their work. Either that or they’re simply trying to drum up some business their way. Go through the book and decide for yourself which is which.

Wrath

Honda’s dirty diesel-hating “Grrrrr” aside, some of the work will inspire you to clench your fists to high heavens and shout the first thing that comes to mind. If you bellowed “Why can’t our clients appreciate this kind of work?!” then that’s good ol’ anger talking, so best to get it out of your system and move on. Guinness T VC But if you shouted something close to “Why can’t we do something like (insert name of ad/product) here in the Philippines? Why can’t I?” or to that effect, that’s bad. See ENVY.

Greed

Local creatives shouldn’t Smooth E T VC just want to own every copy of this fine book. If they’re worth the Mac they work on, what they should be really gunning (no pun intended) for is to be in the book. To win at all costs! Remember, every medal counts! “The idea behind The Gunn Report is to combine the winners’ lists from all the most important award shows, everywhere in the world,” states founder Donald Gunn. “Some of these are global contests, some regional, some national. For the year 2006, we are including the top 36 shows in the world for TV & Cinema, and the top 22 for Print.” Which awards shows are these exactly? “We have continued to be secretive about what these shows are,” Gunn explains. “For a few good reasons, the most important being not to upset any friends—award contest entrepreneurs around the world—whose shows might be among those not included.” (Hmmm. The man has a heart. After all, it’s difficult enough to make those Porsche payments when the entries dwindle.) Gunn at least clarifies one standard: “The level of award that counts for a given show is ‘Cannes Bronze Lion Equivalent.’ The application of this is a bit judgmental but the decisions are usually pretty obvious, and the level of prize can vary from year to year for the same show, if a jury has been megagenerous or mega-stingy.”

Bronze Lion, he says. Now’s a good time as any to ask yourself just how bad do you want to make it.

Lust

Sex sells. Wins, too. Just take a gander at “Sugar Baby Love” Aids Awareness TVC from TBWA\Paris, the Viagra series from Taxi Canada and the Lynx Deodorant “airline-a-trois” installments. Wonderful nudge-nudge, winkwink work. But nothing comes close to the understated charm of porn. JEH United Bangkok’s Creative Director Jureeporn Thaidumrong’s work on Smooth-E Baby Face Foam is the one you’ll want to see again and again. In a nutshell, her four-part mini epic on teenage infatuation and pimples cleverly slides in between hard sell and melodrama, but it never bores. Just like a good skin flick. Maybe you can do better than this. Or not. See below.

Envy

So where in this 254page tribute to world-class advertising is the Philippines? There must be at least one sublime TV or print material that made the rounds of awards shows worldwide and made the judges go “Mmmm” and not “Hmmmm.” The answer, hold on to your horns, is yes. Two, in fact. First is “Trees” by JWT Philippines, which barely cracked the top 20 for 2006 Most Awarded Print. But it’s there, nonetheless, so bully for you if your name isn’t Dave or Joey. Second is the ubiquitous kudos to BBDO Guerrero Ortega, whose medal tally helped elevate BBDO Worldwide to take the year’s Most Awarded Agency Network plum. This is the fifth time BBDO Guerrero Ortega has been mentioned, and the fourth time their network has topped The Gunn Report. Read between the lines. So, if you’re still pondering why your work or your agency has nary a mention within the tome, worry not. Relax. Walk it off. Shop, even. There’s always that green Lacoste shirt in Greenbelt Mall that’ll go well with your eyes.

Sloth

Hard work never hurt anybody. So get off your local laurels and ease off the Text Twist. Time to get a crackin’ on this year’s Big Winner. Who knows, maybe in a year from now, the world will be envi— , err, admiring your work in the next Gunn Report.. Just don’t sell your soul for it. Lest you won’t have another to offer for 2009.

GLOBAL ROUND-UP

Step 1: Create your own choreography.

Step 2: Choose your music.

Step 3: Share it with everyone.

ing back through time—going from hairy Neanderthals, to simians, to fish in a swamp regurgitating muck—“Hands” is, well, worthy of applause. In this edition, “Good things come to those who wait” showcases hands whose expressive fingers twist, tap, twiddle, twine, turn, tremble, you name it, in eager anticipation of a pint of Guinness. Produced by AMV BBDO London, “Hands” is the creation of Michael Schlingmann, German-born London-resident, and recipient of numerous Mobius and Promax award, as well as the Grand Prix in the Holland Animation Film Festival. Schlingmann employs stop-frame animation in classic black and white, craftily capturing great expectation in a tacit act. In the absence of eyes and tongue, hands can read and speak. Moreover, its online campaign is a marvel. Its dedicated website www.guinnesshands. com is a must-visit. Even the less enthusiastic surfer will delight at the chance to direct their own version of “Hands.” No need to be tech-savvy, the formula is not only simple, it is entertaining and amusing. Keyboard letters correspond to specific movements—the peacock, the serpent, check it out and be surprised. Type the news of the

Give it up for Guinness With all due respect to James Joyce and U2, Dublin’s favored son is arguably Arthur Guinness. Though known for its poets and bards, the city however, plays landlord to the Guinness Brewery. From Joyce to the U2 lads, every beer drinker in between has surely had some of Arthur’s brew “Tunnel Vision” flow down their gullets and straight up their heads, one time or another. From Diageo Great Britain comes “Hands,” the latest installment to the award-winning Guinness Beer campaign, “Good things come to those who wait.” The new advertisement aired on television and cinema, and for £2.5M, includes digital advertising in stadiums, pubs and chosen London Underground stations. Fresh from its predecessor featuring three beer-drinking mates travel-

day, and watch that hand sashay. Type your day’s angst, and that hand starts strutting like an Egyptian. Once happy with your own handiwork, delight further at the chance to enhance the dance. Choose music from a list, add your copy and film title, then sit back and enjoy your directorial debut. And like most parents of their first borns, you can go ahead and be proud, inundate your friends’ emails with your own “Hands.” It’s a snap! Recent research shows Guinness registering highest advertising recall amongst beer brands. Russell Jones, Guinness marketing director of Diageo Great Britain, reckons “the site is a Guinness first,” pertaining to the introduction of interactive film direction. “We are certain Hands will continue to build the reputation the brand has for iconic and original advertising.” “A FiddlyTwidle”

GETTY IMAGES ENTERS COMMERCIAL MUSIC LICENSING Getty Images, the world’s leading creator and distributor of visual content, is acquiring Pump Audio, a leading provider of quality independent music to content creators around the world. The acquisition marks Getty Images’ entry into the music industry, a significant development in the company’s ongoing strategy to build a comprehensive digital media offering to meet the growing content needs of media, advertising and corporate customers. Getty Images intends to streamline commercial music licensing to the benefit of both customers and creators of music. “Getty Images has powered the forward momentum of the visual content industry over the past 12 years,” says Jonathan Klein, co-founder and CEO of Getty Images. “We are confident that bringing our digital distribution, e-commerce expertise and our customer relationships, as well as our understanding of intellectual property, to the music industry will have a similarly positive impact.”

GET INTERACTIVE CREATES EXCITING NEW AD PARADIGM

GET Interactive’s new process promises to revolutionize advertising, allowing viewers of music videos, films and other video content to buy and interact with brand and products they see on screen by simply pointing and clicking. The company’s system (patent pending) converts any video content on the Internet, mobile device or IPTV into a shopping or promotional opportunity without disrupting the viewing experience. This opt-in marketing model arrives at a time when traditional advertising

is losing its effectiveness, says Rick Harrison, the company’s founder and chief executive officer. “GET Interactive re-defines the rules of engagement with the consumer,” Harrison says. “This is an opportunity for the presenter of a brand to drill down and create a relationship with a consumer.” july-august 07

Droga5

Tap Project

and was tasked to justify his label. But the challenge came with a twist, because this brand also had to come from nothing. One night, Droga had his complimentary glass of water at a restaurant. Remembering a documentary about the Katrina hurricane aftermath in New Orleans, he thought of the people who still experienced shortage of clean drinking water. Free tap water in restaurants is often taken for granted, but what if customers were charged a dollar for this privilege? Just for one day and for a good cause. From there the Tap Project was born. In November 2006, Droga5

So goes the line from one of David Droga’s ads for the Tap Project: a pro bono campaign launched March 22 in New York, in commemoration of the UN World Water Day. Benefiting the UNICEF programs to provide clean drinking water to over 1.1 billion people around the globe, Droga5 initiated the campaign as an answer to Esquire magazine’s challenge—to create a brand out of nothing. Working on his principle of creativity with a conscience, Droga asked restaurant patrons to donate one dollar for the tap water that usually comes for free with their meal. The payment goes to the UN funds for assuring safe and clean water to Third World nations. It all started when Esquire

“Working on his principle of creativity with a conscience, Droga asked restaurant patrons to donate one dollar for the tap water that usually comes for free with their meal.”

instructed Droga to prove his genius and invent a brand that could be “a positive change agent”. He was among 42 people of different statures listed by the magazine as the “Best and Brightest” for 2006

pitched the idea to UNICEF and implemented the proposal in time for the World Water Day on March 22, 2007. Esquire featured the Tap Project in its December 2006 issue, wherein Droga appeared alongside 41 other icons. Sarah Jessica Parker, Rosario Dawson, Jimmy Fallon and other celebrities supported the campaign as well as the high-end dining establishments

july-august 07

in the city. Close to 300 restaurants placed postcards on tables describing the Tap Project campaign and asked diners to pay for their glass of clean tap water. Each participating restaurant was expected to raise $200. A modest goal, but then again it takes only $1 for UNICEF to supply 40 children a liter of safe drinking water. Major publicity in print and television informed citizens to take part in the event. The New York Times donated a full-page ad that appeared on its March 21 issue. Outdoor ad space from billboard advertiser Van Wagner were provided free of charge and Reuters shared its Times Square screen for two days to promote the project. Microsoft even offered a link on its MSN portal. The Tap Project website, www.tapproject.org, established its online presence and contributed in spreading the word. The ambitious campaign went beyond all expectations. According to UNICEF, the estimated earnings from the Tap Project amounted to $5.5 million from participating restaurants all over New York. Nielsen Ratings declared an estimated media reach of more than 80 million people. Google reported webpage hits surpassing 1,140,000 for the tapproject.org website. The best news of all: UNICEF is now

DAVID HEITHOLT, U.S. FUND FOR UNICEF

“What if every glass of water you drank quenched someone else’s thirst?”

GLOBAL ROUND-UP SAATCHI & SAATCHI IS CLIO AGENCY NETWORK OF THE YEAR

DAVID HEITHOLT, U.S. FUND FOR UNICEF DAVID HEITHOLT, U.S. FUND FOR UNICEF

privileged with 1,700,000 days of providing water to unfortunate children. The number is still growing as New York residents can continue donating to the project thru their water bill. Due to its tremendous success, the Tap Project will now be held on a yearly basis. There are plans to include over 30 North American cities for next year’s event and reach more than 100 international cities in two years. All of this at absolutely no cost to UNICEF. The achievements do not stop there. At the 2007 Cannes Advertising Festival, the Tap

Saatchi & Saatchi Worldwide was awarded Agency Network of the Year at the 48th International Clio Awards, winning a total of 52 statues. Saatchi & Saatchi New York won the prestigious Grand Clio award for print and was named Agency of the Year. Tony Gulisano, managing director of the Clio Awards said, “The work awarded this year to Saatchi New York as well as eight other Saatchi agencies worldwide, is representative of that accomplishment. We congratulate their impressive performance this year.” The Saatchi network won one Grand Clio, eight Golds, 13 Silvers and 30 Bronzes. The work spanned the following categories: TV/Cinema; Interactive; Integrated; and Print. Its flagship New York office had a phenomenal showing, bringing home a Grand Clio and a total of 32 statues for brands like Tide, Crest and Folgers. Saatchi Singapore garnered a total of nine. Other winning offices include Argentina, Australia, Brazil, Denmark, Los Angeles, Malaysia, UK and Team One USA. There were 19,300 entries to the Clios this year, which was held in Miami Beach from May 9 to 12.

TOON BOOM ANIMATION JOINS FABLEVISION FOR CREATIVE LEARNING

Restaurants displayed their support of the Tap Project

Project won Droga5 a much-coveted Titanium Lion, an award for innovative ideas that lead to surprising breakthroughs in advertising. Not only that but UNICEF also announced the Tap Project as its most successful single initiative in the organization’s 56-year history. All of this stems from a single great idea of creating a brand that virtually nobody owns but everybody uses. Tapping the hidden capabilities of everyday essentials is a revolution that David Droga showed the world, proving that almost anything can get a makeover once one learns to think out of the box.

Emmy winner Toon Boom Animation and FableVision, the educational media and interactive developer and publisher, are jointly developing educational solutions for K-12 and consumer markets. This partnership builds upon Toon Boom’s extensive expertise in animation technology and FableVision’s deep understanding of learners, educational technology and constructivist learning tools.

NY Tap t-shirt by DKNY

Toon Boom’s client base ranges from major studios creating Hollywood blockbuster animated films to individual animators creating their first masterpieces. Some of the prestigious productions done with Toon Boom’s technology include Les Triplettes de Belleville, Looney Tunes: Back in Action, The Rugrats, SpongeBob The Movie and Curious George.

july-august 07

GLOBAL ROUND-UP LEO BURNETT WINS TWO GRAND PRIX AT CLIO FESTIVAL Leo Burnett and Arc Worldwide won two Grand Prix in the Television and Outdoor categories at the Clio Awards. A dual Grand Prix win is extremely rare, and this marks the first time an agency has won in these two categories. The TV/Cinema award went to Indesit’s Ariston “Underwater World,” the first ever Grand Clio to be given to an Italian agency. The Outdoor prize went to McDonald’s “Sundial.” In total, the agency won an impressive 29 Clios from nine offices for major clients, including Becks, Clima Bicycles, Center for Disease Control, Fiat, Heineken, Indesit, I.A.C., McDonald’s, Nestlé, Nintendo, Salvation Army, Toyota and Wrigley. Additionally, two of its junior art directors received the Future Gold | Young Competition: Pavel Vrzheshch from Leo Burnett, Kiev, Ukraine and Carlos Murad from Leo Burnett, Bogota, Colombia. “Winning two Grand Prix is a remarkable achievement, a testimony to the talent, strength and depth of a global network focused on one thing: the quality of the work,” said Leo Burnett Worldwide Chief Creative Officer Mark Tutssel.

D&AD PRESENTS NEW BLOOD

D&AD judges selected this year’s Best New Blood, the most promising student work at the biggest graduating creatives exhibition of its kind held in London. Forty-one students were awarded from across the UK, Singapore, and Bosnia & Herzegovina. Winners were invited to exhibit their work on D&AD talent pool, join the graduate placement scheme and given New Creative Membership for one year. “I visit the D&AD student exhibition every year with my colleagues,” said Onno Hesselink, creative director at Luon in Belgium. “It’s a great opportunity to spot new trends in advertising and design. The UK definitely has a big tradition when it comes to typography and this year some of the best work showed it again... I’ll be back next year.” A selection of work exhibited at D&AD New Blood can be viewed at: ftp://ftppublic:X0cpe3KL@www. dandad.org/ftppublic/New_Blood_2007/

july-august 07

ithin hours of its initial unveiling, an Internet campaign for the recall of the London 2012 Olympics logo already collected 8,000 signatures. Described as a “window with a football through it” and “something a six-year old made,” the Internet swarmed with logo-designer wannabes, instant art critics and a vast number of I-hate-the-logo sites. The London 2012 committee did not seek public approval or popular vote, nor was a competition held for logo design. A poll by the BBC News website garnered 83 percent not in favor of the logo. Thrown in the ring is the logo, a jagged-edge emblem, a series on shades of bright pink, blue, green and orange for the four-digit 2012. The five Olympic rings are emblazoned onto the “0.” The word “London” is spelled in lower case. Wolff Olins, a brand consultancy firm behind logos of big names like Sony Ericsson and Unilever, designed the London 2012 logo at the cost of £400K (US$ 798.81K). Tasked to take the Olympics “away from the corporate and the boardroom and be more street,” the logo is obviously created to attract its target of a young generation. It is a move to change the trend of the past two decades as younger audiences have become less interested in the Olympics. Also noticeable, the logo veers from predictably featuring an icon of the host city. Of retaining the logo, London 2012 Organizing Committee Chairman Lord Sebastian Coe is steadfast. “This is the vision at the very heart of our brand. It will define the venues we build and the Games we hold, and act as a reminder of our promise to use the Olympic spirit to inspire everyone and reach out to young people around the world.” Perhaps playing politician, Prime Minister Tony Blair says, “This is a bold “We want Lonlogo. We were don 2012 not just a bold bid to be about elite and this will be sporting success. a bold Games. When people see the new brand, We make we want them no apology.” to be inspired —Paul Deighton, to make a posiChief Executive, London Organising tive change in their life. LonCommittee don 2012 will be a great sporting summer but will also allow Britain to showcase itself to the world.” With his staunch support of the logo, International Olympic Committee President Jacques Rogge adds, “Each edition of the Olympic Games brings its own flavour and touch to what is now well over a century of modern Olympic history. (The logo) is an early indication of the dynamism, modernity and inclusiveness with which London 2012 will leave its Olympic mark.”

In a bizarre twist of events, 30 cases of epileptic seizures were reported by the Charity Epilepsy Action after the ad aired on television. Though not precipitated by the logo itself, an animation portion on the TVC induces photosensitive epilepsy, the name given to a form of epilepsy in which seizures are generated by natural or artificial flickering or flashing light. The most common trigger for people with photosensitive epilepsy appears to be television. The animation showed a diver plunging into a pool causing a ripple effect, with 2012 breaking out in hot pink and electric blue. The London 2012 committee immediately voluntarily withdrew the video from its website when it learned of the reports. The production process is under review and currently taking appropriate measures to comply with industry-standard technology, as well as consulting with epilepsy experts. With the International Olympic Committee (IOC) commending the progress and organization of the London 2012 Committee, public clamor for logo change is going unheeded. For Paul Deighton, the chief executive of London Organising Committee of the Olympic Games, “This is a bold logo. We were a bold bid and this will be a bold Games. We make no apology.” With no choice but to jump in the youth market bandwagon, the London 2012 logo will be put to the test in five years. For now, the public can have a fit, epileptic or otherwise.

London 2012

Logo Loco

...a “window with a football through it” —Internet critic

boots,” the company said. “Dr. Martens did not commission the work as it runs counter to our current marketing activities based on FREEDM, which is dedicated to nurturing grass roots creativity and supporting emerging talent. “As a consequence, Dr. Martens has terminated its relationship with the responsible agency.” That agency was London-based Saatchi & Saatchi, which defended the work by saying that the photographs were legally purchased from Corbis, one of the world’s largest stock photo companies. “We believe the ads are edgy but not offensive. There has been blog commentary both for

Doc Martens Gives Saatchi London the Boot

leaked earlier this month via the music blog thedailyswarm.com. Hell hath no fury like Courtney Love, and “Courtney never approved the use of these because of her, the British company behind Doc images [for commercial gain] nor would she ever Martens footwear has kicked its agency Saatchi approve it. She knew nothing about it,” said her & Saatchi London to the curb. publicist Alan Nierob. E! Online reported that the rocker/actress The rep said British law, unlike American, was steamed after a print campaign featured appears to allow companies to use the images late husband Kurt Cobain and other iconic punk of dead celebrities without explicit permission rockers modeling the combat boots in heaven. from their estates. The ads for the Although Love AirWair line, approved Doc Martens was already has not sought leonly for use in a free UK experiencing a backlash from gal action against publication called Fact the same fans the company was the advertiser, Doc Magazine, portrayed the trying to court. So it decided to Martens was alNirvana star sitting in scrap the campaign. ready experiencing a cloudbank, clad all in a backlash from the white except for a pair of black boots. A tag same fans the company was trying to court. So line in corner reads: “Dr. Martens. Forever.” Its it decided to scrap the campaign. companion ads used the images of Sex Pistols’ “Dr. Martens is very sorry for any offense Sid Vicious, the Clash’s Joe Strummer, and that has been caused by the publication of imagthe Ramones’ Joey Ramone. The photos were es showing dead rock icons wearing Dr. Martens

and against the ads, but it is our belief that they are respectful of both the musicians and the Dr. Martens brand,” said Kate Stanners, the agency’s executive creative director. “We regret that the controversy has led Dr. Martens to terminate the contract with Saatchi & Saatchi. We are investigating the circumstances and considering the ongoing employment of the individual who was in breach of instructions not to distribute the ads further than the original approved placement in Fact Magazine in the UK. “While we believe the creative is a beautiful tribute to four legendary musicians, the individual broke both agency and client protocol in this situation by placing the ads on a US advertising website and acting as an unauthorised spokesperson for the company.”

EVENTS CALENDAR Philippine Marketing Association National Marketing Month STRATMARK July 27, 2007 Araneta Coliseum, Quezon City Telephone: 6344890 Email: philmarketing@pldtdsl.net Website: www.pma.philonline.com The Internet and Mobile Marketing Conference and Exhibit August 9-10, 2007 Hotel Intercontinental, Makati City Email: fiera@info.com.ph www.fmi.com.ph Graphika Manila August 11, 2007 SM Mall of Asia http://graphikamanila.com

4th Direct Marketing (DM) Annual Conference and Exhibit August 22-23, 2007 Hotel Intercontinental, Makati City Email: fiera@info.com.ph www.fmi.com.ph The 3rd Backdoor Ventures Arts & Music Festival and Trade Fair August 24 to 26, 2007 Megatrade Hall 3, Level 5 SM Megamall, Mandaluyong City Telephone: 9513646 Email: backdoorventures@mac.com 2006 Phil. 4As Agency of the Year Awards September 2007

Engage 2007 Conference —The Edge of the Cutting Edge September 26-27 Jubilee Theatre at The Raffles Hotel Singapore Telephone: Celesta Tan +65 62361819 Email: celesta _ tan@leosin.com.sg Student Advertising Congress September 27-28, 2007 AFP Theatre, Fort Aguinaldo Telephone: 4588976 2007 London International Advertising Awards October 2007 Entry Deadline: June 11, 2007 www.liaawards.com

AdAsia 2007 Jeju October 21-24, 2007 www.adasia2007.com Asia Outdoor Advertising 2007 Exhibition. Conference. Awards October 24-26, 2007 Suntec Singapore Email: enquiry@fuse.com.sg www.asiaoutdooradvertising.com The Man Asian Literary Awards November 2007 www.manasianliteraryprize.org 20th Philippine Advertising Congress November 21-24, 2007 Subic, Zambales www.20thadcongresstheneworder.com

july-august 07

ADOBO CENTERFOLD

Richard Irvine

On the perils of driving an ice cream van, daydreaming and fatherhood

And what of daydreaming? Well, when it comes to this particular trait, I’m in a class of my own. If medals were to be awarded, I would have a closetful. I love to daydream. Growing up as an only child, adventures were had, mysteries, solved and great works of art, created, all within the confines of my head. And if anything has helped me more in this business, it ’s been this. In fact, I believe that the ability to daydream should be a prerequisite for employment in this industry: “Ah, Miss Gomez, I see that you have won two Gold Lions, a D&AD Pencil, and you’re willing to work for nothing—but tell me, are you an accomplished daydreamer?” No amount of daydreaming, however, could have prepared me for what I experienced when I first held my newborn son. Yes, I had read all the textbooks (well, two of them, if you count Tony Parson’s Man and Boy) but the explosion of raw emotion that engulfed me was quite extraordinary and took me totally by surprise. Joy, love, pride, fear…it was all there. And as of writing this, it has shown no signs of abating. My wonderful wife, Marite, worries that I’m in danger of becoming a little obsessive and too overprotective. “How would you react,” she asked recently, “if when he grows up, our son wanted to do something insanely dangerous, like attempt the land speed record?” “That ’s fine,” I answered. “Just not in an ice cream van.” Richard Irvine Manila, June 2007

PHOTOGRAPHY & LAYOUT PAOLO DY | CONCEPT RAOUL PANES (ECD) AND ALVIN TECSON (ACD) | PRODUCER ATO DE GUZMAN (BROADCAST DIRECTOR) | MAKE-UP CARMI LOCSIN | PRODUCTION OUT OF THE BOX

I think it ’s fair to say that I belong to a very exclusive club, entry to which requires that the applicant be prosecuted in a court of law for breaking the speed limit…while driving an ice cream van! How many other people can claim such a dubious distinction, I know not. It was this, plus the threat from a rival ice cream man to “rip off my legs and stuff them in the bloody freezer,” that put an end to this illustrious career. (Ironically, my competitor drove a van bearing the legend “Mr. Softie”.) Still, by then I had amassed enough money to pay my way through art school. So, bidding farewell to the ice cream business, I set off to learn all there is to know about advertising. A quarter of a century later, I’m still learning.

BOOK REVIEW

Reviewed by Linda Locke

Fat, Forty and Fired by Nigel Marsh

If you are one of those creatives who has been slogging away at the grimey coal face of advertising year after year, chances are you frequently fantasize about what it would be like to chuck it all in, take a year off and try to find the meaning of your existence. Well, take heart. One man did when he lost his job, and he discovered that life, when lived simply and savoured greatly, could be pretty damn wonderful. He also managed to do what most frustrated copywriters dream of—write a best seller. I bought Fat, Forty and Fired in Sydney after a trip down under to work with the wonderfully talented team of people in the Leo Burnett office. It got me thinking about their chairman, Nigel Marsh, a man with so much drive, passion and enthusiasm for life and our business, that he makes you feel like one of those 200-year old tortoises on the Galapagos Islands. I was curious to know what made him tick, and let’s face it, the in-your-face funny title was irresistible. It is a hilarious and inspiring memoir, quite shocking and very thought-

provoking, because, like the man, it is so frank and truthful. His odyssey of self discovery reveals so many telling insights about the way men and women section off their roles; the excuses we make for being absentee parents; the fact so many people are in denial that they have problems like alcoholism; the way men feel that doing anything to help in the home should earn them the undying appreciation of their life partner, whilst failing to realize how much it demeans what their partners do daily. It is also an incredibly touching and poignant journey as he strives to reconnect with his wife and four children. His style of writing is refreshing and pacy. Playing straight-man-funny-man, he makes you realize is that it is one thing to fantasize about quitting the corporate world and quite another to actually cast yourself to the Fates, especially while recov-

have a personal mission in life to rid the world of bad presentations, specifically bad presentations that abuse PowerPoint as a tool. The number of hours I must have wasted, sitting in meeting rooms and being bored to tears by people using PowerPoint to bludgeon me into (hopefully) willing submission does not bear thinking. If I added up all those wasted hours, I probably can do something much more worthwhile and useful, like build a scale model of the Taj Mahal out of cold meats or memorize the collected works of Marcel Proust. It never ceases to amaze me, how we “communicators” are rarely good at involving the audience of our own presentations (i.e., clients) in our pitches. Instead we believe that communication is the process of sending a message to a recipient in a manner that ensures that they mirror that

ney from Point A (being invited to a pitch) to Point B (deciding in your favor). One of the most endearing things about Steele’s book is how it makes the trip so enjoyable and involving. Steele manages this by liberally seeding the book with plenty of personal anecdotes

Nigel soon realizes that he has been— and I quote—”a bit player in my family.”

Reviewed by Paul Roebuck

Perfect Pitch

The Art of Selling Ideas and Winning New Business

message. As opposed to involving the recipient in the message through stimulation so that they respond favorably. This is the crux of Jon Steele’s new book, The Perfect Pitch, a book that stimulated and involved me from the start through to the finish, much in the same way that I imagine Steele’s presentations involve his audience. The Perfect Pitch is so much more than just how to make involving presentations with or without the use of PowerPoint, and its message stretches beyond a narrow definition of the term “pitch” in the new business sense. At its core, The Perfect Pitch is about how to involve, (and how not to involve), stimulate and excite the recipients of a pitch over the entire jour-

july-august 07

by Jon Steel

about pitching for new business, (primarily while he was Strategic Planning director of Goodby, Silverstein & Partners in San Francisco, but also more personal anecdotes about “pitching” the idea of marriage to his bride-to-be). In fact, the book begins with a story of how Steve Jobs of Apple made the most compelling pitch to Steele and his colleagues, by denigrating the overly complex and uninspiring PowerPoint slides of two of his (soon-to-be ex) marketing team and drawing them into how Jobs would reinvent the Apple brand through a product called the iPod. As such, the book avoids falling into the trap of lecturing the reader or boring them into submission, but rather it enthralls and entertains while,

BOOK REVIEW ering from an anal fistula, which has to be packed with seaweed daily (a searingly painful experience by all accounts). The book is packed full of little gems, like the nightmare he experiences as he navigates the school system for the first time. Trying to do his part in keeping the household running, Nigel takes his younger son Harry to kindergarten, where he soon learns to his embarrassment that he doesn’t know about Little Lunch—when the children enjoy treats; or worse, the Goodbye Window, traumatising his son by leaving him patiently and tearfully waiting at this special window, whilst Nigel happily orders a latte by the beach. His adventures at Kindi Gym prove no more successful, leading him into even murkier waters when his adorable twin daughters make their choice of song for the day, “We don’t touch daddy’s willy because it’s dirty.” Nigel soon realizes that he has been—and I quote—“a bit player in my family.” He shows incredible clarity in recognizing the effect his childhood has had on his behaviour in adult life. The son of a navy man, his early years were peripatetic. That, and the humiliating “character building” methodology of the British boarding school’s “Colonel Blimp” system, created a craving for apprecia-

tion, public praise, as well as a constant need for displays of affection. What was really revealing however, was the fact that he often felt loneliness and a sense of despair when, paradoxically, surrounded by people he loved. This really resonated with me, coming from a boarding school background. I also had the privilege of being torn from the comforts of home in Asia and sent to a convent boarding school in the South of England and which was run by frustrated nuns—an experience I will never inflict on my own child. Goal-oriented and contrary, when push comes to shove, Nigel does the exact opposite of what is expected, setting himself extraordinary challenges. For example, he decides to take himself in hand, recognizing that he “... had got fat. Not slightly overweight, but good old fashioned ‘if I were a woman people would think I was pregnant, trouser having to be done up under the paunch, you need a heavy hammer to drive a long nail’ fat.” He determines to lose weight by learning to swim, the motivation for which (other than losing weight) is to swim the Bondi to Bronte race— no mean feat. This leads to some laugh-out-loud moments, something I haven’t done in a long time while reading a book. This love of challenges manifests itself in behaviour bordering on near lunacy as Nigel lies his way into Stand Up comedy gigs and hotel pools at hotels he isn’t staying at, giving new meaning to the term “white lie.” In fact, after a few chapters, you discover that this is a man who gets an adrenalin rush over seeing just how far he can go without getting caught. Most of all though, Nigel discovers an unbelievable love for the country he has adopted as his home, his wife, his parents, his children and his friends and that happiness comes from enjoying the time you have with those you care about and not from worrying about the times you miss. And why red and black wine gums taste better than all the other colours.

at the same time, informing and enlightening the reader. Steele takes us on a journey: how not to pitch, using the example of “State vs. OJ Simpson,” how to engage and involve your audience (in a wonderful chapter entitled “Bill Clinton, Johnny Cochrane and a London Hooker”), how to make connections that lay the foundations of a great “story” and how to rid yourself of distractions so that you ensure the best preparation for your pitch. This last part is delivered via an anecdote. To rid himself of his Blackberry’s incessant distractions, Steele repeatedly runs it over with his car, resorts to borrowing a sledgehammer from his neighbour Trevor and finally breaks the offensive article into several pieces. Apparently, Steele tells us, a recent study by Hewlett-Packard proved that constantly tapping away at e-mail or texting on your mobile phone has the same debilitating effect on your intellect as smoking two joints of marijuana, (although I would hasten to add, probably without half the fun and certainly without the subsequent inexplicable need to search out the nearest Jollibee). My favorite part of the book however finds Steele re-interpreting Winston Churchill’s famous post-Dunkirk rallying cry to the British people during World War II, (“We shall fight them on the beaches…”) as if Churchill had access to PowerPoint. Here, Steele brilliantly demonstrates how the pervasive abuse of PowerPoint has created a state of corporate intellectual lethargy, observing that use of PowerPoint Clip Art and dreadful slide transitions is “nature’s equivalent of saying you have no imagination.”

It isn’t a tirade against PowerPoint as a tool per se, but rather the way in which the tool has become an intellectual crutch, thereby multiplying the number of bad presenters and bad presentations exponentially. Steele concludes the book, not with a bullet-point summary of all the key points throughout the book, but rather regaling us with the story of how the London 2012 Olympic bid team overcame the odds and won the honor of hosting the Olympics. Through such clever artifice, Steele reinforces all of the points he has made throughout the book but also draws you into the inherent drama of the “biggest pitch of all time.” This book has to be the single most entertaining and informative book about our business that I have read. I was drawn in so much by Steele’s anecdotes and lessons that on finishing the book, I immediately went and ordered a copy for every member of our office’s senior account staff. And that has to be the sign of a truly perfect pitch. To my colleagues who received a copy of the book, please do me a favor and read it soon, because you really don’t want me to construct my meat scale model of the Taj Mahal while you present to me.

Steve Jobs of Apple ...made the most compelling “pitch” to him and his colleagues by denigrating the over-complex and un-inspiring PowerPoint slides of two of his (soon to be ex) marketing team and drawing him into a story about how he would soon reinvent the Apple brand through a product called the iPod.

Linda Locke is the former Regional Creative Director of Leo Burnett and has recently set up her very own company, Godmother.

Paul Roebuck is Chief Consultant of BBDO Guerrero Ortega

july-august 07

CREATIVE REVIEW by Danny Searle

Chairman & Chief Creative Officer, BBDO Singapore

Danny Searle has 25 years experience in Advertising. As a senior writer at the Campaign Palace in Sydney during its heyday, he was one of Australia’s top award winners. He has been regional CD for Y&R and recently ECD of Australia’s largest agency, Clemenger BBDO. In Australia’s foremost business magazine, BRW, Danny was named as Australia’s Best Creative Director. He joins BBDO Singapore in June as chairman and chief creative officer.

OKaaaaay, So there are Mad Cows and Contented Cowboys. And the cows are mad because…they are no longer appreciated! Because he doesn’t need the milk! Because Coffeemate already has milk in it. Got it. I think. Took a while but quite rewarding when I did. Nicely shot. And very eye-catching. But it seems like someone was embarrassed by having a headline, so they hid it away. So it took a while to find that, too. Coffeemate “Attack ” Print Campaign McCann Erickson

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OK, I got this one a little quicker, I must be warming up. Play in the shade with Coppertone. When you do get it, it ’s very good. However, if I were the Creatives on this one, I’d be a bit worried about the delay between seeing it and getting it. When all the work is lined up on boards at the award shows, sometimes the judges walk right past good work like this because of that delay. And maybe that could happen in the market place, too. Coppertone “Umbrella“ Poster DM9 JaymeSyfu

Prett y cool this one. Relevant, Unexpected and Simple. It just lacked a little Engagement for me. But it got my head nodding. So maybe it ’s more engaging than it looks. Ford Focus “Shadow” T VC JW T Manila

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CREATIVE REVIEW

by Danny Searle, Chairman & Chief Creative Officer, BBDO Singapore

Got this one straight away. I just get the feeling it would blend in to those women’s magazines a little too well. Not sure if it has the stopping power to grab my attention (although I don’t have the strong maternal instincts that I’m sure the target market does). My other question is; “isn’t he a bit old to wear nappies? Or a bit young to suffer incontinence?” Huggies “Spill” Poster O&M Philippines

Not sure that being able to make the price tag bigger in a “sale” ad is that much of a deterrent for most retail clients. After all, anyone who stopped to read this ad has already proven you wrong. But then I heard this ad was meant for Creatives, so I guess it works for them. It says “Radio gives you room to move creatively.” Well that ’s good. But it ’s always a fine line when using one media to sell another because you have chosen the media you want them to reject. KBP “Logo,”“Sale” Poster Campaign BBDO Guerrero Ortega

july-august 07

CREATIVE REVIEW

by Danny Searle, Chairman & Chief Creative Officer, BBDO Singapore

I really liked this one. Good, innovative use of the print media. My only reservation is that the clever part is on the first page and is therefore delivered before you realise what it is. By the time you understand it, you’re past it. Having said that, I went back. So it worked on me. DubLight “Movie/Election” Print Campaign JW T Manila

Open on Holy Week. I get it loud and clear. Looks very different and would surely grab my attention. The only thing is, and I don’t know if it ’s just me, I found this one very unappetising, a little creepy even. It seems at odds with McDonald’s clean, crisp image. Not sure if the tone is right on this one. McDonald’s “Holy Week ” Print Leo Burnett Manila

july-august 07

PROFILE OF A LEGEND

JUN URBANO The View from Mongolia

by Cynthia S. Dayco

Once there was a stranger in a strange land called the Philippines. Now, he’s back, and much to his dismay, it has become even stranger.

or those who grew up in the 80’s and 90’s, this alien is that wisecracking Mongolian, Mr. Shooli, played by comic Jun Urbano. Part buffoon, part truth seeker, he predates Sacha Baron Cohen’s Borat by a full two decades. In his latest movie, Ang MONAY ni Mr. Shooli, Jun’s alter ego returns to the Philippines after 40 years of absence and sees the country so different from what he saw in his youth. “The slowness of our judiciary system, the lack of values in our officialdom and people, rampant corruption and the state of politics are all here but the treatment I applied was not offensive, more factual and funny. That is why this is a socio-political satire. I don’t hit; I just pinch. It also serves as an eye opener,” says Jun during the marketing blitz for his movie. But outside of the millions of moviegoers and TV viewers, there is that generation of ad people who know Jun’s other persona—that of Direk Banong, one of the most successful TV commercial directors in Philippine advertising. In the 1980’s, Banong was the director du jour—no, the director du décennie. Check the Pilak Awards, the roster of the country’s best ads of the last 20 years and you’ll find his name

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behind many of them. “Have a Pepsi Day”, San Miguel Beer’s “Isang Platitong Mani,” and Chiclet’s “Chiclet-in Mo, Baby” are among his more iconic work. He also founded Filmex, the industry’s perennial Production House of the Year. Banong was also the favorite director of celebrity endorsers like Dolphy and the late FPJ. He “discovered” Rico J. Puno, Cesar Montano and Richard Gomez and cast them in his TV spots when they were not yet big names. Of course, once upon a time, he was a no-name director. In fact, he was a no-name scriptwriter and assistant director who worked in the shadow of the legendary Manuel Conde, the man behind the Fili-

pino cinema classics “Juan Tamad” and “Genghis Khan.” Conde was also Banong’s father. He admired his father, but “I didn’t want to be like him. I seldom saw him. He was always busy with work. Alam mo naman ang showbiz (You know how it is with showbiz). “Sometimes, when he missed us, he would bring us along. So I watched him during shooting, editing, scoring. So unconsciously, I learned his trade.” So began his long apprenticeship as director. “Even when I was still in Ateneo, I was already writing scripts for my dad. He had a TV show then ‘Under the Guava Tree with Juan Tamad,’”

he recalls. “I would get all the news stories from So while they had first pick of the projects, ang creativity, ang crafting (We operate like a Monday to Friday, write a comedy out of that. Banong found himself warming the bench. cheap cookie factory. People might say that we’ve I’d party through the weekend, but on Sunday, I Then in the early 70’s, he got his first break. forgotten how to be creative, how to craft the ads). would have the script ready and stenciled, in time Nescafé had approved the production of its first Banong suggested the setting up of a satellite for the read-through and locally produced TV spot. Banong production company, which he could lead. But blocking that afternoon.” As a young was thrilled. “Finally, they (the senior Manito refused, “because he never had it so good.” Even then, he still recognize my talents. As it So he approached the people he respected: brash director, directors) resisted the siren call of turned out, all four of them had passed Manny Tirona, a producer from Ace Compton, show business. He chose he made a few up the project.” Ed Bulaong from Great Wall, and Nando Singto major in journal- enemies and Because the ad, while bearing song whom he met as a copywriter in AMA. ism in Ateneo. Under the Nescafé’s prestigious brand, was 15- “Then we got Bibit Duavit, the father of Jimmy wary eye of the Jesuits, found a knife second TVC, showing nothing more Duavit, to finance us. he rubbed elbows with Gil in his back on than an enlarged still photo of a guy “And that was the birth of Filmex.” Yuson, Minyong Ordoñez, occassion. and a lady with a cup of coffee. Aside from putting up his own production Tony Fabia, and Bert Man“My job was to zoom in on the house, he is most proud of the very first “Have lapit, future admen who would one day require picture of this cup, as a voiceover his directorial services. announcer said ‘Nescafé, the cofUntil then, he sampled many trades. “I fee with even more life in it.’” worked for Manila Times. They gave me the poHe laughs and shakes his lice beat. I was a young kid, fresh out of college, head. “Walang ka-kwenta-kwenand my job called for me to hang out at the city ta (A worthless ad!)!” jail. So I quit and decided to sell insurance; I was As a young brash director, bad at that, too.” he made a few enemies and found He tried copywriting, but he so thoroughly a knife in his back on occassion. disliked the process. “Because the AEs were “Yari ako (I was screwed).” But gago (jerks). Abogado mag-isip, hindi creative director of photography Man(They thought like lawyers, not creative at all). ing “Veinte-siete” Roxas was his “Magaling akong copywriter,” Banong says, one true ally. “Malaki ang utang having honed his scriptwriting skills on TV com- na loob ko sa kanya (I owe him edies. “But I had a hard time starting. Don’t give a debt of gratitude).” Aside from me a blank paper and expect me to write.” being his cinematographer, Roxas Without a proper brief, or a draft to work befriended, guided and protected on, his brain couldn’t begin to work. But give him. He was also Banong’s favorhim a script or a storyboard, and he would spot ite butt of jokes, but “he taught me flaws immediately and know how to rework a lot of things.” them—much to the consternation of creatives Then Eugenio Lopez, the To “Da King,” Banong was director, friend and court jester whose ideas he would later turn inside out. patriarch of the ABS-CBN LoThen Videofilm’s Joe Sy hired him as a pezes, bought Scan. So Manito de Leon, brother a Pepsi Day” campaign shot in the Philippines. production assistant. “But I wasn’t there for very of that other cinematic legend Mike de Leon, He was already an established director but in long either.” formed Image Films. It was a time of tremen- the 70’s, clients still felt that local directors That’s because Tony Smith, Tony Mercado dous growth. were unreliable. So they hired a foreign direc“Isang Platitong Mani,” a San Miguel classic

and Manuel Daves put up a production house called Scan. Their directors were Greg Macabenta, Maning Padilla, Manuel Daves and Dick Trofeo. They were seasoned veterans; I was the newcomer with nothing in my reel.”

“There was a time we were making five commercials a day.” Manito would direct three, while Banong took on the other two. “So I told him, “Mukhang hopia factory na tayo. Baka sabihin nila, kinalilimutan na natin

tor named Peter Povei for the job and Banong as his assistant director. After seeing the American version of the ad, vignettes of a family picnic, he felt “kayangkaya ko ito (he could do it, no sweat). We were july-august 07

PROFILE OF A LEGEND

supposed to shoot in Kaliraya with a five-camera setup. (Five cameras! Those were the days.) So I snuck off Kaliraya one day ahead of Peter and blocked the shots in my mind. On the day of the shoot, I took over.” Before Peter Povei knew what hit him, Banong had shot 50,000 feet of film. Out of all that film, Ace Compton wanted Salon Films of Hong Kong to edit a one-minute ad. It was a mess. Banong took back the reels. He re-edited the ad and came up with four one-minuters. In those days, no one had ever seen anything like it, and it quickly cleaned up at the award shows. Although he would make more memorable ads later in his career, he is most proud of this campaign “because it was done my way, against all odds.” It’s a refrain that would be heard over and over again in the course of the interview. On the subject of awards, Banong is initially taciturn. After some prodding, he opens up. “It was so easy to make award-winning ads then, because there were only a handful of us work-

ing on the ad. For example, Minyong and I did the “Chic-letin mo, baby,” kaming dalawa lang ang nagusap (only the two of us had a say in the process). The client wasn’t involved in our discussions. “Minyong would stay throughout the editing. Kapag pagod na kami, pahinga muna (When we were exhausted, we took a break). Minyong slept on the cutting room floor. When the work was done, he’d present it to client. Approved! Maganda (Beautiful)! In the case of the iconic San Miguel campaigns, Banong’s long-time collaborator was a young Tony Gloria. Tony was a mere suit back then, but he was an AE with a knack for copy. “Kami lang halos ni Tony ang naguusap noon. Maski copy, we’d change it right there and then. Minsan kapag may naisip siya, punta lang ako sa apartment niya and we’d talk. (It was practically just Tony and me then. Even the copy, we’d change it right there and then. Sometimes, if he suddenly thought of a great idea, I’d drop by his

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apartment and we’d talk.) “Kaya nagtataka ako nang nanalo ang San Miguel sa Pilak, ang daming nagclaim na kasama sila; hindi na lang ako nagsalita. (That’s why I found it ironic that when San Miguel won in the Pilak, many people claimed credit for the ad; I just kept quiet.)” When Banong reflects on the evolution of the creative and production process, he can only shake his head. “Ngayon ang daming level. Bago ka makarating sa mga diyos, kung kani-kanino ka pa dadaan. Nagiging political ang creative. Hindi na siya purely creative. (Nowadays, there are so many levels. Before you reach the Gods, you have to go through 20 years before Borat, so many people. In the end, came Mr. Shooli the creative process becomes political.) Someone is always protecting his job.” from advertising. “When you grow old, you have He laments the interference that is so preva- to give way to the younger ones. Just as Gerry de lent today. By interference, he means after the Leon and my father did, when I started directshoot, when the offline edit is presented and nit- ing. What I learned from them, I passed onto the picked to pieces. next generation.” “Parang they’re commenting on directorial Of the younger directors, the one he rememprerogative…They just want it shot the way they bers most fondly is Raul Ona. would shoot it. It was prevalent then, and it’s Raul Ona was a fledgling production demore prevalent now.” signer when he met Banong on the set of Juan Today’s directors acquiesce far more than Tamad at Mr. Shooli sa Mongolian Barbecue he would like. “I cannot blame these directors, the Movie. Ona’s passion caught his interest, but because they’re just protecting their jobs. If they the young man’s tendency to question everything don’t agree, the agency will say ‘ay matigas ang ticked him off…just a bit. ulo (oh, he’s so bull-headed)’ and they’ll never be So he said, “Since I’m the director, you’re given another job.” always wrong, and I’m always Of course, some call this “Before you reach right. When I do something phenomenon “collaboration;” the Gods, you have to right, you should pick it up. Banong calls it a waste. “Along go through so many When I do something bad, igthe way, the production cost people. In the end, nore it… I taught him everygoes up, and you blow a lot of the creative process thing—how to choose actors, time, energy, emotion.” how to get them to act, how to becomes political.” Not that Banong wants to get the most of the camera.” hog all the credit. “I’m not saying that the agency Years later, Banong was spending a quiet and client can’t be involved in the process. But night at home. The phone rang; it was Ona. whenever they gave me their full support, I found “And he said to me, ‘I just got off the stage the best possible way to achieve what they want.” at the Ad Congress. They gave me the Best DiAlas, even Banong is quick to admit that he rector award…Direk, this is for you.’” can no longer impose what he thinks is right. He Banong pauses. His eyes are misty. is out of the ad production business. Having sold He shakes it off and puts on his best Mr. his shares in Filmex, he now spends much of his Shooli face. He redirects the topic back to his time on the speakers circuit. As Mr. Shooli, he movie. And as impassioned as he is about the relishes the challenge of making university stu- sorry state of the nation, you can see his hooded dents, businessmen, and even Catholic bishops eyes twinkle every now and then. roll down the aisles…and then watching them You can be sure he’s rifling through his get up and think. memories of a far simpler life, when he answered He has no regrets about moving on and away to the name “Direk Banong.”

THE C2 SUCCESS STORY:

by Harry Mosquera

Creating Waves in a Blue Ocean Strategy A few years ago, while in mainland China, tive advantage in order to win much-desired market legendary Cebuano taipan John Gokongwei, Jr. share. In crowded industries, head-on competition noticed that in restaurants, consumers drank a have only resulted in a bloody “red ocean” where tea-based cold beverage. rivals fight over an ever-shrinking profit pool. “I visit China quite often,” he told a group Following a study covering more than a cenof writers from the Philippine Daily Inquirer. tury of 150 strategic decisions in 30 industries, W. “I saw people drinking this (tea), and I checked Chan Kim and Renée Mauborgne argued in the around and noticed this was outselling Coca-Cola October 2004 issue of the Harvard Business Rein some areas.” view that the success of today’s companies will not A savvy and visionary encome from battling their competitrepreneur, the thought of miltion, but rather in creating “blue lions of Filipinos choosing a oceans” of uncontested and undenon-carbonated drink instead veloped market space. of the usual “Coks” must have The metaphor of the “red” captivated “Mr. John,” as the versus “blue” oceans graphitycoon is endearingly and recally illustrates the over-use and spectfully referred to by his the over-focus of “competition” employees. By 2004, a refreshand “competitive advantage” in ing non-carbonated green tea marketing. In the Kim-Mauborbased beverage called C2 (for gne paradigm shift, it is a more Cool & Clean) Green Tea was lucrative strategy to (a) find and introduced to the local market develop blue oceans, and (b) to through Mr. John’s food manuexploit and protect blue oceans. Mr. John Gokongwei facturing company Universal In a blue ocean, you create the Robina Corporation (URC). As a strategic value demand, rather than having to In press briefings, of- innovation, C2 is a fight for it. Like the pioneering ficials of URC claim that C2 tsunami in a blue settlers of an untouched frontier, is brewed from the natural ocean world. you get the tremendous opporgreen tea leaves of Camellia tunity for unchallenged growth Sinensis, and not made from tea powder or con- and immediate rewards for being there first. centrate. C2 is available in five varieties: plain To create your very own blue ocean, Kim and green tea, green tea lemon, green tea apple, green Mauborgne posit that you could (a) launch a comtea peach and the black-tea based lemon iced tea. pletely new industry, or (b) extend the boundaries of Two years after its launch, the contempo- an existing industry from within a red ocean. Crerary adaptation of an ancient Asian beverage has ating your own blue ocean is what business experts beaten established soft drink brands, not only in and MBA professors consider a strategic value inpopularity but pricing as well. As reported in the novation, because it builds value for both your comManila Times, C2 has provided a phenomenal re- pany and your consumer in terms of creating new turn of 208 percent above target. demand, while making your competition obsolete. The young president of URC, Lance GokonThe website Value Based Management. gwei, admitted in a press briefing earlier this year net provides a simple comparison between a red that C2 now outsells Coke. In fact, URC’s Phil- ocean and blue ocean strategy, to wit: ippine beverage business grew by 64 percent in Traditional marketing strategy is aligned value terms and 82 percent in volume terms, on with differentiation (or, as defined by marketing the back of a 100 percent value and 76 percent gurus James Grant & Michael Porter, the ways volume growth of C2. a firm can offer uniqueness to customers, and Not surprisingly, C2 plants are running 24/7 as such, is a strategic choice of the firm). Once to cope with the growing demand. Not surprisingly too, the C2 success story is RED OCEAN STRATEGY BLUE OCEAN STRATEGY gaining the attention of marketing practitioners Compete in existing Create uncontested market space in the country. Business schools are highlighting market space Make the competition C2 as a very good example of a successful Blue Beat the competition irrelevant Ocean Strategy. Exploit existing demand Create and capture new But what is a Blue Ocean Strategy? demand Simply put, a Blue Ocean Strategy is develMake the value-cost Break the value-cost oping uncontested market space that makes your trade-off trade-off competition irrelevant. Align the whole system Align the whole system of For so long, marketing practitioners have of a company’s activities a company’s activities in aimed for sustainable profits and growth, strug- with its strategic choice of pursuit of differentiation differentiation or low cost and low cost gling for differentiation and fighting for competi-

the strategic decision regarding differentiation is made, the firm can then position itself in the marketplace and prepare its competitive strategies. Revenue and profit are viewed in terms of incremental growth. Reducing costs as a factor of profit is seldom looked at. Blue Ocean Strategy, on the other hand, is aligned with both differentiation and cost. This is because the value innovation required in creating a blue ocean is possible only if innovation is placed in the context of utility, price and cost positions. A blue ocean becomes possible and sustainable if costs are kept low while you drive differentiation and value up for your company and your consumers. As a strategic value innovation, C2 is a tsunami in a blue ocean world. Consider the following: all-natural ingredients, freshly brewed process, same-day bottling, good taste. convenient easyto-use container, affordable price, wonderfully crafted and believable brand image. Indeed, as an entire package, C2 can be already considered a saleable product, if not an outright winner. But instead of identifying the existing readyto-drink tea market as its competitive arena, the makers of C2 looked at the market realities—and saw opportunity. There was, and still is, a trend among consumers for healthier lifestyles, and therefore, healthier choices in food and beverages. Consumers now prefer bottled water, juices and teas over sugary sodas. So instead simply convincing tea drinkers in a small market niche to drink C2, URC decided for a larger “share of throat”—by creating and capturing new demand for a healthier kind of drink. Furthermore, because URC is part of a diversified conglomerate, they were able to leverage the synergies offered by their affliliates and subsidiaries. The bottles and sugar they supplied made C2 a differentiated and low-cost product, breaking the mold of the value-cost trade-off in a traditional manufacturing set-up. There are, of course, many other examples of Blue Ocean successes. There’s eBay with its online auctions. Even hbc with its private labels in its ubiquitous beauty care retail outlets. Marketing practitioners, who are always on the look out for creative ways and means to have the edge in the marketplace, should consider a Blue Ocean Strategy for their products—not only to create waves, but to drown old concepts of competition.

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LOVER OF LIFE:

Noel Lorenzana, Creatively Speaking products, there is one name that stands out from the rest: Unilever. From sumptuous soups to sensuous soaps, Unilever’s products are not only brand leaders in their categories; more importantly, they help consumers get more out of life. Noel, who’s the father of three, and looking like he’s in the best shape of his life, gamely shares his insights on creative marketing and communications with Angel Guerrero over a hearty breakfast at Circles.

He is a rare breed of marketing man: the Creative Client. He is every advertising agency’s dream client: a man of bold ideas, someone who is willing to take his strategic vision of where the future could be heading to reality. He is the man who will take a creative leap of faith to fire up the consumer’s imagination with something new, in order to make a difference for his brand. He is a man willing to go where even some advertising people are not. One such Creative Client is 41-year old Noel Lorenzana, the managing director for Unilever Home and Personal Care Philippines and has recently been promoted to chairman of Unilever Malaysia and Singapore. He is behind many of the breakthrough campaigns for Unilever brands, like the Close-Up Loveapalooza Lovefest which got into the Guinness Book of World Records; Pond’s billboards, Rexona projects and branded movies. It is no surprise that a company like Unilever provides an environment that nurtures and nourishes creativity. According to management guru Peter Drucker, the business that does not innovate inevitably ages and declines. Hence, the most dynamic companies also tend to be the most successful. And in the world of consumer

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Collaboration Is Key “If you have read the book Presence, there is a thesis…that says you’re part of the system, and the system is a part of you. Gone are the days when you were totally independent. Perhaps the future of the Philippine (advertising) industry is good to see from a collaborative stand point. You got to get client with you…mass media with you…and raise the bar in terms of delivery.” Spearheading New Approaches “I will do a movie with my brand, and people will pay to watch it, and you will probably say that’s bullshit. We have done it twice. First is Close to You, a movie about…Close Up. It was a blockbuster that set records…There was

one article in a newspaper saying, ‘Thank you, Unilever for saving the movie industry…’ People loved it. And it’s a movie from Close Up! “I produced a second movie, First Day High, for Rexona. It hit all (our) target markets. It broke the record for the highest grossing movie in the Philippines for teens. I saw Charo Santos last time, and she said, ‘When are we going to do the next Valentine’s movie?’” The World Is Changing “You have to make the your client share the vision…We are not actually moving from the content. We are actually moving from the state of the sender-receiver scheme, to let me (the client and the product) be part of your (the consumer) life.”

Try All Forms of Media “We need to collaborate in all forms of media. From movies, I produced a reality TV. show with ABS-CBN. TV show is about the brand Close Up—“Close Up to Fame.” It will run for two years, boys and girls competing to become the next Close Up model. Everyone in the Philippines wants to be the next Close Up boy and girl.” Good Creative Minds Are Hard to Find “More and more, creative geniuses are hard to find. Really. When people start to be, you know, inauthentic, you lose it. If you start to miss that meaning of what you are doing, you lose it. The most successful in life are those who are actually driven by meaning. Show me a creative who’s driven by meaning, who drives his craft with meaning—that’s a good creative.” Judging Good Creative Craftsmanship “Take the Surf series. ‘Wais’ has become a campaign. ‘Lumen’ became the endorser. ‘Wais’ has become pop culture. It has Filipino values that a lot of people believe in…I realized that once you are the market leader, there is work to do in terms of taking pride (in the product). I said that we have to make people proud of using us. That’s why we came up with our ‘Hanapbuhay’ campaign…‘di baling marumi basta marangal ang buhay.’ (Never mind being dirty so long as you live life with honor and dignity.)”

MEDIASCAPE

Consider Consumer Perception “It’s all about take out. It’s not what about what I input to a material, but what the consumer takes out. A lot of people are so focused on input. They miss the point. How many times do you tell your mother ‘I love you.’ But in take out, it means ‘You need something from me.’ And that’s the whole point. “At Unilever…we realized this (from) engaging (with) a lot of people. We learn from the environment, both from the bad ones and the good ones. How can a country like the Philippines with a lot of creative people have to get directors from Thailand, Singapore, Hong Kong? Why? Filipinos are so creative.”

Serendipity and Leadership “Leadership isn’t about structure; it’s not about process. I think leadership is about creating conditions, a place for serendipity. A lot of the brand moments in the history of man are serendipitous. Alexander Fleming, when he discovered penicillin, followed the process, right? Step one, step two, step three, step four…Then he left this Petri dish filled with a culture of bacteria in the sink, turned off the lights, and slept. Next

morning, he goes there, and he sees the culture being sort of shielded. It was the conditions that he set—it was a wet environment, the lights were closed, blah, blah, blah…Serendipity.”

CHRISTINA AGUILERA AND MAROON 5 IN BURN Burn magazine’s July-August issue features Christina Aguiilera and Maroon 5 on the cover. A timely choice since Aguilera has a concert in Manila on July 6, 2007. In this issue, readers are given a chance to win VIP tickets to Aguilera’s concert, CDs from Sino Sikat?, Maroon 5 and Joss Stone, plus Fergie and Joss Stone shirts. Not a bad offer from a music mag.

INSIDE RUPERT MURDOCH’S QUEST FOR THE WALL STREET JOURNAL

In a wide-ranging, exclusive interview, Rupert Murdoch talks with TIME about his bid for the Dow Jones Company and his dealings with the Bancroft family. He says, The Importance of Research “They’re taking five billion dollars out of me “Research has its use. It’s a tool. Why do An Eye for Beauty and want to keep control…In an industry in you think in Paris, outdoor cafés are so popular? “The creative challenge that we face is to crisis! They can’t sell their company and still Why is it in the Philippines, why do people eat develop an eye for beauty. Everything is ‘in Release control it—that’s On Sale: Friday, June 29, 2007 indoors? How can you grab the insight if youFor areImmediate your face.’ Take a look at the billboards around. not how it works.” not one with life? You have to be one with life.” There’s no drama. There’s no foreplay…If a TIME COVER: On his plans woman comes to you naked, are you going to be THE LAST TYCOON for the Wall Street Know Your Business aroused? That’s why people say Thailand is a Inside Rupert Quest for the Journal: “What if, “There was one agency, I won’t mention the creative hub…Hong Kong Murdoch’s is a creative hub.” Wall Street Journal at the Journal, we name…wanted to pitch for my business. They spent $100 million come with the full armory. You know, this guy Creative Judgment (Hong Kong, — In a judgment wide-ranging, exclusivea interview, year hiringRupert all from Singapore, this vice-president from wherev“I June think28, the2007) best creative is a negMurdoch talks with TIME’s his bid for Jones the the bestDow business er. I ask them one question. About Loveapalooza. ative judgment, isn’t it?Eric The Pooley best wayabout to judge Company andisdealings the Bancroft family, saying, taking five journalists in the They don’t know about it. The thing’s a public things to reactwith as man thinks…you have to “They’re billion dollars out of me want to keep control industry crisis! Sayin200 event! If you really want my busisee and things from a naïve point… of In anworld? They can’t sell their company andhave still to control it—that’s it works.” of them. And ness, you could’ve been there, view. You see things for not how spent some money observed it. I am not impressed http://www.time.com/time/business/article/0,8599,1638182,00.html the very first time.” on establishing by suits. I am not impressed by the brand but go name cards. I don’t even carry Changingthat thehe Status On Dow Jones, and accusations wouldQuo hurt the company: global…And one! You want my business, but “There wasfor asomething phenom-in order • “Why would I spend $5 billion to wreck it?”then, you make it free, online only. No printing plants, no paper, no trucks. were you there? Loveapalooza enon in the UK…where key • “The price of the [Wall Street] Journal isthe $60 plus vitriol.” How long would it take for the advertising is the biggest pop event in the agencies, big agencies, were On his plans for the Wall Streetthe Journal: come?all It the would successful, it would world…we raked up the record challenged. Because the smaller • “What if, at the Journal, we spent $100 million a yeartohiring bestbebusiness journalists in the work and you’d make…a little bit of money.” with 6,100 couples kissing.” outfits provided new angles and world? Say 200 of them. And spent some money on establishing the brand but go global … And then creativity…that’s fresh, authenyou make it free, online only. No printing plants, no paper, no trucks. How long would it take for the Below-the-Line tic, virginal—and all of these big advertising to come? It would be successful, it wouldTOBACCO work and you’dFIRMS make…aTAKE little bit of money.” vs. Above-the-Line agencies were all caught up with DOWN BILLBOARDS “We (Unilever) are the so-called protocol. And it’s goInside TIME Yet another location has been affected biggest advertisers in the Philing to be the way of the world. by the smoking ban: billboards. In compliance ippines…activation has become a part of the That’s why we give some new agencies a break, with theDown Tobacco Regulations 2003, toPetraeus Tells now. TIME’s Joe to Klein, All Doubling Here … We’reAct AllofIn” mix, it’s deeper now because you are nowGeneral in- and look at them I’d like think“We’re that they baccothat firms in the Philippines pulledand down volved more with the consumer. We don’tTIME’s cut took lot outreports of working with where, us as well.” JoeaKlein from Iraq, he writes, “it is clear [General David Petraeus] his all aides tobacco the beginning of July. down on above-the-line work…we see it from are preparing for the endgame.” Petraeus tells TIME, “You’ve got to billboards work fromsince the bottom up, get the local the Philippine TobaccoofInstitute a holistic perspective.” Love of … Life forces involved We’re all doubling down here … We’re all in.”Both Petraeus, the commander what one and the Outdoor Advertising of “It’s the communication. How best the senior military official calls “Operation Last Chance,” says he would love to see “a coupleAssociation of weeks without the Philippines confirmed that in there About Being A Creative Client communication is. Take a Dove campaign explosions” before the September deadline set for awith congressional reassessment of the war Iraq.are no more cigarette billboards anywhere in the “If I wrote my job description, it’s not about just PR and billboards. The brand grew by 25 http://www.time.com/time/world/article/0,8599,1638128,00.html archipelago. coming up with creatives that break the mold. percent....I always say to the guys, with anything The TRA prohibits all cinema and Somebody does that. My brief is…to sell prod- you have to do, change the world…Pacquiao TIME Reports: “Unfettered Capitalism” in China Contributes to Unsafe American Imports outdoor advertising, including leaflets and ucts, and to ensure that my brands become truly changed the world. Loveapalooza changed the TIME’s Jyoti Thottman examines the regulation system behind the except recent Chinese contaminated pet food posters, point-of-sale advertising part of people’s lives. So with that…put together world…The reason why our jobs are so good is scandal, writing, “When a product made in China enters the U.S., it arrives with a kind of unfettered inside retail establishments. It took effect on with the mission of the creative partner, you because they deal with human life…It’s not just capitalism thatcreativity. hasn’t existed in theforU.S. for a century—uninhibited by regulation, lawsuits or, until recently, July 1, 2007. come up with greater creative work.” about It’s a love life.”

“Show me a creative who’s driven by meaning, who drives his craft with meaning— that’s a good creative.”

public outrage ...” http://www.time.com/time/magazine/article/0,9171,1638436,00.html

july-august 07

Issue Date: July 9, 2007

Take the Initiative “Sometimes marketing is about being timely. Pacquiao lost the fight against Morales. Every Filipino likes the underdog, like ‘di baleng duguan, basta malinis ang laban.’ (Never mind if you’re bloodied, so long as it’s a fair fight.) That campaign was a bang! We have brands moving…People say it’s an emotional campaign, but people are giving feedback (that) you can express emotion. I mean, we can make an ad, then we can make it a good one. Very authentic.”

TIME Reports on “The Epic Saga of the Seventh Manuscript” of Harry Potter and the Deathly Hallows TIME’s Lev Grossman and Andrea Sachs write about the secret preparations involved for the last Harry

MEDIASCAPE percent) need to act more strongly, and local government was also singled out (77 percent). The study by Universal McCann also revealed changing aspects of peoples’ behavior as environmental issues affected their lives. People said they were more likely to buy brands t h a t are seen to be environmentally friendly (47 percent) but then 54 percent also said that most brands claiming to be “green” were simply paying lip service to the issues. The poll also revealed that 62 percent of people felt there was an economic benefit for companies to be more environmentally “Environmental friendly. On the personal pollution and global warm- level, the two top iniing are…more tiatives that people unconcerning to dertook relating to environmental care were Filipinos than recycling (87 percent) crime and and watching environviolence.” mental documentaries (62 percent). Overall, 61 percent of people said they were making efforts to care for the environment, but only 16 percent felt their initiatives were making an impact. Moreover, 15 percent of people said they were concerned about the issue but believed it was too hard make an impact. “Clearly large sections of the population have a higher sense of urgency about the environment than many people realize,” said Universal McCann CEO Venus Navalta. “While the traditional media have been carrying quite high-profile coverage on the issues, we also have a very strong sense that the new digital mediums for communications are running hot with commentary and real worries on this subject, particularly among young people. “So clearly this impacts people’s buying decisions in all product categories and this will accelerate at a rapid rate,” said Navalta.

“The Environment— Now It’s Personal,” says Universal McCann Study Filipinos’ anxieties about the deteriorating environment have moved from being a national issue to one of great personal concern, according to a new study from communications agency Universal McCann. In a recent national poll, half of those surveyed said the environment was negatively affecting their appearance and health. Universal McCann’s poll was fielded as part of the agency’s on-going analysis of trends and influences impacting people’s lives, bringing about behavioral changes and shifts in product purchasing decisions. The distress that people feel personally about the environment revealed a new level of concern to Universal McCann’s researchers. The poll, which mainly covered people aged 18 to 40, revealed that 54 percent of people strongly agreed that their environment was having a direct effect on their health, mostly causing allergies and breathing difficulties, while 49 percent said it impacted their appearance, mostly relating to hair and skin care. Overall, environmental pollution (77 percent) and global warming (75 percent) are the two factors more concerning to Filipinos than crime and violence (71 percent), the cost of living (67 percent), government corruption (66 percent) and poverty (62 percent). Such strong feelings have galvanized Filipinos’ opinions on actions and responsibilities to do with the worsening environmental situation. Among those surveyed, 74 percent said that corporations need to do more to preserve the environment. Real strength of opinion was also directed towards government, where 76 percent said stricter regulations with steep fines are needed to ensure people do more to protect the environment. National government bodies (82

Ink Publishing to Publish clickair’s Inflight Magazine Ink Publishing is launching the new inflight magazine for clickair; the new Barcelona-based Spanish airline that combines the price competitiveness of low-cost carriers with the features of conventional airlines. With content produced in English and Spanish, the first issue of the bi-monthly publication, titled clickmagazine, goes onboard planes beginning July 11, 2007. Ink’s burgeoning portfolio now includes 26 inflight magazines produced in 13 languages. Starting operations in October 2006, clickair meets the needs of a new generation of business and leisure travelers, providing point-to-point daily flights to 45 Spanish and European destinations from Barcelona, La Coruna, Malaga, Valencia and Seville. Its network is expanding to 70 routes by the end of 2008, with a forecasted 10 million passengers. Michael Keating, Ink Publishing group editorial director, said that “clickmagazine appeals to an intelligent, savvy and international audience, whose interests include arts and culture, style, architecture and fashion, travel and lifestyle, food and drink, profiles, sport, technology, business and investment. There is a fast-paced front-of-book section that contains short news items, style tips, cultural events and mini profiles. The main feature includes quality, high-end articles that properly engage and hold readers’ attention throughout the flight.”

RMN LAUNCHES HD RADIO MULTICAST In a report by Manila Standard, the Radio Mindanao Network announced the first HD Radio Multicast broadcasting in the Philippines. Using a Nautel HD Radio FM transmitter, station iFM 93.9 DWKC in Manila became the first commercial station in the country to broadcast with HD Radio as a limited test in 2006. Beginning this July, it also became the first to expand to full power with HD Radio multicasting. Three channels of digital programming are being broadcast by RMN in their HD Radio multicast operation. “We are excited and proud to be the first broadcaster in the Philippines to offer this advanced technology to our listeners,” said Engr. Charley S. Canoy, vice president for engineering of RMN. “Our

multicast HD Radio gives RMN listeners even more choices in radio entertainment and information. We look forward to incorporating this technology throughout our network in the coming months and years.”

MSI PROMOTES MOBILE PHONES AS NEW MASS MEDIUM

Mobile Signature, Inc. (MSI), a Manilabased expert on QR or two-dimentional bar codes, offers advertisers, advertising and media agencies a way to overcome the growing limitations on ads imposed by shrinking production budgets, rising media inflation and advertising regulatory boards. Headed by managing director Marco B. Nieto, MSI designs QR codes that can be printed on publications, packaging, and out-of-home ads. When captured by MMS mobile phones, the QR codes link consumers to advertising, via branded MMS, and for those with Internet-ready phones, to websites. From there, consumers can access interactive branded content, like games and music/ wallpaper downloads, as well as extended or unrated versions of film/TV spots. Approximately 40 percent of phones in Philippines are GPRS-ready, and one third of the country’s 38 million mobile subscribers have phones configured for MMS. For the advertiser that wants to create touch points beyond the usual TV, radio and print, the fourth medium is able and ready. july-august 07

PROFILE OF A LEGEND

HAVING FUN WORKING HARD

The Genius of

David Droga

Thirty-eight year-old David Droga has variously been described by the world’s leading advertising magazines as a “hunk,” an “ad genius,” and the “World’s Best Creative Director.” David is certainly good-looking enough to be a poster boy, and his body of award-winning work—including, so far, three Cannes Grand Prixes and 50 Cannes Lions—speaks for itself. But ask him to react to the title “World’s Best Creative Director,” and he becomes ambivalent. “It’s a subjective thing,” he muses. “We’re in an industry that loves to award and loves to give titles and stuff like that. Is it a nice thing to be called (such)? Absolutely. I think you know what I mean,” he says, smiling. “I hope it’s not just (because of) the awards. I hope it’s got to do with the cultures (I’ve worked in) and the people I’ve influenced.” Certainly, industry awards—especially the Cannes Advertising Festival—have been instrumental in raising the profile of David. In fact, he affirms that he enjoys attending Cannes. He has been quoted that he started in Cannes as an impressionable young writer and eventually, as a hardened creative director. He witnessed it as a student, teacher, spectator and judge. Or, as he colorfully puts it, “A nobody, a somebody. A cynic, a fan. An optimist, a pessimist.” Cannes, for David, remains the advertising industry’s “only true and necessary creative litmus test,” the biggest and toughest competition of them all. Surprisingly, awards are not very important to him. Awards are not the end-all, be-all when he creates advertising. “It’s not,” he claims. “It’s not how I do it. But I figure, if you got to compete, you compete to win.” And he continues, “The luxury of having won so much…I feel I can

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look for much more than that as the definition of who I am.” David clarifies, though, that awards are a great benchmark regarding the quality of creative work for agencies and clients alike. “But it’s not the end point, and I think when it becomes your focal point of doing anything, it’s dangerous,” he says. “Me, I’m all caught up in, I want to create great ideas. I’m proud of the work that I’ve done: the diversity of the accounts, the scale of the idea, big stuff.”

“The best ideas always come from really understanding the brand. They are not generic things that you just retrofit to your client.” Born and raised Down Under (in a ski resort, no less), David is the portrait of the unlikely advertising genius. “I was very lucky I started young in advertising,” he recalls. “I knew what I wanted to do from a young age. I wanted to be a creative…at 18, I suddenly discovered advertising is a great outlet—you can be creative with someone else’s money!” “I didn’t have the patience to be a novelist,” he avers. “I didn’t have the talent to be a director. My imagination is all I’ve ever had, really, and advertising was an outlet where you can be creative on different things con-

tinuously. There was always the money to make it happen.” “It’s not only open-ended creativity,” he clarifies, “but creativity that has reason for being. I found that really appealing!” After graduation in 1987 from the Australian Writer & Art Director College, David joined OMON as a copywriter. In his first agency work in Australia, David found a mentor of sorts. “This guy called Simon Reynolds,” he recalls. “He taught me you could have fun working hard. And I became obsessed and I worked very hard.” “I’ve always said I never thought I had more talent than anyone else,” he coyly acknowledges, “but I thought I could outwork everybody.” From Sydney, where his agency won the Australian Agency of the Year twice, and his creative work won Ad of the Year four times, he moved on to Singapore. The fateful move was the start of an exceptional international career. “I grew up very quickly in Australia,” David says, “and I just thought I needed to challenge myself. I wanted to see the world.” And why Singapore? “Asia seemed like an amazing option,” he reveals. “And I’ve got this thing where I do things people think I shouldn’t do!” In 1996, David joined Saatchi & Saatchi Asia. Within two years, he was named Saatchi’s regional creative director. Before he turned 30, he was promoted to executive

“Still Free” viral campaign

creative director for Saatchi & Saatchi in London. By the time he was 33, Saatchi was named Agency of the Year at Cannes, and shortly thereafter, David became the winning-est creative at Cannes. David admits that as an Australian working in London, he initially felt intimidated, but found that it is the same everywhere: everyone is insecure. In a previous magazine interview, David attributed his success to being Australian: “We cut to the chase. We’re loveable but direct. I had to be honest about what was needed at Saatchi’s.” In 2002, he accepted a fresh challenge as the very first worldwide chief creative officer of Publicis in New York. That same year, he was bestowed the title “World’s Best Creative Director” by AdAge. Restless as ever, David launched in 2005 his own company, Droga5, with the support of Publicis. Maurice Levy, chief executive officer of Publicis, said then that it was imperative for Publicis as a creative company to explore, innovate and push the limits. Dean Gemmel, an insightful observer of the global advertising industry, had a different take on David’s move: “This is a guy with the kind of job most creatives once dreamed about: power, independence, gobs of cash, perhaps an assistant hired largely to deflect underlings and apply suntan lotion while sitting poolside at Cannes—and he’s decided that it’s, er, not so great,” he wrote. “More telling is the fact that he’s leaving to start a ‘non-advertising business.’ As in thoroughly unrelated to the current advertising business model. You know things are amiss when a guy who can pretty much write his own ticket takes a walk.” Gemmel then quotes David as saying that “I’m smart enough to see that there’s not especially an exciting future as the global creative director of a company restricted by a business model that has reached the point of diminishing returns. In fact, I’m too smart to waste my time hanging out here and trying to make it work.” When adobo asked his reasons for setting up Droga5, David says that “I wanted to get my hands to work once more. I wanted to work on things that interested and challenged me.” For sure, being independent makes him happy. “I choose clients with broad mandates and bold

“Tap Project ” for Unicef

mandates. Clients who want to create solutions that don’t necessarily fit a medium,” he says. With his creative reputation, David gets clients who would often want something similar to some award-winning material that he has done previously. He, however, takes pains to explain to them that such material was “the right thing for the right client at the right time…It’s not right for you. You have to do what’s appropriate.”

“Everyone stares at the same white page, whether you’re sitting in Manila, or you’re sitting in London. And what you put on that page can define you and your work.” For David, creativity must have a reason for being. “At the end of the day, the best ideas always come from really understanding the brand. They are not generic things that you just retrofit to your client,” he explains. “The things I’m proudest of have a real emotional insight with

Steinlager’s “ Win Nick ’s Life”

the consumer, how they’re thinking.” Droga5 is David’s antidote to boredom and irrelevance. “I hate predictability,” he declares. “I’m a restless gypsy…I don’t get up with the hype of the industry. I’m not a very social person. I’m happiest when working.” There is, of course, a whole world of difference from a pampered creative talent to becoming a creative entrepreneur. “I realized how much of a bubble I’ve lived in my other jobs,” he concedes. “Now I have to worry about the coffee machines…Are the toilets clean?…Is someone answering the phones?” But running a business has not dulled his creative sensibilities. “Our office is more like someone’s living room than an office,” he says. This intimation of home perhaps reflects his personal life. Unknown to many, David is a family man, happiest with his wife and three children—two boys and one girl. He readily divulges that while his wife reads storybooks to his children every night, he tries to make up stories for them—something fresh and original each time. Despite being a citizen of the world, David in his heart remains proudly Australian, and he tries to go home to Australia to visit his parents every Christmas. Australia remains his refuge and his haven from the highly competitive industry where he is much respected, revered, feared and envied. Advertising’s most acclaimed hunk is, ironically, not overtly sporty. He prefers yoga for relaxation, though he confesses to being a sports fan. He particularly enjoys following Australian cricket. He loves to write, and also enjoys going to art galleries when he has free time. Being dubbed the “World’s Best Creative Director” brings with it a certain level of responsibility, and he is always asked for tips or words of wisdom. He has this to say to creatives in general: “I just work hard, that’s it. That’s the beauty of our industry. Everyone stares at the same white page, whether you’re sitting in Manila, or you’re sitting in London. And what you put on that page can define you and your work.” Perhaps. There may be no short cuts to success, but his genius is in having fun. And quite certainly, no one looks as good as David Droga working hard. july-august 07

THE MIAMI AD SCHOOL

TOP DAWG The best advertising school in the world shows its bark and bite

Remember the BASIC/FCB AdSchool? Some 20-odd years ago, when Wordstar was the copywriters’ best friend and art directors still airbrushed their brochures, the amalgamated agency known as Basic/ FCB screened hundreds of young hopefuls for their eponymous advertising school. Then the chosen few underwent on-the-job training and numerous revalidas under the watchful eyes of different department managers. It was the closest thing to earning a degree in advertising then. How times have changed. Advertising is now a mainstay course in most colleges today. But if you want to study with the best, then you want to go to the Miami Ad School. Founded in 1993 with just seven students, the school has grown to more than 450 students in Miami, San Francisco, New York, Minneapolis, Chicago, Sao Paulo, Hamburg, Warsaw, Prague, London and Amsterdam—11 campuses in all. But what makes the school so special is their innovativeness: the first to team Art Direction and Copywriting students and to market the graduate teams to agencies, the first to offer Account Planning, the first to develop a global network where

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students can study in just about every major advertising capital in the world, and now the first to develop partnerships with the industry. These partnerships range from occupying actual space within an ad agency (London’s Saatchi, Stockholm’s Lowe and Minneapolis’s Carmicheal Lynch, et. al.) to writing new curricula and developing new programs. Plus, their partnership with Miami’s Crispin Porter + Bogusky, a three-time global Agency of the Year winner, gives students access to some of the very best people in the game. As a result, the students here

They have Lions and Clios. Do you?

have won more awards in international competitions this year than any other advertising school in the world. Do really well and your interning agency will even hire you! Their working methods also deserve a mention. Convinced that education for creative advertising professions was behind the times, Miami Ad School considers itself the first “portfolio school.” This hands-on approach enables wouldbe copywriters, art directors and graphic designers to learn relevant skills while building a professional-quality portfolio. More realistic and effective, this enables graduates to work immediately without additional training. Think you’ve got what it takes? The school’s brochure offers some irreverent yet sage points to ponder. Tip number 1: Get a dog. For one, they’re much nicer than human beings. More consistent. Heck, even more loyal. Even do dirty work like sniff for suicide bombers. But more than anything else, dogs know how to have fun. Just smelling your socks at the end of a long day makes their juices flow! TBWA\Chiat\Day ad legend Lee Clow brings his German Shepa-

rd to work. Crispin Porter + Bogusky’s move into their new office space was conditional on the owner of the building making an exception to their “no dog” policy, as the official lease reads “No dog allowed except for the Chairman’s dog, Suzy.” Now all the dogs that come to the agency are named “Suzy” and belong to their chairman. Naturally, students and teachers bring their dogs to the Miami Ad School, too. Dogs are even used to select the students. If a prospective student comes over and shows fear or disrespect to the pup at the door, they’re advised of other schools they could go to. Smudge, a chocolate Labrador Retriever and the school’s official mascot, wanders in and out of the classrooms, sits on the sofa and pays attention to the goings-on. And he hasn’t farted during critiques in two years. Which is more than can be said for humans. Tip number 2: Simplicity with visual impact KISS. That means Keep It Simple, Silly (in very kind terms). Keep it visual. Who has time to read, anymore? Life is short enough as it is. Want to know products and benefits? That’s what the Internet is for.

But for print ads, just make it simple. Powerful images with lasting impact. Try making it funny. Outrageous. Over-the-edge. It’s all about the visual these days. If there’s a headline, the type usually requires a magnifying glass. Mostly, there’s just a tagline. But the photos and illustrations are magnificent. Mouth-watering, haircurling and groin-tickling. Tip number 3: Words are worth a thousand pictures Budding copywriters don’t get the short end of the stick at the Miami Ad School, uh-uh. But it’s not the sixties anymore, when Bill Bernbach popularized his Yiddish, and David Abbot was the flying the flag of dry wit. When Copy was king and art directors didn’t dare to reduce headlines to the size of today’s body copy. When only writers knew how to use typewriters. Sadly, over the years, Copy died, and art directors alone held the secrets to the computer keyboard. While print ads became visual feasts, copywriters retreated to the land of radio. But while no one was looking, copywriters made a comeback. They’ve been sharpening their teeth on blogs. Words slipped under the radar. Words came back with a vengeance. Po-

etry slams went national. Hip-hop happened, yo, and the forgotten copywriter is back from the dead! Tip number 4: Solve the problem first, then find the media. The big deal today has been product placement. Watched football lately? The player’s name is nearly invisible, covered by a dozen sponsors. Technology is able to change the sponsors to suit the audience. Better yet, simply make the product itself the story. The consumer is so jaded that that you must disguise your sales pitch. Many people just don’t want to look at ads nowadays. It’s simply not all about print ads or television any longer. If you want a glimpse of the competition, go on the web. You can use any kind of vocabulary or four-letter words you wish, in any language. Best of all, the competition can be (or seem like) one person-to-person dialogue. That’s the real objective of innovative media, isn’t it? Bottom line, it all comes down to solving an advertising problem first, then finding the appropriate media to use. Tip number 5: Impress your mom and dad. Respect outdoor advertising.

Just Your Average Ad School Facilities Miami Ad School has an XBOX area. Aside from the obvious, the console helps to sharpen the students’ brand content development skills. A simple exercise might go like this: if they were to advertise, say, a brand of jeans, how and where would they go about seamlessly placing their product within a game? In some trendy store window somewhere in Grand Theft Auto perhaps? The Screen is a humble, two-way monitor where students can voice concerns and questions and receive live responses from the creatives over at Crispin Porter + Bogusky. Talk about having your own hotline to advertising big shots! Also, this school loves its football teams (that’s soccer to you, Yanks), so much so that they hold a friendly Top Football Ad contest along their main corridor. Each week, students can submit their best ad supporting either their Men’s or Women’s Divisions, and the work that’s adjudged the winner gets displayed for an entire week.

Students are reminded that when they make a newspaper ad, it lasts one day. But a billboard, that’s something else. Your creation is standing there like a giant monolith for the whole world passing by. Finally, your mother understands what you do for a living. “My son does billboards,” she tells the bridge club. You are famous. And you deserve recognition because the medium is a real test of creativity. What else can you show or say to someone traveling 70 miles an hour?

often no headline to beautify. However, given a typographic opportunity, students can do the job. The School loves students whose typographic design wins big in awards shows. Because they get the Big Picture. Tip number 8: Photograph the real world, then your dreams. Miami Ad School students are told to shun the stock photography books. And they do stay away from stock 98 percent of the time, too. The exceptions happen when, for example, they need a penguin. Miami has many, many parrots but, sadly, no penguin on South Beach. After a while, the students

Tip number 6: Revisit your childhood curiosity. In too many cases, the mechanical look of the computer has replaced the vision of the artist. Aspiring art directors are advised to re-visit their childhood. Back when doodlebugs were fascinating. Chances are they could draw. Most likely, they were the ones who put the “Hitler” moustaches Co-founder Pippa Siechrist on the principal’s shows off her kids’ work photograph. Find that feeling of freshness again. Take a look at folk art. Walk into a gallery. Or a dog pound. Don’t forget to take a camera. Or a sketch pad. Even a Where product shots are born tape recorder. Sounds can be the origin of a fall in love with photography and brilliant visual idea. Listen to dia- avoid “stock” anyway. They find logues and accents; that’s your next they can do it better themselves. But they do study the great tv commercial happening right in front of you. Go visit your grand- photographers. As they get more mother or an old aunt, and pay atten- skilled, the image manipulation tion this time. Re-create your life. often begins before the photograph Then express yourself artistically. is taken. They also see their immediate environment more critically. Tip number 7: They cast local characters. They Look at the big picture. even become an observer of light Typography isn’t what it used and atmosphere. This, of course, to be. Students’ portfolios just changes the way their ideas are don’t exhibit the strength in de- conceived. Ideas happen in ways signing with type as they did in the that could never have happened 70’s and 80’s. In fact, take a close before the students knew their way look at today’s ads. The typogra- around photography phy doesn’t knock your socks off. There’s more to the Miami Why not? One reason is Ad School than words can really there’s not much copy on most ads convey. It’s really something best these days; everything is visual. experienced firsthand. If you’ve The professional type is not much got the means to follow your adbetter than the student type. vertising dreams, there’s no better Now, look at editorial design in place to learn. They’ve got all the magazines. Lovely type. But in an tools to help you make it big. ad, student or professional, there’s Well, except for Wordstar. july-august 07

THE BIGGER PICTURE

Born in 1842

A History of Advertising by Cid Reyes

date with history is what this handsome and hefty volume is all about,issuedincelebration of the year 2006, a key date which is the 100th anniversary of the birth of Publicis Groupe’s founder Marcel Bleustein-Blanchet. The year in the book’s title, however, refers to the year when the history of modern advertising began. It was in 1842 when a certain Volney B. Palmer first uttered the words “advertising agency.” That year, he created the first advertising agency in Philadelphia, an agency which, in time, will join Publicis Groupe. (The key word here is “modern” advertising, since the history of advertising could begin as early as the 1630s, when, as the book’s introduction informs us, a Frenchman, Theophraste Renaudot, placed the first advertising notices in La Gazette de France. The United Kingdom could also claim that in 1786, William Tayler began to offer his services as “Agent to the Country’s Printers, Booksellers, etc.) The book Born in 1842 carries a foreword by the only person worthy to write it. Maurice Levy, chairman and CEO of the Publicis Groupe, a vast, global network comprised of the MacManus Group, Leo Burnett, Fallon McEligott, Saatchi & Saatchi, Beacon Communications of Tokyo, Jimenez/Basic of Manila, to name a few. In his foreword, Levy writes: “I am acutely aware of being a part of a long, unbroken line of advertising professionals. Among these people, Marcel Blaustein-Blanchet occupies, for me, an exalted position; it is alongside him that I made my debut. I have said it many times before and I will say it again: I learnt my passion for advertising from The Rage to Persuade, Marcel Bleustein-Blanchet’s rage to persuade! He was my teacher, my mentor and the person who directly, daily instilled this passion in me…As an heir to this long tradition, I feel under an obli-

july-august 07

gation which has two aspects which at first appear contradicting: to uphold but also to change tradition. In fact, these two aspects complement one another. Continuity is one of the cornerstones of this profession, and an agency must be a place whose creative ideas can serve our clients’ brand in the long term. This is our raison d’etre; it created the profession and it continues to underpin the profession’s existence.” Maurice Levy joined the Publicis Groupe in 1971 to set up its data management system.

(1906-1996), founding president of Publicis and pioneer of modern French advertising. At the age of 20 (!) he founded Publicis, from publicite (advertising) and six his favorite number, being born in 1906 and starting his agency 1926. His father, who had wanted him to continue working in sales in the family’s furniture business, ridiculed his intention to sell advertising in radio: “So you want to sell hot air?” Marcel replied: “What makes windmills go round?” Spoken like an account man. The different chapters in the book consist of specific time frames that aim to contain between covers the “vast landscape of consumption,” as the introduction (by Stephen Pincas and Marc Loiseau) puts it. Each chapter reviews sample campaigns from the agencies that joined the Publicis Groupe. The first chapter (1842-1921) is naturally devoted to the pioneering campaigns at a time when the world was changing at mindboggling speed, engendered by the Civil War in America and the Industrial Revolution. With the coming of the First World War, propaganda turned to posters in a show of strength that would make of Coca-Cola one of the best-known brands in the world. Advertising as seen through the work of the Publicis Groupe Mass-market goods, such as groceries, benefited from the art of In his bio-info, we read that he became secretary packaging to express their identity, giving birth general of Publicis Consul in 1973, general man- to the idea of branding. A cigarette, named after ager in 1976 and president in 1984. Under his a one-humped dromedary (Camel), became the leadership, Publicis became the biggest adver- top brand in the United States. tising network in Europe and, later, one of the The second chapter (1921-1940) is annus most important players in the communications horribilis, magnified to several decades, with industry in the world. one world war following another, with the Great Our interest, no doubt, has been piqued Depression following in its wake, and the world by the person of Marcel Bleustein-Blanchet waking up to the rise of totalitarianism. And

most interesting: comparative advertising, competitions and promotions emerged! The consumer had sunk into the quagmire of apathy. In 1935, Monsieur Bleustein launched Radio – Cite.

What sort of content should be invented for this new medium? The answer: The soap opera! These were a series of comedies and dramas created by agencies to promote the brands they managed. Oxydol, a Procter & Gamble detergent, was the brand that started the “soap opera.” The expression came into its own when these radio broadcasts begun to be sponsored by various soap manufacturers such as Procter & Gamble, Colgate-Palmolive, and Pepsodent. Now, this entertainment goes simply by the term “soap.” Modernity characterizes Chapter III (19411960) as an era of firsts: the first computer in 1983, the first space satellite, the Sputnik, in 1987. It was also an era of inventions that revo-

lutionized everyday life: the transistor in 1948, plastic, chewing gum and nylon stockings. It was—ta-da!—the era of television, which, in 1954, became the primary advertising medium. Most intriguing: The major television stations did not want to allow agencies to control programme content, so they produced their own

programmes and gathered together commercials into a separate slot! (Hello, Kapuso and Kapamilya!) In 1954, the Marlboro image, which was originally aimed at woman with a red “Beauty Tip,” was repositioned by Leo Burnett’s agency. The very first newspaper ad in 1954 featured a cowboy. And just who is Mr. Philip Morris? He was a British tobacconist, with a simple shop on London’s famous Bond Street in 1847. Thirty years later, he introduced the Marlboro brand. “The Advertising Generation” is the title of Chapter IV (1961-1980). This was the era of “Youth”—the socalled “baby boomers,” born after the Second World War. Described as “non-conformist in the extreme, resolute hedonists and individualists,” this was a generation raised, reared and fed on television. For the first time, a UK political party had turned to a major advertising agency (Saatchi & Saatchi) for its election material. Britain’s Iron Lady, Margaret Thatcher Maurice Levy is said to have exclaimed “Marvelous!” upon seeing her campaign “Labour isn’t working.” “New Frontiers” is Chapter V (1981-2006) which is the era of globalization. Innovations in communication channels—the video cassette, the remote control, text messages, computers and the internet—revolutionized consumption patterns. Democratic ideals swept through Central and Eastern Europe, causing a massive thirst for consumption. (The Berlin Wall fell on November 9, 1989.) McDonalds served billions and billions—light years away from the time, in 1937, when the McDonald brothers opened a small restaurant that offered only hamburgers, French fries and drinks. Bit of history: “This establishment attracted the attention of one Ray Kroc, interested in who

Marcel Bleustein-Blanchet

had bought eight Multimixers from him, each of which was able to prepare six milkshakes at once. Kroc saw that the efficiency of the organization was an excellent means of selling his machines and imagined furthering the formula across a chain of franchises. In 1955, he opened the first McDonald’s in Des Plaines, Illinois, and in 1960 he bought the company from the brothers.” Business genius at its most inspiring! The agency? Leo Burnett. Finally, “Looking to the Future” (2006- ) with inspiring messages from the worldwide creative heads of partner agencies: David Droga, Pat Fallon, Miguel Angel Furones, John Hegarty, Bob Isherwood and Linda Kaplan. A last word from Maurice Levy: “The communication industry has come of age and will go on to seduce you. Vive la Difference!”

CID REYES is a writer, painter, art critic and VP corporate communications director at Ace Saatchi & Saatchi. july-august 07

PRIVATE VIEW

cents and values

vertising work such as Account Management & Planning, Creative Development and Print/Broadcast Production, Media Planning/Buying.” Most agencies rotate the practicumers in these departments. Top company officers give them lectures on how advertising is practiced, peculiar to the specific company. Then, the students are handheld by mentors in each department, doing real advertising work pertinent to the department’s function. Nandy Villar, managing director of McCann Erickson, said that this year, McCann expanded its disciplines, adding to the number that competes for the practicumers’ attention, the more popular being Activation and Relationship Marketing. “For a deeper dive,” Nandy said that McCann assigns the practicumers to the discipline that suits them best, based on McCann’s assessment. All the agencies view the summer practicum as a possible recruitment opportunity. In the words of Nandy, “attracting talent is the by-product of the program.” As a matter of fact, many of the fresh hires in these agencies are the winning graduates of the practicum programs. TBWA proudly cites Corey Cruz from UP Diliman Fine Arts, now an art director under the Creative Department; Bianong Labiano from the Ateneo, now a copywriter under the Creative Department; Yas Sanchez from the Ateneo, now an account manager under the Account Management Department. Practicumers can and do sell themselves to would-be employers, and vice-versa. There is, by the way, no guarantee that the practicumers will choose the company in which they are taking their internship, even when their advertising pas-

The Ad Industry’s Young Interns

by Nanette Franco-Diyco If doctors work in a true-blue hospital during their medical school years immediately before they’re declared doctors, many universities and colleges offering advertising and related marketing courses have demanded a parallel requirement before their students enter their senior year. It’s to the credit of a number of big Makati advertising agencies that they have indeed flung open their doors to aspiring students who want to take their first bold steps into the rat race of advertising. My observations are based on five multinational advertising agencies whose practicum programs I have monitored in the past three years: Campaigns & Grey, McCann Erickson, BBDO Guerrero Ortega, TBWA\Santiago Mangada Puno and Jimenez Basic. Unfortunately, JWT pulled out its practicum offering only recently. There are sterling motivations for advertising agencies to invest in such a lengthy, demanding summer program. As TBWA exec Val Subido verbalized, “The agencies provide the students with hands-on experience and exposure on the major areas of ad-

logic and magic Tell all the truth but tell it slant— Success in circuit lies Too bright for our infirm delight The truth’s superb surprise As lightening to the children eased With explanation kind The truth must dazzle gradually Or every man be blind— —Emily Dickenson

Tell it all, tell it fast, tell the truth

ommunications people work with facts, perception and truth every single day. It’s what advertising, PR and media practitioners do for a living. In fact, “truth in advertising” is marketing communications’ ethical call, while “tell it all, tell it fast, and tell the truth” is PR’s mantra, and “truth to tell” is media’s battle cry. As professionals, communicators talk almost casually about the truth, but what does it exactly mean? Truth is a conceptual idea. It is fidelity or compliance with facts, the quality or state of being true. Truth is supreme. It is sound, flawless, pure, and absolutely perfect. Truth invites scrutiny. It doesn’t shrink from inquiry. It doesn’t fear tests or trials. Examination or investigation, criticism or condemnation, questions or doubts, feelings or wishful thinking, and acceptance, rejection or denial does not affect it. Truth cannot be altered or eliminated. Not by time or chance, and not by words or money. It is indestructible for it endures forever. Truth is feared. As we have witnessed, some go to great lengths to conceal, disguise or obscure it. Using deception, dishonesty and omission, they turn truth into a lie, substituting it with half-truths, fabrications and fables.

july-august 07

by Bong Osorio

Cynics, though, claim there is no truth. As they say, what we hold true as true is an accumulation of perceptions gained from filtered perceptions of events and environment. We can never know all the facts of a situation. Still, others insist there is truth, but it might not be recognized immediately. We may never know all facts or intentions, but we may know enough to present it truthfully. Communications professionals who value the moral dimension of the practice believe that accuracy builds credibility, inaccuracy destroys it. Lies shatter trust and reputations, honesty and truth build confidence and responsibility. Lanny J. Davis, a special counsel and spinmeister to a former US President once said, “People in media are like everyone else in their common sense instincts as to what rings true and what doesn’t. They are trained over the years to assume that what they are being sold by politicians is not likely to be true in all respects. Thus, their first reaction to an effort to deny an obvious fact will be to try to disprove the denial, and not stop until they are successful.” Davis’s observation is not exactly a ringing declaration that “the truth will set us free.” It’s a good piece of advice though, to people in the public eye. In most cases, the truth comes out eventually, so we may as well tell it

PRIVATE VIEW

A practicumer comes out of the experience with greater palpable presence and blooming confidence...the adman at the very least becomes a rejuvenated person, feeling as young as his protégé.

sions were obviously aroused there. This is where the ad agencies simply label the seemingly sour fruit as their all-out service to the advertising industry. Call it then a labor of love. Nonetheless, most agree that while they are practicumers, they can and do dish out good work, as guided by the agency mentors. BBDO Guerrero Ortega’s Head of Copy Simon Welsh observed that BBDO has deliberately expanded its selection of 14 trainees this year to cover the University of Santo Tomas, the University of the Philippines, the Ateneo, the University of Asia & the Pacific, Lyceum, Assumption, Miriam, and a Thai expatriate. “So the agency has been fairly crowded this

from the start. The public is made to share information and opinions that can help the electorates in forming their individual or collective impression. Most people don’t speak the truth for fear of the dangerous consequences. Telling the truth implies that the information to be shared is hard to deliver. Telling the hard truths almost always means giving bad news. People can get hurt, become angry, lose their esteem, and these emotions are usually directed at the communications messenger. However, based on the “tell the truth” experiences of many political figures, brands and companies that have undergone some form of crises—scandals, sickness, emergencies and the like—the outcomes have turned positive: better relationships and more satisfying work experiences. “Honesty is the best policy” remains to be a subversive proposition. By telling the truth, we get people to look each other in the eye, share their appreciation, state their resentments, get over them, and move on. To some, these benefits may be questionable, but this is how we can best serve and help each other. The PR worldview envisions truth as an infinitely malleable, spinnable thing. For some consultants, the truth is not a thing to be discovered but a thing to be created, through artful word choices and careful arrangement of appearances. In fact, one of the rules of PR is that spin cannot be a demonstrable lie, a point driven home in every PR textbook. “Never lie to a reporter” has become a standard industry principle. PR consultants agree that there are three pieces of advice which business professionals and politicians alike can heed in a crisis. The first guidance is “to tell it all—what is exactly happening, what we plan to do, how we feel, why things are the way they are.” In delivering the truth, present the bad news first. The message must be clear and simple, projected without the color commentary. Explanations and drama can get in the way of the information. Having a list of

summer as you can imagine! And because they get a free hot lunch at our Cemento Bar every day, the food’s been running out quicker than usual too!” he laughed. I personally like the practicumers’ detailed exposure to Finance and IT. What most trumpeted as a real privilege is their interfacing time and again with David “whose very pores exude creativity.” JimBasic’s choice 14 this year come from the Ateneo, U.P., Assumption, UST and Letran. Campaigns & Grey’s 2 groups come from Ateneo, Assumption, Polytechnic, Meriam, St. Scholastica’s College, UA&P and UP. Most of the agencies have a rigorous process of selection, choosing from hundreds of applicants. According to Senior Copywriter Eliza Joy Nitura-Dimaano, Campaigns, apart from using a magnifying glass in scrutinizing all application letters, demands two long rounds of group interviews. JimBasic’s Abby and Mon Jimenez both go through all the applications and give the final imprimatur for any practicumer’s acceptance. Dig these pluses: A practicumer comes out of the experience with greater palpable presence and blooming confidence. And for whatever it’s worth, the adman at the very least becomes a rejuvenated person, feeling as young as his protégé. Call it a win-win situation by all accounts. NANETTE FRANCO-DIYCO is a faculty member of the Ateneo de Manila University and the University of Asia & the Pacific. She also writes a weekly advertising column in the BusinessWorld and a bi-monthly marketing column in the Food & Beverage World Magazine.

ready solutions is vital. We appear like heroes if we can immediately offer answers to the shared problems. Blaming others for our predicament must be avoided. Finger pointing can look like we’re shirking responsibility. The second urging is to tell the truth immediately. It’s not good enough to tell the truth at the start of an assignment or at the end. The best time to express anger or disappointment, for example, is when we’re experiencing the emotion. The hardest thing about anger is getting over it, and the only way to get over it is to come clean, fast. The third counsel is to tell the truth repeatedly. In a corporate setting, this principle means that “it’s one thing for an individual convert to embrace radical honesty,” but we can, on the other hand ask, “What about the rest of the organization?” At one point in the P&G system, for instance, PR consultant Mary Cusack picked up a simple technique for practicing truthfulness. The process is called “Stop, Start and Sustain.” Every six months, members of her group participated in an informal appraisal exercise. Each person selected five to ten peers, subordinates and managers to evaluate them along the three “S” criteria: “What I want you to stop doing; this is what I want you to start doing; and this is what I what you to sustain.” Then the whole group met to discuss the appraisal. At P&G, as Cusack reported, the process became “addictive and very satisfying.” We shouldn’t be surprised. Telling the truth may be difficult, risky and tricky. But once we get to the truth, we can fall in love with it.

Truth cannot be altered or eliminated. Not by time or chance, and not by words or money. It is indestructible for it endures forever. Truth is feared.

BONG OSORIO is an active marketing communications practitioner, a multi-awarded educator and writer rolled into one. He currently heads the Corporate Communication Division of ABS-CBN, and is a professor at the University of Santo Tomas, as well as a columnist in the Philippine Star. july-august 07

PRIVATE VIEW

marketing leadership

25 Lessons from 25 Years of Marketing by Willy Arcilla 1. Love your consumer above all else—including your boss, if necessary, because even the boss can be fired by consumers. Ultimately, the consumer IS the boss. 2. Do not allow anyone or anything to besmirch your brand’s reputation because the damages can be long-lasting if not irreparable, and thus costlier than it seems. 3. Do not change anything in your brand just to make a name for yourself. Do it because it satisfies consumers and that ultimately strengthens your brand. 4. Know your brand and product/service as much as you can, because you can’t market or sell what you don’t love, and you can’t love what you don’t know. 5. Remember that ultimately, a good product

or service is the best form of marketing as you win loyal customers who will generate word-of-mouth advertising. Conversely therefore, a bad product or service is the worst form of marketing. 6. Do not force consumers to buy what they don’t want or need. You are simply wasting your time, money and talent—and turning off your prospects. 7. Do not covet your competitor’s positioning. Find your own—a brand positioning that is important, specific and unique, with a strong point-of-difference that convinces consumers to prefer your brand vs. the competition, i.e., answer the fundamental questions of “Why should I switch?” or “What’s in it for me?” Once you’ve found that singular position for your brand, stay single-minded and focused.

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raphers, the contest runs from May 1 to October 31, 2007. Consequently, all entries must be taken during the contest period. Exciting travel packages await the winners, including a 45-day fly-all-you-can SEAIR adventure pass, trips to Boracay with 3D2N accommodation in Sun Village Resort, digital cameras, and other packages from major sponsors. Flying Smiles is divided into two general categories, FLY SEAIR and SMILE SEAIR. The FLY SEAIR category is open to all SEAIR passengers traveling within the contest period. All submitted entries must feature “anything SEAIR.” Examples are photos taken inside or outside the SEAIR plane, inside ticket-

Do not covet your competitor’s positioning. Find your own. 13. Do not launch new products/line extensions/flankers without thorough qualification of the full mix. Avoid Bahala Na Marketing, i.e., “throw it on the wall and see if it sticks” because

ing offices, individuals wearing SEAIR shirts, and the like. The SMILE SEAIR category showcases the beauty of not only the country’s most popular tourist destinations, but of its people as well. The entries must feature happy and smiling vacationers with any of SEAIR’s destinations as the backdrop. The most popular of the airline’s destinations include Boracay, Busuanga, Puerto Princesa, Palau, and Batanes, among others. A complete listing of SEAIR’s destinations can be found in their website, www.flyseair.com. Entries of the finalists will be exhibited in the Picatoo website all throughout November and will be made publicly available for voting. Equal weight will be given to the votes from both the website and the judges in determining the overall winner. The contest will culminate with an awarding ceremony with live band performances on that same month. Aside from the photo contest, Picatoo and SEAIR are teaming up to give photo and travel enthusiasts exciting incentives. SEAIR passengers traveling between May 1 and

Picatoo and SEAIR Gives Us More Reasons to Smile Summer has officially ended. Make the most out of those vacation photos and finance next year’s trip through them. Picatoo and South East Asian Airlines (SEAIR) are co-presenting FLYING SMILES, a photo contest that showcases the talent of digital photographers nationwide. Open to all amateur and non-professional digital photog-

8. Do not cheat, steal from or lie to consumers by overpromising and underdelivering, which causes advertising to lose credibility. Uphold the PANA’s age-old ideal of “Truth in Advertising.” 9. Remember that the best form of advertising is packaging and not TV commercials, because it’s what the consumer sees at the pointof-purchase, reads, compares with competition, buys and takes home. But bear in mind also that “first on the shelf” does not mean “first in the mind,” so advertising is just as vital. 10.Do not sell ads since consumers don’t buy ads. They buy products and services. 11. Love your agency as yourself, since you gave the brief and approved the airing. 12. You can not do everything at once. Prioritize among the 4Ps (e.g., do I make a better quality product for consumers or spend more on talent fees?), between ATL and BTL, production and media, between consumer promotions and trade deals.

June 30, 2007 are automatically entitled to free online photo developing, courtesy of Picatoo, upon presenting a copy of their boarding pass. Consequently, Picatoo customers whose print orders reach a cumulative amount of Php500 are entitled to a 15 percent discount on SEAIR airline tickets purchased between May 1 and December 31, 2007, whose travel period is from May 2007 to March 31, 2008. Flying Smiles is brought to you by Picatoo, an online photo developing site created in partnership with Fuji YKL Color and SEAIR , which offers the fastest flights to Boracay and most flights to Palawan. Flying Smiles is made possible by Mozcom, RX 93.1, Jam 88.3, Enterprise Magazine, PCWorld, PULP,

Manila Bulletin’s Picture Perfect, adobo Magazine, Sun Village Resort, Polaroid, Happee, Revicon ION, Slimmer’s World, Shanghai Bistro and Clickthe City.com. For more information on the contest, mechanics, and the promos, please visit www.picatoo.com/SEAIR or call (+632) 848-2606.

PRIVATE VIEW the cost of failure is larger than you think—it will demoralize the sales force and ruin your credibility with the trade & consumers. Try to assemble a winning bundle of ALL marketing mix elements. 14. Upon execution, practice integrated marketing communications or the One SightOne Sound principle to maximize bang for the buck; maintain message consistency for consumers and avoid confusing people, including yourselves. 15. Do not dilute your brand’s equity by proliferating line extensions that are strategically inconsistent with a brand’s positioning just to get extra shelf facings in modern trade or gain a short-term boost in sales from pipeline volumes. 16. Do not be overconfident and complacent as to underestimate your competitors, because success is perishable. Just look at all the failed kingdoms, empires and dynasties in history books, or companies and brands in the business landscape. 17. Do not over-intellectualize your message and advertising. Follow the KISS principle = Keep It Simple yet Smart for the sales, the trade and your consumers. 18. Do not waste precious A&P with weak advertising and excessive media spending, “wallpaper” displays, illegible merchandising and run-of-the-mill promotions.

19. Do not harm your brand by coming up with “quick fixes” (e.g., price cuts or media cutbacks) that can prove inimical to the long-term health of your brand.

Avoid Bahala Na Marketing, i.e., “throw it on the wall and see if it sticks” because the cost of failure is larger than you think. 20. Do not give trade deals just to get quick sales (because deals are addictive like drugs and constitutes “bribery” of the trade) only because you have failed to do your fundamental job of generating consumer pull demand for your brand. 21. Do not be self-righteous as to ignore suggestions or reject criticisms, because most are well-intentioned—either from colleagues, the sales force, consumers, trade customers, friends or foes and most specially your own relatives. 22. Do not be greedy as to promote excessive consumption of your product because that will tend to create a backlash. Promote the virtues of balance, moderation and temperance. Learn from the lessons from tobacco and alcohol, fastfood and snack foods, sodas

and candy, big cars and oil companies, TV and computer gaming. 23. Do not blame others for any failure since the buck stops with Marketing, whether it’s a lousy ad, a product/package defect, poor availability, material run-out, ill-timed price hike, liquidity crunch, etc. The consumer doesn’t care. He/she sees, knows and remembers only the brand/company, and if ultimately the consumer IS the “boss”, then Marketing owns the privilege of being his/her “direct report.” 24. Do not pretend to be who you’re not, as consumers will see through you as a “phony,” and this applies as much to brands as it does to people. Be yourself. 25. Indeed, Marketing is vital for any company, but precisely because of this, you must accept that Marketing is too important to be left only to Marketing people. WILLY ARCILLA had a rather unique career in Marketing, Sales and General Management, having managed (or mismanaged) a total of 50 brands under 24 product categories over the past 22 years. Now, he has his own firm called Marketing Leadership and is a professorial lecturer at the UP College of Business Administration, UA&P-CRC, and the ESA.

Selected by adobo’s editorial board and some of the countr y ’s top creative directors

June 2007

Skycable “One Night Stand” TVC 60s

Agency: McCann Erickson Philippines Advertiser: Skycable Platinum Creative Director: Micky Domingo/Russell Molina/ Carlo Directo/Bong Banal Art Director: Gem Habito

Copywriter: Gail Riofrio Director: Carlo Directo Production House: Reality Entertainment Producer: Jing Abellera/ Idda Aguilar/Marvee Abad Sound Production: Hit Productions/Brian Cua july-august 07

The industry’s hottest directors were out for some fun!

LTL’s Dondon Monteverde welcomes VIP’s Mother Lily, DDB’s Gil Chua and TBWA’s Tong Puno

1st Year Anniversary

Larger than

Life

The Rounin connection: Direk Erik Matti with Diether Ocampo

Hard rocking Anibughaw: one of the 15 bands that performed “Louder Than Life”

Abracadabra’s Dynamic Duo working their magic with Guido Zaballero

Full staff is here! Ready to grind?

Teeny, Troy and Susan: Who is the fairest one of all? “In what world is this fair?” protested Ross Misa to longtime friend, Mari Buencamino

Hunks Alex Syfu and Troy Montero

The festive atmosphere provided mini reunions for friends and former colleagues Erik Mana dazzled the crowd with his street magic

july-august 07

LTL’s special guests

CREATIVE SHOWCASE

The first page is a sticker sheet of the Goldilocks cake toppers. The nex t page is a full page picture of a plain cake that invited people to tr y their hand at decorating with the stickers.

Ad Title: Goldilocks “Stickers” Print Agency: PC&V Communications Creative Director: Ariel Comia/Kat Gomez-Limchoc Art Director: Carlos Guadarrama Copy writer: Kat Gomez-Limchoc Print Production: Ar vin Obañana Account Executive: Aian Garay

Ad Title: Vaseline Shampoo “Pirate” T VC 15s Agency: McCann Erickson Philippines Advertiser: Unilever Philippines Creative Director: Micky Domingo/Trixie Diyco/Boyet Custodio Art Director: Ryan Giron/Henr y Gonzales Copy writer: Ryan Giron/Henr y Gonzales Director: Jeorge Agcaoili Production House: Provil Producer: Cris Dy-Liaco Post Production: Optima Sound Production: Hit Productions

july-august 07

CREATIVE SHOWCASE

Ad Title: Bench Fix “Shadow” T VC Agency: JimenezBasic Advertiser: Bench Fix Creative Director: Don Sevilla III Art Director: Don Sevilla III Copy writer: Don Sevilla III Director: Don Sevilla III Production House: Straight Shooters Producer: Jam Manikan Accounts: Jade Amon/Christina Zamora

Ad Title: Tinactin “Yoga/Church/Judo” Print campaign Agency: DM9 JaymeSyfu Advertiser: Schering Plough Creative Director: Merlee Jayme/Eugene Demata/ Mike Calaquian/Jerr y Hizon Art Director: Mike Calaquian Copy writer: Jerr y Hizon Photographer: Paulo Gripo Print Production: Calypso

july-august 07

CREATIVE SHOWCASE

Ad Title: Tide “Mothers day” Print Agency: Leo Burnett Manila Advertiser: P&G Creative Director: Raoul Panes Art Director: Rey Aguilar Copy writer: Dax Dacayan Photographer: Raul Montifar Print Production: Benjie Puno Accounts: Onik Barbosa/Roan Reyes/ Ria Concepcion

Ad Title: Davies Paint Color ”Date” T VC Agency: Campaigns & Grey Advertiser: Charter Chemical Creative Director: Noel Orosa/Jun Ureta Art Director: Ben Obed Copy writer: Lorenzo Cruz Director: Thierr y Notz Production House: Straight Shooters Producer: Richie Aquino Offline Editor: Edmundo Yasay Mel Valera, Aurie Anden Online Editor: Maya

july-august 07

CREATIVE SHOWCASE

Ad Title: McDonald’s “Green” Super Salad Burger Print Agency: DDB Philippines Advertiser: Golden Arches Development Corporation Creative Director: Teeny Gonzales/Russell Molina Art Director: Joseph Valasquez Copy writer: Russell Molina Photographer: G-nie Arambulo of Adphoto Food Stylist: Patrick Guttierez Print Production: Edward Carpio

Ad Title: Pinoy vote “Ink” T VC Agency: DDB Philippines Advertiser: Pinoy vote.org Creative Director: Teeny Gonzales/ Russell Molina/Eric Salazar Art Director: Noah Valdez Copy writer: Paolo Fabregas Director: Edrie Ocampo/Dave Hukom Production/Animations/Special Effects: Ignite Media, Inc. Producer: Paolo Fabregas Music Arranger/Composer: Jamie Fabregas

july-august 07

CREATIVE SHOWCASE

Ad Title: FedEx “Hard Road to Cross/Zhang/ Keep Guessing” T V campaign Agency: BBDO Guerrero Ortega Advertiser: FedEx Asia Pacific Creative Director: David Guerrero/Suthisak Sucharittanonta Art Director: Joel Limchoc/Leong Wai Foong/ Weerachon Weeraworawit/Alex Lim Copy writer: David Guerrero/Simon Welsh/ Ronald Ng/ William Tsang Director: Suthon Petchsuwan Production House: Matching Studio Agency Producer: Naree-sara Ajchariyakul/ Zoe Dale/Jing Abellera Post Production: The Post Bangkok Sound Production: Drum/Hit Productions

july-august 07

BANG FOR THE BUCK Carlton Draught Hits it Big

THE BRAND Carlton Draught is a full strength beer (4.9 percent alcohol) from the Foster’s Brewing Group, Australia. THE MARKET SITUATION Foster’s has been brewing Carlton Draught for over 150 years, primarily in Victoria, Australia. It stems from a time when individual pubs

brewed their own beers, and in this instance, the “Carlton Brewery” from a suburb of Melbourne, was where the brew was originally created. In the year 2000, Foster’s made a decision to expand the brand into other Australian states, to complement other beer offerings they had in those markets. With this push onto other geographic markets, the brand was repositioned to a sub-premium offering, and a new communications platform was born—“Made from Beer.” THE CHALLENGE Foster’s was traditionally strong in Victoria, and its expansion into other states was inevitable. The challenge for Carlton Draught, was to attack

july-august 07

these new markets with an awareness campaign, particularly New South Wales (Sydney), where 50 percent of total Australian beer volume resides. The big task was to generate awareness, such that when the Foster’s sales team went into a venue, they had an “easier” sell of the product into venues. Put simply, there was a need to create a strong brand momentum.

THE STRATEGY The agency, George Patterson & Partners, needed to clearly position the brand on a national level, as the “step up” from mainstream beer, which had its own unique brand imagery, tone and personality. From a brand positioning point of view, the agency were cognizant that consumers were increasingly cynical of advertising and marketing, and they were aware of the tricks that are being used. Moreover, the best times for consumers are when they are hanging out with their mates, in a pub, drinking beer in an unbranded glass—everyone is equal. These two key insights led to a

great tension—and ultimately a fantastic proposition for the campaign— Carlton Draught is simply good, honest beer. Nothing more; nothing less.

was unrepresented. We wanted to address that balance. “Once we had the idea, we just tried to put in as many epic clichés into the one ad as we could. But we THE BIG IDEA thought it would be much better Creators of the Made From if, instead of the usual wholesome Beer campaign, Writer Ant Keogh characters in these things, we used a and Art Director Grant Rutherford ramshackle bunch of beer-drinking said, “Carlton Draught’s theme is ‘a blokes, all running about. Also, these good honest beer.’ spectaculars always seem to go very “So we were searching around smoothly, and we didn’t think that for things we thought were a bit seemed true to life at all. Instead, we bogus, that we could take the piss wanted to have the guys go through a out of, and we hit upon the idea of lake or over a fence or something. We sending up The Epic. figured they would be coming straight “It seems brands, especially from footy training; they would be a airlines or sports companies tend little underprepared. to reach a point “We wantwhere they use “...the choreography ed everything a ‘big’ as their needs to look ‘a bit little wonky. I idea. It’s almost shit.’ It was quality think Animal a given that you Logic had to get make a big ad. control but in reverse.” used to working Obviously, epic ads like British Air- that way because they are professionways came to mind. Also, Hollywood als used to creating things like ‘The seems to be throwing a lot of money Matrix’ and making everything look into big historical films, some better amazing, and they had to get used to than others. We’ve seen epic scenes our strange way of working. Even the with gladiators and armies and orcs, visual of the huge beer man drinking but we really felt the beer drinker the pot of beer and the men dancing

down into the stomach—we just want- a great combination for this ad. It also The ad was shot in Queenstown, ed to take it that bit too far. It seems made it easy to get him approved by New Zealand, because of the vast like a bit too much the client, because scenery. “For the idea to work we ob“...we hoped the Made information.” he’d worked with viously needed something spectacuFrom Beer campaign Ant Keogh them before. They lar. We had around 400 extras (and would be seen as a says, “We were didn’t ask to see had to make as many costumes).” long term proposition... always saying to any other treatThe music is a remake of CarIn Australia, I think there’s ment. In fact, he mina Burana by Carl Orff. The Paul Middleditch a tendency to chop and didn’t even do a whole creative team felt it was very the choreography change, especially when treatment. Paul had important to not let the music beneeds to look ‘a new marketing managers, the inspired idea to come a weak facsimile of the origibit shit.’ It was creatives or agencies get enlist Andrew Le- nal, which often happens when songs quality control hold of an account.” but in reverse. snie (‘Lord of the are re-done. It was played by the “The song was also an impor- Rings’) as director of photography… Melbourne Philharmonic Orchestra tant part of the humour. We wrote the He’s a really nice guy too. For a bloke and sung by a choir of around 200, lyrics so they were a bit clunky too.” with an Oscar, he sure is humble.” doubled up to sound like 400. Keogh and Rutherford: “From THE MARKET RESULTS the start, we hoped the Made From The campaign was launched virally for the first couple of weeks. Beer campaign would be seen as a Paul McMillan, group account director, says, “It was part of CUB’s and long term proposition. By and large, our strategy to launch it softly. We simply got CUB and George PatterAustralia hasn’t produced too many son employees to send it out to their friends, and it took off from there. lasting campaigns with popular ap“After three days, the website had 400,000 hits. It was a phepeal, not compared to, say, Britnomenal reaction even the agency didn’t quite expect. There’s a lot ish campaigns like Carling’s ‘I bet of interest in the viral aspect of this campaign, and it was fantastic he drinks Carling Black Label’ or because we could see how many people were interested in it, but to Miller Lite or Bud in the USA. In some degree, it just can’t be contrived. It just won’t happen unless you Australia, I think there’s a tendency have an interesting ad. And, by the same token, if you create a really to chop and change, especially when interesting ad, it will probably happen anyway.” new marketing managers, creatives Foster’s rarely releases the intricate details of campaign effectiveor agencies get hold of an account.” ness for confidentiality reasons, however the campaign has been deemed a success on many levels, in particular the increase of outlets where CarlTHE EXECUTION ton Draught is available, and in terms of volume increase (+22 percent). Grant and Ant: “Paul MidThese success factors are extremely important, but the more indleditch shot the previous ‘Canoe’ tangible benefits that came from the campaign are more interesting. spot for us so we knew he had a great There was a general lift in pride in the company one worked for; there sense of humour. He’s a fantastic comwas a focus on the brand from trade and consumers alike. It created an edy director and has also done a lot of amazing momentum behind the brand. big budget stuff in America, so it was

Creative Awards AWARD GOLD MC2 Awards Asia GOLD Shark Awards GOLD Shark Awards Direction GOLD Mobius Awards GOLD Mobius Awards BEST OF SHOW New York Festivals GOLD WORLD MEDAL New York Festivals GR AND AWARD AdFest GOLD ADC Awards SILVER Mid Summer Festival UK GOLD The One Show GOLD Clio Awards SILVER D& AD SILVER nomination MADC T VC GOLD MADC Interactive BRONZE Golden Award Montreux Kodak Gongs BEST OF SHOW Best Ads on T V World GOLD Best Ads on T V Australia/New Zealand GOLD A XIS Awards International Section GOLD Cannes Lion GOLD

Credits Agency: George Patterson and Partners, Melbourne Creative Director: James McGrath Art Director: Grant Rutherford Writer: Ant Keogh Producer: Pip Heming Group Communications Director: Paul McMillan Production: Plaza Films Director: Paul Middleditch Executive Producer: Peter Masterton DOP: Andrew Lesnie Post- Production: Animal Logic VFX Super visor: Andrew Jackson Senior Compositor: Angus Wilson VFX Producer: Caroline Renshaw Editor: Peter Whitmore, Winning Post Productions Music: Cezar y Skubiszewski Location: Queenstown, New Zealand Cast: 300 locals (consisted mainly of backpackers) To create large (tens of thousands of people) crowds for the ad, MASSIVE software with semi-independent AI actors from Weta Digital was used

july-august 07

MAD ABOUT ECDs

The Philippine Creative Migration

july-august 07

Y&R

ic s a B m i J

rnett

of Young & Rubicam Philippines. “I believe their greatest challenge is how to quickly evolve from traditional offerings to the seemingly more exciting new channels. We’ve got intelligent, hungry and passionate creative people who choose to take risks; venturing into largely untested waters. Now, if they could only infect more of their co-creatives, their partner suits and their clients with the same energy.” The redoubtable Roger Pe, who took up the executive creative director reins at DDB Malaysia last year, shares the same upbeat sentiment. “I’ve always believed in the Pinoy whether they are from another era or the next batch,” declares Pe. “Movements occur because of economics, and people look for a bigger stage or forum to showcase their creativity that may have been stifled or cannot give birth because of certain internal politics, forcing some to be professionally marginalized.” He expounds more on the subject. “Brain drain happens all over the world. I just discovered that Eric Vervroegen, one of the world’s most awarded creative director who doesn’t even bask in fancy titles, worked in several parts of the globe: Amsterdam, New York and other parts of Europe. There are many award-winning Brits and Aussies that are based in Asia. And, hold your breath, there are now Malaysian and Singaporean creative directors being hired by multinational agencies abroad, hindi lang mga Pinoys (not just Filipinos).” It seems natural that the movement

J W T

Last seen within the confines of the Philippine advertising jungle, this particular herd has seen its numbers significantly reduced by a variety of causes. Some, like former JWT Executive Creative Director Robert Labayen, have migrated to the la-la land of local TV with ambitions of applying years of acquired knowhow to network programming. Others, such as CD-turned-commercial director Chris Martinez, have settled on more fulfilling occupations to channel their imagination. And a notable few, incoming JWT Vietnam ECD Ompong Remigio for one, have decided to relocate to the happy hunting grounds of agencies abroad—lured mostly in part by promises of sweeter milk and thicker honey. Thus, with the dwindling of the top creative tier—and even some from the second—a creative leadership vacuum has emerged. And that has raised the concern if those left behind are capable enough to step into some very big shoes. “There is a brain drain here,” confirms Richard Irvine, chief creative officer of the Leo Group. “A lot of smart people have upped and left. It is very tough actually finding with the right balance of somebody who’s mature enough to run the departments and deal with big clients and really drive the creative product.” Irvine isn’t alone in his observation. “There aren’t enough people to take the jobs because there isn’t enough continuing education in the industry,” adds David Guerrero, chief creative officer of BBDO Guerrero Ortega. “There’s not enough student education either—but that’s another story.” Still, some prefer to be positive about the slow but sure exodus. After all, a few soldiers realize that their General isn’t coming back anytime soon. And if somebody needs to lead the troops, well, why not them? “I’m quite confident in this generation of creative leaders and in leaders of the next generation,” states Chiqui Lara, president

DD B

The Mt. Isarog Shrew-mouse. The Mindoro Bleeding-heart. The Polillo Forest Frog. They’re among the 557 endangered species in the Philippines. Five hundred and fifty-eight, if you count The Footloose Senior Creative.

nn a C Mc

among creative talent isn’t isolated to any nation. However, in the Philippines setting, you have a better chance of spotting the rare Calamanian deer than cornering a worthy creative replacement, as agencies here have recently discovered. Demand now far outpaces supply. Case in point: Lowe Philippines ended their six-month ECD search only recently, with the hiring of

O& M

e ow

TBWA\

“We need to encourage a greater flow of people in and out of the country, both local and expat,” Guerrero mentions. “It’s clear that expat talent can help great Filipino work emerge, rather than stifle it—Richard Irvine being a prime example of that.” If the local ad scene is simply part of the bigger picture, then what’s good for the foreign goose should do wonders for the local gander. Pe’s experience reflects this well. “I once worked in Indonesia where Pinoys were a prize catch. Within six months I was getting offers left and right, and I was tempted to bite into one of them. Fast forward. Malaysia ruled Cannes for Asia over the last two years, beating traditional creative powerhouses Thailand, Japan and Singapore. I want to create a measure of ripple here.” Quite an easy thing to say once you’ve reached the level of ACD, CD or ECD. But there’s really more to the job than brilliance. Believe it or not, supervisory skills still count for a lot. “Just because you make an ad, win an award then get promoted, that doesn’t automatically mean you’re a good manager,” adds Guerrero. “Creative directors aren’t born; they’re made. And usually reluctantly from people who would rather be doing the ads.” There is some truth to that as creative directors, unfortunately come in different breeds. Some win tons of awards but can’t seem to manage their teams for squat. Other generate more buzz for their wardrobe than their body of work. Then there are those who are promoted only because they’ve been in the department for years but have neither a Pencil nor (worse!) at least an ARAW Award to show for it. (Yes, tenure’s a female dog.) When you really think about it, just how many local creative higher-ups can compare themselves with the likes of Piyush Pandey? Jureeporn Thaidumrong? Tay Guan Hin? Not much. And one who could have is already in Ho Chi Minh. “Currently, I can honestly say there are

at c h i

Leo B

expatriate Steve Clay, who was previously associated with Y&R Singapore. On the subject of expats, they can be a boon. One look at the creative renaissance and awards galore that former Ogilvy & Mather Philippines ECD Gavin Simpson brought to the country (before leaving for the network’s Hong Kong office) proves that.

only four ECDs in the Philippines I believe can compete in the international scene,” declares Tina Coscolluela, group managing director of Ogilvy & Mather Philippines. “This is the most difficult position to fill—almost impossible, unless you settle for the mediocre.” But all hope is not lost with the younger generation. The Philippines is still basking in the afterglow of the Cannes Lions, with five wins. That’s more than Malaysia, Singapore or Thailand. Great going! Oh, wait a minute—the team behind the Cannes Gold winner has also moved to Vietnam. Not so great then. So is there actually a way to retain local talent, or as David Guerrero pointed out, at least educate the new generation on the ways of the advertising world? Irvine proposes one solution. “Training. I don’t know how many networks actually, genuinely, sincerely invest in training their senior creative management. I know a lot of CFOs and MDs receive training. But very few networks, from what can I see, invest in creative people. Burnett has consistently trained their Creative Directors around the region. We’re lucky we invest in training.”

“Creative directors aren’t born; they’re made. And usually reluctantly from people who would rather be doing the ads.” Coscolluela adds, “Because of the current situation in the creative scene, management of different agencies will, and must, provide the right support in terms of training and exposure to the next generation leaders.” Can it be that simple? Are additional seminars, cross-postings and such the solutions that agency presidents and managing directors need to implement to sway their creative frontliners from flying the coop and country? Maybe. Maybe not. That’s a quandary only agency heads—and time—can answer. But hopefully soon. Lest they discover their company as 559th on the endangered list.

july-august 07

Lady Cajanding looks far and wide!

Leo Burnett in

Beijing At the Great Wall of China, young creative Mela Advincula

Blocking the Great Wall of China! At the Temple of Heaven Farlet Vale, Gela Pena, JP Cuison, Sue Ann Malig-Nolido and Robby De Silva

Cannes-bound, young creative Nonie Tobias At the Forbidden City

Henree Bicera and Junni San Jose

july-august 07

REACTIONS

Check out www. adobomagazine.com

I just got your May-June issue, and I have to say you are putting me to shame. What a great edition. I really enjoyed the read and your selection of stories is first class. I have no idea how you get the energy to put out 112 pages packed full of great stories, but whatever stimulant you are on can you pass some on to me! I hope the industry in Manila realizes just how lucky they are to have such a quality magazine writing about their industry every two months. Keep up the great work and I look forward to seeing you in Cannes! Kim Shaw Publisher/Editor, Campaign Brief Asia I enjoyed this edition of adobo. Perhaps because it has more to offer than

Top 20 Advertisers for the First Quarter of 2007 Top 20 Philippine advertisers based on advertising expenditure Rank

Advertiser

Q1 2007 Spend

Chg vs Q1 2006

Unilever Philippines

6,200

+31%

Procter & Gamble Philippines

4,664

+5%

United Laboratories

2,918

-0.3%

Colgate-Palmolive Philippines

2,576

+5%

Nestlé Philippines

2,573

-16%

Globe Telecom

915

+7%

Johnson & Johnson Philippines

857

+9%

Philippine Charity Sweepstakes

777

+5%

Smart Communications

624

-40%

Wyeth Philippines

621

-10%

Mead Johnson Philippines

620

+43%

Petron Corporation

483

+74%

Phil. Amusement And Gaming Corp.

478

+147%

San Miguel Brewing Group

459

-30%

Universal Robina Corporation

453

-6%

Tanduay Distillers

446

-27%

Monde Nissin Corporation

421

+29%

Innove Communications

417

+20%

PLDT Company

412

-38%

Star Cinema Productions

396

+16%

Total Top 20 Advertisers

27,308

+5%

Balance Advertisers

29,399

-3%

All figures in million pesos and based on published rate cards

the previous issues. Wish you could add more items regarding production, post-production and computer graphics. Thank you and more power! Amar M.Gambol President, ElectroMedia Production adobo magazine remains a fun read—always informative with just the right touch of irreverence. Glenn San Luis Executive Director, Center for Continuing Education Ateneo de Manila Graduate School of Business adobo is a vital source of information for people in the communications industry. It is also good reading because of the creatively written articles. Mila Magsaysay-Valenzuela Presidential daughter and PR Consultant The new issue looks great! The Death/Ompong Centerfold is wonderful! Budjette Tan Creative Director, Harrison Communications I liked the latest adobo. It was the meatiest issue, really well done! Then again, I got two free copies, so that could have been a factor. (I’m cheap!) But really—nice issue. Keep us wanting for more. Tanke Tankeko Executive Creative Director Creative Juice Manila Kudos on adobo!!! The content on every issue just gets better and better! If you make it any thicker, I’m going to need the entire weekend to take it in cover to cover. Meryl Schlachterman President, Vigrapost I tell my friends to read adobo. It’s really well-written… and it can do so much for the industry. Noel Lorenzana Chairman, Unilever Singapore & Malaysia

july-august 07

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GFX CREATIVE IMAGING, INC. 22/Raffles Corp. Center Emerald Ave., Ortigas Center Pasig City 1605 Phone: (632) 914 4355 Fax: (632) 914 4354 Contact Person: Emelyn D. Fernandez

CALYPSO COLOR CORP. Videos@work and Postbays Unit 101 Xavierville Royale 61 Xavierville Avenue, Loyola Heights Quezon City 1229, MM Phone: (632)436-5991 Telefax: 435-5801 email: postbays@gmail.com Contact Person: MARILYN RAQUINIO

178 Salcedo St. Ground Floor, Legaspi Suites, Legaspi Vill. Makati City Tel: +632 894 0658 Fax: +632 894 0784 Contact Person: Alfredo Santiago, Jr.

Advertise in our classified ads section! call +632 843 9989 or email sales@adobomagazine.com

92 may-june 07

CLASSIFIED ADS advertising photographer

FISHEYE PHOTO STUDIO ADVERTISING & FASHION PHOTOGRAPHY 2450 Osmeña St. Brgy. Poblacion Makati City Phone: +632 895 2222 Fax: +632 895 4827 Look for Tanya delos Reyes www.fisheye-studio.com

Unit 108 Mile Long Bldg. Amorsolo cor. Herrera St. Legaspi Village, Makati City Phone: +632 812 8418 Fax: +632 892 3381 Mobile: +632 917 840 7210 Email: accounts@montifar.com.ph

www.mmontifar.com.ph Contact Person:Sheila Salazar Cherry Lyn Visda

restaurants

ARGON ANIMATION, INC. 285 Brgy. Sta. Cruz Putol, San Pablo City 4000 Laguna Cell: 0921 772 6985 Laguna: 049 246 6878 Manila: 02 699 5035 Telefax: 02 699 5036 Email: kusinasalud@gmail.com Website: www.kusinasalud.com

technical sevice & equipment rental

LED Wall Projector Plasma TV Display Projection Screen Discussion System Address: 114 San Francisco St., Brgy. Plainview, Mandaluyong City Phone: 534 8888 Contact Person: Evelyn Gomez

Website: www.imatech.com.ph

SELL CO (SON ET LUMIERRE) Ground Floor, Net 2 Center, 3rd Ave. Corner 28th Street Crescent Park West Bonifacio Global City, Taguig Tel.: (02) 856 0541 Telefax: (02) 856 0634 0917 800CHEF (2433) Email cheflaudico@yahoo.com Website www.cheflaudico.com.ph

Jaka Center 2111 Pasong Tamo, Makati City Telephone +632 844 3362 Fax +632 844 9140

mr. rockefeller Greenbelt 3, Makati City Telephone +632 421 0030 Fax +632 910 0724

Jericho cor. Nazareth Streets, Multinational Village, Parañaque City 1708 Telefax: +632 822 3964 Email: afif@edsamail.com.ph Contact Person Khalil “Afif” O. Khodr, Jr.

UG 32 Cityland 8 Condominium, 98 Sen. Gil Puyat Avenue, Makati City Phone: +632 813 0496 Fax: +632 893 1734 Mobile: +63920 913 4670 Email: info@argon.com.ph Contact: Tim Bennet President

RSL SOUND & LIGHTING COMPANY

non-traditional ad medium

Banner Stands Interactives Dynamic Signages Point-of-Purchase Printing Services Exhibit Booth Address: 674 Boni Avenue, Mandaluyong City, Phils. 1550 Phone: 532 6723 or 1659 or 0557 Contact Person: Peter Alan Dy Website: www.imavision.com.ph

No. 48 Damortis St., Damar Village, Sgt. Rivera, Brgy. Manresa, Quezon City Phone: +632 363 7694, +632 367 0851, +632 414 6639 Fax: +632 363 7694 Email: rsl800@yahoo.com

casting house Adobo magazine is growing! We are looking for the following: CASTING SERVICES MANAGEMENT, EVENTS & PLANNING “We communicate with CLARITY, HONESTY and RESPECT in all accounts” Suite 803 Antel Corporate Centre 121 Valero Street, Salcedo Village, Makati City Email: thecastinglibrary@pldtdsl.net Tel / Fax #: (632) 8437858 Contact Person: Rockie Caballero +63 926 702 5822

FREELANCE WRITER & GRAPHIC ARTIST Familiar with the advertising beat. Email resume at editorial@adobomagazine. com ADVERTISING SALES MANAGER Email resume at sales@adobomagazine.com Fax resume at +632 844 0251

Hungry for Ideas? ADOBO MAGAZINE T-SHIRTS NOW AVAILABLE! Call: +632 843 9989

Advertise in our classified ads section! call +632 843 9989 or email sales@adobomagazine.com

94 may-june 07

Entry KODAK AWARD New Director Of The Year Call For Entry The Call For Entry opens mid July. Designed to recognise and promote exceptional new commercial directors in the Asia Pacific Region, the KODAK AWARD New Director Of The Year will honour outstanding commercial directors whose fresh thinking and creativity sets them apart from the rest. The initiative offers new directors the opportunity to showcase their brilliance in For more information contact AWARD: www.awardonline.com T +61 2 8297 3877 E kodaknewdirector@awardonline.com

front of hundreds of worldwide creatives and commercial production representatives at two special awards evenings to be held later this year. All entrants must be current commercial directors, and have only been in the commercial production field for a maximum of three years.