adobo magazine | November - December 2008

Issue #18 Nov-Dec 2008

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TINTA AWARDS SPECIAL 2008 CREATIVE RECAP Kim Shaw Prasoon Joshi Andy Greenaway Danny Searle John Merrifield Andy Blood Tay Guan Hin Dave Ferrer Don Sevilla Leigh Reyes GRAPHIKA MANILA “100” QUESTIONS with Marlon Rivera & Chris Martinez

From Asia to the world MILES YOUNG Global CEO, Ogilvy Group

UNITEL IN VIETNAM CREATIVE REVIEW

by Chris Chiu, Leo Burnett Singapore

DIRECTORS’ SHOWCASE 100% recycled paper www.adobomagazine.com

Can you make it a Pencil? It will take over 180 folds. Multiply that by three seconds per fold and you’re looking at about nine minutes from start to finish – if you’re a professional origami artist.

The truth is, on paper or in reality, making Pencil-winning work is a challenge. But if you have great ideas, brilliantly executed, enter them now.

10% discount deadline 19 November 2008. Final deadline 21 January 2009.

Visit dandad.org/awards09 for information and to enter.

D&AD AWARDS 2009

Issue #18 Nov-Dec 2008

CONTENTS

02

8

TOP STORIES

Nervous Times

Media Independents Split from 4As 04 Gunn Report 2008 06 TBWA Worldwide wins Visa Global Business Inquirer #1 in Metro Manila

08 EXCLUSIVES Miles Young, Ogilvy Group Worldwide

26 TINTA: THE PHILIPPINE PRESS AWARDS 20 GRAPHIKA MANILA 22 CREATIVE GUILD RAW SCHOOL 41 UNITEL IN VIETNAM 44 2008 CREATIVE RECAP EDITOR-IN-CHIEF

ANGEL GUERRERO

EDITOR

ROCELLE

ARAGON

COLUMNISTS

NANETTE

FRANCO-DIYCO BONG OSORIO CID REYES WILLY ARCILLA

SENIOR CORRESPONDENT

HARRY MOSQUERA WRITERS

CYNTHIA DAYCO

OSCAR GOMEZ, JR

CRYSTAL REBUCAS BUDJIT TESORO AYE UBALDO

ART DIRECTOR

LECH VELASCO BUSINESS ASSISTANT

MAFEL HEBULAN

MARKETING & SALES EXECUTIVES

64 PROFILE John Merrifield, TBWA\ Asia Pacific 94 On Life & Death, Cinema & Advertising 98 TV5: SHAKING UP FREE TV

78 ENTERTAINMENT REVIEWS

CONCERT REVIEW: Sticky & Sweet FOOD REVIEW: 1521 BOOK REVIEW: Birthday Letters

100CREATIVE REVIEW

by Chris Chiu, Leo Burnett Singapore

106PRIVATE VIEW The Bigger Picture by Cid Reyes Cents & Values by Nanette Franco-Diyco

AILEEN MARIANO PHILIPP BALBUENA

Logic & Magic by Bong Osorio Market Mentor by Willy Arcilla

CONTRIBUTING PHOTOGRAPHERS

REGULAR FEATURES

ANDY MALUCHE DAEMON BECKER AT MACULANGAN

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adobo Ads of the Month The adobo Centerfold Bang for the Buck Creative Showcase / Regional PhD’s Tubetalk

24 48

120

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topstories

Cannes Partners With Spikes

Threat Of Another Regional Award Show Stumped

Terry Savage

With ad agency award entry budgets heavily scrutinized and rationalized, is there room for another regional awards show?

AdFest, the Asia Pacific Advertising Festival in Pattaya, Thailand, also dubbed “The Cannes of Asia”, is now on its 11th year, is a widely attended seaside festival. While the Media Spikes, a more intimate show staged in Bali, boasts of two decades of Asia awards heritage.

Terry Savage, the Cannes Lions executive chairman, told adobo in June this year that the Cannes festival organizers had concrete plans of bringing the Cannes into Asia with the launch of the Asia Tigers awards festival in Singapore in September 2009. The International Advertising Festival, are the organizers behind the Cannes Lions, the prestigious global awards festival held in France; the Dubai Lynx in the Middle East; and Eurobest in Europe.

Once the buzz came out that Cannes was coming to Asia, you could imagine Jimmy Lam

of AdFest and Tim Waldron of Haymarket (publishers of Media magazine and behind the Media Spikes Awards), working on the plan of action to keep their status against the threat of Asia Tigers. Tim Waldron quickly saw opportunity to strike a partnership between Cannes and Haymarket and just recently announced that Media Spikes will be relaunched as Spikes Asia, now the 1st Asian Advertising Festival to be held in September 2009.

Tim Waldron, managing director of Haymarket Asia, said in a statement, “This venture with Cannes will allow us to accelerate our growth strategy for the Spikes. The Spikes is one of the toughest trophies to win regionally and we believe that is down to the quality of judging. Cannes Lions have that same view, so the decision to work together in building the most important and prestigious awards festival

in the region was an easy one.”

Terry Savage, while stepping on a plane to Singapore, emailed adobo and confirmed, “In essence we think the power of Cannes Lions and the power of Haymarket will enable us to deliver a strong and powerful festival more quickly. Spikes will now become an award event for Asia only-─the Festival will become a showcase for the region.”

This development probably saw relief for Campaign Brief Asia, who gives points to winners of the two original Asian awards shows for the revered Asia Creative Rankings.

Singapore is seen as a destination with world-class facilities and the capacity to grow Spikes Asia. The show will honor the best of work from Asia or work produced outside of the region for Asia.

Categories covered will be Film, Print, Outdoor, Radio, Craft Direct, Digital, Media, Design and Integrated.

Media Independents Split From 4As, Join AdBoard Media agency mavens Mitos Borromeo of GroupM and Lizelle Maralag of Starcom Mediavest led the formation of an independent organization of media agencies earlier in the year and called it the

Nervous times

Lowe Manila has cut 6 jobs; WPP has a regional freeze hire and at least two agencies have the same locally; all else are poking new holes in belts that couldn't get any tighter.

TVC production is down. Most indicative of all, the whole year has been one endless pitch.

These are the bellwethers of a slowdown. While precommitted spending and the famous Filipino optimism/denial will carry us through Christmas, many forecasts have reality biting by Q1 next year.

Lowe Manila's official statement, issued after a highprofile redundancy set rumors flying, is telling for the whole industry: " We had to "right size" the agency because of the reduction in revenue & volume of work brought about by

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Hold on to your bonus if you're lucky enough to have one, folks. the exit of the Surf & Rexona Regional Advertising Centers at [yearend]. These will be transferred to Singapore/ Bangkok in response to Unilever's move to centralize their regional staff. As a result, we had to declare 4 people redundant and retire 2 others [from Creative and Admin departments]. So what you heard through the grapevine was much exaggerated."

Hold on to your bonus if you're lucky enough to have one, folks.

Mitos Borromeo

There were issues in the industry that involved media where the media agencies were not being consulted.

Media Specialists Association of the Philippines (MSAP). Both now co-chair the group. Formerly part of the creative-agency-dominated 4As of the Philippines, the media independents felt it time that they be organized, heard and consulted on media related issue.

“There were issues in the industry that involved media where the media agencies were not being consulted. We would have liked to have given our inputs as the decisions being made will affect the media agencies. We then realized that the 4As was composed mainly of creative agencies who are not as familiar with the needs and issues of the media agencies,” said Mitos Borromeo, co-chair of the MSAP. The AdBoard (Advertising Board of the Philippines) has recognized MSAP and offered the group a seat in the multisector AdBoard. While the SEC registration papers are being processed, the AdBoard kindly took MSAP in as a “guest member” and have already involved them in Lizelle Maralag industry meetings.

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newsline McCann, BBDO win Bronzes at AME

New York - Two Philippine agencies were recognized in the Advertising & Marketing Effectiveness Competition (AME). Two Bronze Medallions were awarded: to McCannErickson for Coca-Cola, and BBDO Guerrero for Pizza Hut. Three finalists certificates were also awarded to the Philippines: to McCann Worldgroup for Unilab’s Biogesic, and to BBDO Guerrero for Bayan Wireless Landline and Bayantel Corporate Image. The AME is separate from but organized by the New York Festivals.

Results were announced in mid-November.

GUNN REPORT 2008 "Gorilla", "Stains Don’t Stand a Chance", "Uniqlock" top works; BBDO named Network of the Year

BBDO, David Guerrero among finalists in MEDIA AOY Awards

The finalists for MEDIA magazine’s Agency of the Year awards have been announced. adobo readers will find many familiar names among the finalists for the awards, which will be handed out on Dec. 10 in Singapore.

Among Philippine agencies, BBDO Guerrero/ Proximity Philippines is a finalist for Individual Office of the Year (Southeast Asia), where it competes with DDB Singapore, O&M Singapore, OMD Malaysia and Publicis Singapore.

In the awards for individuals, Chris Thomas of BBDO/Proximity (page 61) and Miles Young of O&M (cover story) join three other finalists for Agency Head of the Year (Regional). Prasoon Joshi of McCann India (page 50) is a finalist for Agency Head of the Year (National).

On the shortlist for creative of the year are David Guerrero of BBDO Guerrero/ Proximity Phils., John Merrifield of TBWA Asia-Pacific (page 47) and Andy Blood (page 48). The three join Matt Eastwood of DDB Sydney, and Agnello Dias (JWT India), known as the man behind LEAD INDIA.

Yahoo!, Level Up! tie up to power internet cafes

The emerging channel of advergaming gets a shot in the arm as Yahoo! and Level Up! tie up to equip the latter’s nearly 10,000 internet café partners nationwide with Yahoo!’s improved software and internet products – thus making the gaming cafes more research-friendly and more acceptable for close proximity to schools.

The partnership is part of Yahoo!’s pioneering iCafe program. Through a free download, Level Up!’s distributing cafes get a business listing on the Yahoo! Advantage Internet café website, access to the community of other iCafe members, exclusive Yahoo! Merchandise software, updates and downloads, and participation in co-branding events with Yahoo! and partners.

“Our efforts [also] include persuading schools to allow internet cafes closer proximity to enable students easier access to go online,” added Level Up! Games Sales Director Apol Dionglay.

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Asia is also home to the world's most awarded director, Thanonchai Sornsrivichai of Phenomena, Bangkok.

The Gunn Report, which tallies major creative awards worldwide, released its 2008 rankings on Nov. 10. As expected, top winners were Fallon London's Cadbury "Gorilla" for TV, and Saatchi & Saatchi NY's Tide Ultra "Stains Don't Stand a Chance" for print, and Projector Tokyo's "Uniqlock" for online.

A new category, "All Gunns Blazing", named Leo Burnett Sydney's "Earth Hour" the most awarded

The world in which an ad agency exists today had not anticipated that the telephone of the future would be a computer and that the camera of the future would be a telephone.

integrated campaign.

BBDO Worldwide was named Network of the Year, meaning the most awarded network in the world. This a remarkable run considering that they were #41 only four years ago. BBDO New York was the world's No. 1 agency; but the network's press release notes that "[their] performance was so strong we would have won Network of the Year even without New York." A diverse group of 23 agencies worldwide contributed to the winning total.

Strong showing for Asia Asian agencies surged in the Gunn rankings this year, dominating print, placing at #5 for TV and #1 for interactive.

In print, the most awarded campaigns were from Ogilvy Bangkok and Singapore, Lowe Bangkok and TBWA China. Leo Burnett Malaysiaís "Tan Hong Ming" TVC for Petronas was #5 among the most awarded commercials.

In interactive, Asia got only one entry, but it was #1: Projector Tokyo's "Uniqlock".

10 years of Gunn This year also marks the first decade of the Report, an initiative conceptualised and realised by former Burnett creative director Donald Gunn.

The 2008 report is guestedited by Rémi Babinet, founder and chairman of BETC Euro RSCG. Babinet's introduction is a memorable reminder of changes:

"Not much more than ten years ago, in agencies, art directors stuck their typography onto transparencies and cut their layouts on a guillotine. We could hear the distant hiss of glue spray, we smoked in meetings and we listened to CD Walkmans while waiting for the year 2000. In barely ten years, the world has dematerialised, technology has transformed our activities, media has exploded, categories have moved. The world in which an ad agency exists today had not anticipated that the telephone of the future would be a computer and that the camera of the future would be a telephone. What an incredible time, what an incredible journey."

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newsline ARAW Values Awards Set Dec. 8

First-time Araw Values Awards (AVA) organizer the Ad Foundation has scored a coup: the Dec. 8 awards night will be at the spankingnew Dolphy Theater.

The venue indicates major support from ABS-CBN owner Gabby Lopez. It is the first time any company outside the Lopez Group will be allowed to use the venue. “This is because I want to really help the Ad Foundation,” he said.

This year’s AVA also debuts two new awards: People’s Choice (sponsored by ABSCBN), and Student’s Choice. The latter is in connection with the Araw Values Roadshow, which will tour schools next year, “to reach the young people,” according to Ad Foundation chair Johnip Cua.

IMMAP has new officers, Board

Angeli Lambsdorff of DentsuIndio has been voted Vice-President of the 2009 Board of Directors for the Internet & Mobile Marketing Assn. of the Philippines (IMMAP). Incoming president is Arthur Policarpio of Snapworx; other officers are Arlene Amarante of Microsoft Advertising and Norelyn Babiera of Fiera de Manila.

Other board members are drawn from all over the digital media industry, including P&G, Proximity, Wolfpac Mobile, Yahoo!

Phils., Ateneo Wireless/Blue Blade Technology, Mobile Arts, Track Works, EGG, Media Contacts, Xurpas and Havoc Digital.

Viewers vote "Himala" the top Asia-Pacific film of all time

Walang himala! This is apparently not quite true. Himala [Miracle], an intense, iconic Filipino classic from 1982, recently topped an online viewers’ poll conducted by CNN. com for the Asia-Pacific Screen Awards.

This means it beat out films by Kurosawa, Zhang Yimou and other titans. Clearly, ang himala ay nasa puso ng tao. [Both Tagalog lines "There are no miracles! The miracle is in people’s hearts!" are from the film's climactic speech.]

The Colossus gets a Guinness

Besides selling a lot of jeans, Levi’s Colossus has been recognized by the Guinness World Records as the world’s largest sticker. The 29-storey sticker wrap bested similar installations in outdoor capitals like New York, Tokyo, Hong Kong and London. The Colossus team was led by Levi Strauss Phils., Universal McCann, Harrison Communications, Anthony Gaw of Golden Touch Imaging, and Chito Gutierrez of Focal Point Advertising.

ABS-CBN tops P1 Billion income by September Weep not for ABS-CBN. Its mortal enemy GMA may have a swank new studio, but the media giant has reported P1.2 billion in net income as of September. With 3 months to go, the network has already nearly matched its 2007 full-year income of P1.27 billion, largely due to contributions from a consolidated SkyCable and ABS-CBN Global.

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TBWA Worldwide

wins Visa Global Business

Visa named TBWA Worldwide, an Omnicom communications company, as its global lead strategic and creative agency following a thorough review of Visa’s incumbent agencies against BBDO Worldwide, WPP Group and Publicis Groupe. The global ad budget pegged at $600M has the largest proportion of spend going to US accounts. TBWA\Chiat\Day handled the US Visa account since 2005.

The agency consolidation which takes effect January 1, 2009, is expected to deliver creative synergies and other operating and cost efficiencies to Visa.

Antonio Lucio, chief marketing officer of Visa Inc. said in a statement, “As Visa has evolved into a global public company, we challenged our agency partners around the world to provide a unified approach to our marketing initiatives,” and adds, “This decision reflects the creative strength and innovation of TBWA Worldwide as well as their ability to deliver against Visa’s unique brand vision.”

Last month Visa released a TBWA-created ad in the US celebrating Michael Phelps’ record-

breaking achievement of winning 11 Olympic gold medals.

In Asia, the BBDO network had a strong hold on Visa business. Chris Thomas head of BBDO Asia told adobo, “For Visa in the region, we (BBDO) got the best business results by market. In every market in 14 countries. We got our highest relationship scores in seven years!” On the break-up Thomas adds, “It was disappointing. There is a lot of sadness amongst good friends, our clients and in the agencies.

We have done great work. We will keep working closely with Visa on certain things but I am glad it stayed within the (Omnicom) family but we are very disappointed we lost it in Asia.”

INQUIRER #1 in readership

Tops 2 independent surveys, wins M. Manila for first time since 2001 AC Nielsen Readership survey, 3rd Quarter 2008 BROADSHEET NATIONAL URBAN METRO MANILA PHILIPPINE DAILY INQUIRER 49 47 PHILIPPINE STAR 38 34 MANILA BULLETIN 34 36 broadsheet readers yesterday Synovate: English Newspaper Reach (weekday) survey BROADSHEET PHILIPPINE DAILY INQUIRER PHILIPPINE STAR MANILA BULLETIN Source: Synovate Media Atlas BASE 8,302,228 The Philippine Daily Inquirer is now the No.1 broadsheet in Metro Manila as well as nationwide. This was confirmed by two separate studies for the third quarter of 2008, the Nielsen Media Index and the Synovate Media Atlas.

It is the first time the PDI has taken the top spot in Metro Manila since 2001.

While PDI has had a solid, substantial lead in nationwide readership since then, previously it was slightly edged out in Metro Manila by either the Philippine Star (PS) or the Manila Bulletin (MB).

But as the country's business and government center, Manila's readership figures are disproportionately influential.

MEGA MLA 41 36 39

GMA* OUTSIDE GMA* 586 156 553 83 540 81 Philippines Nationwide

According to the Nielsen Q3 2008 survey, the Inquirer had 47% readership (about 947,000 readers) among those who said they had read a broadsheet the day before. The Bulletin came second with 36%, the Star third with 34%.

Also striking was an 8% jump in readership figures compared to the previous quarter─the biggest single jump in seven years. This is based on interviews conducted between February-August 2008.

The second study, Synovate's latest Media Atlas, also showed PDI as the broadsheet of choice for 44% of those who read English dailies every day. The study was conducted between July 2007

and June 2008.

An analysis published in PDI points out that the readership gain is a first-time occurrence. The analysis, by PDI editorial consultant Amando Doronila, notes: "There's no immediate explanation for the Inquirer's dramatic surge, whether it is due to a fresh editorial formula or the configuration of events that the paper handled well. What seems apparent is that the competition for dominance in readership has been volatile during the past seven years, and the Inquirer cannot be smug about consolidating its breakthrough.

The Bulletin and the Star remain formidable threats to leadership in readership."

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adobo exclusive Miles Young, Global CEO, Ogilvy Group

C

Spiced up for change

hange is an interesting thing. It can be a cause of worry, or a cause of joy.

Scientists have shown that change can cause stress to a person.

And management consultants echo similar sentiments, that change can cause stress to an organization. Yet change is perhaps an essential spice in the banquet of life. It makes life less bland, and more exciting.

Change is definitely on the menu for the Ogilvy Group. There is an ongoing changing of the guard, with longtime worldwide head Shelley Lazarus retiring in favor of Miles Young, currently the chairman of Ogilvy & Mather Asia Pacific.

“I move in January, and I was announced in July. You’d think there’s plenty of time to do some homework and prepare consciously, but in fact there isn’t,” says Miles, who was recently in Manila to visit the local office and to meet up with old friends.

“When I calculated how many nights I was going to be home before I leave and pack up on the 20th of December, it’s only nine,” he declares incredulously.

Miles is no newcomer to Manila or the rest of Asia, having called Hong Kong home since 1995. Under his watch, Ogilvy & Mather Asia Pacific has grown significantly in size and market share, and has been repeatedly recognized as “Agency of the Year”

by Media Magazine.

“He has the vision, the wisdom, and most importantly, the love of people that has made Ogilvy Asia Pacific what it is today,” acknowledges Tina Coscolluela, who served as the chairman of Ogilvy’s Philippine office until she retired last June.

THE MAIN INGREDIENT People provide the main ingredient in Miles’ recipe for success in Asia. “Ah, just pick a few good men,” he laughs out heartily.

“That’s what business life is all about – you choose your praetorian guard… you live and die with them.

So I’ve been very lucky that I’ve had such talented people around me.

The reason for our success is we’ve attracted more than our fair share of better people.”

“The one I didn’t pick, of course, is Neil French,” he says,

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referring to the internationally esteemed but highly controversial creative director, “and he didn’t pick me. But we got on very well, despite people thinking we wouldn’t.”

On his part, Neil describes Miles as “hugely entertaining, boyishly charming and witheringly intelligent.” Yet, Neil cautions, Miles can play hardball too: “Miles disarms people so they’re easier to kill, that’s all.”

The portrait of the corporate executive as cold and calculating under a warm friendly exterior has perhaps become too much of a cliché, but the reality is, managing a global network offers special challenges that require difficult decisions. “As you grow bigger, the pressure of business becomes more intense,” Miles admits. “I’ve always said it’s very easy to have a small creative shop but it’s not so

easy to have a large creative shop.”

Especially if the shop is O&M In such a case, he expounds, “you have to try to combine size with beauty… even if it means constant effort through all sorts of welltried techniques. You do it through training… you have to have very high tough skills that are somehow institutionalized, and that means investing in the right people. Not in the classic H.R. people, but in

That’s what business life is all about – you choose your praetorian guard… you live and die with them. people who live the brand, and care for it.”

Training has always been a priority in the Ogilvy organization, and Miles believes that it gives them an advantage over the competition. “We probably overinvest in training,” he says, “but it’s just not training… they’re much more development courses.”

The kind of people that Ogilvy is looking for, he allows, are what he describes as rebels with a cause: “David Ogilvy said it time and time again – you take people who are slightly irreverent, who are prepared to step over lines, stand up for their views, think out of the box.”

“Skilled people are easily to find,” he states, “but skilled people with a cultural twist are quite difficult to find.” Neil considers Miles’ approach to people management more like that of the legendary billionaire investor Warren Buffet – that is, “find the best, let them get on with the job, don’t meddle.”

Miles looks for the best from his people. “Professionally, he has no patience for mediocrity,” Tina affirms from personal experience.

“He expects everyone to deliver, at the very least what is expected, but his desire is for everyone to go beyond that. He criticizes constructively when performance is below par but is never lacking in compliment when you do extremely well.”

Miles also strongly believes in the agency taking interest in the professional and personal welfare of employees. “The moment that top management just sits in an office looking at the balance sheets,” he avers, “is the moment when a company like ours is dead.”

THE 360 PARADOX Educated in Oxford, Miles’ career has led him to stints in Lintas, Allen Brady & Marsh and, in the early 1980’s, Ogilvy & Mather.

He goes to his new post in New York with two major challenges: to build on the legacy that Shelley Lazarus leaves behind, and to guide the Ogilvy Group through the uncertainties of what is shaping up to be a global recession.

Miles agrees that the biggest legacy that Shelley has bequeathed to Ogilvy is the 360-degree business model. “Before that, we were a 90-degree company,” he says. “We were just really advertising and direct marketing.”

The 360-degree model allows for an integrated approach to marketing communications services.

But more than that, it is all about brand stewardship. It is about knowing the brand intimately, by way of belief and practice using proprietary techniques. It is a way of thinking for an agency to look beyond a client’s brand as simple business interest or transaction. It is what, for the Ogilvy Group, turns ordinary products into successful brands.

“I really believe it’s the right model,” he continues. “Let me say this: it’s also a difficult model.

It’s not easy for competitors to imitate. You can be 360-degrees in one integrated unit, which some agencies are. But they absolutely don’t have the depth of specialization which we have.”

“So the difficulty is, that there is a paradox – which is, in order to integrate from a position of depth, you first have to be dis-integrated into specialisms,” he explains.

“What we have achieved, I think, is techniques for making the integration happen in a way that is effective. Firstly, culture integrates.

But also we have got techniques of removing problem loss wrapped in the organization between different parts of it. Thirdly, we’ve got intellectual property which unites the different disciplines.”

Having set up a dedicated Ogilvy service hub for both

advertising and direct marketing in Paris, Miles has developed a special interest in integrated marketing, and has lectured widely on the subject. In fact, he is a visiting professor of Xiamen University, and co-founder of Beijing’s Tsinghua University’s Ogilvy-Tsinghua public branding program. He also sits on the advisory board of the Tsinghua School of Journalism.

Yet Miles expresses some discomfort about Ogilvy’s remarkable success with the 360-degree model. “We’ve somehow lost… a degree of attention on advertising,” he opines. “Somehow advertising is being taken for granted, even if it’s the largest, most significant creative discipline.”

“There’s a great mistaken shibboleth current at the moment which is that somehow advertising has lost its purpose, that its day is done,” he says. “I couldn’t disagree with that more…What’s our role? We’re being digitized and activated. So what’s left?”

He provides the answer: to his question: “What’s left is fundamentally the business of brand building and Big Ideas.”

Despite advances in digital technology, Miles argues that digital will not take over the historic role of advertising. “Nor do I believe that the days of television are dead and buried either,” he reasons. “I think the plain fact is, that there are changes in share, on how people spend their time, but actually television’s held up pretty well.”

He divulges the Ogilvy

approach to strengthening the advertising side of the business.

“What we’ve done in Asia is to give it its dedicated management,” he says, “and I really think it’s worked for us as a business success.”

RECESSION-PROOF In the next few weeks, Miles transfers to New York to oversee the Ogilvy Group’s operations, which includes some 429 offices around the world. He sees as his primary role as global CEO is to gain alignment for the network, “to counteract the natural tendency for networks to fragment.” Thus, he points out, one “has to have a strong sense of purpose and you have to create a strong sense of alignment.”

Compared to Hong Kong or Manila, Miles considers the New York office very cosmopolitan.

“There are plenty of Asians there,” he notes, “Chinese, and Japanese and Koreans… I must look out for some Filipinos. It’s a very mixed office… we have a Diversity Officer, actually, whose role is to ensure that the company is diverse.”

In New York when the initial dramatic news of the global financial crisis was unfolding, he was watching television at a bar at the Mandarin Oriental as one bank and financial institution after another teetered and went under.

“There was this feeling that tectonic plates shifted a little bit,” he observes, “and the world is now much more a multilateral affair. Globalism in the past… was Americanism dressed in globalism… Now, other parts of the world play an important part. So it’s all a positive environment to go

Shelly Lazarus and Miles Young at the World Effies in Singapore.

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into in a way.”

With the United States economy, and in a domino effect the global economy, tipping into an expected recession, Miles anticipates a slowdown in advertising spending worldwide. Nevertheless, he remains confident that the Ogilvy Group can weather the impact of an American-led recession.

“I happen to believe it’s no threat,” he claims. “If you manage your business well, you could actively gain in a recession.”

Ogilvy, he says, made it through the Asian economic crisis of the late 1990’s and the Chinese SARS health crisis bigger and stronger.

“You have to aggressively exploit opportunity,” he counsels, and underscores that for the Chinese, crisis equals opportunity.

It is this opportunity that he reminds his clients about during difficult times. “If you go to a recession,” he says, “Market share is your key metric.”

He emphasizes that drastically cutting back expenses

on advertising is ill-advised.

“We have massive evidence it’s the worst thing to do. The critical thing that a company needs to do is to look at its share of voice.

The market share is absolutely dependent on share of voice,” he says, reinforcing a view many marketing gurus like Donald Hendon have repeated through the years – that market share usually correlates with “share of mind.”

In the hallowed halls of business schools and through bestselling books, Professor Hendon and company have stated that if a brand is not in the top three “share of mind,” that brand’s market share can be expected to be abysmally poor. “If you analyze every recession from the 1920’s… up until the Asian economic crisis, you’ll see the same pattern,” Miles contends. Hence, it is important that the communications investment in a brand is supported even during economic downturns.

PRIVATE TIME

Beyond his advertising work and educational advocacy, Miles maintains a healthy appetite for more personal pursuits, which reflect a nuanced taste for the intellectual and the finer things in life.

He has nurtured a strong interest in architecture, and as a personal project is restoring a house in Hanwei Province in China. He also enjoys collecting contemporary Chinese sculpture.

In the late 1990s, he almost acquired a vacation home in Paoay, in the northern Philippine province of Ilocos Norte, at a time when expatriates around Southeast Asia were snapping up properties in Bali or Phuket. But as circumstances would have it, his job brought him to the island nation of Sri Lanka, where he now has a small spice farm, which he maintains with a staff of 25. He is building a museum on the spice trade, one more among his many ongoing personal projects. (One cannot help but see a shared trajectory with the spice traders, mapping new routes as they sailed from west to east and back again, leaving in search of riches and returning laden with discoveries.)

Adding his juicy new assignment in New York to a plate full of activities, one wonders if he will be able to find the time for his private passions. But, as the irrepressible Neil French can attest to, Miles’ greatest strength is his unfettered and infectious enthusiasm.

“I can’t wait to see what he does in the United States,” Neil says.

If anything, it should mean that 2009 will turn out to be an exciting year for Miles Young indeed.

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When you come to Asia, you learn the value of consensus as a form of decisionmaking. And you also learn that some battles are best fought not head-on, but in a roundabout way.

FROM ASIA TO THE WORLD As an Asia expert, Miles will surely bring with him to New York lessons learned from his years of experience in the world’s future engines of growth.

“In Asia, I’ve learned to be somewhat patient and somewhat subtle,” he shares. “In the U.K., we’re basically an Anglo-Saxon business culture which is fairly straight-forward and direct, valuing urgency of speed. When you come to Asia, you learn the value of consensus as a form of decision-making. And you also learn that some battles are best fought not head-on, but in a roundabout way. Taking that to the next stage will be useful.”

Regarding doing business in Asia, Miles observes that Asians are fundamentally optimistic.

“People look for solutions, rather than problems,” he says. “People are essentially very pragmatic.”

Miles also has a keen appreciation of the strategic importance of Asia for multinational corporations. Aside from the obvious choices of China and India, he identifies Indonesia, Pakistan, Vietnam and Iran for their developing markets along with the Eurasian giant Russia and Brazil in South America.

“Developing markets are very important,” he clarifies.

“Clients are starting to structure themselves to compete in developing markets.” In fact, according to Miles, China is expected to overtake the U.S. as the world’s biggest market within a decade. It is an opinion shared by many economic experts and prescient businessmen.

In fact, in a radio lecture by the Australian Broadcasting Corporation, global media baron Rupert Murdoch fearlessly predicted that the transformation of China and India from traditional backwaters to economic powerhouses will re-shape the world. The rise of the two coun-

tries’ economies, he says, will create a new middle class in the billions of people, and will create a new benchmark for global competitiveness.

Miles also discloses that the countries that he identified have large consumer bases with relatively low penetration levels in many market categories.

“Whereas the U.S. and Europe are mature markets which are essentially a share game, in these other markets it’s still a penetration game,” he explains.

“To gain quick penetration of any consumer goods or services, you do require promotion.” Lots of it.

From a strategic perspective, Miles adheres to the Ogilvy formula of strong local roots. “We’ve always believed that the business should be 50-50, local vs. international. The local business is critical to having a strong network,” he says, “otherwise you’re just an export agency fundamentally.”

This strategy allows Ogilvy to develop meaningful relationships with homegrown clients, providing the agency a credible understanding of the local business environment, while leveraging global best practices.

As a creative organization, Ogilvy & Mather prides itself for its capability to successfully combine both creative and business concerns. “David Ogilvy always said that the agencies that produced the best business results were those with the best creative standards.

And he was right,” Miles says.

“So there is no incompatibility at all between the two.”

“At the end of the day,” he goes on, “let’s ask ourselves why we are in business… and the fundamental reason we’re in business is we do one thing that clients can’t do – and that is creativity… If you remember that, then you don’t go wrong.”

Written by Harry Mosquera, with interviews by Angel Guerrero.

newsline Asia’s youth wild about widgets −Mindshare

O&M gets a London finalist They may not have an ECD, but they have a finalist: Ogilvy & Mather’s “Giant Box” billboard for DHL Worldwide Express was named the only Philippine Finalist in the Billboard category of the London International Awards. Of 17,969 entries to the competition, only 5% reached

Finalist status.

“This is a tough category. So it is nice to see work that’s out-of-the-box without being frivolous with the product,” said Barbara Levy, President of the London International Awards.

(One only hopes the pun was intended.)

In October, Mindshare Asia-Pacific released Asian Widgets & Other Digital Adventures, its quarterly report from its network of “Asia Scouts” who cover urban youth culture from 11 cities around the region. The report explores widgets, the focused digital utilities that have become part of the internet-driven urban youth lifestyle.

“Beyond the usual banner ads, [widgets] can engage consumers in a noninterruptive, purposeful and viral manner,” the report notes. (In a word: Uniqlock.)

Small pieces of software for tightly-defined tasks, widgets are key tools for viewing maps, listening to playlists or personalizing a social networking page. Philippine widgets in the report, filed by Manila city scout Dang Sering, include online magazine Graphikapinoy.com and the popular “How much of the Philippines have visited?”

Lakbayan Map Widget. For a full version of the articles and other urban trend reports, visit www.asiascoutnetwork.com.

EPSON PRO teams with Alliance, artists and photographers

In early November, Epson and Alliance Française launched an exhibition of eight Filipino artists in photography, advertising and graphic design, all reproduced on an Epson PRO. The Epson PRO exhibit included works by National Artist BenCab, renowned photographers Bien Bautista, George Tapan, Jun de Leon, Quincy Castillo, Ryan Agoncillo and graphic designers Drew Europeo and Robert Alejandro. The artists were chosen for provoking and inspiring human sentiment with timeless appeal.

The pieces will be auctioned in partnership with Alliance Française de Manille, with the proceeds to be donated to the youth and education projects of GMA Kapuso.

“EPSON’s advocacies are not limited to helping the industry achieve the greatest heights in quality. We also believe in being of service to the community, and in this particular case, to the education of the Filipino youth,” said Senior General Manager, Division Head for Sales & Marketing of Epson Phils., Eduardo Bonoan in a statement. The exhibit coincides with EPSON’s tenth year in the country.

New titles at adobo books

Good news: JB Bangoy is home with his family, talking and in therapy toward recovery.

The senior writer (and former adobo cover subject) who represented the country at Cannes Young Lions 2008 was hospitalized after a series of seizures in September.

Bangoy’s J. Romero colleagues heroically organized a last-minute benefit at mag:net in October. Industry folks of all stripes crammed the tiny venue, spilling down the stairs to ground level. His colleagues thank everyone who donated, bought tickets en masse, and helped in any way. They look forward to telling JB all about the hell of a party that he missed.

Yes, we know adobo provides all the deathless prose you’ll ever need. But for times when only a book will do, we’ve got some new goodies for the holidays.

New on the bookshelf are two classics by the late great Paul Arden (see adobo’s May-June 2008): It’s Not How Good You Are, It’s How Good You Want to Be and Whatever You Think, Think the Opposite; Cutting Edge Commercials, the latest in Jim Aitchison’s popular series; Luke Sullivan’s Hey Whipple, Squeeze This!, now on its third edition; The Copywriter’s Handbook, by Robert Bly; The Advertising Concept Book, by Barry Pete; and Advertising Next, by Tom Himpe.

Check them out on adobomagazine.com.

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The House that Matt Built

Location Choice:

By Saatchi Chairman, Arthur Young Jr.

Vision for new office: Nothing is Impossible

Office Designer: Melissa La’O and Matt Seddon Number of Employees:115 (Closed down media and research (fieldwork) departments) Description of old Saatchi office: Old

Description of the new office: New

Office Space: 2100 sqm of office space (possibly the largest agency office in Philippines!)

Previous tenant: Chevrolet

Why “Saatchi House”?

It is a fun name, gave the new office a personality and encouraged a tribal mentality

How much to build, fix and kit Saatchi House?

It was a big investment but worth it

Moving in challenges: Aside from the challenges of turning what was basically a warehouse into a fully digital office for over 100 people ....getting it built on time

Best features of Saatchi House: The open plan layout and the Bar!

Cultural shift in Saatchi House: Inspirational. Motivating. Fun!

Matt Seddon President, Ace Saatchi & Saatchi

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movers PDI’S Pepito Olarte is New Group Sales Director

In October, the Inquirer Group of Companies announced the appointment of Pepito R. Olarte as Group Sales Director.

Respected not just in print media, Olarte is also a Director in the Advertising Board of the Philippines (AdBoard). Whether championing Filipino creatives as the Philippine Official Representative at Cannes, or capably officiating the United Print Media Group as president, Olarte is the face of the Philippine Daily Inquirer.

As Group Sales Director, Olarte is tasked to steer sales units of all the Inquirer group companies that includes Printtown, Inquirer Interactive, IPI and HIP. He still serves concurrently as Philippine Daily Inquirer Vice-President for Advertising.

Ichay Bulaong Heads ABS-CBN’s CRM

In October, Ichay M. Bulaong, co-founder and ex-Managing Director of Arc Worldwide Phils., and widely considered the top CRM suit in the country, joined media behemoth ABS-CBN as Head of CRM (Customer Relationship Management).

Her brief is to establish and lead CRM in ABS-CBN and its subsidiaries, which include SkyCable, magazines, and TFC (The Filipino Channel) in the US. A local CRM pioneer, Ichay also established O&M Direct and her own shop, First Direct.

From Inspiration to Illusion

The Scenographic Works of Eduardo Sicangco Ground Flr Gallery, Ayala Museum 26 Oct 2008 - 11 Jan 2009 “It will be such a pity if the younger generation of Filipino designers fail to experience manual craftsmanship in this degree of finesse and elegance. Kids these days tend to live only within the parameters of computer generated design and graphics.

Many cannot see beyond a program and a mouse, when their talent can literally be at their fingertips.”

—Tats Rejante Manahan, Exhibit Curator.

Set, costume and production sketches by one of Broadway’s most successful designers, Ilonggo and proud Filipino citizen Eduardo Sicangco. adobo main course presented an Artist's Talk & Gallery Tour with Eduardo Sicangco on Monday, Nov. 24. Watch for an interview and photos in the next adobo!

O&M ECD job vacant again

Having just arrived in September, O&M Executive Creative Director Kenny Choo returned that same month to Singapore to care for his pregnant wife until she gives birth. According to O&M head Randy Aquino, “I’m afraid that means he’s not coming back.

The search is back on. Abangan!” Choo was recruited after months of searching to replace the much-missed Gavin Simpson, who was transferred to O&M Hong Kong earlier this year.

Capati moves to Carat as Media Director

After 6 years with Starcom, Liam Capati joins Carat as Media Director for P&G planning. He brings with him a breadth of experience, directly managing accounts such as local giant San Miguel Brewery and the luxury brands of Richemont SA.

Empty ECD Seats 1: Dino Jalandoni leaves McCann

In mid-November, coDeputy ECD Dino Jalandoni announced his departure from McCann-Erickson. Since joining McCann from Burnett 15 months ago, Jalandoni handled accounts including San Miguel, Nestle, SkyCable, Coke and RTO. He is leaving "to build my first house."

A creative reorg is said to be in the works.

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Get your very own Amorsolo for your desktop or blog! This site, by Proximity, offers free downloads of selected works, and lists activities for the multi-museum retrospective honoring one of the country’s bestknown but least examined National Artists.

At press time, the most urgent exhibits to catch are at UST (ending Nov. 29), UP’s Vargas Museum, GSIS Museum and Ateneo Art Gallery (all ending in December), and at the National Museum and the Metropolitan Museum (ending January 2009).

No time except lunch? Stroll over to Mukhang Tsinoy: Portraits, at the RCBC Plaza’s Yuchengco Museum until Jan. 17, 2009, where you’ll amorsoloretro.com find a portrait of Direk Jun Reyes’ grandparents; or Ayala Museum’s Amorsolo Women: Concealed & Revealed, currently running until March 2009.

If you’ve got a budding art director at home, the Museo Pambata runs a free workshop for kids and parents called KNOWING AMORSOLO. Pls call 523-1797, or e-mail info@museopambata.org.

SPECIAL BULLETIN FROM INDUSTRIA

Directors Marian Basa and Marla Ancheta change the face of Industria

Photo by Jom Tolentino

“babae?!”

They prefer flip-flops to heels, backpacks to it-bags. They guffaw freely, speak frankly and have not a bit of makeup between them. But graduates of UP Film and already veterans of music video and line production, Industria’s two young flick chicks are gunning for a hit.

Marian: Nung bata ako, mahilig akong manood ng shooting (“Growing up, I loved to rubberneck at the shoots near our house”)… As an intern here at Industria, I saw Direk Mandy and Rody Lacap, and got a little starstruck. Nakakita ako ng dalawang taong sobrang passionate at sobrang love ang ginagawa nila. (I saw two people who were totally passionate about and enamored of their work.)

Marla: Fan ako ng local movies – Tito Vic & Joey! In UP I was already working in indie film, doing sound, editing, PA work, anything I could do between classes. After school, I spent a long time in music videos and MTV before joining Industria.

Women behind the camera Marian: I had one client who was more worried about my age─I seemed too young to shoot five ads in two days. So the agency told him I was older, which was a first. During pre-prod, the client sat down, looked at me and said, “Babae?!” (Hahahaha!). The project pushed through; and I

believe he was happy with the outcome. He even asked for me in the succeeding TVCs. Marla: I got my first break because the original director needed an operation! It was a cologne ad, super pastel and pink!

I’ve made three beauty ads so far.

Now, from thinking I only do dark music videos, some people are surprised to learn I worked on a project, because “it’s so guy.” I’ve been bumped off a project because the client insisted on someone who was a parent, but I’ve also gotten one simply because the client wanted a woman director. You really can’t tell.

In two successive years and by coincidence, both women have represented the country in the Asia-Pacific ADFEST’s Fabulous 4, a contest for neophyte Asian directors run by the association of Japanese cinematographers.

Adfest adventures Marian: For me it was VALIDATION. Some agencies still see me only as a line producer. Of course that’s still my job now, but it’s not always easy for them to think of me as a director.

I actually threw away the application form. But Direk Mandy bugged me about it and made me find it in the trash. The “Turning 10” theme made me think of my own experiences, riding a crowded FX at 2am. My ADFEST experience was great; as the first

young director to represent the country I felt so proud. The other Pinoy delegates were so welcoming and helpful, and I got to shake hands with David Droga and Thirasak – I was speechless! A Malaysian CD approached me in the street and gave me a beach bracelet, a token of how much he enjoyed the film. I still have it. An older delegate from Mumbai also congratulated us – it turns out that he’s the head of a big agency there.

So many people expressed their admiration for a really Asian story.

Marla: I was in Cebu when Direk Mandy texted me just days before the deadline. It was during a hardcore brownout, so we went to the new Jollibee -- the only place with power -- and waited two hours to email from the local internet café.

I wasn’t even originally chosen; a week after the announcement, I got this hoax-like text that “There is a very exciting e-mail waiting for you.” The Fabulous 4 became 4+ ─because they were all Japanese, and No. 5 was me! The whole film, from preprod to post, was done in two weeks. The 2008 theme was “Reinvent”, but I guess with the

cologne ads I was all emo, and ended up with a love story. Some of the judges’ comments were harsh -- like thesis defense all over again! – but I didn’t care, I was just so happy to be there. Then while I was waiting to ride a jeep, three Bangladeshi delegates approached me and told me how much they liked the film, no matter what the judges said – they even paid my jeep fare back to the hotel.

Must’ve been my backless top.

Dream projects Marian: I would like to do an alcoholic beverage ad, from a woman's standpoint, where sexuality is not just an exhibition of the female anatomy while the lead guys drink their beer; but rather a display of sexuality through strength in character.

Marla: I want to keep exploring beauty ads, pushing them a bit. I also like ads with punchlines, like the ones we used to make in MTV. On being a female director Marla: My ads are clean, people look good in them – even the grungy rockers.

Marian: I once got tearyeyed while presenting my treatment during a pre-prod.

The ad was for a major brand; a testimonial of a consumer who won the brand's biggest prize in a nationwide competition. But before that, I went to meet the winner first. I found out she was going though a tough time, which led me to tweak the copy to reflect her heartbreaking story.

Being emotional is probably a stereotypical female reaction, which can be a setback in achieving a career in a maledriven profession... but I don't mind, this is how I am built. I give my 100% in every project I get my hands into. The important thing is I got the message across and made my clients happy.

Marla: Pero wala naman kasing “female” project or “male.”

Rakenrol kami, no? Kahit ano, sabak! [But a project isn't 'female' or 'male. We're rock 'n roll─anything goes!]

Well put. So for those agencies ready for something with that little twist that makes a viewer look twice, check out Marla’s and Marian’s reels at Industria, 8990011. november-december 08

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movers Bates141 staffs up with senior integrated, activation hires

7th Agora Conference

Hybrid Rice, Social Statements and Pinoy Brands Overseas

Having earlier announced the joining of ex-OgilvyAction leaders Angel Antonio and Joey Ong, Bates141 has beefed up its integrated offering with new hires.

Joining Antonio and Ong is Chay Suico, Senior Logistics Planner. Suico has spearheaded award-winning activations for Nestle and Coca-Cola Corporate.

New General Manager Angel Antonio is joined by client service managers Denise Haak and Monchit Magno; Creative Director Joey Ong brings a team of three, art director Dan Pambid and writers Macky Mina and Sara Badr. Group Account Director Dean Dee has been named Strategic Planning Director.

Tuason, Lansang now AOR Directors at Universal McCann

In September, Adel Tuason and Gie Lansang were promoted to AOR (Agency of Record) Directors at Universal McCann.

Tuason, a homegrown talent, is now AOR director for Jollibee Food Corporation (Jollibee, Chowking, Greenwich and Red Ribbon) and the Ayala Group of Companies.

Lansang, who previously headed I-media, is now AOR director for Johnson & Johnson.

As AOR Directors, they supervise all the media activities for the client, regardless of creative assignments to different agencies per brand.

Empty ECD Seats 2: Joey Campillo leaves Lowe.

In mid-November, Lowe Manila announced the departure of Creative Director Joey Campillo, together with 3 other redundancies and 2 retirements.

The news was no surprise for the industry, which has tracked with amusement Campillo's increasingly public complaints toward his former employer.

Citing major losses from the relocation of certain brands from core client Unilever, Lowe president Mariles Gustilo described the loss of six employees as "right-sizing."

Philippine exports – from grains to brands— took centerstage during the Philippine Marketing Association’s 7th Agora Conference, titled “Marketing Possibilities, Global Opportunities.”

The unexpected opener for the conference was Henry Lim Bon Liong, President/CEO of SL Agritech, with an impassioned account of the quest to produce high-yielding super hybrid rice.

Lim Bon Liong, also the CEO of Sterling Paper, focused on the Fil-Chinese resourcefulness, hard work and research poured into creating the new grain, despite repeated failures and all odds of climate and terrain. Today, even as the Philippines continues to import rice, our superhybrid rice is sold abroad.

“Marketing Filipino Brands Overseas” is a maxim that Willy Arcilla, president of Business Mentors, Inc., carries in his heart.

Having successfully relaunched C2 in Vietnam,

Arcilla is no stranger to cross-continental brand-building. His rousing presentation of internationally successful Philippine brands sparked a healthy exchange among the audience that went beyond Philippine pride into government and politics.

The 7th Agora Conference also included Dr. Leonardo Garcia Jr., Dean of the College of Business Administration of Lyceum of the Philippines, who spoke on “Rock the Global Marketplace through Non-Price Competition.”

Also from the academe, Dr. Karen V. De Asis of the De La Salle Graduate School of Business, added spice to the sessions through “Brands as Social Statements.” The afternoon closed with Discovery Enterprises International’s Regional Licensing Director, Pinky David, who provided several Singapore-based examples in “Licensing a Global Brand: Deal or no Deal.”

Get your

AHA!NTENNANATOR on

Marrying Mad Men (and Women)

Congratulations to just three of the industry couples making leaps of faith in December.

Getting married days apart are Just Add Water producer Leo Mercado & fiancée Chantal, now a private citizen but once the adorable star of Purefood’s “Goodbye, Carlo!” TVC; and creatives Jason Drilon and Maui Reyes, who memorably got engaged at the last AdCon with the help of some guy named Neil Gaiman. In early January, bells ring for CDs Dino Ocampo and Pia Roxas, whose wedding prep has been a happy exercise in shared geekery.

Producer Telly Arce, who is Best Mate for Mercado’s wedding and helped organize Drilon’s as well, has only this to say: “The pressure [to commit] is getting stronger, seeing that two of my best mates will be tying the knot in a matter of 86 precious hours!”

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For a laugh on these gray days, check out www.ahantennanator.blogspot.com, the cheesy-and-proud-of-it site that serves as the call for entries for the KBP Radio Awards. Created

by Proximity, the blog features ad personalities−thankfully, not the usual suspects−donning and demo-ing the miraculous device.

Once you’re done laughing, don’t forget to send your entries to the KBP Radio Awards by Nov. 30. For entry forms, requirements, and last year’s winners, visit www.kbpradioawards.com, or email entries@kbpradioawards.com.

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movers Fernando Vega Olmos joins JWT from Lowe

Bob Jeffrey, Worldwide CEO of JWT, announced the appointment of multiawarded creative Fernando Vega Olmos as Creative Chairman for Continental Europe and Latin America.

Vega Olmos joins from Lowe Latina, where he has been Chairman since 2007.

In 1992, he became the first Argentinean creative to win a Gold Lion at Cannes. His agency, VegaOlmosPonce, was launched in 1997 and has been ranked among the top 15 most creative agencies in the world by the Gunn Report.

Billboard owners stress moves to professionalize Established in 1964, the OAAP implements stringent rules and regulations on its 100 members, who represent 80% of all billboard owners nationwide. The OAAP works closely with the DPWH and other government agencies and sectors to improve the current billboard advertising industry.

We are making moves to make it clear that the industry is strong in its efforts to promote safety and strict rules.

BBDO Taiwan Names One Chang Executive Creative Director

Taipei– BBDO Taiwan has appointed One Chang as Executive Creative Director.

Chang joins from Draft FCB Taiwan, where he held the same post.

An 18-year industry veteran, Chang will take full responsibility of creative management and operations. Prior to BBDO Taiwan, Chang was creative head at multinational agencies such as Ogilvy, Saatchi, McCann and Draft FCB.

Yumi Shibuya heads Grey Group Japan; Chris Beaumont returns to academe

Tokyo-In a rare move for what remains a very traditional country, the Grey Group Japan has appointed a woman as president/CEO. Yumi Shibuya, Managing Director since 2006, assumes the top spot on Jan. 1, 2009.

“Yumi has consistently provided ‘best in class’ leadership for our biggest accounts,” said Mike Amour, Chairman & CEO of Grey Group Asia Pacific. “She is respected globally by clients and colleagues alike.”

Both Grey Group and the activation unit G2 will report to her.

Shibuya takes over for Chris Beaumont, the popular former London Business School lecturer who led Grey Group Japan to become the top WPP unit in the Asia.

Newly appointed as a Professor at Tokyo University, Beaumont will continue to act in a strategic advisory capacity to Grey Group across the region.

TBWA\ India Gets Sengupta as National Creative Director

Mumbai - In November, TBWA\ India appointed Rahul Sengupta as National Creative Director. Sengupta moves from Lowe, where he was Executive Creative Director. Shiv Sethuraman, CEO TBWA\ India Group remarks about the new hire, “What convinced me was his track record of developing big, sustainable ideas on brands - a rare and dying talent in an industry obsessed by scams and one offs’.”

Sengupta has over 15 years' industry experience, most of them with Lowe. He began his career with Mudra, Bangalore and then Bombay. He has authored campaigns such as Titan Fastrack, Tanishq, Indya.com, Maruti Alto, Parker pens, Bajaj Hoodibaba and Wind Biking, ICICI Prudential ‘Chintamani’ and Cadbury Schweppes’ Sport Cola.

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We may think of them as aesthetic scourges — but are all billboards physically hazardous as well?

The Outdoor Advertising Association of the Philippines (OAAP) assures the public that strong measures are being undertaken to address the ongoing scrutiny placed on billboards.

In an interview, OAAP president Atty. Joe Vale revealed that the owner of the billboard that collapsed on Santolan in October is not an OAAP member. “The fault of one company, especially a non-OAAP member, affects the entire industry. That billboard owner is not subject to the rules and regulations of the OAAP. All our members strictly follow the structure requirements computed at 220 kmp wind load,” stressed Vale.

By day (and often night), they toil on shiny happy brands like Tide, Coke and McDo. But in their scarce free time, they're Sarcastic Insomniacs (as one series is titled) who deface/reimagine Alaska Boy and name their shows after Yoyoy Villame songs.

Team Mani* is Mela Advincula, JP Cuison Ryan Giron and Steph Mangalindan: four young art directors at Burnett, who hatched the idea during yet another late night at Enterprise. With colleagues packing the gallery and some pieces sold that very night, GRANADA was one late-night idea that definitely made sense in the morning. *Translates to "Team Peanut " while also spoofing top indie design firm Team Manila.

“The OAAP has already done a lot to prevent this type of disaster,” said Vale, referring to the (literally) killer billboards. “We have made representations to the Philippine Association of National Advertisers (PANA) and to advertising agencies to patronize members of OAAP only. We have also sought the support of the Advertising Board of the Philippines (AdBoard). Being an AdBoard member, mas madaling magkausapan (solution is easy to achieve),” Vale continued.

“The perception of the public, (whether the billboard owner is) OAAP member or nonmember, is immaterial. If a billboard collapses, the whole industry is masama (irresponsible).

It is unfortunate because we were starting to recover after Milenyo, but this incident has again affected (the industry). But we will recover. We are making moves to inform, like a press conference, to make it clear that the industry is strong in its efforts to promote safety and strict rules,” Vale emphasized.

Media Atlas

Mapping Asia's Youth At a gathering in Greenbelt 3, Synovate joined the bandwagon of research companies intent on dazzling us with online data trends.

Synovate Executive Director for Media, Steve Garton, shared several insights from the firm’s latest Media Atlas on Asian youth.

According to the study, Filipino youth are at par with their Asian and European counterparts in social networking, because the speed of technology puts users at the same level worldwide. Music, celebrities, sports and cartoon characters are loved at the same level across cultures, though culture dictates the specifics. For example, Filipino kids love Sponge Bob, while he leaves their Euro counterparts cold. “The youth are united by technology, but distinguished by local tastes,” says Garton.

“That is a real issue for the economy (in the Philippines). As the youth get more educated, if you don’t have internet access, say to Wikipedia and similar sites, it limits and segments online culture,” he continues. Of course, it’s the economy. Pinoys with online access may be as tech-savvy as their global counterparts, but they access within the confines of internet cafés, rather than wi-fi. The difference is

household spending power.

This potentially insidious divide may start at early. Research identifies the “youth market” as eight years of age, perhaps a portent of a totally digital future. “When you question kids about being internet-savvy, they say ‘not really,’ because they’ve grown up with it. They are making a relative judgment,” reveals Garton. Having grown up with technology, software and multitasking, today’s Asian kids have much higher standards for what constitutes a geek.

This was not the most amazing news for marketers. Asked what they cannot do without, kids chose the internet as a runaway winner, with mobile phones a close second. TV was a distant no. 3, and only for entertainment (not information). TV is laid back, always in the background, a music box with pictures. Kids might not be watching less TV, but they are paying less attention.

But marketing-wise, online cannot yet stand alone; it has to be integrated into traditional media, as part of a full campaign. “In terms of share of mind, 40% of media time is internet, while youth market is around 15-20% share of mind. But why is it that advertisers have failed to realize that, and share of (online) budget is only around 1-2%?” asks Garton.

Asked what they cannot do without, kids chose the internet as a runaway winner, with mobile phones a close second. TV was a distant third

is about engagement. For the young, the internet is a medium that conveys authority and commitment, yet it can also be a best friend. A blogger may command high respect or none at all. “Stop using the term ‘target market,’” Garton says. In other words, you do not target your market; the market targets you, by being engaged enough to respond.

Other interesting findings: three-year olds can use the mobile phone, and already have tastes and listening preferences. In Filipino families, OFW families and single parenthood are not as pervasive as we assumed; a traditional Catholic upbringing is still the norm. But contrary to perceptions that the internet is only for the young, there is a significant spike in 55-64 year olds chatting online. China is not one entity, but a group of vastly different cultures per city and per region, with Hong Kong a separate region entirely.

In closing, Garton advised that the days of traditional market research are gone. “Always go for the details. You can’t calculate an average from pygmies and giants. Look at the way that digital focuses on individuals; on small, discrete consumer groups. Old models are being broken and can they can never be rebuilt.

They are being deconstructed.”

Happyslip

Suffice it to say that, in the last 10 years, brand research has come a long way in understanding the market. ROI is now a return of involvement, while internet/online advertising Raoul Panes and Shiela dela Cuesta with their 'kids'

Team Mani: Mela, Steph, JP and Ryan.

Ribbon-cutter Angel Guerrero and Ryan Giron

Mela's moods

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Collision Theory

Whether for inspiration or idolatry, business or just to bum, the SRO flock at Graphika Manila 08 (GM08) was bustling with activity and hustling for action.

On its third year, the conference showed the design industry spinning its silky web across a variety of industries. The graphic design wave is riding high, and we welcome its crashing onto Philippine shores.

The conference boasted a star-studded lineup: pioneering solo graphic designer Robert Alejandro, working design teams Collision Theory and Acid House. Its foreign speakers were equally impressive: Pixar animator Kristophe Vergne and star designer tokidoki. Sponsors included Samsung, DesignPeople and Bratpack/Jansport.

Though it was a graphic design forum, it was not all lofty art. Many of the speakers touched on practical aspects: Robert Alejandro on the importance of organizing, not just for solidarity but for standardizing rates; AJ Dimarucot on making the best of vague briefs (clue: super-hot 20something emo bands are not the most lucid clients); Acid House on seizing opportunity, ready or not; Kristophe Vergne on the incredible amount of work demanded in the funland known as Pixar; and tokidoki on knockoffs and letting go of successful partnerships. Even Tim Yap, from sponsor Philippine Star, provided an example: when your computer quits and the crowd

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ignores you, stare them down, soldier on and offer free drinks for all.

Robert Alejandro The opening speaker, Robert Alejandro is someone many in the audience had grown up with, as the host of a children’s art show and one of the pioneers of affordable local design in his family’s retail chain Papemelroti.

In a day devoted to specialist designers, Alejandro presented projects that range from an entire mall to bank window displays to a book he had written as well as designed (“In the Philippines, you have to be a lot of things to survive”). Then his talk veered into unexpected territory -- with a simple reading of current numbers on poverty, population, corruption, street children. (From the back of the theater, someone pleaded “Stop it!” In front of me, the visiting animator nodded his head.)

Besides providing muchneeded social context, the figures grounded Alejandro’s personal story. Already holding a job overseas, knowing he would face taxes, difficult clients and the realities of doing business in a country with 66.4% poverty, he still chose to come home and “be part of a solution.” For an audience expecting only to bask in star power while dreaming of world domination, it was a bracing yet incredibly inspiring start.

The Acid House Stuck in the dreaded afterlunch slot, the low-key duo of Ivan Despi and Pauline Vicencio retold how they started. Equal parts

“[Graphic artists] are part of the solution.

We visualize, that’s what we do. We can visualize a better Philippines.

We can be part of change.”

-Robert Alejandro

balls and bluffing, Despi’s pitches somehow won a high-profile ABS-CBN contract - and the first thing they had to produce was a production studio. But as the Beatles sang, and indie artists everywhere know, “I get by with a little help from my friends.’ Suddenly, The Acid House was in business.

Once I won the project, the first thing I had to produce was the production studio.

–Ivan Despi, Acid House

After that uplifting start, Despi and Vicencio shared a few hard facts of indie studio life. 1, You do everything. Number 2: Burnout is just one of the problems of a small independent studio. Not a warning, merely a fact. Number 3 is a direct quote from ABS-CBN’s Gabby Lopez that Despi lives by: Nothing takes the place of hard work.

The Acid House ended by unfurling a a succession of jaw-dropping, very Pinoy work, ending with local band Up Dharma Down’s music video “We Give in Sometimes."

newbiz/pitches Pixar Representing THE coolest animation studio in the world, 3-D animator Kristophe Vergne focused on the arduous technical process that brought Ratatouille to life.

With sketches, coloring, clay and computer modeling, and even motion tests using human animators, Vergne interspersed finished images with behindthe-scenes insights that had the audience in tears with mirth.

To be an animator you should also be an actor.

-Kristophe Vergne, Pixar His monotonous drone was forgiven. Vergne discussed the challenge of making a strange creature lovable – perhaps not just Remy the rat, but art as a whole. Vergne’s rat with a dream may as well be a metaphor for aspiring artists.

“The computer is just a tool,” he stated. “I applied to Pixar with only a 2D reel, but look where I am now. There is no secret at

2008: Pitch-Slapped

instrumental, pun intended, to inspiring creativity. tokidoki Reluctant ‘chick magnet’ Italian Simone Legno branded his artwork as tokidoki, and has since been going by the nickname. His portfolio/diary website has morphed into an empire, creating instantly recognizable merchandise for Galliano, LeSportsac, Renault and Toyota, MTV and even Microsoft. Still quite young, tokidoki is already an artful businessman. Sporting a very Italian accent and American streetwear (while showing

Japanese-influenced imagery to a Pinoy audience), he dispensed qualified advice on licensing, knockoffs and finding inspiration just looking out your window.

In sum, Graphika’s guests’ intimate connection to their craft resonated in their work.

A gigabyte paints a thousand words. Graphic design is hip and cool—seductive to youth, symbiotic to pop. The biggest proof: once exclusive to rockstars and athletes, nicknames and noms de plume are now common to graphic designers as well. What more proof do you need?

Design for me is not just my job.

It is how I live my life.

-tokidoki

Tokidoki is Japanese for ‘sometimes.’ But when it comes to female fans besieging Legno, it’s ‘always.’

Pixar. It’s about work, work, work,” he stressed.

Collision Theory AJ Dimarucot's design talent is a given—but his knack for business is a more recent discovery. Having already helped win a Caples Award at O&M, he has completely switched careers—from art director to international t-shirt designer. While his sophisticated designs wowed the crowd, Dimarucot’s casual presentation generously shared Photoshop effects, before-andafter shots, and websites through which the audience could start their own shirt empires. Copresenter Arvin Nogueras, a.k.a.

Caliph8 of the group Drip, used his collection of stunning retro LP covers to describe how music influenced his design. Paying tribute to both Ikabod Bubwit (“our local Ratatouille”) and ‘70s psychedelia, the clearly nervous musician shared how music was

Normally, adobo would have more content in this section by yearend. But as of mid-November, a number of big pitches are midstream or otherwise undecided. It ’s been a long 2008. The whole industry is exhausted from nonstop pitching – and not just for major accounts either. Promos, projects, events, activations are all up for grabs, as nervous clients cut budgets, consolidate efforts and cast their nets wide for the quick fix of a new agency. The fever has spread to media independents as well, many of whom offer creative services together with their media strategy. At least four major pitches−big brands in real estate, fastfood, airlines and fuel−should be concluded and announced by year-end.

Maybe then we can all get some sleep.

Mindshare wins Natasha

Mindshare Philippines, a GroupM company, according to sources have just won the media business of Natasha’s Personal Care. The win was pitched against Universal McCann and OMD. Mindshare will work with Natasha’s creative agency, BBDO Guerrero.

Inovail Appoints Crush Philippines

Inovail has named CRUSH Philippines, part of ASEAN based regional network of TNBT Far East Communications, as their agency of record to launch their new brand Seforel, a feminine hygiene wash. Ms Mary Anne Catli, Senior Product Manager for Female Healthcare of Inovail said, “Aside from its creative strategy and execution, CRUSH Philippines was chosen because of its regional network and reach.” The campaign launched in October this year and will run through to the first half of 2009.

MRM Philippines On A Roll

MRM, a member of the McCann Worldgroup Philippines, flexes CRM and digital muscle as it posts a continuous string of new business acquisitions and pitch wins on major brands. The most recent wins are Nestlé’s Amore website, Nescafe Gold’s CRM program. Concurrent to these, MRM is working on direct marketing projects for Nestlé All Purpose Cream and Nestlé Fresh Milk.

Earlier this year, MRM bagged Unilab’s CRM AOR for the Consumer Health and for the Ethical divisions. The first-of-its kind partnership with SM Advantage (for data analytics). Other SM projects have also been reeled in, including SM Appliance. Other new business gains are those from clients VRP Medical Center, Haldane, VSO Bahaginan, Skycable, Jollibee Kids and URC.

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newbiz/pitches Vroom! Petron in pitch

In November, Petron announced that it was pitching all categories of its advertising creative. The oil firm awarded its media AOR account—one of the single largest in the industry— to Starcom in July.

The pitch included incumbents Saatchi, Burnett & Lowe; otherwise the agency list is not yet final, but a source describes it as “pretty long.” Except for agencies tied to Shell and Caltex, most of the industry is already gunning its engines. One agency head (not part of the pitch) described the account ’s appeal: “It’s big and it’s local.” This means that local creative work is not restricted to adaptations of regional campaigns.

CARAT ENDS THE YEAR SHINING

In November, media independent Carat announced a series of new business wins, almost all awarded without a pitch.

Part of the Aegis global network, the agency has won Maxicare, TaylorMade, Future Trade Inc., and real estate development Carmeltown.

Other big wins were won in partnership: the Philippine Orthopedic Institute and wholesaler Makro were won with BrandIdeas; Food Industries Inc. (Nagaraya) with PC&V, and Innovail’s Seforel feminine wash in a pitch together with Crush.

According to Carat GM Cookie Bartolome, two more big wins will be announced soon. Total 2008 new wins will result in 2009 annualized capitalized billings of over P200M.

Leo Burnett Singapore Picks Up Mondial Rare Jewels Business

SingaporeLuxury house Mondial Rare Jewels has tasked Leo Burnett Singapore with a campaign to launch their latest collection of premium jewellery. The campaign, expected to be rolled out in December 2008, will target high net-worth individuals in Southeast Asia.

Mondial Rare Jewels offers certified diamonds as well as precious gems and pearls of exceptional quality. Commenting on the business win, Chris Chiu, Executive Director, Leo Burnett Singapore, said, “We’re more than enthusiastic about this new relationship we have with Mondial. I think the coupling of their product offerings with our experience in luxury and beauty will lead to incredible work that will be as stunning as it will be effective.”

Raul Castro's was the fullest house, followed by Mon Jimenez's.

Lawin Bulatao's was one of the most memorable, perhaps because he kept using food metaphors during dinnertime.

Melvin Mangada's continued a tradition: it was a talk he heard as a young creative.

Steve Clay's went on til 10pm.

These are the RAW SCHOOL talks, part of a 22-session syllabus for the industry's fresh meat, organized by the Creative Guild's Director of Young Creatives, Publicis JimenezBasic's Third Domingo.

Aimed at training creatives to become globally competitive, the syllabus goes beyond craft to tackle business realities: handling your boss, selling your work, coping with frustration and dealing with clients. The speakers are the industry elite—people it's tough to even get an interview with, let alone a 2-hour session.

Each session also features an assignment, with the brief issued days before. Students bring their ads to class, and the speaking CD critiques them before choosing the top two or three. Each week this results in a frank assessment of the ads before the creatives behind the "winners" are revealed.

By forcing young creatives to prove

Pizza Hut Appoints JWT Singapore

Singapore - Pizza Hut has appointed JWT Singapore as their new advertising partner, following a fiveweek long intensive pitch involving Bates141, Y&R and Grey Singapore. The pitch was called

by Pizza Hut after the announcement of an amicable separation with BBDO in September this year.

“Pizza Hut is competing in a dynamic and intense F&B environment. We need a partner who is committed and capable of driving up our brand position and appeal to our target customers”, said Michael Gian, CEO of Pizza Hut. JWT’s Senior Management Team, including Angus Fraser, Managing Director, Ali Shabaz, Executive Creative Director and Mike Cox, Regional Management Director, led the team through an intensive but fun pitch process.

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ADGENDA

Spoof Me!

What better place for an advertising seminar than a mall? On an otherwise typical Saturday, the senior Advertising students of the Polytechnic University of the Philippines (PUP) whipped up an afternoon of education and entertainment at ADGENDA 2008. The MegaTrade Hall was abuzz with 500 students

from 25 universities.

Five speakers, all experts in marketing and communication, shared the trends of a rapidly changing industry. David Guerrero, CEO and chief creative director of BBDO Guerrero, presented award-winning work on the topic ‘TRY ME! Tri-Media Ads’ Creative

Innovations.’ Presenting Pizza Hut’s Hate Late campaign─and the spoofs it inspired on YouTube -Guerrero got a happy surprise when the makers of the spoof turned out to be sitting in the audience.

Other speakers included Alec Pang, Director for Strategic Planning of OMD Philippines, who shared his strategy on “100° Celsius Media Fever: Traditional Ads Media Execution.” Executive Director of PhilCourse, Lloyd Tronco, introduced the business of billboards in “May I Go Out?: Outclass on Outdoor Ads.” Miguel Quesada’s topic “Let’s Move “ON”!: D’ Efikc of Online or Interactive Ads 2day” and first-time speaker Atty.

Rudolf Jularbal, Adboard Legal Counsel, on “bADUY! : Ethical Advertising on Newly revised Code of Ethics,” rounded off the afternoon’s brain food.

Here are the remaining RAW SCHOOL sessions. Classes start at 6 PM. Nov 27 Dec 4 Dec 11 Dec 18 Jan 8 Jan 15 Jan 22 Jan 29 Feb 5

Meet The Superstars: Droga, Thaidumrong, Cabral, Sarmiento et.al. by Tonypet Sarmiento (F Word) I Can’t Hear You: Bringing Radio Scripts To Life, by Vic Icasas (HIT Productions) From Storyboard to Film to Fame: Sid Maderazo (88 Storey) An Inside Look at Awards Shows: How Important to Business and Career, by Dave Ferrer (F Word) Hitting By Not Aiming: Ways to Enrich Your Creative Reservoir by Tanke Tankeko (Il Ponticello) IRON CREATIVE II: Three Young Kidlat Teams VS E Demata, D Ocampo & Crew (F Word) Office Politics: How to Get Your Way Early, by Tin Sanchez and Brandie Tan (Il Ponticello) JOB UNFAIR: Where is the Best Place for You? By various Agency CEOs and ECDs (F Word) GRADUATION! Pirate Me Party (F Word)

Sessions are P600 per single session, including two local beers. Discounts available for any 5 or 10 sessions. Reservations are not required, but some talks get very crowded. To attend, text Vanne Tomada (893-1205/0917-538-3338) or just show up at the venue.

themselves every week on a level playing field (same brief, same CD, anonymous submissions), RAW SCHOOL provides a rare if slightly brutal confrontation with one's creative limitations. To hear your idol demolish or just plain ignore your work can hurt. But as the series' memorable posters say, "A little bleeding only means it's working."

At midterm, Principal Third is satisfied by the enrollment levels: about 35 regular students, and plenty of walk-ins. A class president has been chosen, and a few creative stars are emerging. There are Facebook and Multiply groups, even an unofficial blog.

Will the cash-strapped Guild make some money? Will there be friendships, hook-ups or breakups? At each session, it is encouraging to see young creatives trickle in, tired and tightly wound yet ready for a shot of inspiration before staggering back to one more night of overtime.

Ask after the absentees, and youíll hear the same things: "May trabaho!" "May pitch!"

"Wala pang tulog!" (Working! Pitching! Still hasn't slept!)

Oh, to be young and in advertising!

Raul Castro in top form

"Hilaw. This is the literal Filipino translation of the word “Raw”.

I find this funny because this is also the same term usually used to describe advertising newbies who fail to meet the discerning standards of their Creative Directors. When your boss says you’re “hilaw” (usually with a raised eyebrow), it painfully means that you [lack] education, training, or experience. And when your work is called “hilaw”, it means you didn’t mentally process it enough or it was not executed to the fullest potential of the concept.

Which is why it is even more uncanny that the latest series of advertising seminars by the Creative Guild of the Philippines is known as the Creative Guild “Raw” School."

Read Jonah Brocka's summaries of selected RAW SCHOOL sessions at http:// brocka.multiply.com/journal.

newbiz/pitches Honda picks DentsuIndio

In early November, DentsuIndio won a pitch to launch a new Honda model.

The agency, a joint venture distinct from Dentsu’s Manila office, won the business over TBWA and McCann, partly due to earlier success in launching Honda Jazz.

Fresh Manila

big money from little toys

XM Asia/RMG walks the runway with DKNY Jeans

Singapore– After a 3-way pitch, XM-Asia/ RMG has emerged winners of a regional digital partnership with Club 21 for the revamp of DKNY JEANS EMEA (Europe, Middle East, AsiaPacific) website.

Debra Langley, President of DKNY JEANS International, said: “We needed a really special agency for this assignment, because we have a complex mix of regional and international design and tech directives underpinning our brand-building and customer acquisition strategy. XM offers a compelling mix of innovation, creativity and technology expertise, and we feel confident they can help us to deliver and monetize what we hope is a rich, online brand experience.”

Andre Nair, Chief Strategy Officer of XM/ RMG Asia Pacific says: “The fundamental step in brand marketing is to create desirability. As an edgy, street-savvy and luxury brand, DKNY Jeans has all the right attributes that connect with the young fashionistas of today. Our intent is to fuse technology with the DKNY Jeans brand/product offerings, in order to evoke deeper engagement and affinity through interaction and cross-collaborations.”

Droga5 Lands Small Budget Method Account

New York – Droga5, an independent creative boutique, was named the Method brand agency of record.

Method is a highprofile household product with a small ad budget, less than $1 million. The account was inactive when it parted ways with TBWA/Chiat/Day,California last year. Prior to TBWA, Crispin Porter & Bogusky handled the account.

In a published statement in AdAge, Eric Ryan, chairman and co-founder of Method said, “Droga5 is a dynamic agency that is known for taking traditional advertising initiatives and turning them upside down,” Eric Ryan, and added “We share the same passion and dedication to creating innovative and unique experiences for people, and we are thrilled to be partnering with such a talented team.”

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Collecting toys and looking for a hangout might just be the best way to hone your entrepreneurial skills. That’s Business 101 from Fresh Manila, a crossed-reference group of Xavier High School friends and their families. Fresh Manila are High school friends John Tiu and Alvin Yap, the latter’s cousin Big Boy Cheng, with Rey Sanchez and Nicca Arboleda handling store management and inventory respectively.

What started with play, became display, and on to pay Rabid toy collectors, but responsible adults nonetheless, Tiu, Yap and Cheng have day jobs from family-owned business. Fresh Manila sprouted when the trio wanted a hangout where they could just escape the daily grind and just play with their toys. The location was scoped while driving around. In turn, wordof-mouth, Multiply, blogs, peer-to-peer, eBay and a few influential clients, turned the store into a happening place.

From walk-ins and drive-bys, from artists and students, families and friends. What started with play, became display, and on to pay. Pay them, that is. Business turned around in only six months.

“These toys are collector’s items, coming from different artists, each toy having a story behind it. Each toy caters to different people,” said Tiu. As diverse as the toys, so is the shop’s clientele. From six year

olds to the very old, artists and advertising people who find toy collecting extremely fun, even moms bonding with their sons and becoming collectors themselves, they form the bulk of Fresh Manila’s customers.

Fresh Manila is the digital generation Sanrio. Majority of the toys appear Japaneseinfluenced, perhaps because they are. Despite being U.S. goods, the designers are more often than not American-born Asians. Foreign icons in the toy collection industry that visit the shop add to its marketability.

Recently, graffiti artist and toy designer Buff Monster created a toy exclusive to the Philippine market that was launched with toy signing and live events. The toy is a special edition in Fresh Manila green, a deviation from his trademark pink. A mere three inches and at US$30 a pop should give one an idea how humungous the toy collection trade is.

Collectors and fans at

heart, the merchandise is from artists whose toy designs Fresh Manila are really passionate about and would love to meet. Visiting artists are amazed at how strong the Philippine market is, without fail. “There is not much profit.

The business is good in the sense that we are bringing the [toy collection] culture into the country,” revealed Tiu. “It is a source of wonder for me because before, you never heard of a toy shop where people lined up for the stuff.

Or a place where people go just to see the toys, where there’s a graffiti wall outside open to everybody,” he added.

Selling from P500 to a whopping P18 grand, to say the toys are expensive is an understatement. But these toys are designer pieces, exclusive and limited editions. As Tiu explained, “What do you do with paintings? You don’t play with them. You take care of them.

You put them on display.”

Law, Bigboy Cheng, John Tiu, Alvin Yap

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It Rained Bronzes—but No Golds

T

he Tinta awards was a show of force and a show of firsts: the first Philippine show only for creativity in print, the first open to media independents, aside from advertising agencies, the first Philippine awards show where the reclusive Thirasak Tanapatanakul of Creative Juice actually came to judge.

Organized by the publishers’ group United Print Media Group (UPMG), whose president is Inquirer’s Pepito Olarte, the awards had the stated goal of recognizing excellence and creativity in a medium that is often taken for granted. The awards scheme was the brainchild of adobo’s editor-in-chief, Angel Guerrero, who also sits on the UPMG board . “It was the right time to focus on the country’s print creativity and the UPMG Tinta Awards provided the perfect platform”, Guerrero said. Even with tight leadtime, the year’s best ads came from ad agencies, media independents, and sometimes even the publishers themselves.

A top-level jury was assembled, with three top regional creatives joining the country’s own creative elite. The three visiting judges achieved a good balance. JWT’s regional executive creative director Tay Guan Hin was a sage, stabilizing influence, perhaps mindful that he was leaving a day early and would miss the awards night. TBWA\ Asia’s Creative-at-Large John Merrifield vocally championed his favorites, while Thirasak Tanapatanakul, one of Asia’s highest-ranked creatives, showed a marked preference for print ads that reflected Philippine realities,

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The absence of a gold was a pointed reminder of the state of the industry, and the need for Philippine print ads – and Philippine print quality – to step up to world standards.

BBDO Guerrero is the first Philippine Press Awards, Tinta Agency of the Year!

just as his own work for Creative Juice/G1 is rooted in Thai culture.

The Philippine judges were all experienced jurors: Raul Castro of McCann, Steve Clay of Lowe, Dave Ferrer of JWT, David Guerrero of BBDO, Merlee Jayme of DM9 JaymeSyfu, Melvin Mangada of TBWA, Raoul Panes of Leo Burnett and Leigh Reyes of Y&R. At the end of it all, over three days that took them from Sala Bistro in Greenbelt 5 to Dampa by the Manila Bay to the Mandarin Hotel Captain’s Bar, the jury had winnowed the entries down to 46 finalists. On the metal round, the jurors examined the ads, debated, enjoyed healthy discussion and argument – was it right to use cigarettes to sell children’s books? Should an ad be awarded for its idea, even with an execution quite literally askew (in the wrong direction)? What about a wonderfully art-directed ad with poor copy? There was not a dull moment in the judging, especially with John Merrifield’s regular outbursts; not to mention the attractive usherettes, whose helpful parading of the ads in the final round distracted some of

the male judges. Auditors from Punongbayan & Araullo were eagle-eyed on the show of hands.

Steve Clay remarked, “I have judged in the local Araw Awards and in the Creative Guild. The Tinta Awards judging is the best run so far.”

Finally, the Tinta winners were selected: six Silvers, almost all for public service; plenty of Bronze, three craft awards, and finalists for creative media executions. In the words of Jury Chairman Tay Guan Hin, “Everybody felt that the work was a lot better than expected, that’s why you see a lot of Bronzes and Silvers. But when it came to the final votes there was a hesitation because we wanted the award to mean a lot.” The absence of a gold was a pointed reminder of the state of the industry, and the need for Philippine print ads – and Philippine print quality – to step up to world standards.

With the largest number of winners, BBDO was named Tinta Agency of the Year; Lowe came second and Creative Juice Manila third. Winners also came from DM9JaymeSyfu, TBWA

SantiagoMangada Puno – and more gratifyingly, from Burnett, DDB and McCann as well. While media independents – potential challengers to creative agencies in both concept and media execution -- were not among the winners, all promised to return with a vengeance next year.

Right after the Tinta judging, local advertising enthusiasts were treated to the wisdom of John Merrifield and Thirasak Tanapatankul during the Judges Talk. Both talked about how they got to the top of Asian creativity.

In sum, Tinta’s Best of Show was the show itself: focused, well organized, with ample time for debate and plenty to think about and act on afterward. For the local ad industry, as well as the neophyte organizers from various UPMG publications, it was a great start that augurs well for a bigger, brighter Tinta in 2009.

The Tinta Awards was proudly sponsored by Smart, Samsung, Metrobank, Mandarin Oriental Hotel, Hyundai, Card King, Punongbayan & Araullo, Yehey! and Fuji Xerox.

Silver for campaign: "Childhope Good Kids" Silver for single entry: "TV", "Video Games" Bronze for single entry: "Meals" Best in Photography: "Video Games", "TV", "Meals" Advertiser: Childhope Asia Philippines / BBDO Guerrero / Creative Director: David Guerrero, Joel Limchoc, Simon Welsh Art Director: Joel Limchoc / Copywriter: Simon Welsh / Photographer: Richard Bahaghari / Illustrator: Manny Vailoces, "TV"

Any Questions?

Tinta Agency of the Year AGENCY (BY R ANKING)

SILVER

BRONZE FINALISTS

TOTAL

Reflecting on the TINTA Judges’ Talk

by Rizzo Tangan

BBDO GUERRERO

5

5

6

16

6

1

7

2

1

4

TBWA\SANTIAGO MANGADA PUNO

3

3

6

DM9 JAYMESYFU

3

1

4

MCCANN WORLDGROUP PHILS

1

1

2

DDB PHILIPPINES

1

1

2

LEO BURNETT MANIL A

1

1

UNIVERSAL MCCANN

1

1

STARCOM MEDIAVEST GROUP

1

1

16

44

LOWE INC CREATIVE JUICE MANIL A

TOTAL

1

6

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AUDITED BY PUNONGBAYAN & ARAULLO

“Are there any questions?”

That cool query hummed through the packed ballroom after the TINTA Judges’ Talk held last October 15, where two regional jurors addressed the local advertising and print media community.

“Winning is hard.

To keep winning is harder.”

–Thirasak Tanapatanakul In the presence of what Kung Fu Panda might call “blinding awesomeness”, here was an opportunity any creative should have jumped at. To pick the globally-respected, multi-awarded brains of Thirasak Tanapatanakul and John Merrifield.

But the question hung in the air, suspended in a brief silence.

There were no questions that

morning, which could lead you to ask this one: Why oh why?

Utmost Clarity? Was the presentation so perfect there was nothing to elaborate on?

Complete Knowledge? Have we all heard, seen, read, known it all beforehand with all our consumption of books, RSS feeds, adblogs, and social media? Was it an issue of relevance? Are we all so jaded, in the wake of the current worldwide economic crunch, that we fail to see how creativity can help us with our own infuriating circumstances?

Let’s recap first.

BEING BRAVE IN THAILAND In the litany of Thirasak Tanapatanakul‘s credentials, the most impressive-sounding was being named Campaign Brief Asia’s highest-ranked “human” in 2007. This “human”, the driving force behind the phenomenal rise in creative rankings of Creative november-december 08

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“The Tinta awards are timely because [they] force the industry to give focus and emphasis to print.

It also encourages the creative use of the medium. Having said that, I think there’s too many award shows locally and internationally; I look forward to the day when UPMG and KBP allow the 4As Creative Guild award show to handle Tinta.”

-Melvin Mangada, TBWA\SMP

“It’s not easy. And it’s not meant to be. ‘Cog’ took 620 takes before they got it right.”

- John Merrifield

Juice/G1 Bangkok, credited their success to Thai culture. “Thai advertising is crazy and spicy, like our food. And honest!” he declared before presenting an engaging Kill Billscored piece on Thai ways followed by a wonderful reel of local ads.

There were ads we’d already seen and continue to love, years after. Who could forget Bridgestone’s anguished suicidal dog, the hilariously cheeky Smooth-E series, that swindler of an agent from Bangkok Insurance, or the comedy of errors in the Yellow Pages?

Even as Thirasak urged his fellow creatives to dig deep into our culture and “find our uniqueness”, there was a nagging thought that they’d beaten us to it. We watched Thai versions of what could have been very Pinoy ads: the D7 coffee series and Sylvania lights spot.

D7’s “Wake up Thailand” campaign pushed coffee’s power to wake even one’s conscience. The most controversial ad in the series featured a politician being bribed with a refrigerator packed with wads of Baht.

Sylvania’s spot had a nottoo-pleasant-looking family picnicking unper-turbed by mythical ghouls not unlike our aswangs and manananggals, citing that “nothing is scary” with this brand of lights.

He also shared two policies that have turned CreativeJuice/G1 into one of the most awarded in the world: NO PITCH. NO ALTERNATIVE CREATIVE (“We only present one direction, the right one.”). Admirable

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indeed, but seemingly from a different universe than ours.

“Break the rules,” and “Be brave.” Thirasak’s advice was simple, but certainly capable of renewing the resolve of those who struggle daily to do just that in our small industry.

IMPACT IS THE ONLY THING THAT MATTERS From his title of Creative-at-Large to his easy-going style onstage, John Merrifield is obviously a free spirit.

His opening film simply, beautifully and wordlessly shared his passions: surfing and IMPACT. John would know about impact, being at the forefront of Adidas’ famous “Vertical Soccer”, a first-ofits-kind outdoor campaign that morphed into a TV spot (as it was featured in various news shows) and a viral campaign (as it ended up on various blogs and websites) and was truly an event in itself.

Armed with his Gold Lions, Clios and Pencils (as well as Lotuses and Spikes), he paid tribute to old-school copywriting craft, rallied for the evolving and technical upgrading of Philippine print media, blasted scam ads as the “advertising equivalent of Ben Johnson” and waved unquestionable truths about the nature of our work.

The hurdle with clients: “We’ve become as an industry less and less relevant to our clients because we shoot ourselves in the foot so many times.”

The difference between a TINTA bronze and TINTA

silver: “…The line break… basic stuff…5 minutes of extra craft and that thing would have gone up.”

What we really need to create: “Impact --- in the marketplace. It’s the only thing that matters.

Our job is to give our clients a larger share of the future. End of story.”

SEARCHING FOR ANSWERS Evolve. Find your uniqueness. Be brave.

Hard work + strong idea + amazing craft = impact.

It all does sound pretty simple, especially coming from two certifiably great communicators. What is there to ask? And it isn’t as if we’ve never heard all this before. We’ve been drilling these things into our psyches (and those of our AEs) for years now.

Maybe there were no questions for TINTA’s illustrious judges because deep down, we know the answers aren’t held by those who keep us inspired, like Thirasak and Merrifield. We have our own very different realities to deal with; tiny creative compromises whose combined weight we must fight to keep from crushing us. Every day, it is ourselves we need to demand answers from.

So… are there any questions?

Rizzo Tangan is a Creative Director at Campaigns & Grey.

“[Print] is the most basic form of advertising but it is also the most difficult. I mean to make it really good. Agencies were picky with their entries. It was nice and focused, to just be looking at [select] ads and have [46] finalists.

For me, all the agencies just entered their best.

So that’s a good show. I’d like to see not just more ads next year, but [more] really good ones.”

-Merlee Jayme, DM9 JaymeSyfu “In a time when people are looking at new media, internet and mobile, it’s good to know there are still purists who believe in the power of print. … [The results] remind us that there are no shortcuts to great print. [It] needs support and encouragement, the tenacity of creative shops to put it together, but [also] the encouragement of great clients to make it happen.”

–Raoul Panes, Leo Burnett “While there was some very nice ones, there also wasn’t outstanding work at par with the best of the world. It is one of the painful things we have to swallow; you cannot be kind because that [does not] help it internationally. … Some very interesting work did not make it because of craft. It’s not that we don’t have the talent, but whatever it is is stopping us from getting good enough to compete with the best of the world.

–Raul Castro, McCann Worldgroup “I’ve judged three other shows since I arrived here, and this had some of the most spirited debates: about work, originality of ideas, craftsmanship, [even] the fact that we were so tough in judging. It made me all the more interested in supporting the show because I know getting the medal is really something. We’re going to do our very best next year to bring home to first gold at the Tintas.”

– Steve Clay, Lowe Manila “This show is unusual because it’s just one medium; in terms of the crafting it still needs a lot, the concepts are very good and quite a lot are let down by execution and final details. You really need to look at how to bring those ideas to life, just a few tricks, look at it and look at it again. It actually enhances the ideas, and I’m sure [all] will do much better next year.”

-Tay Guan Hin, Jury Chairman

Silver for single entry: "Lynn", "Vivian", "Zeth" Bronze for campaign: "Marie Claire Mouths" Advertiser: Marie Claire / Agency: BBDO Guerrero / Creative Director: David Guerrero, Joel Limchoc / Art Director: Dale Lopez / Photographer: Wild Bunch

Silver for single entry: "Caravan" Bronze for campaign: "More Power Campaign" Best In Art Direction : "More Power Campaign" Advertiser: Mach 5 / Creative Juice Manila / Creative Director: Tanke Tankeko / Art Director: Del Metante, Alan Navarra, Andrei Salud, Yuri Timg / Copywriters: Br yan Avance単a, Joey Melliza / Photographer: G-nie Arambulo, Robert Bosito, Karen Pareno

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Silver for single entry: "Asymmetrical Art Director Test"

Bronze for campaign: "Pizza Hut Quotes"

Advertiser: BBDO Guerrero Training / Agency: BBDO Guerrero Creative Director: David Guerrero, joel Limchoc, Simon Welsh Art Director: Gar y Amante / Copywriter: Rey Tiempo

Advertiser: Pizza Hut / Agency: BBDO Guerrero Creative Director: David Guerrero, Joel Limchoc Simon Welsh / Copywriter: Lissa Boluso, Simon Welsh

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Bronze for single entry: "Scarf" CRAFT AWARD: BEST IN ILLUSTRATION Advertiser: WWF / Agency: Leo Burnett Manila / Creative Director: Raoul Panes / Art Director: JP Cuison, Ryan Giron Copywriter: Candace Madamba / Photographer: Neil Oshima / Illustrator: John Barr y Ballaran

Bronze for campaign: Mr. Quickie "Quick" Campaign Bronze for single entry: "Robber" Advertiser: Mr. Quickie Repair Shop / Agency: Lowe Inc / Creative Director: Raul Castro, Noel Bermejo / Art Director: Noel Bermejo, Gabby Alcazaren, Rey Villacarlos Copywriter: Allan Almeda / Photographer: Xander Angeles

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John Merrifield charms the ladies

Awarding print creativity, Lucien dy Tioco of Philippine Star, Cathy Romero-Salas of Mega and Danny Ocampo of Business World

A stringent Melvin Mangada

The official jury snapshot

BBDO's David Guerrero

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Unconvinced, John M and Dave Ferrer

Inquirer.net’s Paolo Prieto with Philippine Star President Miguel Belmonte

Jake and Budjit Tesoro win for TBWA\SMP

Leigh Reyes with Charles Rappaport

DM9 JaymeSyfu’s Merlee Jayme

A first for Creative Juice Manila!

Tinta Awards Chairman Angel Guerrero celebrates!

Creative Juice worldwide chair, Khun Thirasak, makes a point

Formidable DM9 JaymeSyfu

JWT Asia’s Tay Guan Hin happy meal!

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Bronze for single entry: "Fish" Advertiser: Tinactin Anti-Fungal Cream / Agency: DM9 JaymeSyfu / Creative Director: Merlee Jayme, Eugene Demata, Jerr y Hizon / Art Director: Herbert Hernandez, Allan Montayre / Copywriter: Jerr y Hizon Photographer: John delos Reyes

Bronze for campaign: "Used Cars" Advertiser: A1 Driving School / Agency: McCann Worldgroup Philippines / Creative Director: Raul Castro, Noel Bermejo Art Director: Gabby Alcazaren / Copywriter: Gabby Alcazaren, Gerr y Cacanindin / Photographer: Gabby Alcazaren

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Bronze for single entry: "Fetch" Advertiser: Pedigree / Agency: TBWA/Santiago Mangada Puno / Creative Director: Evans Sator Art Director: Reggie Ocampo / Copywriter: Elvin Bueno / Photographer: Jeanne Young Print Producer: May Dalisay, Karen Parreno

Bronze for single entry: "Baseball" Advertiser: Coppertone Sport / Agency:DM9 JaymeSyfu / Creative Director: Merlee Jayme, Eugene Demata, Mike Calaquian, Jerr y Hizon / Art Director: Mike Calaquian / Copywriter: Jerr y Hizon Photographer: Paolo Gripo

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Bronze for single entry: "Paper boat"

Bronze for single entry: "Bird's Nest"

Advertiser: Smart Link Satellite Phone / Agency: DM9 JaymeSyfu Creative Director: Merlee Jayme, Eugene Demata, Jerr y Hizon Art Director: Herbert Hernandez / Copywriter: Jerr y Hizon

Advertiser: McDonald's / Agency: DDB Phils Creative Director: Teeny Gonzales Art Director: Joseph Velasquez Copywriter: Teeny Gonzales Photographer: Bug Nieva

Bronze for single entry: "PhilAm" Advertiser: PhilAm / Agency: BBDO Guerrero Creative Director: David Guerrero, Joel Limchoc, Simon Welsh Art Director: Brandie Tan, Gino Caoile / Copywriter: Tin Sanchez, Jao Bautista Photographer: Richard Bahaghari Bronze for single entry: "Healthy Habit" Advertiser: Penguin Books / Agency: Lowe Inc Creative Director: Steve Clay, Rene Dominguez, Mario Serrano / Art Director: Rene Dominguez Mario Serrano / Copywriter: Steve Clay, Rene Dominguez / Photographer: Alan Fontanilla

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Bronze for single entry: "Mars and Venus"

Bronze for single entry: "Pad"

Advertiser: Axe Deodorant / Agency: LOWE Inc / Creative Director: Steve Clay, Rene Dominguez / Art Director: Bong Legaspi, Ray Villacarlos, Mario Serrano Copywriter: Aimee Espiritu / Photographer: Alan Fontanilla

Advertiser: Greenpeace / Agency: LOWE Inc / Creative Director: Steve Clay, Rene Dominguez, Mario Serrano / Art Director: Aidon Panlaqui, Mario Serrano Copywriter: Jol Ong / Illustrator: Grethel Ulang

Bronze for single entry: "Waterworld"

Bronze for single entry: "Trees"

Advertiser: Cinemanila / Agency: TBWA\ Santiago Mangada Puno Creative Director: Jake Tesoro / Art Director: Jake Tesoro / Copywriter: Melvin Mangada, Bujit Tesoro / Photographer: Gerard Linsangan Illustrator: John Ed De Vera

Advertiser: Boysen / Agency: TBWA\ Santiago Mangada Puno Art Director: Mel Aguinaldo / Copywriter: Melvin Mangada, Kaity Chua Photographer: Jeanne Young / Illustrator: Momon Villanueva

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Bronze for single entry: "Happy 2007" Advertiser: Amway / Agency: LOWE Inc / Creative Director: Steve Clay / Art Director: Mario Serrano, Danny Ching / Copywriter: Steve Clay

Bronze for single entry: "Bayan Balloons" Advertiser: Bayan Wireless / Agency: BBDO Guerrero / Creative Director: David Guerrero, Brandie Tan, Tin Sanchez / Art Director: Brandie Tan / Copywriter: Tin Sanchez

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xin chao!

Unitel and Optima say hello to the Vietnamese market

After a series of projects for major Vietnamese brands, Unitel and Optima have waded into the fray of one of the world’s fastestgrowing economies, opening a permanent rep office in Vietnam.

The office was launched Oct. 5, with a party at Dong Dao restaurant. Big boss Tony Gloria and senior Unitel staff – including VP for Operations Maricel Royo, Executive Producer Cecile Guidote, and directors Jun Reyes and Jorg Schifferer, both of whom have shot in Ho Chi Minh City (HCM) before – represented the company. Optima was represented

by COO Pete Jimenez, colorist

Marilen Magsaysay, creative head Stephen Sy, and staffers Jam Manikan and Anna Bigornia.

It was a celebratory night for Vietnam’s large Pinoy advertising community, which turned out in force to show their support for one of the industry’s most respected production companies.

More than two years in the planning, the Ho Chi Minh office is (wo)manned by Jesthela Lizardo for Optima and Odette Filio for Unitel. While the sales staff is locally based, Unitel’s team and Optima’s machines will remain in Manila, flying in for projects.

Same-same but different: Unitel/Optima’s HCM office The office, which is easily accessible from most of HCM’s agency row, is a big leap of faith for Mr. Gloria: one of the industry’s visionaries, a restless thinker and marathon talker known for

business gambles that pay off.

The big question is whether it may already be too late.

Vietnam’s nascent ad industry has gotten used to shooting locally and posting in Bangkok.

To break the habit and for the office to thrive, Unitel/Optima Vietnam will have to constantly bid low and deliver high.

Mr. Gloria recognizes this.

He acknowledges the tough competition from Thai houses, and accepts that Unitel’s directors and Optima’s artists may have to adjust their fees to get projects they really want. “When they have a [big] production they’ll hire an Australian; when they have [a small one] is when we hear from them,” he says wryly. “But that’s ok, we have to start somewhere before we can convince them.”

One surprise was a universal question asked by Saigon-based producers and creatives: “Can’t you set up here?” Meaning, house your super-advanced equipment here, so we won’t have to travel.

(What?!) Apparently, while HCM juniors – like those worldwide – are eager to travel for work, senior people are not. Partly due to a dearth of experienced staff, seniors are constantly called and text-messaged for the most minor matters; business does not move without them. A Singaporean digital post house has set up office in HCM, and is booked solid despite its high fees.

There are already some amusing cultural differences to be seen. Vietnam shuts down early, so Odette & Jesthela are the object of much speculation in the building because before the launch they would often work until the unholy hour of 7 pm.

At shoots, Manila’s overflowing food trays are replaced by one packed lunch per person. (Of course, it was an art director who noticed that difference.)

Miss Saigon Redux Most of the global networks are represented: JWT, O&M, Saatchi, Lowe, Burnett, Bates141, Grey, TBWA, BBDO, DDB. Dentsu leads the Japanese agency pack, together with Asatsu-DK and Chuo Senko. Local names include Golden Advertising and Sung-Huong Orchid, the latter established by Pinoy expat

Sonny Hermano (see adobo 0607). Even the clients are there: URC, Unilab and Jollibee have all put up beachheads in the former battleground.

Among all these companies, you will find Pinoys at all levels; an informal headcount found at least one in every network. In a country passed over by marketing for almost two decades, we have stepped in to fill the gap in know-how, in English for dealing with foreign clients – and yes, expertise in doing a lot with very

"Here, we are respected, on the same footing as expats from anywhere.”

little. (Shades of Miss Saigon productions worldwide.) In fact, O&M Vietnam is led by Filipina CEO Katrina Mojica.

Vietnam’s first wave of Pinoy CDs, however, has come and gone: Kath Mojica, Ompong Remigio, Brandie Tan & Tin Sanchez. Currently, the highest ranking Pinoy creative is ex-TBWA Evans Sator, the top CD at Burnett Vietnam.

Why the short stays? With rare overtime, low cost of living and regular Asian travel for work, Pinoys can enjoy a plush lifestyle and abundant family time even on a salary that is modest compared to the likes of Singapore. Fantastic food and luxury sneakers, both dirt cheap – what else could an ad person want?

Good work, for one. While the market is wide open, many clients are inexperienced, with little understanding of process, costs or leadtimes. The audience is also

perceived to be unsophisticated and literal, like Manila in the '80s -- making it nigh-impossible to get award-winning work produced.

(But not entirely impossible.

Saatchi Vietnam has won two Bronze Lions, for ads targeted at Westerners and credited to no less than Saatchi Singapore’s Andy Greenaway. Effectiveness awards are more promising, with Effie golds for Lowe and JWT, and a Silver for O&M Vietnam in the UK's prestigious IPA awards.)

This may be why suits and producers tend to stay longer than ambitious creatives. A veteran Pinoy expat puts it this way: “A number of suits have done well in Vietnam (and Indonesia, Cambodia and Dubai) so a lot of junior- and mid-level creatives are tempted. There, you can feather your nest and perhaps even learn

to be a great creative mentor, as Richard Irvine did. It's lifechanging and character-building, for sure. But it's not a place to build a portfolio, at least not for five more years. And let's fact it, [that's] solely how today's creative person is judged.

If you still haven't made a name for yourself [at home], you won’t make one in Vietnam. If you insist on trying it, don't stay too long... or you may return and find agencies' doors closed. So what kind of creative can benefit from a Vietnam pitstop? A CD who needs a break from Manila -- or a big pay hike -- and who already has a strong body of work that can be leveraged on his re-entry."

There is also the fact that, as a former suit put it, “You’re paid double what you’d make in Manila – but you’re doing the work of three.” While today’s Vietnam wears a veneer of modernity as november-december 08

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SudEst Producer Jimmy Singh

Manny Hermosa of Club Media Asia with his team

Misses Saigon: Odette & Jesthela

Sud Est Producer Wei

Direk Jun Reyes with Pinoy expats BJ, Monica and Luis

Unitel's Maricel Royo & Cecile Guidote with Odette Filio and office coordinator Hung.

Dino Mojica and friends

Jun Reyes and Josel of Unilab Vietnam

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Echo Films GM, Xuan

URC Vietnam representatives

Vietnam Pinoys!

Our vacation can start now! Mr. G and some of his Optima team

glossy as its lacquer, decades of tight central control have deadened initiative and made “No…That is not how we do it in Vietnam,” an all-too-common answer. But perhaps that’s part of what an expat salary is for. Chalk it up to ‘cross-cultural issues’ and leave it at that.

There are compensations, of course. Cris Corpuz, a pioneer Pinoy CD who arrived 12 years ago, puts it succinctly: “Here we are respected. We are on the same footing as expats from anywhere.”

You can make affectionate jokes about former jologs (proletariats) who now only have Caucasian friends and Continental entrees (both of whose names they mispronounce), but it matters.

In a country where Filipinos have done their heavy lifting in white collars rather than blue, the arrival of a new business entity and another chance to shine is something for all of us to be proud of.

In Vietnam, Filipinos have done their heavy lifting in white collars rather than blue.

Postscript: One-and-a-half months after launch, Unitel is working on an ad for a major advertiser and has been invited to bid for 6 boards; Optima has post-produced two TVCs. These are all projects begun after the launch. Go go go!

Crea-TV

From HCMC to your TV

Marilen and Cecille with expat couple JP and Marge

When you watch a Western TV show shot in Vietnam, you’re quite possibly watching the work of Pinoys. CreaTV is a largely Pinoy-staffed company that has line-produced two Vietnam-set episodes for The Amazing Race, and also done work for National Geographic.

CreaTV HCM head Betsy Dy-Liacco was a line producer for foreign films being shot in Manila until she was recruited by a former client for the Saigon office.

One memorable assignment was the last Miss Universe, held in Nha Trang. CreaTV producer/ DOP Poppet Celdran shares his ‘intense’ experience on the project: “The Miss Universe Pageant has always fascinated me. It was like everything suddenly fell into place when my job gave me the rare opportunity to be part of the 2007 pageant in Vietnam over a two-month period. Working with NBC for

Vietnam CreaTV

the telecast and on a special for NBC/Telemundo’s “El Camino A la Corona” gave me production memories to last a lifetime. It also gave me more reason to pursue my personal legend.“ That’s the official version, but Manila’s community of ad industry Miss U nuts can fill in the blank.

The gang with adobo

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What inspired me this year? We produced a campaign for HP out of Beijing this year that is truly remarkable. For me, it is a piece of work that signposts the future. It won’t win at Cannes, because most of the judges simply won’t get it. But I think it’s great. The results were amazing and it won a Gold at the Effies in China recently.

I was also inspired by the HBO outdoor idea [Voyeur] that won at Cannes this year. When you see work like this, our print work looks pitiful in comparison.

And finally, I received a beautiful viral for the Obama campaign just a week before the election. I don’t know which agency did it, but it’s a sure winner at Cannes next year.

2008: Roger Makak.

It’s an idea that seemed to polarize the industry. You either loved it or hated it. Those that hated it, to put it bluntly, should be looking for a safe haven in accountancy. Moreover, anyone who thinks creativity in this day and age should be part of an orderly process, fall within industry conventions and have the approval of the grey old men at the top, have completely lost their marbles. They should join John McCain and the Republican party with their stoic outdated ways. I’m with Obama.

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His communication and campaign tactics were frowned upon by the political establishment. But [he] embraced the Internet and the future. And it has paid dividends beyond his wildest dreams.

The Year in Work We did well in the awards.

Singapore dominated Adfest and Clio this year, while Malaysia dominated Cannes. And our network as a whole dominated the region. SE Asia won 10 Cannes metal (which I think is a record for Saatchi in Asia). If you took the whole of Asia/Pac, we won 20 metal in total. A humongous tally.

Saatchi continues to punch above its weight.

The type of work we are doing has changed dramatically.

Especially in wired countries like Australia, China and Singapore.

Three years ago, 80% of Singapore’s work was TV and print.

Today, 60% of the work is digital, event and stunt-based work, as well activation-led campaigns.

Clients are starting to realise that TV alone will no longer deliver the goods; ROI and measurability is becoming vital. And with a recession looming, it will become even more important.

The biggest challenge our industry faces is the ability to adapt. Too many of our leaders are stuck in the old world of print and TV. 2009: Adapt.

Despite the gloom, I believe there will be tremendous opportunities for those agencies that understand how to deliver big ideas through new and more cost-effective channels. And who know how to tangibly deliver results. Personally, I can’t wait to get the bit between my teeth (from monkey to horse!). It’s going to be an exciting year.

The biggest challenge our

industry faces is the ability to adapt. Too many of our leaders are stuck in the old world of print and TV. Some networks face the difficulty of breaking down the silos built up over the years – and are desperately trying to merge their Advertising and Interactive divisions into one.

Guess what? It ain’t working.

And that’s for one simple reason: the ad guys are still in charge. That’s not to say ALL ad guys are out of touch with the new digital world (the best ones have embraced it wholeheart-

edly). But a lot of them still hold fond memories of the Eighties and have two feet firmly planted in the past.

They’re not going to lead your agency into the future. As Obama has proselytized to the world, “It’s time for change”.

ANDY GREENAWAY Regional Executive Creative Director, South East Asia, Saatchi & Saatchi Andy is the Number 1 Creative Director in Asia, according to the Campaign Brief Asia Rankings. He has held this position 5 times in the last 8 years, with his previous agency and now Saatchi & Saatchi. Before joining Saatchi & Saatchi, Andy set up his own mobile phone content company, appreciating that the mobile phone would play a greater role in our future lives. He joined Saatchi & Saatchi in December 2004 as Regional CD for South Asia based in Singapore, where he has spearheaded the agency ’s domination in local, regional and international creative award shows.

As a writer, Andy has won well over 100 awards in all the major shows.

As a CD, he is famous for his creative leadership and business pragmatism.

As Roger Makak, Andy was also the number one ranked monkey in Campaign Brief’s latest Ranking.

A number of things inspired me this year. First was listening to Stefan Sagmeister describe what he’s learned in his life thus far. I was sitting with Tony Davidson and the two of us kept punching each other with every slide or video. A sort of “for fuck’s sake, that’s so cool” acknowledgment that here was someone that wasn’t just blurring the lines between art and commerce, he was obliterating them.

I was floored by Barack Obama’s speech on racism.

The depth of his wisdom, the shrewdness with which he framed the argument and his silk-ina-glass delivery was beyond extraordinary. It was history. It single-handedly justifies YouTube.

The thing that got me to the core, however, took place on August 8th at 8pm. I was lucky

enough to be in the Bird’s Nest for the opening ceremonies of the Olympics. If ever there was a work of art that lived up to its canvas – or a canvas that lived up to its art – this was it. Undoubtedly the finest single evening of entertainment the world has ever witnessed.

Zhang Jimou is a genius.

Looking back on 2008, I’d be lying if I said that getting on stage to accept China’s firstever Gold Lion wasn’t pretty cool.

Hats off to my TBWA Shanghai colleagues. As the Grateful Dead said, “what a long, strange trip it’s been”. It was a two-year journey and it culminated in the most talked about campaign of the Olympics. Not a few people said it was the first truly world-class campaign by China, for China.

A wonderfully talented art director, Tim Chai, and I were also chuffed at the reaction ‘The Book’ received. We developed it for TBWA’s 10th Anniversary, and as it was massively more complicated than we first imagined, ended up delivering it closer to the 11th .

One of the most interesting projects I was involved with launched early in the year. Its success depended on a number

of Hollywood insiders duping the entire industry. Chief among them was David Nutter, the hottest TV director working today. He helped convince agents, actors, the trade

Mad men we are.

Mad men we will continue to be. press, gossip press and legions of fans around the world that a hit new TV series (Scarlet) was about to make its debut. The buzz was phenomenal. That it turned out to be a hit new series of TV’s (from LG) was revealed in a star-studded premier party in LA. Lindsay, Paris, et al. Bizarre.

That was the good stuff.

Now for the challenges. These haven’t changed much. You try to do the kind of things that have never been done before. You strive to help your clients grab a larger share of the future. And you look to surround yourself with young clever people who are infinitely more talented than you could ever hope to be.

Looking back at festivals like Cannes, there seemed to be a real step change this year. So much great work across so many categories created by so many different agencies. In fact, many of the categories themselves felt irrelevant. They often seemed

out of step with the scope and sophistication of the work they were meant to highlight.

What do I want in 2009?

A bit of stability for starters, as the last few months have been unprecedented. I think we’re in for a rough ride. Savvy marketers understand that a downturn is the most cost-efficient time to grab market share and get a leg up on the competition. But I guess it’s human nature: when everyone around you is losing their head the only thing you think about is keeping yours. Of course, every cloud has a silver lining: the woeful economy and newly-minted Aussie peso means there’s likely to be fewer yobbos chasing the waves off Indonesia next year.

Moving forward, we can work harder to make ourselves more relevant to our clients and brands. This means starting further upstream to bring the kind of ideas that will transform their fortunes downstream.

We can halt the nonsense of scams and the preoccupation with awards. Awards are important to an extent, but when they become the be all and end all we end up doing ourselves a huge disservice. I know of no other industry that looks in the rear view mirror more often.

The good news is that there’s never been a greater premium on creativity. Our ability to deliver impact, to make news, to secure a larger share of the future, has never been more crucial than it is today. Mad men we are. Mad men we will continue to be.

John Merrifield Creative at Large, TBWA\ Asia Pacific John first emerged from the surf in Singapore, with six years at Batey Ads. He has had stints at Saatchi offices in Jakarta, Hong Kong and Tokyo. He joined TBWA\Japan as Chief Creative Officer on April 1, 2003. There, his personal work on adidas ‘ Vertical Football’ billboard and ‘Impossible Sprint ’ earned world acclaim and awards.

John has been “Creative at large” of TBWA\ Asia Pacific in September 2006: wooing talent, leading pitches, and hothousing with the network ’s young talent to foster a culture of creative innovation. He continues to work intimately with TBWA’s showcase clients, adidas chief among them.

Judges have awarded John multiple Cannes Gold Lions, most recently China’s first-ever Gold in 2008. His many judging assignments include chairing the Print, Innovative & Integrated jury for the 2006 Clios, and being part of the 2007 D&AD jury. He has won gold, silver and bronze awards from every show on the planet.

He would give it all back for more time in the water.

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In 2008, I was inspired by art.

Damien Hirst’s death-skull diamond-fest ‘For the Love of God’ is absolutely amazing. His decision to sell his whole collection through auction and not dealers, has made him the richest artist in history. (I went to all the ‘Young British Artists’ and related exhibitions in the 90s and love his work.)

Everyone loves Banksy. And rips him off. But his Disneyland Guantanamo Bay installation was genius.

Agencies have no balls. They’d never do anything as guerilla as that, it’s easier to steal his ideas instead.

Agencies should grow bigger balls, stop pretending to be original, and be original.

Personally, Marc Quinn’s Alison Lapper sculpture is perhaps my all-time favourite. It’s a giant Italian Mar-

ble sculpture of a pregnant thalidomide mum that was installed on one of Trafalgar Square’s vacant podiums. It’s gone now, but at least me mentioning it here will lead people to its images online. But you had to see it. For real.

‘England Inc’ has many faults but its championing of groundbreaking public art is one of its strengths.

Then there’s the Gorilla. And Phil Collins.

What an easy conversation to have now that it’s a massive global phenomena. But two years ago? How I wish I was a fly on the wall in the meetings when it was presented. (I’ve asked around, but no-one will tell me the true story.)

But I love it, it’s the ultimate ‘there’s no rhyme, no reason, behind this, apart from it’s fucking brilliant!

But you can’t follow it. And it was a big conversation at D&AD: “So if we give this the big one, it’s going to launch a legion of followers?”

No! Because there’s no formula here.

Every thing following this is doomed to fail!! As happened with the follow up!!

Our great work in ’05, paid off in ’06.

Great work in ’06 paid off in ’07.

Great work in ’07 paid off in 08.

2008 was ok for us. You can’t complain.

We got metal at lots of shows. Mainly Bronze, the odd Gold here and there. And through Tequila, we got lots of international recognition for a weird, funny, viral idea for Oxfam.

But how do you benchmark against two Cannes Grand Prix? You can’t, can you?

Fortunately, the work we’ve done at the tail end of this year is right up there with our

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Our industry tends to come out of recessions smaller, but stronger. Leaner but fitter. If you’re not digital now, god help you. best. Our adidas All Blacks campaign this year featured print, poster, outdoor, online, oh, and nano-technology. Yes, that’s right, NANOFUCKING TECHNOLOGY! We built a home, from scratch, for ASB Bank then gave it away. Along the way we built a builder’s blog and an 11- episode TV show.

Then we did a Man Vending Machine for Web portal Flossie.com, and then an adshell campaign which had PMS. (A 28-day interactive campaign moving through a series of phases that relate to a woman’s cycle.)

Then a weird motivational ‘rubber duck’ campaign for the adidas Auckland Marathon, which sounds odd but makes absolute sense when it all comes together, and it was a real hit.

Blood, earth, thread, bricks, PMS We create leading-edge interactive, engaging, innovative, involving creative, that works online and offline. And that’s pretty cool, ‘cause no one else is doing it to the same degree. We’ve evolved. We’re not waiting to evolve. We’re ahead of the game in many ways. ‘Integration’ is boring. ‘Interestingness’ isn’t. I got accused the other day of being a DM guy. Because all our campaigns, I guess, regardless of media, are direct-response.

But I’m not insulted. I found the accusation flattering. Because we want to have an effect.

To change things. To move people. We’re not in the business of turning out beautifully made print ads that no one bar award juries sees.

We’re about getting under people’s skin, and being a part of people’s lives. Being talked

about and being involved. We make pieces of conversation, courses of action, that ultimately end up in a path to a brand. Audiences find their own way to our ideas, we don’t have to annoy them or interrupt them to make ourselves heard. Blood, earth, thread, bricks, PMS. These are the basics of life. We’re just trying to have fun and make things interesting.

The financial crisis will force the advertising industry to re-invent itself.

Our industry tends to come out of recessions smaller, but stronger. Leaner but fitter. If you’re not digital now, god help you.

‘The recession will force-feed the digital agenda.’ The best thing we can do is embrace what we’re good at. Sharing stories, engaging communities, and moving people to act.

Technology is purely opportunity. It’s a great time to be alive.

ANDY BLOOD Group ECD, TBWA\WHYBIN\TEQUILA, Auckland New Zealand In 17 years in advertising, I’ve won 2 Cannes Grand Prix, 11 Cannes Lions (mostly Gold), D&AD pencil and ‘In book ’, One Show pencils & merits, plentiful Clios (inc Grande Clio), AWARD (Australia) Gold, Silvers and bronzes, and a career spanning the UK, NZ, HK and Singapore. I am partner and Group ECD of TBWA\ Whybin\Tequila in New Zealand, where I’ve been happily hiding from headhunters for almost 4 years.

My mother was a Playboy Bunny, and my father spent the early 70s touring US Army bases in Germany playing Jimi Hendrix covers. (I kid you not.)

DV AP

Don is a fan of Quadrants.

Last year, we did a drastic re-structure of the Creative Department: we divided the Creatives into Quadrants, each specializing in new consumer connection disciplines: Dramatization, Visibility, Activation and Permission. It was our direct response to the changing advertising landscape and the power of new technology, and it made a lot of sense. We have to evolve from here. Now we have started to reap the rewards of that restructure.

Don posted a link.

With the Quadrants in place, the Agency has been quite successful in generating creative business solutions beyond traditional means. Special to note is the clients’ positive reception of the Permission group, which specializes in digital media and online campaigns. Recently, we came out with a viral effort for Manila Bulletin in which readers could ‘publish’ their own Independence Day headline online as an interactive testament of their freedom of speech. This proved that indeed, contagion works.

Don uploaded a new video.

These are very competitive times. There are so many fingers dipping into our business pie. Every other brand program--be it a TV segment buy, packaging or even a mall event-- is being pitched. The only way to keep our business and remain on top is to be more creative. Let’s face it, at the end of the day, clients who say that they don’t care about creative awards end up gravitating towards the more creative agencies!

Don Sevilla III Executive Creative Director, Publicis JimenezBasic.

Don bought you a beer.

Recently, the agency pitched for and won the 2008 San Miguel Oktoberfest project, a first for us. We won not just because of our reputation for our excellent creatives, but also for our track record in executing our ideas well—be it a TV piece, a radio commercial, or in this case, an event.

And we’re proud to add Oktoberfest to our list of well-staged, wellmanaged events, two of which are Guinness-certified. Our involvement did not end with the event. We created a post-Oktoberfest viral ad that celebrates the accomplishment of a new record—the world’s longest bar. It costs next to nothing to produce, but in terms of publicity, it is definitely worth much more!

Don is now friends with RJ Ferrer.

Don is now friends with Martin Sarmenta.

Don is now friends with Joey Claronino, and Aiko So. Don is now friends with Halina Santiago.

Part of what made this year exciting was the infusion of fresh blood in Creative. With the growing business and roster of clients, new Creatives were hired. Creatives who subscribe to and believe in what our agency stands for: that superior creativity builds business.

Don is happy with the pitch win.

There is not a month that goes by without a pitch. It is what keeps us on our toes. It is what whets our appetite to win. And a pitch provides the perfect climate for teammanship and for creative juices to flow.

Don joined the group Publicis JimenezBasic.

Yet again, we had a name change this year. We’re now Publicis JimenezBasic. Even if it’s just a slight alteration, change signals something new, a fresh, exciting start. Change shakes people up, gets them off their comfort zones--and that’s good for creativity!

Don is having a blast at Publicis JimenezBasic. november-december 08

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There's something about outdoor, This year, personally speaking, it was back to basics for me. Being invited to chair the Outdoor and Ambient jury at Cannes meant that I refocus on this medium, which perhaps is the oldest and also a very challenging one.

In most cases it’s an eyelid medium; blink and it’s gone. It is not easy to include intricate craft because it’s not naturally captive.

Moreover, one doesn’t intentionally tune into Outdoor. It has to capture and compete with pulsating existence around it.

It’s the only medium that has Life as the backdrop.

Whilst most other mediums are interspersed with entertainment created for that medium, Outdoor is interspersed with real life, with throbbing, multi-dimensional existence around it.

Hence very specific kinds of ideas and execution are required

What does it take to produce great outdoor campaigns? There are no magic formulas. The answer lies in the unexpected marring of image and text for this medium, which in turn makes this a very interesting and challenging form of advertising.

Today Outdoor has evolved.

It is bigger than just billboards and kiosks, it is now interactive and independent. A lot of experimentation is happening, from the technology or the art aspect. It has become very high impact and is standalone in its own right, with examples of brand campaigns being launched primarily through Outdoor.

Being jury President at Cannes was an exciting journey.

The task before every jury and every member was similar: to find fresher work, better ideas.

However it is not as simplistic as it sounds. When a group of people comes together a unique whole is created by each distinctive opinion.

The outdoor Jury comprised accomplished people in their own right. And one must respect that.

We were a fantastic bunch. Having said that, I was clear that we were not representing countries, but represensibilities. And when different sensibilities interact, a new vision, a new eye develops.

The focus was on the freedom to

express opinions and views so that something fresh evolves.

After all, judging is largely an unnatural phenomenon. A few people sitting closeted in a room for days constantly viewing work. No consumer sees it in this manner. Therefore it was very important that the fatigue factor doesn’t set in. Because no one misses the great work—it always stares at you—but the good could suffer if full attention in not paid.

We ensured that this doesn’t happen and re-examined and discussed animatedly.

What does it take to produce great outdoor campaigns? There are no magic formulas. The answer

lies in the unexpected marring of image and text, in references to social and physical context and on the responses of the consumers.

Some of the campaigns I would like to touch upon. HBO Voyeur was our choice of the Grand Prix and deservedly so for me it was category redefining work. Although the campaign was a multi media one, Outdoor was the key medium that brought it alive. The craft in it was wonderfully done. The use of body language in absence of focus on facial expressions, the intertwining of stories, the ease with which it flowed into other mediums, made this piece of work stand apart.

BBC came close. To utilize hanging cable wires, more often than not eyesores, into a piece of art was brilliant. This was no conventional ‘lets put up a hoarding’ but utilizing the external device – a cable—to actually depict what is carried inside of it—content—was superbly done.

This is undoubtedly one of the best uses of the medium.

A milestone perhaps was China striking gold for the very first time. An evocative piece of work – the emotional strength of people’s support for their athletes was well depicted. There was an element of honesty that touched [us], and I am extremely happy that this piece of work from China shone forth.

Being at core, a writer, the Penguin Campaign was a personal favorite as it was for many other writers on the panel. Lovely, lovely work. It’s said that a picture says 1000 words – this campaign was just its opposite. The words are lifeblood.

How deep they go and take you with them – this is what this campaign so superbly showcased.

Another piece of work that I must mention was Medal of Honor —coming from Qatar, this was more than a pleasant surprise. A very fresh idea to take computer game figures and give them emotions. A huge tech buff, I have always believed that technology survives on human emotion and human thought. To humanize a computer game and do it so well was a triumph.

These campaigns and the others we awarded made us proud of our choices and humbled too, for a great idea and painstaking execution has that power—to not just stun but to touch.

And reinstated the importance of Outdoor not just as the oldest Advertising medium but as a one that has stayed through the times because – it works.

PRASOON JOSHI Executive chairman, McCann Worldgroup India; Regional Executive Creative Director, Asia Pacific Prasoon Joshi is respected for creating not only ads, but a new identit y for Indian advertising, one that celebrates the inherent "chaos" of the Indian way of life. His 2007 Happydent Palace gum ad has been rated India's #1 commercial of all time. Under his leadership, McCann India has tranformed to a creative powerhouse and sparked a creative renaissance of McCann in Asia.

Prasoon has won more than 400 awards, from all the major shows. But his influence extends beyond advertising. On India's 60th year of independence, he was named one of the country's "Top 60 Icons" for his contributions in several fields. These include literature (three books published, and a fourth out soon), pop song-writing (several albums), and film. His feature film Foray Rang De Basanti was BAFTA-nominated for song and script; a song of his made the top 15 list of the Oscar nominations in 2007.

But while Prasoon's creativity finds expression in other playing fields, he considers advertising his first love, and a modern art form.

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The next 12 months are going to be very exciting.

In uncertain times, there are always are lots of opportunities. the pipeline. So the next 12 months will see BBDO return to the top of the award winners’ list.

We also embraced a new way of working.

We call it TotalWork, and it is a collaborative, intensive, effective way of getting to medianeutral, big creative ideas, quickly. Not only has it resulted in some very cool work, which is about to break, it has also been used to crack many of the big ideas that have proved so successful in our new business drive.

The year that was.

The one piece of work I saw this year that really had the power to change our business was HBO Voyeur. In a campaign that included a live event, short films and an interactive website, every element of it was ground breaking and creatively breathtaking. Even the production techniques had never been used before. And the deeper you went into it, the richer experience became. Other work that changed the game was the Freedom Project manga campaign for Nissin Cup Noodle which took product placement to a whole new level and the weird and wonderful website for Uniqlo.

The year ahead.

The next 12 months are going to be very exciting. In uncertain times, there are always are lots of opportunities. Agency/client relationships come into question. Advertisers look around for better deals (be they financial, creative or strategic). And new business hits fever pitch. In these turbulent times, the strongest agencies come into their own. Clients are looking for partners who can really make a difference to their business. We have assembled a great team and we are well prepared for these conditions. We’re in very good shape and we are looking forward to the year ahead. Bring it on!

I really believe these times will be good for our business. Clients will demand even more accountability from their creative, and we can prove to them that great work actually works hardest. For quite a while, we as an industry have not done a great job convincing our clients of the advantages great work can deliver. With so much of our showcase work only ever appearing on the walls of award shows, is it any wonder that ‘Creativity” is often seen as self-serving in many client quarters? The year ahead will give us the opportunity to put that right.

DANNY SEARLE Chairman and Chief Creative Officer BBDO Singapore

For BBDO/Proximity Singapore, 2008 was good but not great at the award shows.

For us it was a year of expansion. We were involved in a crazy run of 20 new business pitches, and I am happy to say we won most them, more than doubling the size of our agency. Some of the new clients to join us included Singtel, Guinness, Mercedes, HP, Master-foods and Johnson and Johnson.

2008 was also 12 months spent assembling a brilliant new team of local and international stars. With the likes of Juggi on board as ECD in the Creative Department and Jon McKenzie joining as our Digital CD in Proximity, there’s lots of great work in

Danny started his career as a film editor, before joining advertising as a producer. After two years producing ads, Danny switched to writing them. He started as a writer at FCB, then the Ball Partnership in Sydney, before a five-year stint at one of the world’s top creative agencies, The Campaign Palace. Next, Danny joined Young & Rubicam as Creative Director and then Regional Creative Director.

In Januar y 20 01, Danny joined Clemenger BBDO S ydney as Creative D irector and Deput y Chairman. In Campaig n B rief s ‘ Year 20 0 0 Repor t ’, he was named one of the top ten Australian award winners of the decade.

A sur vey of the top 50 M arketing D irectors by top Australian bus ines s magazine B RW named Danny “Australia ’s Best Creative D irector.”

He is also one of just five Creative D irectors on the BBDO Worldwide Creative Commit tee.

In 2007, Danny joined BBDO Singapore as Chairman and Chief Creative Officer. He was involved in 11 new business pitches for BBDO Asia this year – and he won all of them!

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On the bend It’s funny how when we ride roller coasters, we don’t particularly enjoy the uphill climb, but on the way down we scream with total surrender for a split second.

This year has been that kind of a ride. And I’m pretty sure it’s been the same for most of you.

I’ve lost track of just how many ups and downs there’ve been, surely won’t fit the page. So here are a few.

It started with the Manila office going through some staff changes. With the previous MD moving to another local agency, a series of departures was inevitable.

For a moment, it felt like my very first day at school; but as it turned out, it was the day I finished college. Doors to opportunity were just opening up.

Must say that the ride has given me an enormous amount of unpredictable fun and excitement. Plus a strong stomach.

There were despedidas held, almost one after another. It seems worrisome, but I’m now convinced that there’s always something good that comes out of a situation. To date, the Rockeoke send-off is still the one to beat. And while a door may have closed on an opportunity, another one opened up: If it weren’t for those who left, I never would have had a taste of five minutes of rock star status singing to U2’s ‘With or Without You’ (nope, nothing more complex than that) backed by a real patient band.

Recovering from a lull after the country’s first-ever Cannes Gold Lion, the year started on a high at the Kidlat Awards.

Topping the metal count with the most golds at the first ever Boracay annual event was a pleasant surprise.

It was also to be made more special for me. Being ushered in this year into the Hall of Fame will always be one of my most memorable experiences. I put it right up there with the day I won my first Lego competition and the day I ran my first marathon.

If I failed to be coherent that night with my acceptance speech, I guess this is a chance to make up for that. Days before and way after, many had come up to me to congratulate me for the ‘feat’.

But if there’s anything I will take credit for, it’s that I knew and got to work with the people I wanted to work for and work with. I believed that if I learned from the best, my chances of improving my work would increase. This page

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will not accommodate all of those I remain most grateful to. Maybe someday I’ll get around to writing that book, and your names will be in the acknowledgements. For now, once more, please accept this simple gesture. Thank you to all those who made me stand on their shoulders.

After missing out on personally accepting the country’s historic first Gold Lion, it was good to return to Cannes this year. It’s funny how I look back sometimes and compare it to the days I used to run on the track team. Would have been a disaster training every single day and ending up not waking up on the morning of the race.

Good thing I never missed a race.

Cannes, as before, was a blast.

This year’s festival reflected life as we know it: the sessions were overpopulated and the hallways were round-the-clock rush hour.

Coming from Manila, I think we were some of the best at tolerating the Debussy gridlock. Droga, as expected, was simply inspiring (many anticipate his presence at the Kidlat Awards on March). And the longest queue wasn’t to the iPhone launch, but to the Saatchi New Directors Screening.

As always, I had my ‘I-wishI-did-that’ shortlist. Topping it is HBO Voyeur. I just love this ambient-outdoor-directinteractive piece. Like baseball, they had their bases covered plus made a homerun.

Then there’s the uphill climb. Our Lion turn out this year was nowhere near last

year’s. I think the same could be said for everyone else in town.

If history follows patterns, 2009 could be vintage.

As we turn on the bend, we’ve picked up some fresh new passengers and begun to pick up speed again. We seem to be building up to another exciting, thrilling rush.

Must say that the ride has given me an enormous amount of unpredictable fun and excitement.

Plus a strong stomach.

So to sum up the year, like for many of us, it was about change (You know who I would’ve voted for). And as it goes, change is good.

Here we go for another round around the rollercoaster. dave ferrer Executive Creative Director, JWT Manila

The words ‘inspired’ and ‘stunning’ often roll off our tongues when we talk advertising but as everyone reading this knows, it’s the experiences outside of advertising that truly inspire us. For me it’s people, rather than

It’s the experiences outside of advertising that truly inspire us.

from my many conversations with Asia’s and the world’s best creatives at various award festivals. I always find it amazing (and no coincidence) that in nearly every case the best creatives are also the nicest people and the ones having the most fun with their job.

The single most enjoyable experience was being lucky enough to be invited to dinner in Singapore by Neil French with the World Press Awards jury. Graham Warsop, Mark Tutssel, Jeremy Craigen, Marcelo Serpa, Tham Khai Meng and Frenchie sitting on the patio of the Raffles Long Bar and talking advertising until the

the industry can regularly duplicate in the future.

3. Jureeporn Thaidumrong and Anuchai Secharunputong. A tie for the most creative person in Asian advertising.

4. AdFest’s line up of speakers this year was first class. Stefan Sagmeister, Tony Davidson and Alex Burnard provided great

Mumbai). When this bombed at the World Press Awards I remember saying to Mark Tutssel that it was certain to clean up at Cannes. Phew!

8 Neo Sports India vs Pakistan “Gas” (O&M Mumbai). If more cricketers were on the jury at Cannes it would have won Gold!

9. Tesco Lotus “Crab, squid, Fish, Prawn” (BBDO Bangkok). A campaign worthy of the front cover.

10. Thailand Yellow Pages (Creative Juice/G1) – The crafting and attention to detail is amazing.

11. Dentsu’s Carre Chocolate “Non-Blinking Woman” – keeps your attention throughout.

12. I should probably go for the FHM campaign from Ogilvy Singapore but I’m going to end insights and inspiration.

My top dozen ads of 2008.

1. Tan Hong Ming – A coup for Yasmin Ahmad, a lady who has nothing to prove but continues to.

2. Adidas China campaign – Big and real. what a great client not only for TBWA but also Asia.

3. Silverfish Books (Saatchi Malaysia). No one works harder

ads, that inspire me. There are dozens of family examples I could use, headed by every weekend watching my 13 year old son, Adam, play cricket. But as this is an advertising magazine I’ll stick to the industry.

I think Angel would agree with me in that the best thing about a job like ours is that we get to meet, interact, befriend and party with some very talented people. It’s people who make our industry creative. So my professional inspiration comes

early morning was pretty special.

Four industry highlights/ observations from 2008.

1. Craig Davis and Prasoon Joshi as jury presidents at Cannes.

They did us proud, both by their appointments and then their performance over the week.

2. India’s performance at Cannes. At various times over the past decade individual Indian agencies have starred on the world stage but 2008’s 23 Lions was an outstanding result that hopefully

than Adrian Miller and this campaign is my favourite Asian print work for the year.

4. Aadhar “Family Name” (Contract Mumbai). I first saw this powerfull ad at AdFest and I immediately sought out Ravi Despande for him to send it to me.

5. JWT’s Times of India “Lead India” – hopefully the first of many big Titanium ideas for Asia.

6. Ogawa Fans (Lowe Bangkok).

From the start you just knew this was going to win big awards.

7. Luxor Highlighters “Che, Charlie, Hitler” (Leo Burnett

with the Fab Washing Powder “Ice cream, Soup, Ketchup” work (Leo Burnett Singapore). Not a big award winner, but it’s a campaign that I really like and thought would clean up at the shows.

As for 2009 there are two things I am really looking forward to.

The battle between AdFest and the newly formed Asian Spikes is going to be enthralling and I can’t wait to see which emerges as the dominant festival.

Similarly, it’s going to be fascinating to see if Roger Makak can remain top of the Creative Rankings. He seems to have had a quieter year during 2008.

KIM SHAW Publisher, Campaign Brief Asia and The Work

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In 2008, I was stunned by a stinking rose. While on our family vacation, Robert Gaxiola, (ex ECD of Bates Singapore) took us to a delightful restaurant in North Beach, San Francisco. The decor is kitchy, interesting to say the least, and a definite conversation piece. Everything that can be done with garlic was in the menu and some that you would not expect, like Garlic Ice Cream. Nasty as it sounds, it tastes better than you think -- pretty much like eating frozen roasted garlic. By the time we were done, our mouths tasted so garlicked that we didn’t even want to see another clove. Or talk to each other.

One of the things that has evolved is the way we involve our consumers.

Besides that, being appointed Jury President for Outdoor in Adfest has got to be one of my highlights. But JWT Asia receiving top network of the year was absolutely fantastic! Every office really worked hard to make it happen after the agency rebranded, so getting it makes it all worthwhile.

In Cannes, our Jakarta office received the country’s first Silver lion. The entire JWT network also made a huge improvement in Cannes this year. It has climbed to 4th place with 39 lions, including a Grand Prix, making JWT the most awarded in the WPP network.

More pleasing was that Lions were won in every category.

Being invited to judge in THE CUP (held recently in Lake Bled, Slovenia) was also high in my list. Not only was the location stunning, the caliber of judges was extremely high. That all of them are highly experienced in the judging circuit made each discussion very challenging.

It has been exactly a year

since I have been promoted to Global ECD for Lux. At first it was challenging to handle more than just my SEA responsibilities.

Trying to understand the business on a much larger scale made me realize how to manage resources and clients. Exchanging cultures and ideas in each market gave me a deeper understanding

Instead of doing mediocre work, perhaps we can afford to convince clients to take more risk with fewer but better pieces of work. when reviewing work from each country. Although the long flights and boardroom meetings seems endless, the joy comes when everything manages to pull together well towards the end.

One of the things that has evolved is the way we involve our consumers. They want to

Tay Guan Hin Regional Executive Creative Director, JW T South East and South Asia Guan graduated from Art Center Pasadena during a worldwide recession.

Luckily, he found work after winning the Best of Show in the LA Creative Club Student Competition. Before returning to Singapore, he took a few months off teaching in Russia Far East, Vladivostok.

Guan joined JW T in 2005 and was elected to the Worldwide Creative Council. His awards include Cannes Gold Lions, D&AD, One Show, Clio, AdFest, Award and Spikes; three of his campaigns are in the Gunn Report‘s top 10. His leadership has helped JW T Manila and Jakarta bring home historic Cannes Lions for their countries. He is also a favorite judge at international awards shows.

Whether by giving his time to workshops for young creatives in ADFEST and One Show China, or by serving in the Singapore Army as a mechanic under an oily tank. Guan believes in staying close to the ground.

be part of our communication, whether we like it or not. Clients need to realize that the more they control the message, the more consumers want to pull them apart -- by questioning and posting comments via the web. Consumers control the brand, so the earlier they have a voice, the faster we can bring them on our side.

In 2009, we will have to do a lot more for a lot less. There will be less time devoted to concentrate on the creative product, and more time on saving the current business or pitching for new ones.

Of course it’s a matter of balance, but the head will probably rule more than the heart.

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With depleting budgets and possibly less head count, [we may have] to change the way we operate. Consolidation and multi tasking will be required on every level, in all departments. E.g. one writer to two art directors is an interesting concept, since artbased creative need to spend more time executing the work. This was adopted in Saatchi & Saatchi in Singapore while I was there.

Instead of doing mediocre work, perhaps we can afford to convince clients to take more risk with fewer but better pieces of work. Shooting more silver bullets to hit our targets instead of firing multi rounds like a machine gun.

Leigh Reyes Executive Creative Director, Y&R Manila

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regionalnewsbriefs The Kancil Awards, Malaysia’s version of our Ad Congress ARAW, has announced its theme and jury. According to Jury Chairman and recent Manila visitor Ronald Ng of Proximity KL, this year’s theme is “Change the game”.

Fittingly, then, the local jury includes the most-internationally-awarded KL creatives. But in contrast to Manila’s network-dominated juries, the international jury is made of “a stellar lineup of game changers”, from mainly independent agencies like Crispin Porter and Droga5.

In an email, Ng explains that the Kancils “will be celebrating ideas that break the rules. Innovative ideas that have no precedent, big thinking that sets new benchmarks. Game changing work.” The awards ceremony is on 28 November; judging is divided into main and digital.

The Kancil local jury is picked from the creative heads of the agencies with the best international award showings: Adrian Miller (Saatchi & Saatchi), Rahul Matthew (Y&R), Mun Tuck Wai (BBDO), Andy Soong (Publicis) and Ted Lim (Naga DDB). Edwin Leong (JWT) will confirm his participation soon. The digital jury will be locally represented by Liew Sanyen of If Interactive.

The international jury is as follows: For main, Alex Burnard (Crispin Porter + Bogusky), Thirasak (Creative Juice, Thailand), Sonal Dabral (Bates Asia), Pann Lim (Kinetic Singapore), Matty Burton (droga5, Sydney).

Digital will be judged online by Iain Tait (Poke London), Flo Heiss (Dare London), Sean Lam (Kinetic Singapore) Jon Dranger (Farfar), and Graham Kelly, ex-TBWA Singapore.

BBH Mumbai Opens

Mumbai -BBH is set to launch an office in Mumbai on Nov. 17 with an all-local management team. Managing partners are Priti Nair, who joins from her role as national creative director at Grey Worldwide; Subhash Kamath, and Partha Sinha, who was chief strategy officer for Southeast Asia at Publicis. BBH headquarters in London set up agencies in Shanghai in 2007 and Singapore in 1996. The Mumbai office opened due to increasing creative and marrket opportunities in India. Previously, BBH has been creating work for India out of its Singapore office.

BBH Asia Release ‘Life’s Less Serious’ Global Campaign For Chupa Chups

BBH Asia Pacific has release the first installment of its global campaign for lollipop brand Chupa Chups. The ‘Life Less Serious’ campaign has begun in Europe, with two versions “Girlfriend” and “Personal Trainer” currently airing in Italy.

The global campaign’s brand strategy of a ‘Life Less Serious’ is based on the essence of the Chupa Chups brand, famed for its tradition of playful irreverence.

The central figure in this global campaign is Chuck, the unflappable puppet who personifies the blithe attitude of youth and remains unfazed, no matter what life throws at him.

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MIKE CLARKE/AFP/Getty Images

Malaysia’s Kancil jury draws top independent agencies worldwide

Optimism fades for Asian marketers

ASIA – October 10th, 2008.

A new research study by consultancy R3 has highlighted the immediate impact on company marketing budgets for 2009 in Asia, one part of the world that was expected to be more resilient.

“The events of the last two weeks have hit marketers hard” said Greg Paull, co-founder and Principal of R3. “Based on our fieldwork just over the last two days, there will be significant reductions in the coming year – even in typical growth markets such as China and India.

The research was conducted via face-to-face, telephone and online with more than 50 marketers, covering 100 of Asia’s top 500 brands. The group included multinational and local companies in China, Korea, Taiwan, HK, Singapore, Thailand, India and Malaysia.

Despite the diverse country mix, results were quite New research shows 94% of companies forecast the same or less budgets for 2009 21% forecast big reductions from economic crisis in last two weeks More money moving to digital, events away from media

consistent between developed and developing markets.

The fieldwork was initially completed in September and showed an optimistic view for the coming year – with 62% of marketers initially forecasting higher budgets.

All this has laid out a gloomy outlook for the region for the coming year – just 6% of respondents forecast an increase in spend for the next twelve months, and 55% are now actively reducing their overall spend “Post Olympics, particularly in markets such as China, showed a positive trend – but all that has changed now” said Mr Paull. The same base of companies was re-contacted this week to measure changes.

21% forecast a reduction of more than 20% from their initial budgets, and 73% saw reductions of more than 10%.

All this has laid out a gloomy outlook for the region for the coming year – just 6% of respondents forecast an increase in spend for the next twelve months, and 55% are now actively reducing their overall spend with the

rest currently maintaining 2008 levels. “Predicting the future has never been more challenging” said Mr Paull “54% of respondents also told us their 2008 budgets declined off their original forecasts, making the annual planning process fraught with danger” he added This study has also identified a shift in the region from traditional advertising to digital, direct marketing and activation. “More than 40% of respondents now spend more money in these areas than in paid advertising, quite a significant increase from our past research in this area” said Mr Paull. “The successful marketer will be one focused more on engagement and less on just awareness and trial” he added.

For more information, please contact Greg Paull – greg@ rthree.com , +86 1351 1011 591, www.rthree.com About R3 R3 is an independent marketing consultancy whose aim is to improve the efficiency and effectiveness of brands and their agencies.

Founded in 2002, it works with eight of the world’s top twenty global marketers in analyzing marketing spend investment, agency relations and measuring ROI.

Asia Creative New Business League October 2008 RANK THIS MONTH

RANK LAST MONTH

AGENCY

RECENT WINS

ESTIMATED Y TD WIN REVENUE (US$M)

RECENT LOSSES

ESTIMATED OVERALL Y TD REVENUE (US$M)

1

1

Ogilvy

MG Auto china, Tabcorp Australia, DBS Taiwan

38.4

2

2

McCann WorldGroup

L'Oreal NZ, Verisign China, Indo Food Ind, GSK Sin

35.6

Hanes India

29.7

3

3

DDB

Mayora Ind, Amway Phils, Neo Laptops Phils

28.7

Bayer India

26.3

4

4

Euro RSCG

F&N Singapore, NTUC Fairprice Singapore

23.2

Marvelon China

22.2

5

13

TBWA

Paypal Aus, Dorito's Digital Chi, Insead Singapore

22.5

Unilab Tuseran Philippines

16.1

6

5

Bates

Channel Live India, NSW Health Australia

16.2

Eleven Singapore

16.0

7

8

Y&R

24.2

Telstra Australia

8

9

Grey Group

18.0

My FM India

9

7

Lowe

Orra India, IQ Air China, Smart Philippines, Star Union India Allens Group Singapore, Biotropics Malaysia, Convergys India Godrej Sara Lee, Thai Stock Exchange

14.7

L'Oreal NZ, Yeo's Malaysia

13.5

10

11

JWT

18.3

Oswal India

12.6

11

12

BBDO

23.0

VISA Asia Pacific

12.3

12

10

Publicis

Nikon Japan, Carrefour Thailand, Pizza Hut Singapore Turner India, Bayer India, Bosch Malaysia, Monster. com HK, Amore Korea A xa NZ, Western Union HK

14.2

Wyeth HK

10.6

13

16

BBH

LTA Singapore, NTUC Income Singapore

4.5

14

13

Leo Burnett

Aokang China, Dow Jones Singapore

8.8

McDonald's Aus/NZ, F7N Sin, Carrefour Thai

3.4

14

14

Saatchi & Saatchi

Gold Ridge Singapore, Westpac BTL NZ

5.2

Maybank Singapore

3.4

16

15

DraftFCB

Ricola HK, China

3.2

Kraft Australia (part)

2.0

17

18

M&C Saatchi

Glitz Cameras India

11.2

Medibank Australia

0.5

18

17

Wieden & Kennedy

A1 GP India

0.3

Future Group India

30.2

15.6 14.7

4.5

0.3

CREATIVE Ogilvy maintains its position atop the table with positive wins across the board. Fastest mover in this wave was TBWA, securing the global VISA business as well as a number of strong local wins. The top four agencies represent four different holding companies.

METHODOLOGY The R3 New Business League has been compiled each of the last 73 months using data supplied by 26 multinational agencies on a monthly basis to R3. In addition , this data supplied is balanced against Client Estimates, Nielsen ADEX, discounted to appropriate levels and then converted to a revenue estimate. R3 strives to be accurate in all reporting, but welcomes comments and questions. Please write togreg@rthree.com or visit www.rthree.com for more information or to download a soft copy

november-december 08

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regionalnewsbriefs TBWA\CHINA Sweeps Up Best of Shows at China EFFIES

Asian Marketing Effectiveness

The awards show for the real world The AMEs celebrate ads that balance creativity and results

Hong Kong, China - TBWA\CHINA was announced as the Best of Show winner at both the China EFFIES and Great Wall Awards. This makes TBWA\ China a consistent winner known as “most awarded”, ‘”first Gold Cannes Lion for China”, and “Best of Show” this year for its adidas Olympic Games Campaign. The China EFFIES, and the Great Wall Awards by the China Advertising Association (CAA) are gaining prestige and importance as an organization celebrating and promoting high standards of brand excellence and creativity for the China market. The adidas Olympic campaign won “Best Idea” at the China EFFIES, and picked up another 4 silvers at the Great Wall. “Great creativity moves and inspires people on a very personal level. The Chinese Olympic participants this year were moved by the spirit of China that was captured by the craftsmanship of the campaign. The campaign is far from being static. It’s a movement.” said Ruth Ang, Managing Director of TBWA\ China. The Best of Shows are another major win for TBWA\ CHINA, after scooping awards at ADFEST, The Media SPIKES, One Show, and the Clios, in addition to winning China its first ever Gold Lion at Cannes. This makes the “adidas Olympics Games Campaign” China’s most internationally awarded campaign.

Ogilvy & Mather Jakarta Tops A A A Awards

Jakarta - At the recent ADOI Advertising Awards in Jakarta, now on its fifth year, Ogilvy & Mather was named Agency of the Year with a narrow margin over JWT. Gary Caulfield, Executive Creative Advisor, Ogilvy & Mather Jakarta said of the other awards shows in Jakarta, AAA was top notch, “The quality of the judges is International which helps set it apart as the most obvious difference. For example, Jeff Goodby judged this year and Bob Scarpelli last year. And thankfully, we have won it three years in a row now! Four of the five I have been here!”

This year JWT stole the show with its Best of Best for their Museum Wayang campaign with their outgoing ECD Juhi Kalia bestowed the Hall of Fame award. The Production House of the Year award went to Lynx Films.

Young Gun winners this year are Anggiat Christo and Hendry Sutamrin from Dentsu Indonesia. HM Sampoerna was named advertiser of the year.

AAA donated 12 million rupiahs for four homes for the underprivileged across Jakarta. Five per cent of all entry fees are allocated to charitable causes.

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As tough times loom, marketing effectiveness becomes more important than ever. Not only for clients, but also for agency professionals who don’t want to be shown the door, their creative awards packed to go.

Now on its 5th year, the Asian Marketing Effectiveness Awards (AMEs) benchmark the efforts of marketers and agencies across the region.

Significantly, a campaign can be entered by either agency or client.

This year’s AME winners were announced on Sept. __ in Singapore. Entrants were advised to submit “concise, effective and intelligent entries”. Atifa Hargrave-Silk, Editor-in-Chief of competition organizer Media, said that “marketing is a considerably more complex business than it used to be, and its constant evolution is driving the brands in this region to rethink approaches and recast ideas and insights to spur positive results.”

Rising to the top of the pool of entries, Leo Burnett Sydney’s WWF “Earth Hour” won the plum Platinum award, having previously won

in Cannes and the Spikes.

The Earth Hour campaign demonstrates how an entire city and 50 million people from around the world joined hands to turn off their lights for an hour and do their part for the planet. This resulted in a 10.2% energy-reduction across

Sydney. The symbolic event was picked up extensively by local and global media, large corporations took part, and the citizenry felt empowered to do their bit. In 2009, more cities will mount Earth Hour; the effort has expanded into the www.earthhour,org website, where kits can be downloaded to help make Earth Hour a community-owned brand. Tips are also offered to practice “Earth Hour everyday” and help reduce individual climate change impact.

Gold winners were JWT India’s “Lead India” campaign, for National Brand Development; Earth Hour, which won separate Golds for best idea, integrated marketing xampaign, small-budget marketing Ccampaign and eco/ereen marketing campaign; TBWA\ SC’s “Malaysia’s Truly Asia” Tourism, long-term marketing and branding campaign; Ogilvy & Mather India’s Cadbury “How Bournvita Let Children Be Differently Capable and Differently Successful” for its insight and strategic thinking; JWT Japan’s loopy but addictive Schick “3D Beard Simluator” interactive marketing campaign; Proximity Live’s “Fendi On The Wall” events marketing campaign; OgilvyAction’s Kool Boost product and design packaging campaign; and JWT Vietnam’s Knorr Tet “Taste of Good Luck” sales promotion and point of purchase.

Starcom MediaVest Group was the Philippine’s sole winner, with a Bronze for the “Max By Revicon Direct Marketing Activation” campaign for United Laboratories. For the maletargeted supplement with a

very adult image, Starcom created a targeted activation drive where “sexy, sophisticated Max female ambassadors went to venues the target market frequents [to] give free samples in exchange for calling cards. Premium items were also given away for referring five friends or colleagues.

The campaign achieved a 30% response rate.”

Rosanna Ho, this year’s jury chairwoman, said, “We have to work harder. It is not negotiable to do mediocre work. It’s up to the client and the agency to take risks and to focus on objectives to present amazing results to consumers.”

The AME Awards jury were represented by a spread of Asia’s advertising marketing communications experts - Philip Brett, Chairman, TBWA\Group Singapore; John Cahill, Regional Director, McCann Healthcare, Asia-Pacific; Kevin Clayton, Principal, Strategic Marketing; Jeff Cresall, President, Universal McCann Asia-Pacific; Damien Cummings, General Manager, Neo@Ogilvy; Edward Dixon, Managing Director, Porter Novelli, Singapore and South Asia; George Gallate, Global Chairman, Euro RSCG 4D; Charu Aggarwal Harish, Communications Planning Director, Grey Global Asia-Pacific; Rosanna Ho, Head of Customer Experience, HSBC PF; Christoph Peter-Isenberger, Head of Marketing, Puma; Aditya Kapoor, Director, Commercial PC Business Unit, Hewlett Packard Asia-Pacific; Ken Mandel, VicePresident and Managing Director, Yahoo! Southeast Asia; Dan Pan, Senior Account Director, brandRapport Asia-Pacific; Chris Thomas, Chairman and CEO Asia, BBDO Asia-Pacific; and Michael Wood, Chief Executive Office, Leo Burnett Greater China.

ASIAN MARKETING EFFECTIVENESS AWARDS 08 Platinum Award WWF "Earth Hour", Leo Burnett Sydney

Most Effective Use of Advertising Silver Vietnam Dairy Products/ Vinamilk, "Vinamilk Fresh Milk 100 per cent – Happy Cows", Lowe

Best Marketing Campaign for National Brand Development Gold The Times of India "Lead India", JWT

Most Effective Use of Interactive Marketing Gold Schick Quattro 4 Titanium Revolution, "Schick’s 3D Beard Simulator", JWT Japan

Best Marketing Campaign for Regional Brand Development Bronze Anlene, "The Anlene Movement", BBDO Singapore Best Brand Loyalty Marketing Campaign Silver Muang Thai Life Assurance "Fun You Never Forget", JWT Bangkok Best Long Term Marketing and Branding Campaign Gold Malaysia Tourism Promotion Board "Malaysia Truly Asia", TBWA\SC Malaysia Best Innovative Use of Media Silver Health Promotion Board "Retail Therapy", DDB Worldwide Best Insights/Strategic Thinking Gold Cadbury India "How Bournvita Let Children Be Differently Capable and Differently Successful" Ogilvy & Mather India

Most Effective Use of Sponsorship Silver Chevron International/Caltex "Driving Active Engagement with Caltex Using The Amazing Race Asia 2", MEC Most Effective Use of Direct Marketing Bronze United Laboratories/ Revicon Max, "Max by Revicon Direct Marketing Activitation", Starcom MediaVest Group Most Effective Use of Event Marketing Gold Fendi, "Fendi on the Wall", Proximity Live Most Effective Use of Branded Content Silver EMI Music Taiwan "Agency J", MEC

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

November 2008 Bayan Wireless Landline "Chase" TVC Chief Creative Officer: David Guerrero / Executive Creative Director: Joel Limchoc, Simon Welsh / Art Director: Jeck Ebreo, Dale Lopez Copywriter: Tim Villela, Meggy De Guzman / Producer: Jing Abellera / Director: Henry Frejas Accounts: Ombet Traspe, Shirley Gadia, Eric Oandasa

november-december 08

59

60

november-december 08

Meggy de Guzman, Atom Henares Anne Tajonera

Corey Cruz

Fran Kahn-Gonzales Maita Ancheta

Gino Caoile, Bixie Reyes Serge Dumont, Paul Roebuck, David Guerrero, Belay Santillan, Simon Welsh, Chris Thomas

IMPERFECT 10 BBDO GUERRERO 10TH ANNIVERSARY PART Y OCTOBER 10, TOP OF THE CITI

Joan Optima, Jay R. Iringan

Angel Guerrero, Serge Dumont

Jao Bautista

AD Hunter

Ronald Ng of BBDO Malaysia, Paul Roebuck Suthi Sucharittanonta of BBDO Thailand

Louie Gutierrez, Dulzzi Gutierrez

november-december 08

61

regionalnewsbriefs DDB Touch, Channel Planning Division Launched

Sydney – DDB Sydney has officially launched DDB Touch, a channel planning division, which will work closely with clients to effectively plan and execute the most creative brand experiences for Australian consumers.

DDB Touch will offer a holistic communication strategic resource at the DDB Group in Sydney allowing clients to amplify their brand ideas through clear channel direction from across all disciplines including ATL, BTL, Digital, PR, sponsorship, promotions, branded experiences and content creation.

Nick Andrews will head up the DDB Touch division said, “Our ambition within DDB Touch is not merely to ensure integration but to generate momentum for a brand idea.” DDB Touch is already working with DDB Sydney clients including Clorox and GWF.

Advertising Legend Sir John Hegarty is AdFest 2009 Jury President for Film & Radio

Bangkok -ADFEST announced that one of the industry’s great legends, Sir John Hegarty, has agreed to be Jury President of Film and Radio at ADFEST 2009 in Pattaya, Thailand.

As Chairman and Worldwide Creative Director of BBH, Sir John Hegarty is famous for being one of the world’s most inspirational creative minds since co-founding BBH in London in 1982. Over the past few decades, he has created some of the world’s best-loved commercials for major brands including Levi’s, Lynx and Audi. Sir John Hegarty became a founding partner of Saatchi & Saatchi in 1970, was co-founder of TBWA in London in 1973, and established BBH in London in 1982 with partners Nigel Bogle and John Bartle.

“The world is moving East, and it’s important to understand how advertising is contributing to that phenomena. More importantly how creativity in advertising is helping that happen. That’s why I’m delighted to be chairing these awards,” says Sir John Hegarty, explaining his decision to oversee ADFEST’s Film & Radio Jury as President.

“As far as I know, ADFEST has been trying to invite Sir John since its first year 11 years ago. I am thrilled and feel so honored that John has accepted our invitation,” says Jimmy Lam, President of ADFEST.

Vietnam Scoops Up Two Globes

Vietnam continues to build its international creative reputation by scooping up two awards at The Globes, The Marketing Agencies Association (MAA) Worldwide Awards, hosted in Toronto.

JWT Vietnam brought home the silver Globe for the “Handy.com.vn” Launch in the digital communications category and River Orchid won a bronze for “Levi’s Raffle Draw Event” in the small budget category.

“Vietnam has a wealth of creative talent and I am glad it’s being recognized at prominent international shows like The Globes,” said Chris Von Selle, JWT Vietnam Managing Director. “The Handy.com.vn integrated campaign clearly struck a chord with the Vietnamese youth segment as it drove over 30 million hits in 8 weeks.”

The Handy.com.vn campaign used a wide mix of media including tattoos to drive Vietnamese teens to an online teen community. The campaign has been recognized at several other award shows.

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Busan International Ad Festival Makes its Debut As Spikes and Adfest gird for battle, a smaller Asian show made its debut. AD STARS 2008, the 1st Busan International Advertising Festival, was held in October at Haeundae Beach, South Korea. The festival presents a platform for both consumers and professional advertisers to participate as competitors and judges – a marked change from existing competitions, which are open only to professional advertisers.

Exhibit categories are TV/Cinema, Radio, Print, Outdoor, Public Relations, Sales Promotion, Direct Marketing, Interactive. Entries of mixed medium (otherwise unclassifiable) were also accepted. Busan also had a separate category for Public Service Advertising. The event strives to use adver-tising as a tool to spread understanding of cultural diversity. Other than profit-hungry machinery, the thrust is to create innovative advertising to improve humanity.

Marketed as “the first international convergence awards for both online and offline advertising,” Busan started accepting entries in June 2008. Online entries closed in September, while off-line closed a month later. On its initial effort, Busan International Advertising Festival garnered 3,105 entries from 29 countries.

While the organization was unusual, Busan’s winners echoed those of other festivals.

Grand win-ners included

Malaysian entries Wheelchair (Public Service), and Jeep Husky and Camel. Other Jeep campaigns won gold and silver.

Thailand’s Yellow Pages won gold. China’s much awarded Adidas Olympic campaign won several gold, silver and bronze awards. India’s entries

for Luxor highlighters (Hitler, Chaplin and Che) all won silver.

Fresh from its initial success, entries for 2009 may now be posted until August 10, 2009 via www.adstarsfestival. org. All finalist original ads must be received in Busan by September 30, 2009.

november-december 08

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PROFILE

JOHN MERRIFIELD’S NEXT WAVE

by Cynthia S. Dayco

I

n the Manila Mandarin, John Merrifield sizes up the entries to the Tinta Awards. He zeroes appreciatively on one finalist—“There is not a single thing wrong about this ad!”— and to the ears of Filipinos in the room, it’s pure music.

Then John turns to his fellow jurors, “But does it deserve to go from Silver to Gold?”

Later that afternoon, after dissecting Manila’s best print work, he casts an admiring glance at Tinta’s comely usherettes.

“Maybe one of the reasons the Philippines needs to lift its socks is that there are so many distractions.”

Who is this guy? And why is he surprisingly easy yet infuriatingly hard to please?

John Merrifield holds the curious post of Creative-at-Large in TBWA\Asia Pacific. He is the guy behind adidas’s groundbreaking “Vertical Football” and its painstakingly crafted “Together in 2008” for the Beijing Olympics.”

Moreover, he is a sought-after judge in Cannes, London, Pattaya, Bali and now, Manila.

In his polo shirt and wrinkled shorts, John is all arms, legs and good vibes —a boyish creature of a certain age. He doesn’t pace; he ambles back and forth. He doesn’t sit; he’s casually draped onto a chair.

Even his laugh lines glow with a sunny disposition, a result of living by the flow and ebb of the tide.

Hang ten.

And everything else.

Despite his stature, it’s surfing, not advertising, that is John’s greatest love.

“At certain stages, I’ve had to choose between family, friends and surf. And everybody who’s ever become close to me knows that surfing is always the first choice.

“It’s a terrible thing to say, but you need to find a passion in life. As much as I love the work that I do—and we always try to do interesting stuff—I don’t live to work. I work to live.”

But the truth is, John’s work and sport are inextricably linked.

If not for surfing, he would never

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have entered Advertising.

The ocean seduced John early in life. Even as a student in Santa Barbara, he majored in Hydrology—all the better to predict the waves. As soon as he paid off his college loan, he took what was left of his savings and surfed his way around the Indian and Pacific Oceans.

“It was a pretty feral existence,” John recalls ruefully.

“But I’m forever trying to get back on that endless summer.”

The waves led him to Australia, Indonesia, the Philippines, and nearly everywhere else. But after nearly three years of surfing, John’s finally money ran out.

By then, he was in Japan and in love. He met a Japanese girl, who eventually became his patient wife and mother of his two children.

A second passion To support his family, he taught stenography and English.

But all the while, he looked for something better. He was working for a “copy shop”—writing manuals for fax machines, of all things—when he got his break.

“In the Eighties, big agencies in Japan were really just media agencies,” he explains. “They farmed out the work to an art house or a copy shop. So even in those days, Copy and Art weren’t together.”

Nevertheless, he discovered his talent for advertising. What’s more, it became his passion, second only to surfing.

So he moved to Singapore, where he “could get twice as far in half the time.” McCann Erickson hired him as junior copywriter and paired him with a young art director named Francis Wee. Batey took notice of John, so they hired and kept him for six years. But by 1995, he moved closer to his favorite surf break in Bali, by working for Saatchi & Saatchi in Jakarta.

“Unfortunately, the work was dreadful,” John grimaces.

He tried to remedy the situation. Before he could finish his mission, however, Suharto’s tanks rolled into the city. He fled to Hong Kong, where David Droga put him

in charge of the Saatchi creatives.

Hooligan-at-large John’s career finally took off when he opened Saatchi’s new office in Tokyo. He hired 33 employees, and promptly managed to get every single one arrested.

It was 2002, and Japan was host of the FIFA World Cup. Anxiously expecting European hooligans, the police and the media were put on alert.

But the Saatchi people paid no heed. They were busy crushing a car with a two-meter ball. A week before the finals, they snuck their handiwork into the Shibuya district and parked it near a 15meter high adidas billboard.

John explains. “It was a perfect banana kick to where the car was.

So people would look at this car, look around and make the connection.”

But things did not go as planned. The police impounded the car. What’s worse, they

arrested the entire agency for staging the stunt without permits, and illegal parking. Everyone was mortified, except John.

“No, no, this is great! You can’t buy this sort of thing,” he reassured his people, who thought this gaijin was certifiable.

Everything was sorted out, but it was far from over. As the police filed their report, they called on John one last time. Could Saatchi help them recreate the “crime”?

John complied. Almost immediately, “we called every newspaper and every TV crew!

And all these overseas crews [in town for the World Cup] came.”

“The police asked us where we were parked—it would take them half an hour to maneuver the car and take all the pictures—so we kept saying, ‘and then we parked there….’

“For half a day, we pointed to all these places we parked, and the way [the police] did it, it was a far better organized event. We had

these huge crowds, and we got a slew of publicity—even more than the first time!”

The incident forever endeared the agency to the client. Saatchi took the bullet, but it was adidas that was all over the news.

“We learned that impact is more important than an award— getting your client a larger share of the future, getting impact in the marketplace, getting on TV or in the papers, as news,” says John. “Getting an entire agency arrested…it’s one those of things I am most proud of.”

Shortly after the World Cup,

"If one of the offices has two pitches at the same time, I’ll tell the ECD, ‘You choose which you want to do, and I’ll take the shitty one." however, the Publicis Groupe acquired Saatchi & Saatchi. One of the casualties was the Tokyo office.

“Telling 33 people that they no longer had….” John trails off. “That was the worst day of my life.”

“I bleed three stripes.”

Cut from Saatchi, John returned to surfing. But the strength of his relationship with Christophe Bezu, adidas regional CEO, was such that after TBWA got the account, Bezu called Worldwide CEO Jean Marie Dru who, in turn, called Keith Smith of TBWA\Asia Pacific.

The message: “There’s this guy surfing in Bali right now. You might want to find him…or else.”

John repaid Bezu’s faith with a fierce loyalty to the brand.

“I’m very brand-loyal.

Christophe knows I bleed three stripes. Sometimes, he’ll knock me back, and other times, I’ll push.

But you never want to let down a friend, even more than letting down a close client.

This kind of client-agency relationship has one other benefit: truly great work. “Once you’ve done real work that’s considered world-class by your peers, that they saw not in advertising shows but in the news or sports programs—once you’ve had a taste of that kind of impact, then doing a scam ad becomes irrelevant.”

It’s a point he makes at every opportunity. “To move the needle” on clients like P&G proves an agency’s worth so much more. It’s tough, John admits, but “it’s what we’re here to do. We need to grow up in Asia. We can evolve.”

Life after Creative-at-Large With his success in TBWA\ Japan, a promotion was inevitable. But when John’s new post was announced, people scratched their heads.

What is a creative-at-large? A creative who’s never at his desk?

John chuckles. “A number of regional creative directors, it seems, come in for two days. They tell you what they like, what they don’t like. And people can’t wait to slam the door when they leave.”

MERRIFIELD ON MANILA On Mangada, Santiago & Puno: One thing you have to admire is consistency. And there are probably two or three agencies in Manila that have been consistent over the last eight years. I’m proud to say that TBWA is one of them. Jimmy, Tong and Melvin are great. They’ve always had a presence in the awards shows. The spirit is there. To me, it’s one of our truer TBWA offices in the region.

My hat’s off to them.

On his favorite spot on TBWA\SMP’s reel: There’s some in the Tinta Awards that I quite like, but one that still puts a smile on my face is Cinemanila, the one about the subtitles. That, to me, is a Gold Canneswinning idea. It’s so on-brand, and it never feels elitist. The intelligence of that idea, the simplicity and charm of the execution….

When she covers one eye in the scary movie—it’s just so…wonderful!

He prefers to come in for a week or two and to get involved in what’s going on. He’d rather work like a creative director (a multiawarded and respected one, at that) instead of a regional creative director who just adds another layer to the hierarchy.

“If one of the offices has two pitches at the same time, I’ll tell the ECD, ‘You choose which you want to do, and I’ll take the shitty one."

It’s an approach favored by other big guns in TBWA. This year, John and four other creative leaders—John Hunt, Andy Blood, Erik Vervroguen and Rob Schwartz—formed the Band of Brothers.

“It’s the same thing as a creative at large. Our brief is to irrigate the network with leadership and innovation. And that’s kind of cool.”

And when being creative-atlarge is no longer cool, what’s next?

In typical John fashion, he doesn’t know. It’s that youthful wonder that keeps his perspective fresh, whether it’s a new idea, a new medium or a new surf break.

“I like to be unsettled and not know what I’m going to do. It’s the sort of thing that drives me.”

After some thought, he says, “I did a book this year, and I’d love to do a documentary.”

About what, he doesn’t know.

However, he is sure about one thing.

“Asia is home. I have absolutely no desire to be anywhere else. I hope to be fit and surfing till the end of my days.”

He pauses for a moment. Then it hits him.

“TBWA\Bali? That could be nice.”

was fantastic. Since then, I’ve been back several times—Samar, Leyte, Catanduanes, Mindanao and Siargao!

On his first impression of Manila: My first visit to Manila was on August 22, 1983, the day after Aquino was assassinated. When I got here, I thought everyone was issued an AK-47.

I was staying in Ermita, down in Del Pilar and Mabini. And the vibe in the city was really heavy.

On surf breaks in the Philippines: After Manila, I went to Cabanatuan, and from there, I took to the bus to Baler, where they shot “Apocalypse Now”. There’s a little place there called Cemento. I was there for ten days, and it

MANGADA ON MERRIFIELD His irrepressible enthusiasm is infectious.

John will not hesitate to share his point of view on practically anything, precisely because he has something worth sharing. Underneath the brash and carefree countenance is an intelligent and insightful creative person who has learned that an ample amount of respect for Asian cultures will get the locals to prick up their ears.

I’ve known John as someone who’s always passionate about creative work. Merrifield is generous in his praises of a great idea and its author. He will not hide his admiration and even envy, whether the work is from the TBWA\ or from another network. He gushes on and on, until he finds himself meandering into another discourse about another great idea. november-december 08

65

adobo magazine

UNIQLOCK

The Titanium Lion caption says it all: "[For] the campaign that makes the industry stop and reconsider the future, that expresses the most original and revolutionary idea, and that leads the industry in a stimulating, fresh direction."

BBDO Guerrero finally earns their stripes as Agency of the Year Ten years of waiting. Three AOY awards. Beyond creative.

Roger Makak

The monkey who threw a wrench into Campaign Brief Asia’s creative rankings. Saatchi Singapore proves it can create controversy as well as it creates ads.

DM9 JaymeSyfu: Dark Horses

2008 was DM9’s year: the most number of shortlisted entries at Cannes, plus the country’s only Lion and finalist status for 4As Agency of the Year.

OBAMA

The Change Agent. An unprecedented campaign that proved that the intelligent use of technology and design can change history.

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Alex Syfu & Merlee Jayme • DM9 JaymeSyfu J.R. Ramos & Bebot Ngo • Publicis JimenezBasic Paul Roebuck & David Guerrero • BBDO Guerrero Jimmy Santiago, Melvin Mangada & Tong Puno • TBWA\SMP Dave Ferrer & Jos Ortega • JWT Manila Photography: Mark Nicdao / Fashion Styling: Millet Arzaga / Makeup: Lourd Ramos of Emphasis Salon, Tin Albano and Egay Dacay of The Make Up Forum / Clothes: Ben Sherman, Shangri-la Mall / Location: Red Corner Boxing and Fitness Center / Digital Imaging: Joy Panaguiton

The Contenders adobocenterfold

best of 2008

MAD MEN

At last, an advertising drama that’s actually good. Captures the birth of our industry with crackling dialogue and authentic retro style that have won it critical praise, viewer adoration, and six Emmy Awards.

MSAP is born

AKA the Media Specialists’ Association of the Philippines. A trade body specifically for media independents, to finally tackle ratings wars, TV commercial load, KBP member-and non-membership, etc. Issues that we have nothing to do with awards, and everything to do with real money.

Adboard Open Arms

The surest sign that the industry has changed: the Advertising Board of the Philippines reshapes itself, reviewing policies and creating representation for media independents and digital/online media group IMMAP.

Saatchi House

“The name on the door” is now the name on the whole building. “The best office in the network”, according to a Saatchi regional employee.

4As ARAL/ Creative Guild RAW School

It took the youthful energy and vision of Nandy Villar and Third Domingo to get these twin efforts going. A pivotal chance for suits & creatives to up their game.

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globalroundup Tinta Judge Tay Guan Hin Heads D&AD Poster Jury

Tay Guan Hin, Regional Executive Creative Director of JWT Asia and recently Jury President for our own Tinta Awards, has just been appointed to head the Poster Jury for London’s elite D&AD Awards 2009. He is one of 28 Jury Foremen, and the only Asian.

In a statement, Guan said that “Poster advertising use to be quite a traditional medium but it’s fast changing into a fascinating category. Even the 2-D format is becoming increasingly innovative with the use of technology. Recently, we’ve seen millions of colors change on buildings through the use of “a computer, shadows of dragons projected on walls, and even an exploding billboard! In the end, only the simplest ideas delivered with wit will find their way to the top.

The Tap Project goes global in 2009 by Budjit Tesoro

Let’s Drink to Agencies Saving Lives

Ogilvy Celebrates 60 Years of Big Brand Ideas

New York – Ogilvy, the agency most valued by those who most value brands, celebrated its 60th anniversary, this September, with a rolling global virtual party. Uniting Ogilvy’s 15,000 employees across the globe, the anniversary celebrated creativity and big brand ideas, the foundation of the agency’s culture.

David Ogilvy founded Ogilvy in New York on September 23rd, 1948 – 60 years ago today. Speaking about the creation of the agency, Shelly Lazarus, Chairman & CEO of Ogilvy & Mather, said: “Little did David know back then that he was creating a culture and a philosophy that would transform our industry, and live on and flourish to this day. David’s viewpoints on the importance of brands and the power of big ideas and creativity are as relevant today as they were when he came up with them… and perhaps even more so.

And for the next 60 years, we will continue in that tradition.”

Brian Fetherstonhaugh, Chairman & CEO of OgilvyOne Worldwide, commented: “David Ogilvy gave us the foundation upon which we have built a global network, and he has inspired us to continuously push the boundaries of innovation. No other agency is better positioned to evolve and adapt to the changes within the marketing communications industry that will occur in the coming decades.”

In New York, the theme of innovation was brought to life at the Paley Center for Media with a new video ar t installation inspired by the words and ideas of David Ogilv y.

The 3rd Dubai Lynx Awards to be held on 17 March

The Dubai Lynx Awards will be at the Sheikh Maktoum Hall at the Dubai International Convention and Exhibition Centre. To register attendance and for information on a wide range of hotels near the Festival venue, please go to www. dubailynx.com/attend.

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Worldwide, the ad industry is known to be cutthroat, ruthless, dogeat-dog. Where anyone and everyone can get taken out with the trash once you fail to bring in the bucks. Who would’ve thought that 2008 would be the year when some of the world’s top agencies would come together and actually collaborate for a cause?

Inspired by advertising prodigy David Droga’s multiawarded Tap Project, 13 big agencies agencies all over the United States joined the movement early this year.

Successfully launching the Tap Project in their local markets were TBWA/Chiat/ Day, Goodby, Silverstein & Partners, Hill Holliday, Saatchi & Saatchi, Wieden & Kennedy, Energy BBDO, Publicis in the West and Publicis Mid America. This rare interagency alliance saw thousands of restaurants from 49 states make a collective appeal to habitués to shell out $1 for every glass of tap water that the resto usually gives out for free

during World Water Week.

In 2009. Unicef will launch the program globally, in Paris, Copenhagen, Adelaide, Perth, Auckland, Sydney, Wellington, Tokyo, Berlin, Madrid, and Toronto.

What began as an awareness campaign for the global water crisis and sanitation programs of Unicef has not only won Droga the 2007 Cannes Lion Titanium Award for Creative Innovation, but won him the hearts of children in Africa and the worldwide ad industry’s respect and cooperation. Just two years after its launch, the Tap Project has empowered Unicef to provide clean, safe water for thousands of children all over the world.

At the recent Cannes Festival in June, Droga expressed heartfelt appreciation for his fellow ad men who have lent a hand. “We have the power to help and reach out,” he enthused. “We always celebrate the wonderful things we do.

The behavior-changing ideas we come up with. This time, we can contribute and build something else. I’m not saying this for me. I don’t even give a shit if this project is linked to us or not. There are so many issues plaguing the world. And if we can get together, imagine the difference that our industry can make in the lives of others. We can literally change the world.

We’ve been making millions and millions for our clients.

This time, let’s do a collective

I don’t think I’ll ever have the luxury of writing a check for $1 billion. But I can contribute my imagination. That’s my currency, and everyone in the industry has the power to contribute.

globalroundup JWT Partners Sponsor Mad Men Season One DVD

New York — JWT announced that it has entered into a unique agreement with Lionsgate® to include a 10-second JWTbranded advertisement on the 4-disc Mad Men: Season One. JWT’s spot appears on the first disc of the set, and highlights JWT’s impressive advertising history since 1864.

In a nod to its clients, past and present, the spot recreates the words “Mad Men” with animated letters comprised entirely of letters taken from the logos of global JWT clients. The only “real world” agency to be linked with the award-winning series, JWT is pioneering a new kind of relationship between television production and advertising agencies, while marketing directly to consumers, for the first time in history.

Set in 1960’s New York, the daring Mad Men series is about the lives of the ruthlessly competitive men and women of Madison Avenue advertising, a world where key players make an art of the sell while their private world gets sold. The Mad Men: Season One DVD set includes all 13 episodes of the first season.

Nokia Awards Global NSeries Business To Wieden + Kennedy

good. Our work comes with a great responsibility. Get clients to back us up. Please volunteer.

It’s not just for your agency but for children all across the world.

Tap is more effective this year because of the overflowing response from customers and volun-teers. There can never be too many people. Let’s continue to show that this industry can be selfless.”

Droga continud to implore to industry movers and shakers to help out, “The Tap Project is bigger than anybody of us.

It’s bigger than our agency. Far bigger than our industry. It’s not just about building a brand.

It’s about saving the lives of 5,000 children who die each month because they can’t even get a glass of clean drinking water. It’s about empowering every Tom, Dick and Harry.

With just a dollar, each one of you can help save a life.”

Droga’s name will soon be immortalized on a well in a far-flung African village. Unicef will donate it on behalf of the eight ad agencies servicing them. Last

David Droga

September 28, The Advertising Club of New York honored David Droga for his selfless act.

Obviously overwhelmed by the award, the notoriously casual Droga showed up in a very conventional coat and tie!

Only 38 years old, Aussie David was previously worldwide creative director for Publicis; executive creative director for Saatchi & Saatchi London and Singapore before he set up Droga5 in 2005. His agency's name is the same one that was stitched on every piece of clothing he had, as child no.5 in a brood of six. He

has been behind some of the most awarded and effective advertising campaigns in the world. When not thinking of ideas, David is out enjoying New York with his wife Claire and three kids.

Every drop of help counts.

To see how you can help, send an email to Steven Miller at smiller@unicefusa.org.

David Droga visits the Creative Guild’s Kidlat Awards in Boracay in March. One hopes his visit will inspire a local version of the Tap Project.

Wieden + Kennedy has been appointed as lead global strategic and creative agency for Nokia’s NSeries business following a pitch led by the W+K office against the incumbent agency. Work

by W+K will begin immediately, and first communications are expected to roll out in 2009.

Neil Christie, Managing Director W+K London said, ‘We’re delighted and honoured to take responsibility for Nokia Nseries on a global basis. We’re excited about the opportunity to do some truly groundbreaking non-traditional work.’

Carol Soriano, Vice President of Creative Excellence at Nokia said, ‘Nokia is about connecting people, and Nseries is about connecting people in the richest, deepest way possible. W+K’s pitch reflected and captured that in a unique and universal way. It was a quick and unanimous decision to award them the business.’

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globalroundup New York Festivals 2009 International Advertising Awards Call for Entries Opened October 29th

New York, NY October 29, 2008: New York Festivals 2009 International Advertising Awards officially opened its Call for Entries on Wednesday, Oct. 29th. Now in its 51st year, the NYF International Advertising Award competition recognizes work in all media from 71 countries around the world: television, cinema, print, outdoor, interactive, design, mixed media, collateral, radio and student advertising. This creative competition celebrated unprecedented growth in 2008, with a 23% increase in entries submitted over the previous year.

The winning entries of the New York Festivals International Advertising Awards continue to gain recognition long after the awards gala ends. Michael O’Rourke, NYF’s President, recognizes the universal appreciation for innovative work and how important it is to create alternative opportunities for showcasing all NYF winners.

Mr. O’Rourke has developed a variety of strategic content partners around the world in an effort to provide those winners with international exposure. For example, the partnership between New York Festivals and China’s iPTV exposed award winners to millions of people; in addition, on-going partnerships with commercial airlines such as Qantas allow in-flight viewing of the ”World’s Best Advertising™”. NYF’s award winning work is also screened at ad clubs, associations and universities around the world. Our comprehensive NYF Annual of Advertising acts a permanent record for creativity throughout the year The New York Festivals evolutionary online judging system ensures that each entry receives the proper amount of time and attention, in an environment that is free from outside distractions and unsolicited opinions. “For me, it’s better to have judging online because there are too many factors that can influence human beings when they gather to decide on something.

The dynamics are too complex, and the risk is to lose track of the pure value of an idea.

I strongly believe it is better when you are judging on your own computer, dealing with your own judgment, and without any influence. This is an important quality an award show should have”, said Marco Cremona, Creative Director of Young & Rubicam in Milan, and President of the Art Club of Italy.

MICROSOFTHARD Microsoft and Crispin, Porter face a tough sell with Windows

Reported by Ralph Mendoza

Bill Gates and Jeryy Sienfeld

“I’m just wondering,” muses Jerry Seinfeld, “are they ever going to come out with something that will make our computers moist and chewy like cake so we can just eat them while we’re working?”

He wasn’t the only one wondering. When the 90sec teaser, starring the '90s comic and Microsoft founder Bill Gates (!) on a journey to “connect with ordinary consumers” debuted in September, people wondered just what it was trying to say.

Was it supposed to be funny, “a campaign about nothing” a la Seinfeld, or what?

"I'm a PC" TVC

an elitists-vs.-real people clash, why shouldn’t the ad work?

Well, it didn’t. The blogosphere slammed it – except for Bill Gates, who won new fans for

Australia Earth Hour Campaign Wins at 23rd MA A GLOBES

Toronto –The Earth Hour Campaign from Leo Burnett Australia and the World Wildlife Fund Australia showed that one solution for Climate Change won the GLOBE for the Best in the World at the 23rd MAA (Marketing Agencies Association) GLOBES Recognition Programme.

Fifty one GLOBES, Silver and Bronze Awards, as well as Order of Merit Certificates in sixteen Entry Categories, were announced at the MAA GLOBES Award Ceremony held recently at the Park Hyatt, Toronto, Canada.

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But maybe that was the point. The ad was massively hyped, with a reported $10 million talent fee for Seinfeld and created by the ultra-cool, adored-by-Mac-fans agency Crispin, Porter & Bogusky.

In a year when everything from morning coffee to the US Presidency has been framed as

his star turn. More importantly, consumers just shrugged, said “Meh” and turned to more important things, like the US presidential race.

Two weeks after airing, the ads were off the air. “Microsoft caves!,” screamed the blogs.

Observers said they should have just stuck to their guns. But by

end September, the follow-up was out: a brave attempt to take back the brand by co-opting Mac’s hugely popular “I’m a Mac. … I’m a PC” campaign.

The ad begins “I’m a PC… and I’ve been stereotyped.”

Bill's back, together with a few celebs (Deepak! Pharell!

Eva Longoria & Tony Parker!) and a string of regular folks using their PCs in unusual ways. The ads have been well-received ("pleasantly surprised" is a constant

The ad begins “I’m a PC… and I’ve been stereotyped.” refrain), and considering that Microsoft is making big gestures online and at pointof-sale, it just might work.

Bill Veghte, the man with the thankless job of making Windows cool, says that the campaign aims to sustain the excitement that comes with a new PC. “Windows has always been about putting computing in the hands of people. All these efforts are designed to reconnect and re-ignite customers’ imaginations around the value of Windows in their lives today,” he says.

Re-ignite imaginations.

Emotional sell. Sounds a lot like a certain other computer company.

Keep up with the campaign, including users' videos, on http:/ imapc.lifewithoutwalls.com

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globalroundup Isherwood, Goodson and Pereira to Speak At Dubai Lynx 2009

Delegate registration is now open for the 2nd Dubai International Advertising Festival, the leading creative advertising event and awards for the Middle East and North Africa. The event will take place 15-17 March 2009 at the newly built multi-purpose venue The Palladium, located in Dubai Media City.

Bob Isherwood, until recently Worldwide Creative Director of Saatchi & Saatchi; Scott Goodson, Founder of Strawberry Frog and PJ Pereira, Founder and Creative Director of Pereira & O’Dell are some of the great industry leaders who will be speaking at Dubai Lynx 2009.

Polish Agency Change Integrated Tops Golden Drum Awards

Bernardin – 1.594 participants from 42 countries attended the 15th Golden Drum New Europe festival in which a total of 2.753 entries from 44 countries competed for awards. The Golden Rose award for the Agency of the year given by the president of Slovenia, dr. Danilo Türk, went to the Polish agency Change Integrated.

Change Integrated won with 36 points.

It was followed by the agency McCann Erickson Israel (35 points), Saatchi & Saatchi Romania on the third place (29 points), Demner, Merlicek & Bergmann and Lowe GGK Werbeagentur GESMBH, both from Austria, on the fourth place (23 points).

The TV Grand Prix was awarded to: “Sharks” for Metusalem Rum, agency Kaspen, Czech Republic. Print Grand Prix went to Saatchi & Saatchi Romania for the Head & Shoulders Campaign, which consisted of three ads “1961 Man, 1961 Woman and 1961 Boy”. Outdoor Grand Prix goes to the series “Art-rat, Dog-god, Muggum” for Scrabble, agency Ogilvy & Mather Budapest. There there was no Grand Prix and three Golden Drums. They went to the radio ad “Very little” for in Radio.

Art Directors Club Announces 2008 Hall of Fame Laureates

New York – The Art Directors Club announced the latest group of inductees into the prestigious ADC Hall of Fame. The seven illustrious honorees, representing the fields of advertising, design, architecture, filmmaking, illustration, academia and photography, were inducted at a black-tie benefit gala dinner on November 6, 2008, at the ADC Gallery in New York, with proceeds going toward ADC scholarship programs.

ADC Hall of Fame laureates for 2008: Alex Bogusky, co-chairman, Crispin Porter + Bogusky; Ray Eames (posthumous), designer, architect and filmmaker; Sir John Hegarty, chairman, worldwide creative director, Bartle Bogle Hegarty; Maria Kalman, illustrator, artist, designer; John Maeda, president, Rhode Island School of Design R. Roger Remington, Massimo and Leila Vignelli Distinguished Professor of Design, Rochester Institute of Technology; Bruce Weber, fashion photographer.

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Thailand wins big at the LIAAs Gold (Print), Canon Digital Camera IXUS 75, "Cheetah", Dentsu, Thailand

With nearly 18,000 entries from 83 countries, the London International Advertising Awards (LIAA) is one of the world’s biggest industry competitions. 2008’s winners were announced Nov. 10 in London.

Though the Philippines has won at LIAA in the past, this year we had only one finalist, O&M’s DHL billboard (see page 11). It was a much better year for our Asia-Pacific colleagues, as New Zealand snagged a Radio Grand Prix, India and Australia won for TV and Thailand’s print-heavy metal haul left the rest of the region in the dust.

What were the big winners? Besides the Grand Prix winners listed below, many were familiar print campaigns: Singapore’s FHM (two campaigns by Ogilvy Singapore), Penguin Books (Y&R), and Thai SPCA series

Gold (Print), Clima Bicycle Lock, "Red", Leo Burnett, Bangkok

(Saatchi Singapore); Bangkok’s Canon IXUS (Dentsu Thailand), Clima Bicycle Lock and WWF (both, Leo Burnett Bangkok), Ogawa Ventilating Fan (Lowe Bangkok), Black & Decker Drill (O&M Bangkok).

TV was a rich field for O&M Mumbai’s Neo Sports

spot “Gas”, which won multiple Silvers; Dentsu Tokyo’s Carre du Chocolat “Non-Blinking Woman” spot won Gold. Radio brought two Silvers, for O&M Mumbai’s series for Videocon Integra Widescreen TV and Y&R Malaysia’s ADFEST-winning Colgate “Brushing” radio ad.

Grand Prix Winners TV: Cadbury Dairy Milk “Gorilla,” Fallon London Print: Pilot Water Resistant Markers “Goldfish”, GREY Barcelona Radio: NZ International Comedy Fest, “Offensive”, Colenso BBDO New Zealand Non-Trad. Media: BBC World “Cables: Guns / Protest / Food Drop”, BBDO New York Digital Media: HBO “Voyeur,” BBDO New York Design: BBC World “Cables: Guns / Protest / Food Drop”, BBDO New York Big Asia Winners, by country Thailand – 10 Gold, 14 Silvers, Print and Design Singapore – 7 Golds, 7 Silvers India – 5 Golds, 9 Silvers Australia – 4 Golds, 13 Silvers Other winners New Zealand – 1 Grand Prix (Radio), 3 Golds, 7 Silvers Japan – 3 Golds, 4 Silvers China – 3 Silvers Malaysia: 2 Silvers HK, Korea – 1 Silver To view complete lists and creative of the winners, visit www.liaawards.com.

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Out of the (Light) Box, below-the-line and online and other Russ Alfonso Concepts The fuse box behind the Metro’s lightboxes is RS Concepts, and Russ Alfonso is the man with the switch. Named using the initials of Russ and his sister Sandy, Russ now runs it solo and claims the letters can still stand for the first and last letters of his name. RS Concepts the company remains. Regardless, there is more to RS Concepts than the two letters belie. The company is the leading provider of non-traditional advertising media, providing creative custom solutions and reaching specific target markets via the use of innovative advertising media.

All of twelve years old, RS Concepts’ focus products are below-the-line, custom-work advertising intent on servicing advertising. Through groundbreaking and results-oriented, high-impact solutions to tri-media, merchandising and promotional activities, RS Concepts activities include media, POP and brand activation and internet-online.

Alfonso learned to brave it out, learning the hard way. RS Concepts is the first Filipino company to join and sell in The Euro Shop in Düsseldorf. “Our quality wasn’t there yet, but we exported to Sweden and the United States and closed a couple of sales. My dream for the Filipino is matching standards worldwide.

I will not compete with China, but Filipinos (are capable) to compete globally,” he states with conviction.

RS Concept’s trademark is the ability to sell something intangible. Russ Alfonso always has been visionary, believing technology holds the key.

Light My Way Casting enchanting glows across the metro, RS Concepts lightboxes are the current symbols of industrialization. Lightboxes are place-based ads at specific areas where target markets

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converge. “Our products are dependent on target market, from low-end sari-sari stores to high-end like NAIA, so we are continuously innovating locations specific to requirements of advertisers,” he adds.

Lightboxes, like mushrooms, sprout from mall promenades, sleek side streets, landscaped islands, city underpasses and highend walkways and commercial centers. Outdoor and indoor illumination, product projection.

Customized and personalized, lightboxes have also functioned as Point-of-Purchase items, with a wide range of capabilities: from

just looking pretty, to functionally charged, or highly technical, and even interactive. RS Concepts locally manufactures a healthy number of orders for lightboxes and backwalls all of which requires live execution for clients that include Smart, Splash, Philip Morris and Fortune Tobacco, offering advanced concepts. The client gives a brief; RS Concepts delivers, well, concepts. “We do not pre-fabricate. Everything is custom-designed,” Alfonso offers.

Eye in the Sky “Seven years ago, I knew billboards would come into play.

But because of storms, I knew that financial and risk-management would come into play,” Alfonso narrates. Now, the company has billboard holdings that encompass the entirety of Taguig. From ground level boards to skytowering highway screamers, RS Concept ads are strewn across the expanse of C5 within Taguig City.

Central Business District elevated walkways and underground walkway murals. Gyms and badminton courts feature ad displays intrinsic to the location and atmosphere

Special Executions and Mass Transitions Where advertising ends, creativity endures. RS Concepts customized advertising evolved, and as a business, the company never says ‘no.’ whenever asked, “can you do this?” Yes! is the only answer. The company relied on third party sources at the onset. In just a couple of years, however, the business demands proved too large to be outsourced. Eventually, RS Concepts had to bite the bullet, and start to manufacture customized displays. BPI, Oreo, Globe and Smart are a few of those RS Concepts created outof-the-box displays for.

Transit ads are another gimmick-laden component to the services of RS Concepts, ingenious product layouts sticker-mounted on public utility transportation. Buses, jeepneys and cabs, even trikes and FX vans roving the city byways have been colorfully transformed into branded wheelers.

Lamppost Banners and Place-Based Ads Banners that adorn the lampposts of Greenhills in San Juan City, parrying with the wind in full color, are all products of RS Concepts. So are a great number of banners and tarps in elevators and escalators in malls, sari-sari and variety store boards, even floor stickers at the Makati

Design and Fabrication and Ground Activation Cleverly crafted, designed and fabricated exhibition booths, gondolas, kiosks and backwall displays embellished with RS Concept flair are common in mass convergence areas in the Metro.

Specialty outlets and convenience stores are enhanced by RS Concepts designs and customfabricated structures.

Ground activation services offer an extensive range of unconventional and surpriseladen activities that add extra punch. Organizationally streamlined and strategic, ground activation services include events management, product sampling and merchandising.

Not Outer Space, but Cyber Space The country’s first advertising supported free wi-fi service; RS Concepts recently launched WiGO, its digital offering. The service is available at its pioneer site Rockwell Power Plant Mall, LKG Food Court, and PBComm Building Food Court, as well as Enterprise Center Food Park and Shakeys Rada. Barely a year of operations, WiGO has harnessed 15,000 members.

RS Bluzones are proximity marketing areas that employ Bluetooth technology to engage information and activity content exchanges. Mobile coupons offer entry to competitions, track and identify users, send multi-media messages to attract user traffic to designated sponsor areas. iKiosks are high speed custom-branded hubs that allow free access to the internet.

Currently designed for use in malls, municipal barangay halls and high traffic office building in Ortigas and Makati. Users will undergo WiGO registration to enable internet access and VOIP calls through the use of prepaid cards. Same cards may be multipurpose for sales incentives or promotions collaterals.

Advergaming and Online

ad placements are in place and running with Chikka and Inquirer.net.

Digital Printing For both outdoor and indoor materials, RS Concepts prints for up to 10 feet width. Print products include backlit, sticker, clear sticker, photo paper, cintra board, tarpaulin, panaflex and bus and van wraps. ●●● Following the 1st Internet and Mobile Marketing Association of the Philippines (IMMAP) in 2007, RS Concepts started its online marketing targets through RS Digi-Access. Alfonso was surprised that the attendees were decision makers, the big guys waiting to see where) the technology would go. “There was a shift coming, and because of that I went to school,” reveals Alfonso” US total ad spend is 10% digital-mobile-internet, soon predicted to reach 30%. It is inevitable, one has to learn digital (technology). As it is the Philippines is already two years behind. The media landscape will overturn in five years.

RS positions properties for both online and offline. RS digital property boasts of the first WiGO at Rockwell. True to its roadmap, the WiGo service is expanding its area of coverage to the Ayala malls to trigger and triple number of users. Expansion plans lead to Libis, Metro Walk, the IBM Paseo Center and two food courts in Makati City.

“We are here to give advertisers a method to reach online, to be a part of the wave of the next five years. We have the properties, we have the location.

The interactive capability is just Do you have a digital marketing strategy? That is the question Russ Alfonso always asks of his clients. Twenty-five million internet users in the Philippines have Facebook, Multiply and Friendster, but Alfonso wants to service and support Pinoy local under the radar.

“In the United States, online marketing has surpassed print,

and is even expected to grow an additional 30% in two years. Yet in the Philippines, only 1% of ad spend is invested in online and mobile advertising. This is expected to rise to 15% by 2010, a trend reflective of the technology’s growing dominance in the region.

“The website is just a website, but with our services, clients get a holistic approach – that’s what RS plans to provide.” First, RS Concepts starts with the setup—what do you want to have, sales or branding? What you want dictates the site. RS Concept’s (online) proposition is the same as offline. “We want to grab as much of your budget as much as possible,” Alfonso says in serious mirth. RS Concepts’ strength is offline marketing capabilities to drive people to the site, powered by partnerships with third parties overseas. Last part is measuring.

Without metrics, advertising restarts from square one.

A 30-second TVC costs P300,000. In terms of reach, can one actually measure with accuracy that the TVC reached its estimated target audience number? Can TVC account for 300k individuals with contacts/ email addresses? That is what digital brings. The customer needs the spread. “If I have an order to serve 10M impressions in a month, that can be achieved. The end-to-end setup, infrastructure, etc. — that’s where the money is. Though we still stick to our core strengths, digital is where we rock and roll!

I am not a techie guy but I know how to merge it with media.

That’s my strength,” Alfonso says gleefully.

Online ad placement is another potential incomegenerator. Costs per thousand impressions depending on how valuable your niche, dictates the cost. Different niches, different psycho graphic profiles and at the end of the day, there is an advertiser that wants that data.

RS Concept trademark is the ability to sell something intangible.

Russ Alfonso always has been visionary, believing technology holds the key. “My timing may not always be right, but I am able to merge my marketing brain side with the technology side.” november-december 08

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concertreview

Sticky & Sweet - Super Sulit!

21 September 2008, Stade de France, Paris

127 euros = Brand Madonna, c2008. Joujou Into breaks it down.

2

0 euros: More people, more possibilities!

Frankly, I was surprised to learn that Stade de France, built for the World Cup final in 1998, would host the Parisian leg of Madonna's tour. It's always been Bercy, four nights minimum.

Apparently, her business model has changed: more buck for each bead of sweat. It is now rare for a city to have more than one date, but the venue allows more people in one night than ever before. I saw her on her second and last show.

I realized she needed to do 2 ½ turns in Bercy to equal the Stade's capacity. The model makes sense to her and we should be thankful for it.

With this huge venue, imagine

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the offstage possibilities before, during and after the show. Hotdog stand eye-to-eye moments.

Celebrity-lookalike sightings. A seatmate with a great smile. Small talk with Belgians in front of the merchandise booth, as you line up for your overpriced-but-must-have souvenir t-shirt. With 60,000-plus people of all persuasions, you can cast your net wide; a mobile in hand can net you a few numbers for meet-meet arrange-ments the day after.

20 euros : Kumanta siya [she actually sang]—as in minimal lip-synching. She failed to reach the right note three times in the garage-rock version of "Borderline" —na napansin ng lahat, kahit ng nanay ko na sumamang nanood sa akin [as was clear to all, even to my mom who watched with me]. Ever so subtly, she faded out her vocals in the steeper sections of "Ray of

Light", as the back-up vocalists came to the rescue on cue.

On the other hand, there was "You Must Love Me" This overwrought, over-orchestrated, overripe potboiler sounded fresh and

brink of divorce, growing old with the fans, etc. A few seconds later though, the refrain—coming as it did from the Queen of Pop—began to sound like a command. "You must love me". With one calculated pause, the song shifted to the imperative, a pure Madonna moment. The entire stadium followed her order—via ooohhhs, aaaaahhhs, applause and flickering lighters—with devotional fervor.

20 euros: Performance level pa rin. Unlike other concert stars whose upperbody sways seem conceptually separate from those of their hips, Madonna's mastery of choreography remains unchallenged. Parang sinasabi niya—pssst Mariah, ganito sumayaw ha! [As if to say: hey Mariah, THIS is how you dance.]

She didn't dance the whole night —but when she did, she vogued her ultra-toned butt off. Of course she cursed, sinipa ang sarili [kicked herself], skipped rope, poked fun at her former selves and 30% of the time, she was playing the guitar. Speaking of butt, hers was blindingly white, a fact first articulated by Marlon Rivera back in 2006 when he saw her backside up close in Confessions in Tokyo.

10 euros: Guest performers. Sort of. Justin Timberlake's video appearance in "4 Minutes (To Save The World)".

Pharell's turn in "Give It To Me".

And okay, Britney in a pa-concept video backdrop after a number na `di ko na maalala.

10 euros: The playlist!

All age groups happy! Like an omnibus ad, there's one for everyone. From the piyokfilled rock reworking of 1982's "Borderline" to 1990's "Vogue" (complete with tic-tock-tic-tock-

Unlike other concert stars whose upperbody sways seem conceptually separate from those of their hips, Madonna's mastery of choreography remains unchallenged. charming, thanks to the caravanoff-the-beaten-path vibe of her Roma gypsy guitar back-up troupe.

Madonna kept her part of the bargain as well. Tama ang tama sa lahat ng nota! [She hit every note perfectly.]

Her voice cracked in the correct junctures. The opening line "Where do we go from here" struck the right emotional chord. She's 50, on the

tic-tock sample from this year's "4 Minutes (To Save The World)".

From 1985's "Like A Virgin" na ginawang sing-along to 1995's underrated "Human Nature".

From 2000's "Music to 2008's "She's Not Me".

10 euros: The staging.

Average by Madonna standards but it makes others look like high school musicals. Sorry.

adobo adores

WHITE HAT

hits Rustan’s Makati

Here at adobo we’re food-obsessed (gee, you’d never guess from our name, right?). We’ve long been fans of White Hat, the 100% local yogurt chain with a tart, tangy Italian base.

What’s special about White Hat? First, it topped the personal yogurt tasting of an influential food blog. Next, its yogurt is creamy, with a tart, tangy snap – real yogurt, not something trying to fake out ice cream. The toppings menu has unusual options like blackberry, kiwi, dark chocolate drops and coffee crunch. Two choices are homemade: granola and cheesecake.

We used to have to trek to MOA and Robinson’s Ermita for the tart, creamy taste, but soon we won’t have to. Opening in December – right in time for pig-out season−are branches in Rustan’s Makati (supermarket) and Trinoma (Landmark Food Court), SM North Edsa (2F in the new annex) and SM Clark.

5 euros: Outfits/Look. I personally miss the Gaultier mark, but I heard he was just too busy with Kylie. Madonna's clothes for all 4 sections were designed and executed by Givenchy's Riccardo Tisci and are totally ageappropriate, flattering but never boring. Stella McCartney and Stefano Pilati of YSL provided the diva's many pairs of boots with staggeringly high heels. At eto pa [And here's more]: Tom Ford did the clothes of the band.

5 euros: Paul. A staple from both Re-Invention and Confessions Tours. Seemingly straight white back-up dancer.

When he moved, I went oooh. So what's his family name, you ask?

One word: Google.

7 euros: Vision-setting.

Pasakalye of what's to come. If Madonna has plans─and I feel

she does—to keep concertizing until she croaks, she is sending signs that she may ease up on the onstage calisthenics. Her "Ray of Light" number is the surest indication. The first time I saw her live was the first time she did the song in a tour concert. In "Drowned World", she sang this hit while dancing all over the stage like a mad woman. Five years later in her Confessions Tour, she strapped on an electric guitar and stood front and center.

Doing her best Keith Richards, she played the instrument like her life depended on it. She had nakaka-loka light effects and six male dancers to create the illusion of movement. This time, she did a harder-rock version of it, with minimum gimmick.

Either tinamad siya or gusto niyang ipahiwatig na 'wag

níyong pagurin ang lola ninyo, kayo na lang ang sumayaw!

[Either she just felt like slacking off, or she wanted to say "You don't exhaust an icon; it's your turn to dance!"] Madonna as a bonafide, guitar-wielding pop grandma? Stay tuned.

20 euros: Key message.

She was 50 years and one month old the night we saw her. I will be the first to say—malungkot isipin [it's a sad thought] how today's pop bitches will fare once they hit their half-century, if they manage to reach it at all. Sa likod ng lahat ng mga tumbling na ginawa niya,

2006's Confessions Tour added to Rocco's bank account. With this year's ticket, apart from the predictably unforgettable evening, I assume I am contributing to the future of little David, who Madonna adapted from Malawi.

I strongly suggest na mag-ambag din kayo [that you do you your share]. And with 13th month pay and Christmas bonus around the corner, you can book now!

Shows are scheduled in Brazil for December, the peak of summer.

Best of all, Pinoys won't even need a visa, just some scandalously short shorts for maximum impact.

iisa lang ang sinasabi ni Madonna sa loob ng dalawang oras [All the gymnastics really had one message over those two hours]: I'm 50, f--- you! I'm sure Matec Villanueva would agree.

I honestly believe though that the real value of my ticket lies in a different universe. I suspect my entry fee to the 2001 Drowned World Tour went to the trust fund of Lourdes, and my pilgrimage to

Dec. 14 & 15 in Rio, and Dec. 18, 20 & 21 in Sao Paolo. Ingat lang sa mandurukot. Marami doon.

[Just watch out for pickpockets.]

Joujou Into is a Creative Director at Publicis Manila.

He admits that he is only the industry's #2 Madonna Fan, because his friend Ricky Gonzales is #1. november-december 08

79

foodreview

No Equation. No Equal. Simply 1521 1521, 547 Shaw Blvd., Wack Wack, Mandaluyong reviewed by

Aye Ubaldo & Roach Aragon

J

ust looking at her, it’s clear that Tanke Tankeko loves food.

Voluble and volatile, an industry character with a personality as outsize as her form, she has long been known among friends as an inspired cook.

But how does a multiawarded creative end up a slave in the kitchen, albeit her own professional kitchen? Easy. Both fields draw from the same pot: a genuine love of discovery and creation; of taste, texture, body, smell, and the salty sweat of toiling to master the craft.

Chief Creative Officer of Creative Juice Manila by day, Tankeko is also the creative juice of restaurant 1521—boiling, bubbling and brewing. “We had six months of test kitchen, taste-testing and trial. Boy, did I let myself loose in there,” she gushed, waving her arms wide toward the tiny kitchen.

Grandiose gestures alternate with nit-picky finger staccatos as she narrates her kitchen misadventures. (In the kitchen and elsewhere, nobody disturbs a knife-wielding Tankeko.) A true foodie, she can talk food for hours, even finding solace in it when she’s in the dumps (ask her about the

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Baler Witch Project).

“I tackle all my advertising work the exact same way I tackle the kitchen,” she states in earnest.

“I didn’t stop experimenting until it reached a fourth level to the senses.” Her collection of ad awards proves that the approach works in her first career choice; how about her second? adobo decided to visit and see.

•••

Tucked into a neat little corner on Shaw, 1521 is named for the year Spanish conquistadores first strode onto our shores. Or is it crafty use of 9, the perfect number..? A full parking lot often blocks the soft glow from inside, but Tanke does not complain. It’s a sign of healthy business.

When you come here with an enemy, surely you’ll leave as friends.

The menu is mostly Pinoy staples, done not just with a twist but a sharp swerve to the left. The play in the cuisine is echoed in the names, mostly quotable Pinoy-pop wordplay sure to amuse creatives.

But you don’t have to know Tagalog (or know Tanke) to like the food. Most dishes are family recipes, learned from Tanke’s alpha cook mother but informed by extended stays in Tuscany and Shanghai. Others are collaborations of Tanke and her business partner RJ Ungco, a Swiss-schooled chef whose real kitchen boot camp was growing up with his lola in the food-obsessed province of Pampanga.

The soup of the night was Tagalog sinampalukang manok (tamarind-soured chicken soup).

1521’s version has sweet, tender chicken, slow-simmered in stock thick with fresh leaves. More than just the house specialty, potchero ni Tanke is so meaty and lushly flavored that even non-potchero eaters found themselves having thirds. (The accompanying tart eggplant relish makes for a superb clash of flavor and texture.) Of the potchero, adobo’s normally terse business officer Mafel Hebulan uttered in absolute awe, “Kumakain ka na, naglalaway ka pa.”

Laing ravioli is equally inspired: fibrous taro leaves are replaced with spinach, bathed in a sea of coconut cream and crowned with cheese and succulent shrimp.

As for the bonggang bonggang binagoongan, the name is no overstatement. The drinks list, meanwhile, is an art director’s delight, with twin cocktails called Greenbelt (made from posh green apples) and Greenhills (made from backyard kamias), a blue drink called 501 and a pink-and-white

one called Goodbye Kitty.

Then to the question that bedevils us all these days: how much? A lavish spread at 1521 is affordable, especially for an industry resigned to Greenbelt prices. Servings are sized for Pinoy-style sharing, though you may not want to. Dinner here makes the eighth dwarf of everyone: Greedy. Then again, as the suddenly-inspired Hebulan added, “when you come here with an enemy, surely you’ll leave as friends.” Diners tend to linger in a happy haze.

It is nearly 2 am, and Tanke’s outside for a smoke after a long day and night. A car slows down, and without turning off the engine, the passengers motion for Tanke to approach. They talk briefly, the car continues on, and Tanke returns grinning. Her words tumble out in a riot of enthusiasm, exhaustion forgotten: “They ate here last week, and came back two nights ago.

They’re having their Christmas party here, 100 people, they don’t care if some have to stay outside!

They asked if I could come up with the theme, because they know I’m in advertising —I’ll give it to them for free!” she screams. Lovinglyprepared food at a great price, plus a Creative Director’s party prep on the side. Happy holidays indeed.

Aye Ubaldo & Roach Aragon are on adobo’s editorial staff.

Ubaldo and Tanke have been neighbors for decades; Roach just really likes to eat.

bookreview

Birthday Letters

by Ted Hughes reviewed by

Leigh Reyes

I

met the ghost of Sylvia Plath while running away from Accounting. I hid in the Ateneo library, afraid of sheets that refused to balance. The Bell Jar seemed a kinder option.

Esther Greenwood's struggle with self-identity, and her descent into depression, spoke to me, tangled, yearning, adolescent. Back then, I didn't know it was Plath's story. I thought it was mine.

Ted Hughes' Birthday Letters came out in 1998, the year he died. Peculiarly for a book of poetry, it became a best seller. It was not because he was the UK's Poet Laureate.

Ted Hughes fell in love with Sylvia Plath. He left her and their two children after seven years of marriage. Months after, she stuck her head in an oven. It had only been a month since the publication of The Bell Jar. It was 1963.

Of course he was blamed for her suicide. Of course. He kept silent for 35 years. He also kept writing poems for her: one every year, on her

I don't read it often. Whenever I do, I am tempted to rewrite my own story. birthday. Birthday Letters collects those poems in one volume.

He wrote of her electroshock treatments. "Terror/ Was the cloud of you/Waiting for these lightnings."

Of how she hated Spain.

"Spain was what you tried to wake up from/And could not."

Of her obsession with her God, her father. "Your Daddy had been aiming you at God/When his death touched the trigger."

His conclusion, after wondering if it had been a happy day: "It was a visit from the goddess, the beauty/Who was poetry's sister - she had come/To tell poetry she was spoiling us./Poetry listened, maybe, but we heard nothing/ And poetry did not tell us. And we /Only did what poetry told us to do."

He opens "Apprehensions" with a line all writers

have known: "Your writing was also your fear."

There are books easier to read. But his poetry transcends biography, apology, expiation, grief. It is art, in the way art can be most cruel, and most enduring: we must claw beauty out from under our tragedies or die unredeemed.

I don't read it often.

Whenever I do, I am tempted to rewrite my own story. Who was that girl who loved Sylvia Plath? Is she somewhere in the woman who reads Ted Hughes once a year? Perhaps that is Birthday Letters' gift to me, and to you, if you decide to read it - the desire to untangle pain, loss and love, to spin them into the finest of threads, and reweave them into the mantelpiece of your own altar.

Leigh Reyes is Executive Creative Director of Y&R Philippines.

november-december 08

81

mediascape MINDSHARE rebrands worldwide

Mindshare, the global network whose local office recently received its third consecutive Media Agency of the Year award, rebrand worldwide in September.

The new identity is intended to mirror the agency’s extensive restructuring, which takes effect in Manila early next year.

Developed with branding agency Moving Brands, the new logo retains Mindshare’s signature purple. The color has been used since the network’s inception in 1997, from the merger of JWT and O&M’s media departments.

According to Mindshare, “the new partner symbol reflects the structure and form of [our] business. It shows two forms coming together to create a new, strong form, reflecting [our] partnerships with clients, suppliers and other agencies. The flow of colour symbolises the flow of creativity across the business; the segmentation mirrors the bringing together of specialist expertise within [our] ‘open source’ approach to client business which enhances a platform-neutral approach.” Whew!

Also important to note: “ When written in prose, Mindshare no longer has the upper case ‘S' —hence the company ’s name will now be written Mindshare and not MindShare.” Noted, especially for the next media pitch.

Real Housewives of the big apple reside on 2nd Avenue

The post-Sex, post-Desperate juggernaut rolls on with The Real Housewives of New York City. Debuting on on 2nd Avenue, the ’docu-soap’ presents five socially ambitious women raising families and spending money in the most glamorous, demanding city in the world.

In the world of The Real Housewives, private chefs, au pairs (yayas with Euro accents), and Hamptons estates are the stuff of everyday schedule conflicts. The show follows five driven Manhattan women with impossibly trendy careers – natural food celebrity chef Bethenny, local TV personality LuAnn, visual merchandiser Alex, fashion entrep Ramona and charity maven Jill. Home-baked goodies, fundraisers, Chihuahua charm school and math homework never seemed so important.

“The Real Housewives of New York City,” presents the economic scenario of 21st century New York. The show is not about how fortune is found, but on how it is splurged. Nothing simple, nothing surprising, everything superfluous. The Real Housewives seems intent on introducing East Coast Posh & Becks wannabes.

But shallowness can still make compelling viewing. Will Manila find time in our real lives to follow these women’s “real” lives? Stay tuned to 2nd Avenue and find out.

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2008 Yearender

Following the Pinoy Audience

Jay Bautista, Executive Director, Nielsen Media Research It has been a long, strange 15-year ride for Nielsen’s Media Index study. When it was launched in 1993 as a yearly study of 1,000 Metro Manila respondents, traditional media ruled: free TV, radio, newspapers and cinema.

Fast forward to 2008. Media has exploded to include cable TV, local glossy magazines, and new/ digital media; the Media Index has evolved with it. The study now covers 21 key cities for Total Urban Philippines, and generates reports quarterly from a respondent base of 8,000 interviews per quarter.

Here is Nielsen’s summary of the year that was, with some opinionated editorial interjections from adobo:

BROADCAST TV: Geography counts, movie channels win

The early part of 2008 was dominated by a vicious ratings battle between ABS-CBN and GMA 7, who used their media might to turn a trade squabble into urgent national news.

Ultimately, viewers bored with ratings charts and screaming headlines moved on in search of some simple entertainment.

In the meantime, #3 network TV5 returned with new backers, the Malaysian media conglomerate Primedia.

Free to air TV now coexists with cable, the former appealing to lower income groups while the latter is popular among the upper income segment. In 1993, ABS-CBN was dominant.

But now, we see how geography reflects consumers choices, with GMA 7 topping Mega Manila while ABS-CBN rules for total urban Philippines.

With more than 80% of upper middle income Metro Manila households having access to Cable TV, foreign and local niche TV channels have hit it big over the years.

For 2008, movie channels top the list, with HBO and Cinema One consistent favorites. Also on the list are child-oriented channels (Disney, Cartoon Network, Hero), reality/science channels (National Geographic, Discovery), Music (Myx) and male focused programming (Solar Sports and Jack TV).

RADIO: Still ahead of print, chasing the mobile masses

Like TV viewing, radio listeners are now faced with more choices compared to years past. As consumers become more mobile, radio offers an opportunity to communicate on several fronts (home, while commuting, at work, etc.) Next

to free TV, Radio remains the second most popular mass medium. The top 3 AM stations in Mega Manila are: DZMM, DZRH and DZBB while the top 3 FM stations are: Love Radio (DZMB), Alam Mo Na Yan (DWRR) and Yes FM (DYES).

Aside from competition and fragmentation within traditional tri-media, new media is likewise capturing more and more of the Pinoy consumer’s time, attention and resources.

MAGAZINES: Summit rules the roost

Local glossies were unheard of in the 1990s, until publishing groups like Mega, Summit and ABSCBN began introducing localized versions of popular international titles.

Thereafter, the readership base among young urban consumers began to grow and expand as they supported titles that catered to their interests and needs.

While readership remains in dispute, magazines continue to be favored by advertisers and ad agencies for their good print quality relative to local newspapers.

In general, the top monthly magazines range across varied genres from male oriented (FHM, Maxim), showbiz (Yes), Females across age groups (Cosmopolitan, Candy, Chalk, Good Housekeeping, Metro) and the youth (K-Zone, Cartoon Network) among others.

NEW MEDIA: Searching & socializing PRINT, Broadsheets: Mom & dad’s medium

Print has likewise seen dramatic changes in the past decade, as the Pinoy audience fragmented to support different platforms: from broadsheets (ABC market), tabloids (CDE) and glossy magazines (ABCD).

Though readership among youth (19 and below) has been declining year on year, broadsheets are still strong among the upper middle class aged 30 and up, with Philippine Daily Inquirer topping the list whether in Mega Manila or across Urban Philippines.

Among tabloids, Bulgar and Abante are preferred by middle to low income consumers both in the capital and nationwide.

Aside from competition and fragmentation within traditional tri-media, new media is likewise capturing more and more of the Pinoy consumer’s time, attention and resources. DVDs, game consoles, mobile phones and the internet were either nonexistent or barely noticeable in 1993, but by 2008 they have emerged as a major part of our media landscape.

Mobile phone penetration is now at 66% of our urban population aged 10 years and up. Internet access is now available to 33% of our Pinoy consumers, with a majority spending time in internet cafes. The top websites frequented by Filipinos are Yahoo, Friendster, YouTube and Google.

RANK 1 2 3 4 5 6 7 8 9 10

FTA* CHANNELS GMA 7 ABS-CBN 2 QTV 11 STUDIO 23 TV 5 RPN 9 UNTV 37 NBN 4 IBC 13 NET 25

*FREE-TO-AIR, MEGA MANIL A NIELSEN MEDIA INDEX Q3, 2008 BASED ON FTA CHANNELS WATCHED MOST OFTEN

RANK 1 2 3 4 5

WEBSITES YAHOO! FRIENDSTER GOOGLE YOUTUBE MSN

MEGA MANIL A BASED ON WEBSITES VISITED MOST OFTEN

RANK 1 2 3 4 5 6 7 8 9 10

FM Radio LOVE RADIO ALAM MO NA YAN, FOR LIFE DIRETSO YES! FM ENERGY FM (PANGGA) BARANGAY LS, AYOS STAR FM IFM WROCK MAGIC 89.9 NU 107

Based on Total Week, Mon-Sun 12AM-12MN All People 10+ Source: Radio Audience Measurement Q4 2007 – Q3 2008

RANK 1 2 3 4 5

AM Radio RADYO PATROL 630 KAUNAUNHAN SA PILIPINAS SUPER RADYO AGAPAY NG SAMBAYANAN HIMPILANG PINAGPALA

Based on Total Week, Mon-Sun 12AM-12MN All People 10+ Source: Radio Audience Measurement Q4 2007 – Q3 2008

RANK 1 2 3 4 5 6 7 8 9 10

MAGAZINES FHM YES! K-ZONE COSMOPOLITAN PHILS. CANDY GOOD HOUSEKEEPING (LOCAL) MAXIM HEALTH TODAY / METRO CARTOON NETWORK HOMELIFE

MEGA MANIL A BASED ON PAST MONTH READERSHIP ALL PEOPLE +10 ABC

RANK

BROADSHEET (NATIONAL URBAN)

1 2 3 4 5

PHILIPPINE DAILY INQUIRER PHILIPPINE STAR MANILA BULLETIN MANILA TIMES MANILA STANDARD TODAY

Based on Yesterday Readership, All People 10+ ABC SOURCE: NIELSEN MEDIA INDEX Q3, 2008

september-october 08

83

mediascape

Top 20 Advertisers

Balls: For the thinking sports fan

Just months after its launch Balls on SkyCable , Balls is slowly building a fan base among the coveted affluent male audience.

It does this via full programming in tennis, golf, football and contact sports like the ever-popular Ultimate Fighting Championship (UFC).

Key to this has been full-on promotion of major sports events. Perhaps the biggest of these are tennis' FRENCH OPEN and US OPEN. Balls' coverage of these tournaments had fans glued to their screens all the way to the championships. Golf's RYDER CUP is also a hit, attracting an upscale crowd that enjoys playing the sport as much as watching it.

For fans of American football, Balls delivers NFL megadoses with Sunday Night Football, Monday Night Football and the hotly anticipated Super Bowl XLIII in Tampa Bay on February 2.

Balls also capitalized on the visceral appeal of Ultimate Fighting by bringing UFC favorite Chuck Liddell to Manila. Live airings of SUPERFIGHTS also help quench fans' thirst for bare-knuckle action.

All this adds up to a wider choice of programming for sophisticated sports fan.

Sure, there's always basketball. But what good are hoops without Balls?

Lifestyle Network: A Decade of Inspiring Women

(Jan-Sept, 2008)

Top 20 Philippine Advertisers based on advertising expenditure RANK 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

ADVERTISER

Y2008

Chg vs Y2007

14,737,735,693 Unilever Philippines 7,904,704,688 Nestlé Philippines 7,836,600,185 Procter & Gamble Philippines 7,194,844,173 United Laboratories 6,583,876,427 Colgate-Palmolive Philippines 2,055,651,673 Smart Communications 2,055,651,673 Johnson & Johnson Philippines 1,953,850,695 Herbs & Nature Corporation 1,936,073,667 Coca-Cola Bottlers Philippines 1,737,862,477 Wyeth Philippines 1,560,582,468 Globe Telecom 1,545,247,430 Mead Johnson Philippines 1,359,147,295 Monde Nissin Corporation 1,144,029,278 Universal Robina Corporation 1,114,334,436 Tanduay Distillers 1,093,726,610 San Miguel Brewing Group 1,088,068,921 Jollibee Foods Corporation 1,044,069,779 Philippine Amusement & Gaming Corp.

970,735,069 Office of the President 880,555,220 Golden Arches Develoment Corporation 65,770,806,243 Total Top 20 Advertisers 60,024,959,141 Balance Advertisers

14% 64% -14% 14% 28% 26% 18% 177% 94% 19% 24% -18% 67% 16% 21% -6% 40% 19% -19% 54% 19% 9%

All figures in million pesos and based on published rate cards Currency Type: Pesos / Tran Type: Regular / Ad Type: Guest Interview, Portion Buy, Promotions Current Media Selection: Sponsorships, Thematic

truth in advertising With two senior departures from big agencies – but no certainty that they will be replaced– the annual high-level musical chairs will be more interesting than usual. After all, ECD jobs aren’t exactly as plentiful as Hong-Kong noodle stalls, yet the war for big-name talent remains intense. Stir in Pinoy expats returning from flattened markets, and it’s clear: let the games begin.

2009 will mark the tenth year of The Lifestyle Network. While the fashions of 1999 are now just a fond memory, the Lifestyle Network continues to offer the modern Filipina ideas, information and inspiration on the things that interest her: food and friends, faraway travel and a cozy home; leisure and of course style.

While the basic idea has only become more focused over 10 years, the shows that express it are very much for today. One new show creating buzz is The Fashionista Diaries, following wannabe divas trying to rise in the competitive fashion, beauty and publishing industries, amid long hours and a hectic social life. Viewer favorites include Everyday Italian, featuring Giada De Laurentiis’ updated versions of family recipes; Martha, where Martha Stewart tackles all things domestic; and Barefoot Contessa, featuring Ina Garten on cooking, decorating and entertaining. But women like watching men too – especially in the culinary duel Iron Chef America..

Affirming and inspiring, with the Lifestyle Network a life better-lived is just a TV remote and a comfy couch away.

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****

Top departures get the press, but it’s the “and others” losses that weigh on our hearts. Creative bigwigs can fend for themselves; they have imperious blogs, years of high salaries, and the delights of petty revenge to fall back on. Not so the nonstars, who may never get their names in boldface but still have to go home and tell their families that all that overtime still couldn’t save their job.

****

A junior copywriter reads that a project he did at his last agency has won an award. He’s excited, even misty-eyed: those were good times, so good he didn’t even miss his life all that much.

But then he notices that his name is off the credits. Off. Calls and emails to his old agency have yielded apologies but no formal erratum.

He’s not making a big deal; maybe it’s an honest mistake, after all. He knows he contributed, and has the files to prove it. Plus of course, award credits don’t pay your rent or get you a life, both of which he has at his new gig adapting regional campaigns. But it still hurts, because he expected a proudly creative agency to look after its creatives.

Heard any good tsismis lately? Want to start one?

Send it to: rumors@adobomagazine.com

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EVENTS CALENDAR ASAP Pearl Anniversary December 3, 2008 Palacio de Maynila Tel : +63 2 893 0738, 893 0564 Fax : +63 2 893 0404 www.asapmanila.org.ph Advertising Foundation of the Philippines Araw Values Awards December 8, 2008 Dolphy Theater, Mother Ignacia Street Quezon City Tel : +63 2 812 6702, 812 6230-31 www.arawvaluesawards2008.ph Pacific Conferences Pte Ltd Digital Communications for the PR Professional December 4-5, 2008 The Excelsior Hong Kong www.brandrepublic.com Underground Logic Christmas Party December 5, 2008 Electra House, Esteban Street Legaspi Village, Makati City adobo magazine Christmas Party December 10, 2008 Gweilos, C. Palanca Street Legaspi Village, Makati City Tel : +63 2 8450218 www.adobomagazine.com Asia Agency of the Year Awards December 10, 2008 Singapore www.aoyawards.com New York Festivals International Advertising Awards Open for Entries Discount Deadline : December 15, 2008 Final Deadline : January 19, 2009 info@newyorkfestival.com www.newyorkfestival.com Philippine Junior Marketing Association rE2mix : Reaching Events and Entertainment Marketing Borders December 12, 2008, 5-10PM Arcadea Bar and Resto, Malate Tel +63 906 409 2178 www.pjmaforum.tk

2009 D&AD Awards Open for Entries Deadline for Online entries : January 21, 2009 Deadline for Delivered entries : February 11, 2009 www.dandad.org 3rd Student Advertising Congress January 29-30, 2009 AFP Theatre, Quezon City Tel : +63 2 889 6794, +63 917 813 5027 50th Annual Clio Awards Open for Entries Deadline : mid-January 2009 www.clioawards.com The One Show Festival Open for Entries Deadline : January 30, 2009 www.enteroneshow.org adobo magazine 3rd Anniversary Party February 2009 Tel : +63 2 8450218 www.adobomagazine.com Creative Guild Kidlat Ad of the Year March 4-8, 2009 Boracay, Aklan email : 4asp@skyinet.net www.4as.ph Asia Pacific Advertising Festival March 2009 Pattaya, Thailand www.asiapacificadfest.com University of Asia and the Pacific 3rd Integrated Marketing Communications Effectiveness Awards (IMCEA) Deadline for Entries : April 17, 2009 UA&P, Pearl Drive, Ortigas Center Tel : +63 2 6637 0912 loc 393 www.imcea.org 56th Cannes Lions Festival 2009 June 21-27, 2009 Cannes, France www.canneslions.com

Send your entries to the Type Directors' Club global competition by Dec. 19! www.tdc.org

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Dell Studio mag:net, Bonifacio High Street October 20, 2008 Check out that front row: industry personalities at Sassa Jimenez' Philippine Fashion Week presentation.

Asia Media New Business Scoreboard October 2008 RANK THIS MONTH

RANK LAST MONTH

AGENCY

RECENT WINS

ESTIMATED Y TD WIN REVENUE (US$M)

RECENT LOSSES

ESTIMATED OVERALL Y TD REVENUE (US$M)

1

1

OMD

Real TV India, Suna Australia, Gatsby Singapore

24.0

Pepsico Thai UIP Taiwan

21.0

2

2

Carat

23.6

Carlsberg Malaysia

19.6

3

3

Mindshare

22.6

Pertamina (part) Indonesia

18.6

4

4

MediaCom

TCC Thailand, General Candy Thailand, OCBC Malaysia, Mitsubishi China Pepsico Thai, Natasha Phils, 101 Shopping Taiwan, Vietnam Airlines P&G Planning China (3 brands)

17.8

Bvlgari HK

13.8

5

5

ZenithOptimedia

A X A NZ, Bharat Hotels India, Micromax India

16.5

CIMB Malaysia

10.5

6

6

MEC

9.6

Tower Insurance NZ

9.5

7

7

Initiative

Bayer Taiwan, RT Edwards Australia, Zee Tamil India, Monster.com China Wai Wai Quick Thailand, Sony Pictures Thailanf

7.6

Augus & Coote Australia

6.8

8

8

PhD

Bosch Thailand.

Telus Philippines

5.7

5.3

9

9

Starcom MediaVest

9.1

10

10

Vizeum

Vanke China, Petron Philippines, Unilab Philippines, STX Korea CIMB Malaysia, Ministry of Works Malaysia

1.3

Star Cruises Malaysia, Singapore P&G Planning China (3 brands) Asia Malls Singapore, GM Korea OCBC Malaysia

11

11

Universal McCann

Harley Davidson China, Bel Group Korea

4.3

Monster.com HK

1.0

12

12

MPG

Decathlon China, PSA China, DLF India

3.8

Dell Asia

3.7

3.2 1.1

MEDIA OMD continue to lead media agency wins across the region, with Carat closing fast courtesy of Mitsubishi China and a number of other local wins. Mindshare also won the prestigious Pepsico Thailand business from OM to lower the gap with just two months left METHODOLOGY The R3 New Business League has been compiled each of the last 73 months using data supplied by 26 multinational agencies on a monthly basis to R3. In addition , this data supplied is balanced against Client Estimates, Nielsen ADEX, discounted to appropriate levels and then converted to a revenue estimate. R3 strives to be accurate in all reporting, but welcomes comments and questions. Please write togreg@rthree.com or visit www.rthree.com for more information or to download a soft copy

GLUED TO YOUR MONITOR? visit adobo at

november-december 08

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mediascape Pinoy Reality Show Rumble

The newest salvo in the network wars

GMA’s New Studio (Superiority) Complex

Approaching yearend, the country’s Big Two move their rivalry into reality – reality TV. You won’t see the network’s top bananas slugging it out. Instead, the battle takes proxy form, via dueling foreign reality franchises.

Survivor Philippines has been consistently rating well—and as true reality fashion, some of those booted off are becoming celebs in their own right. Paolo Bediones hosts, having come from the similar hit show Extra Challenge. To create bigness and excitement, Survivor Philippines is filmed in Koh Tarutao, Thailand, and offers a whopping P3 million for the winner. This is the biggest prize money in Philippine TV history.

While everyone’s waiting to see who will be the first Pinoy sole survivor, ABS-CBN has just launched Pinoy Fear Factor, hosted

by Ryan Agoncillo. If Survivor wins on prize money, PFF trumps with location: exotic South America, with a smaller jackpot of P2 million.

In this round, GMA has the head start, with ABS playing catch up. How it all ends – who gets voted off the ratings island – will help us gauge the real No. 1 TV network.

Got a cause? Get a postcard.

Right in time for yearend fundraising season, agencies now have a new venue for their pro-bono efforts: Project PostCare, the advocacy effort by YOCard, the country’s premier freecard provider.

Under the project. non-profits, charitable institutions, arts/cultural bodies and school groups are entitled to 50% price cut; companies implementing corporate social responsi-bility campaigns enjoy 20%30% off. Some of the first beneficiaries include Make A Wish Philippines and animal rights group PETA. YOCard also hopes the project will encourage visual creativity in support of advocacies. Design whiz groups Everywhereweshoot, Team Manila, Inksurge and 27+20 have lent their talents; others are invited to follow.

Project PostCare advertisers will also enjoy special on air mentions in top Manilabased FM stations, via YOCard’s partnership with The Radio Partners Inc. (TRPI), which is affiliated with Jam 88.3, Wave 89.1, Magic 89.9, 99.5 RT and Max 103.5.

Check out www.yocardonline.com and yocard-online.blogspot.com for more details.

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Two years short of 60, GMA Network Inc. has rejuvenated its broadcasting power with an opulent, ultraadvanced studio annex.

Housed within GMA’s Quezon City compound, the annex boasts two highdefinition studios, currently the most luxurious and the most technologically-advanced facility in the country.

Studio 4, the larger of the two, can seat 600 in each show. Both Studios 4 and 5 are fitted with Digital Speaker Management systems that standardize digital feedback elimination, ensure accurate sound quality, and allow studio-to-studio link. The audio equipment is Allen and Heath ML 4000, equipped with a 96channel audio input -- currently the worldwide standard most suitable for musical shows and live concerts.

The sharp audio is complemented by video, via ARRI and Fine Arts lighting equipment. Both Studio 4 and 5 have digital video design, with Studio 4 the first local studio to use the top-of-the-line Vision QMD/X production switcher.

GMA’s special effects producers will have an easier time multi-tasking, as the KaleidoAlto-HD technology allows 20 split screens in one video monitor. Inscriber G-Store

-- a 3D graphics generator that enables content management and real time retrieval of stills, clips, animations, and logos -- generates unparalleled production capabilities.

All that perfection comes at a price. The official budget is P1 billion, with construction

production quality of the network’s programs. “Our new and state-of-the-art studios will make our superior programs even better,” Gozon said in a statement.

The move is also a long-overdue response to a creative vision. The new

alone costing P700 million.

Broadcast equipment in Studios 4 and 5 amounted close to P200 million. Costs for fit-out works, utility works, and audience seats reached the vicinity of P45 million.

But what does all the staggering investment mean?

According to the network, the new studio aims “to upgrade, expand and establish programming dominance via cutting edge technical and artistic production.” Felipe L. Gozon, GMA Network chairman, president and CEO, believes that the new technology will advance the

studio complex will help GMA realize programming concepts presented by creatives a few years back. Viewers and media planners can now expect more technically dazzling programs; one can only hope that the content quality will take flight as well.

While GMA is currently top in Metro Manila, ABSCBN still has a slight edge nationwide. Will the new studio tip the scales for GMA -- not to mention beat back viewership challenges from aggressive, increasingly niched cable channels? We shall wait and see in 2009.

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F1

F

The Race for Branding Reporting and photos

by Crystal Rebucas

rom its first announcement, it was the most anticipated Grand Prix of the year.

Thousands of tourists flocked to a tiny city-state to witness the historic SingTel Singapore Grand Prix. The first ever F1 night race was a dramatic one, culminating in a surprising but definitely well-deserved win by Fernando Alonso of ING Renault.

But Alonso was not the only winner in Singapore. The F1 fever that gripped the country will live on, and the brands who invested millions saw firsthand that every cent was worth it. Far beyond drivers and teams, many brands ran their own race for consumer attention.

First out of the gate was Johnnie Walker, catching F1 tourists right at Changi Airport.

Have your picture taken with a life-size Lewis Hamilton cutout, sign the pact to never drink and drive, and have your signature analyzed -- all while waiting to pick up your luggage! Amid the usual tarps and post wraps, this

The 78 million people who tuned into the last year’s final Brazilian Grand Prix represent the largest audience ever for a single international sporting event.

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was by far the most interesting marketing effort. From the airport into the city, the train’s glass doors were branded with the Grand Prix Season logo, specially designed by the Singapore Tourism Board.

Second stop was Orchard Road, which rivaled the track as a stretch of highoctane branding. Besides the omnipresent street posts, almost every mall had its own effort. Established F1 sponsor brands like Puma and Hugo Boss bannered their superstar endorsers. Tag Heuer, long affiliated with star drivers Kimi Raikkonen and Lewis Hamilton, brought Raikkonen himself to grace its Paragon Atrium exhibit timelining the brand’s F1 presence. Tang Plaza hosted the ING Renault F1 Team Pavillion, where fans could play an F1 PS3 game as their favorite driver.

Third and Final Stop is the race area. Trackside malls like Esplanade, Suntec and Marina Square extended their hours to accommodate the crowds that milled about, snatching up F1 memorabilia. The track itself, as always, had strong presence from partners like DHL and Bridgestone. There has been ongoing debate as to why companies slap their logos on the car, race suit or helmets, tiny locations difficult to spot at high speed. That debate was definitively answered here, where novice fans could be seen scouring brochures, intensely curious to identify the tiny labels and logos.

Finally, it was great to be there – but you didn’t actually

have to be. With almost 600 million viewers worldwide last year, F1 can be considered the ultimate made-for-television sport. Soccer’s World Cup Finals, Olympic opening ceremonies and NFL Super Bowl are watched by more people, but these are onetime events, unlike F1 with 18 stops worldwide. The 78 million people who tuned into the last year’s final Brazilian Grand Prix represent the largest audience ever for a single international sporting event. That is just amazing. It was even better for the Singapore Grand Prix, because it was a rare occasion when a practice session aired live. This means that the usual two-night television exposure became three.

Europeans are still the most avid F1 fans. But judging from the excitement–and the profits– generated in Singapore, Asia will be giving Europe a real run for its money.

Sports Marketing Special

A racy night in Singapore F1’s recent Singapore leg was a leap into the unknown in more ways than one. Aside from being its first Grand Prix in the Lion City, the race was the first of what could soon become many night races on the F1 calendar.

With the lounge’s proximity to the track, you could feel the raw power of the engines as they zoomed by. For close to two hours, we, who watched the race at close range, enjoyed the greatest show on earth.

Lewis Hamilton

by Chris J. Nelson

The first-ever F1 night race on Sept. 28 went seamlessly. None of the pre-event concerns over the use of artificial light came to pass. Seeing the race’s success, Bernie Ecclestone, President/CEO of Formula One Management and Formula One Administration, is reportedly now keen to have more night races.

If Ecclestone is looking forward to holding those races, I’m looking forward to seeing them. Personally, I found the night race experience utterly exhilarating, with double the excitement, fun and the thrill of previous F1 races I’ve been to. Definitely, no other motor sport can claim the extreme drama and adrenaline that F1 provides racing aficionados. I am glad I made it to Singapore.

Joining me were my colleagues in Philip Morris Philippines, some invited business partners, and our Marlboro Red Racing School (MRRS) winners.

Luckily, we were billetted at the Pan Pacific, which was part of the street circuit route, on the inside of Turn Six. The location was perfect—the venue was a leisurely 15-minute walk away, compared to over 1 hour’s travel in Shanghai.

Since it was a street race, seeing race cars pass in front of our hotel during their rehearsals only amped up the anticipation for the main event on Sept. 28. In fact, since our group first arrived on Sept. 26, I’d seen many tourists

Chris Nelson

hanging out in outdoor cafes and coffee shops just to watch the racers practice.

The real journey to the checkered flag started on Sept. 27, when we went to the Singapore Grand Prix venue. Upon arrival, the delegation was immediately ushered into Marlboro’s exclusive M.Scape Lounge, completely decked out for maximum enjoyment: various plasma screens for a live, multi-angle viewing experience; video games in Ferrari laptops mounted on racing chairs approximated the feeling of driving a racing car; and an international buffet was prepared by the chefs who travel with the M.Scape Lounge.

Ferrari’s Felipe Massa even dropped by the lounge prior to the qualifying session, to say hello and pose for pictures with the team’s supporters and guests.

We then did a Pit Lane walkabout: we went down to the Pit Area, where the garaged F1 cars were being worked over by the engineers and the pit crew.

We also witnessed that night the F1 third practice session and the F1 qualifying session, where the cars were let loose one by one for a number of laps around the track to determine which team gets

pole position.

The following day, the Main Event, our delegation joined other M.Scape guests from all over the world at the M.Scape Lounge to witness yet another historic event.

The race commenced at 8:00 pm. With the lounge’s proximity to the track, you could feel the raw power of the engines as they zoomed by. For close to two hours, we, who watched the race at close range, enjoyed the greatest show on earth.

As the world now knows, Renault’s Fernando Alonso won this Grand Prix leg as Lewis Hamilton extended his overall title advantage to seven points after Felipe Massa finished out of the points following a disastrous pit-lane incident. In this race, Spanish double world champion Alonso claimed his 20th career triumph by 2.95 seconds over Germany’s Nico Rosberg. Britain’s world championship leader Lewis Hamilton finished third.

While it was a sad night for the Ferrari team, we had a great time.

Truly, nothing beats the F1 experience.

Chris Nelson is managing director of Phillip Morris Philippines. november-december 08

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Sports on TV

Solar scores a knockout Ever wonder why sporting events are among the highest-rated TV programs, year after year?

Marketers drop us a hint in their characterization of TV sports audiences as “fiercely loyal” and “highly engaged” people, who remember their team’s starting lineup but not the name of their mayor.

An all-sports network like ESPN or Star Sports probably wouldn’t exist without the fanatics and couch potatoes who shadow the telly for the smallest mention of their athletic idols and favorite events.

This phenomenon is not lost on the Solar entertainment empire. Running up to six local channels at a time in recent years, Solar has allotted as much as half of its total airtime to sports. Two of its channels—Solar Sports and

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Oscar Gomez, Jr.

Sports is a TV reality show unlike any other since it happens in real time. People love watching because in the end, you always have a winner and a loser.

Basketball TV—reside on cable; on free TV, C/S 9 (leased from RPN) airs testosterone-heavy crime, suspense and more sports, including Solar’s newly minted Philippine Basketball Association (PBA) franchise three nights a week; NBA games; weekend big-time boxing; and ultimate fighting/mixed martial arts. (The eponymous ETC, C/S Origin, 2nd Avenue, and Jack TV make up the rest of Solar’s family of channels.)

Solar has carved a name in sports broadcasts while securing TV rights to premier Philippine

and international events. In 2008, the company’s sports channels achieved a number of “firsts.” Last August, better-than-expected revenues greeted its inaugural broadcast of the Beijing Games.

In October came another debut as the PBA’s official broadcaster, for which Solar has guaranteed to pay the league a hefty P500 million over the next three years.

Recently, Solar secured what may be the holy grail of televised sports in 2008: the Dec. 6 Las Vegas showdown of ring legends Manny Pacquiao and Oscar de

la Hoya. Solar struck a TV deal directly with Manny Pacquiao Promotions, since the Filipino champ owns the Philippine rights to his fights as agreed with his promoter, Top Rank’s Bob Arum.

Pacquiao's domestic rights fee is rumored to be north of P50 million—impressive, but not much compared to his US$15-million fight purse (as a matter of company policy, Solar declined to confirm the amount). Despite having its own ties to De la Hoya’s Golden Boy promotional outfit, local giant ABS-CBN was shut out. Solar will instead block off weekend airtime with ABS-CBN’s rival GMA Network for the megabuck event.

“Sports is a TV reality show unlike any other since it happens in real time. People love watching because in the end, you always have a winner and a loser,” says Jude Turcuato, Solar’s marketing vice president for sports programs.

The ascendancy of Solar may not be easily challenged for a while, especially as it has set loose a triple-towered slew of sports channels upon competitors such as ABS-CBN. (The network giant launched its own upscale-targeted multisport channel, BALLS, earlier this year.)

He acknowledges that majority of TV marketing budgets in the country has been cornered by the “3 B’s”—boxing, basketball and billiards.

“Certainly it behooves us to take a risk and channel resources on other sports, as well,” he says.

Solar has been doing its part, according to him, by pioneering the telecast of events like poker and darts. It has also bought rights to air the German soccer league, pro tennis, the PGA Tour (golf), and mixed martial arts—a showcase of fighting skills combining jujitsu, boxing and wrestling techniques.

MULTIPLE EXPOSURE For its recent Olympics telecast, even Solar was surprised to draw more than 40 sponsors, including Smart, Caltex, Unilever, Samsung, San Miguel, and Coke.

“We didn’t expect such a strong response since there weren’t that many Filipinos competing in Beijing, let alone in the hunt for gold medals,” says Turcuato. “But it was profitable for us and we’re happy to have outperformed the three previous Olympic telecasts in sales and ratings.”

Solar had earlier paid for the Olympic rights up front and in full.

It did so in a pre-emptive step to restore the country’s credibility with the International Olympic Committee (IOC). Some years

Sports Marketing Special back, the IOC’s television unit had difficulty collecting debts owed by government station NBN-4 from three previous Olympiads. (This is why the 2004 Athens Olympics were not locally telecast, to the great dismay of fans).

Solar powered through with a unique proposition: an unheard-of multiple telecast, airing different Olympic sports on six separate local channels! This all but assured

the most comprehensive Olympic menu ever served to Filipino fans and advertisers. The identical time zone with Beijing also boosted chances of witnessing many a final event live and on primetime in Manila.

Attempting to diversify the coverage, Solar funneled out footage to its six channels from three international sources— including US network NBC, whose dramatic feeds were previously inaccessible to local viewers.

“It wasn’t easy. Decisions

had to be made on the fly—such as when to go live and on which channels,” says Turcuato. Earlier this year, the mild-mannered broad-caster laid out pre-event and trade launches in Boracay and NBC Tent, as well as promotions that gave away trips to Beijing. On D-Day itself, 8-8-08, a bike race and all-star concert at the Mall of Asia counted down to the very final moments before the glorious opening ceremony took over at the majestic Birds Nest Stadium.

Solar decided not to forcefeed its audience with second-rate commentary (except during the critical taekwondo matches), a

CHOOSE YOUR GAME

Not all events are created equal

move appreciated by local viewers.

It aired the international voice feed instead, while broadcasters Patricia Bermudez-Hizon and Vito Lazatin focused on off-court interviews and summarizing daily highlights. Another move cheered by couch potatoes was the wall-towall Olympics coverage it offered on pay-per-view. Solar’s 16-day packages were priced the same as a one-night-only Pacquiao fight.

THE PBA: “MASS FOLLOWS CLASS” In successfully landing the PBA broadcast deal, Solar chose to ignore the widespread perception that the 34-year-old league is fast losing its popularity. Their research told Solar that the PBA still drew higher viewership than the NBA or UAAP (collegiate) basketball games. Such findings emboldened Solar to commit millions of pesos for a new remote broadcast van and state-of-the-art TV cameras to upgrade coverage.

It also enhanced courtside exposure, highly coveted by PBA advertisers, by swapping ancient rotating mechanical streamers for more flexible LED digital signs.

Few marketing avenues can equal the potential from sponsoring sports events.

Aligning with sports means being associated with excellence, commitment and dedication qualities that can help drive sales, enhance corporate image, induce trials, attract media coverage and even nurture relationships with clients and employees.

"In sports, people see the brands in action," says James White, vice president for sales and business development of Total Sports Asia. "Marketers in turn can use events to produce memorable experiences and deepen the bond between their brand and its target audience.”

Media mileage and positive association are just the icing, he adds, since sponsors gain tangible "assets" such as prime event tickets, promotional avenues, and content for TV post-events, the web and mobile.

To get the most out of a sponsorship, White carefully chooses the right event to match with a client, determining at the outset what the goal is.

If it's brand awareness they’re after, he recommends an event that draws a large crowd. Around Asia, for example, White notes that English Premier League football chalks up huge out-of-home audiences, being arguably the world's most watched annual event. Awareness is achieved through ample venue signage, product displays and free product samples. While it may be tempting to squeeze the most for your sponsorship money, one favorite advice from White is to reserve streamers and A-boards for branding alone. "Show only logos, not entire messages."

For drumming up sales leads, on the

Turcuato also reveals that Solar firmly opposed the prevailing wisdom around the league to localize the lingo of TV play-by-plays and analysis.

“We thought part of the unfavorable impressions (created about the PBA) came from having pushed it down to the masses,” Turcuato explains. He believes that this strategy backfired when it alienated the A, B and upper-C audiences, who happen to count influ-ential marketing decisionmakers within their fold. To bring these affluent crowds back, Solar has reversed the league’s course; its sportscasters have noticeably been sticking with English (maybe also as a future strategy to market the PBA internationally).

Turcuato doesn’t subscribe to the other notion that English sportscasts had turned the masses against the PBA. “Our ‘masa’ crowd has been very loyal to our English NBA broadcasts,” Turcuato reasons.

On the contrary, his sense is that ordinary basketball fans will always have that aspirational side in them. “The way we see it, mass follows class.”

other hand, he'll point them to events heavy on networking opportunities: crowd quality, not quantity. Clients who seek the prestige of an upscale event will likely consider Formula 1 racing, recently debuted in Singapore and said to be the most popular televised sporting event worldwide. White notes the strong hospitality opportunities in the VIP booths.

Some sponsors insist on moving their product during the event itself. Guinness, the renowned Irish malt, paired with the Asian 9-ball billiards circuit because it offered a chance to generate plenty of customer trial in new venues. "In the billiard halls, you're drinking it while playing it."

Getting into sports can bring a company closer to its target market, garner massive customer goodwill, and generate publicity. But White reminds companies: look before you leap. There might not always be a solid marketing victory ahead. Like an athlete setting his goal to the second, smart sponsors decide beforehand what prize they're after, then track results carefully to make sure they win it.

James White was one of the many speakers at the first-ever MARCOMM Asia, held Sept. 24-26 at the World Trade Center. november-december 08

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On Life & Death, Cinema & Advertising

Chris Martinez and Marlon Rivera

adobo: The movie is 100, but let’s start at the beginning, from number 1.

Marlon Rivera: Chris and I (had a meeting) almost two years ago when he needed help working a script. While we were developing the commissioned script, we were discussing the script for 100. But it was while we were still in UP that the idea of making a film came first. We were so disappointed that the script was not approved. We met again to make our own film, make our own list, and we agreed on the point of view.

Chris Martinez: 100 started because I was bored. Not many projects and nothing to do. I wanted to do a film – indie or not.

Marlon wanted to do something different. We had dinner, just talking about ideas to film to do either on our own or pitch. The first was a horror comedy concept. Marlon was warm. The second pitch was about a dying woman with a list of things to do in her life before dying, called 100. Marlon jumped and wanted to do it right away. He thought it was more feasible than the horror-comedy. Marlon was there from the start.

The idea came to me when I came from a necrological service of Rogelio ‘Ogie’ Juliano, UP professor and friend who died of diabetes.

The service was theatrical, a reunion of theater students and practitioners held at the Wilfrido Maria Guerrero Theater in UP where we grew up. It was touching and humorous. There was a drag show. The urn was there with his ashes.

We were laughing and crying at the same time.

I went home overwhelmed with the experience. adobo : (To Marlon Rivera) You’re the executive producer of 100.

Rivera : I wasn’t even expecting to be named executive producer. When you decide on certain things, you are called executive

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producer. I would fill in for the gaps. Went to DTI to register and was allowed MartinezRivera films. — I wish we had won the best picture (award), because it’s a producer’s award.

Martinez : Sometimes he would do Mylene’s makeup too. Multi-tasking… adobo : Why Cinemalaya?

Without the support of advertising people, walang 100.

Rivera : Because of its built-in audience and a grant of P50,000. The amount was tempting, though not big enough.

Martinez : Cinemalaya is not an amateur film festival. It’s an independent film festival, so come armed and prepared. I waited until I was not that young, waited until I was ready.

Advertising made me ready for that. Taas-taas ng standards (of advertising).

adobo : 100 won Best Screenplay, Best Direction, Best Actress, Best Supporting Actress and even Audience Choice, but not Best Picture, Rivera : It’s not uncommon. The best picture is what is well done and more aligned to the festival’s point of view that promotes their own philosophy of doing things. We believe (in 100) with all our hearts. What is more controversial than death? Is it not groundbreaking material? Except that (Cinemalaya) is someone else’s playground.

You can come in and play, but we had no expectations. That’s why (winning is) masarap (sweet). We wanted Mylene and Eugene to win.

Everything is gravy. I am so happy for Chris. I believe in him. This is no bull. adobo : On writing and producing for film and advertising. Any difference?

Rivera : With film, you don’t have a client, that’s the fundamental thing. It’s your money

Written & Directed by Chris Martinez to squander on a psychic thing. No client, no one to blame but yourself. In an indie movie, you don’t even have a studio. I wish we had won the best picture, because it’s a producer’s award.

Martinez : Different, especially independent. Advertising and film, iba talaga form pa lang, a 30-second ad and 2-hr film. In film you’re not selling. In advertising I honed my craft. People keep saying 100 is so polished, and so well done. adobo : It’s no secret how friends in advertising pitched in to produce 100.

Martinez : (Additional funding came from) Marlon and me. Madonna Tarrayo and Straightshooters gave manpower, equipment, post-production and marketing. 75% of the film was shot in Lawrence Tan’s (of PHD Media Network) house. I still need to thank him personally. Ricci Chan made five compositions and Brian Cua (of Hit) scored. Actually, when I briefed them, I already had some pegs on how the music should come out. Not too sentimental or too Pinoy. Not mainstream. I know Brian and Ricci are forward looking when it comes to music. Cool and young, not sad. I approached Brian when he was DJ-ing for the AdCon Marlboro party. We were both drunk. I asked: Brian, have you ever done a film score?

He said: No, but if you do one, I will.

Rivera : The artists gave discounts. We shot in the Publicis Manila office for a day, lost a day’s worth of work.

Martinez : Without the support of advertising people, walang 100. adobo : 100 has three strong and gorgeous women, onscreen and off.

Martinez : From the start, we already wanted Mylene Dizon, Eugene Domingo and Tessie Tomas. Eugene is a college friend.

Tessie, was planning to do a monologue I wrote about cal center life. I didn’t know Mylene.

Marlon said she was perfect for the role. I knew her by face, saw her on TV, I liked her aura, she has this strength. (She) was not that vulnerable, and I wanted that for character.

Without saying anything, she could portray a strong woman. ~ On Death Rivera : The subject is death and dying is the predicate. How you view death dictates how you live your life.

In film, the objective of the scene really comes to fore. In life, we’re always looking for the big event, but we realize it’s the little things (that matter).

Death is personal but dying is communal.

It may be your death, but everyone wants to be in on it. The only thing I like about it is it is compelling. ~ The advertising man Rivera: (While watching the movie) People were laughing at the right time. I heard someone cry. And I thought, I really don’t care if it doesn’t make money, the thing is to make a connection. That’s coming from me as an advertising man. The moment you cross the line from critic to creator is the scariest and the most humbling moment of my life.

His UP Business degree landed him in banking, but the shirt and tie lasted all of seven days. After a day-long interview by formidable interrogators (first Marlon Rivera, then Minyong Ordoñez), he found himself working in Basic Advertising. Banking’s loss was Philippine advertising’s gain. But, is Chris Martinez’s story — from student playwright to one-week banker, erstwhile copywriter, theater director, TV commercial director to award-winning screenwriter/ director — simply linear?

My (film-making) education started the first time I attended a commercial shoot, so my first exposure to filmmaking was through advertising, “First I was a trainee, then a copywriter,” says Chris Martinez of his initiation into agency life. “My first account was ColgatePalmolive.” In three years he was an Associate Creative Director, creating Jollibee campaigns like Buhay Linggo, 20th anniversary, and Saan Tayo Unang Nag-date. “It was the more Pinoy era of Jollibee,” he added. At 26, Martinez was promoted as Creative Director, winning two Ad of the Year trophies for Smut Free Philippines TVC and Jollibee Delivery “Monks” radio ad. His advertising credits include Grahams Tiramisu (one of his favorites), the Bear Brand series with actress Eugene Domingo, the Gorilla and Tractor Solmux campaigns with Aga Muhlach, and other celebrity boards with Gelli and Janice De Belen, all as TV commercial director.

But through all that, Martinez was writing more than just taglines. While at UP, tax penalties vied for his time with UP Repertory.

His plays have been staged by UP Tropa, UP Playwright’s Theater, CCP’s Tanghalang Pilipino, the Philippine Educational Theater Association (PETA) and other university-based theater groups. “In college I knew I could write

creatively, whether commercials or arts. I knew I could use that skill as a playwright in advertising to earn and be independent. It was a natural flow for me to be in advertising, and while I was, I wrote and directing plays on the side,” reveals Martinez.

Seven years ago, Martinez resigned from Basic and returned to UP for non-credit film courses. That semester he produced Bakas, a short film that won in the Gawad CCP Awards.

He wrote his first full-length play, Last Order sa Penguin, which bagged 1st prize at the Palanca Literary Awards and was staged at the iconic artists’ bar. “Ang saya-saya! (It was marvelous!) It was the first time the movie industry took notice of me, when I produced that play. Jeffrey Jeturian found me and I wrote movies for him,” he recalls.

A mentor to Martinez, Jeturian is the creator of intelligent yet commercial hits Pila Balde and Tuhog, both of which have shown to international audiences. Top grossers Bridal Shower and Bikini Open soon emerged, with Jeturian at the helm and Martinez at the pen. These led Martinez to Mother Lily Monteverde, who in turn championed him to director Chito Roño.

Martinez’ second collaboration with Roño, the Kris Aquino starrer Sukob, became the top-earning Filipino film of all time. Next came Caregiver, produced by Star Cinema, directed by Roño and starring Sharon Cuneta. Diligent research in London paid off, with Caregiver becoming 2008’s biggest earner so far.

At some point in the timeline, Martinez left agency side to join Unitel upon Tony Gloria’s calling, where he would direct TVCs and write screenplays on the side. This came about through early and pivotal support from Straightshooters’ Madonna Tarrayo, who would later help produce 100.

“My (film-making) education started the first time I attended a commercial shoot, so my first exposure to filmmaking was through advertising,” he recounts. With every shoot he asked questions, saw how production was done, did setups. He learned hands-on. “It did not just happen. I’ve been attending shoots since 1992, there’s no excuse not to learn anything,” he adds.

Chris Martinez has directed around 70 TV commercials. His first full-length movie as director and screenwriter, as well as coproducer with Publicis Manila president/ ECD Marlon Rivera, is the digital film 100.

Entered in Cinemalaya 2008, the film won Best Director and Best Screenwriter awards for Martinez, Best Actress for Mylene Dizon and Best Supporting Actress for Eugene Domingo, as well as the Audience Choice Award. At Korea’s Pusan International Film Festival, 100 won the KNN Movie Award, as Audience Choice for the Full Length Film Category, which carries a cash prize of US$20,000. Next stop is the Marrakech International Film Festival, from Nov. 15-21.

100 opens in selected Manila theatres on December 13. november-december 08

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Thank you for making us the number 1 out-of-home audiovisual advertising network in the Philippines.

In two years’ time, we have expanded our reach • increased our coverage • widened our scope • reached out to more audience 20th Century Fox 3C Distributors International, Inc. Acer Philippines MPG/Adformatix Bacchus Bank of the Philippine Islands Better Herbs Beiersdorf Singapore (Nivea) Bistro Group Restaurant Concepts Brand Benefits Brother International Callospa Spa and Resort Canon Century Canning Inc. Citigroup Clarity Columbia Pictures Convergys CP Optics Danlex Laboratories Del Monte Philippines Inc. Dental First Dentsu Indio eTelecare Executive Decisions Firefly Electric & Lighting Corp Food Flow Fresh N’ Famous Foods, Inc. Fuego Hotels and Properties Management Corporation Gallop Ventures Getz Bros.

Imation Singapore Pte Ltd IP Converge Data Center, Inc. Jireh Advertising Kinetic Worldwide Media Phils Landbank of the Philippines Lasik Surgery Clinic LG Electronics L’Oreal Philippines Maxus MCA Music Media Dot Works Met

FocusMedia Audiovisuals Inc.

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Creating Impact.

november-december 08

Units 151-152, The Columbia Tower Ortigas Avenue, Mandaluyong City 722-7722 • 7244495 to 97 www.focusmedia.com.ph

Mindshare Motolite Motorola MPB Primedia, Inc. National Nutrition Council Nikon Home Appliances Nokia OMD Paradise Chemical Corp.

Pascual Laboratories, Inc. PHD Philam Life Pro Active Pru-Life Purefoods-Hormel Co. Rapp Collins Regent Foods Corp.

RFM San Miguel Brewery, Inc. San Miguel Corporation Sanofi Pasteur SC Johnson & Son, Inc. Skechers Slord Devt. Corp. (Unipak Sardines) SM Ace Hardware SM Advantage Card SM Appliance Centre SM Baby Co. SM Department Store SM Homeworld SM Kultura SM Our Home SM Sports Central SM Toy Kingdom Smart Communications Starcom Starcom Mediavest Group United International Pictures United Laboratories, Inc. Universal McCann Wagemark Corp. (Red Juice) Warner Music Wyeth Philippines Inc.

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

December 2008 Mach 5 "More Power Campaign (Caravan, Pedicab, Sacks)", Print ads Ad Title: Mach 5 “Caravan”, "Pedicab", "Sacks" / Agency: Creative Juice Manila Advertiser: Mach 5 / Creative Director: Tanke Tankeko / Art Director: Del Metante, Alan Navarra, Andrei Salud, Yuri Timg / Copywriters: Br yan Avanceña, Joey Melliza / Photographer: G-nie Arambulo, Robert Bosito, Karen Pareno

PROFILE

TV5 shaking up free tv

by Oscar Gomez Jr.

A

s yet another revamp gets underway, the industry watches closely to see if TV network Associated Broadcasting Company (ABC) can finally hit its stride.

Three months after launch, with a #3 ratings slot, a slate of would-be hip shows and some unusual marketing ideas, this latest incarnation seems the most promising yet.

“We’re here to challenge that industry norm...

We don’t believe all viewers can come home at the same hour daily just to follow one program.”

Photograph by Daemon Becker

Previously, the station had a slippery grip at best on the scant spoils of the war between GMA and ABS-CBN. Relaunched a few years ago to high expectations after a takeover by mogul Antonio Cojuangco, it could neither focus its programming nor build a critical mass of viewership. Only its telecast of Philippine Basketball Association (PBA) games and a short-lived “American Idol” franchise managed to dent ratings versus the ABS/GMA juggernaut.

It got so that people jokingly referred to ABC as “Start with 7, take out 2 and 5 is what’s left.”

A local group, backed by major Malaysian media investment fund MPB Primedia, looks determined not to blow it again. In March 2008 it closed a long-term block airtime deal with ABC’s owners and promised to inject “fresh, innovative, and relevant” programs. Reacting to ownership questions in the press, company officials stress that Primedia provides programming and handles the sale of all of ABC5’s airtime, but has no equity in the station itself.

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Going for the ‘progressive Pinoy’ ABC’s new station brand is a simple ‘TV5,’ but its logo of a rocking TV monitor says a lot: it wants to change things for good on free-to-air television. Its new shows are geared towards the “progressive Pinoy,” which the station defines as the “C-D, 30years-old-and-below” segment.

That in itself is a significant shift, as ABC had previously skewed towards older males after five years of PBA coverage.

Is it working? Early Nielsen returns indicate audiences still going for formulas. According to the station, TV5’s current top shows are Talentadong Pinoy (the pun was intended, officials admit sheepishly), a take-all-comers Saturday night reality show hosted

by Ryan Agoncillo where everyone from yoyo experts to tightrope walkers compete to impress an audience jury; horror drama Midnight DJ; midweek gag show Ogags, with clueless Brazilian hotties Ariana Barouk and Daiana Meneses; and Lokomoko, which preys on the innocent in the spirit of hidden-camera fun. A risky afternoon block has Nickelodeon animated hits Sponge Bob, Dora and Go Diego dubbed for the first time in Tagalog. The latter seems to be paying off—Primedia executives speak with relish of an October day when Sponge Bob in Tagalog actually came within 1.5 rating points of ABS-CBN’s Basketball Camp.

“It’s now a younger audience we’re targeting. We believe they will be much more receptive to the new things and alternatives that TV5 will offer,” says Chris Sy, the 39-year-old former music executive plucked by Primedia to lead TV5, without its Idol and PBA cash cows.

“The young viewer has Studio 23 and ETC, but these are upscale,” Sy continues. “The two big networks of course have something for everyone. But 19-year-old C-D persons can’t really hack Dyesebel, can they? Since there’s nothing for them on the networks, we think the young tend to watch network programs by default.” To impress advertisers, TV5 is banking on research that the young, under-30 crowd not only packs an aggregate spending wallop but also watches free TV regularly.

“It’s a very valuable audience for us going forward, if we can get them at that age,” according to Sy. Swap your teleserye for Spiderman The “new” ABC rode into the airwaves with an all-night special on August 9. The special followed several splashy trade events; postlaunch, the station flogs its shows on giant stark red billboards, banners down Edsa and on the MRT, publicity buzz in tabloids, as well as radio spots in C-D outlets like Love Radio and Yes FM. Sy makes a pointed observation about how the Big Two mirror each other throughout the day— from early morning chat shows to evening teleseryes. “We’re here to challenge that industry norm by presenting a different program and diverse genre every night,” he asserts. “We don’t believe all viewers can come home at the same hour daily just to follow one program.” It therefore bears watching how TV5 tries to lure at least some of the ABS-CBN and GMA faithful.

“We will deploy programs that will slowly break their viewing habits,” vows Sy. “By showing Spiderman on primetime, for instance, we’ll make them drop the telenovela for one night.” In fact, every weeknight brings a local or foreign blockbuster from 8-10 pm.

“We believe not all C-D audiences have cable access,” Sy reasons.

Even the staple news programs have taken on a grungier look.

Although still produced by the old ABC team, the nightly news has been repackaged with a less serious, almost laid-back manner attuned to the station’s youthful image.

For its mix of line-produced and in-house shows, TV5 tapped creative trendsetters like Unitel, Peque Gallaga, Lore Reyes, Quark Henares, and Laurice Guillen. “We have no monopoly over good ideas and are open to pitches,” explains Sy. “We think it will help develop the industry if TV5 can serve as an outlet for independent producers, talents and artists.”

Sy is also playing it smart. By not locking up fixed investment on in-house productions, he can be nimbler and more flexible in the race for viewer attention.

From spreadsheets to Sponge Bob Upon meeting Chris Sy, one’s first reaction is that he is disconcertingly young. The second is that, while casually dressed, he looks nothing like one expects of a network executive. No flashy showbiz veneer, not a whiff of Entourage-like excess.

In fact, Chris Sy still looks more like the banker he was on track to be. Born and raised here, the magna cum laude Economics graduate from the elite Wharton School is a self-confessed “pop culture junkie” who gave up an investment banking career

in New York for a crack at the entertainment business.

While pursuing an MBA at Columbia Business School, Sy got an internship crunching numbers in the back offices of EMI Music.

It was also in New York that Sy met and married his wife Alicia, also a Filipino expat at the time. The couple have two children.

In 1997, the young family returned to the Philippines, where Chris joined the sales department of Sony Music. In 2000, he became General Manager of United International Pictures, the theatrical distribution company for Universal and Paramount. In 2003, he was reunited with EMI as Managing Director of EMI Music Philippines.

During his five-year tenure at EMI, Sy handled the marketing and distribution of international artists like Norah Jones, Coldplay and Robbie Williams. He also oversaw the development of EMI’s local roster: from stars like Martin Nievera to stars he helped launch, like Bamboo, Kyla, Hale, Sugarfree, and Urbandub. “To have helped influence pop culture was very fulfilling,” he says.

“I’m not creative,” admits Sy, who still regrets not having learned to play any musical instrument. “But I have a great deal of respect and appreciation for content and those who produce it.”

Sy doesn’t even spend time thinking about butting heads with other industry bigshots, whom he respects, saying he’s just starting while the others are already industry pillars. He wants to concentrate instead on how TV5 can provide fresh and innovative programming to its target local audience.

Post-launch: the battle for the holidays The shakeup is not limited to

on-air: TV5 has also gently nudged standard TV network marketing.

In a clubby business generally monopolized by ad and media buying agencies, TV5 ran large newspaper ads for open seminars targeting small businesses—“if you thought you could never afford TV advertising” – and raffling off a car. According to Sy, this slightly unorthodox approach has in fact been quite successful, with some agencies even bringing in reluctant clients for TV5 to convince.

Indeed, as of September, TV5 had hit No. 3 in the ratings, displacing Q. This is particularly sweet for TV5, as it was the GMAbacked Q that dislodged ABC from overall no. 3 in 2005, only months after Q started operations.

Three months into its airing, TV5 has already shown “some pockets of strength,” according to Sy. “We cannot challenge the leaders yet, we just aspire to a solid No. 3. We can be profitable in that position.” Some shows are already being retooled, and new ones are in the pipeline, to be announced in November. But with novelty wearing off just as Q unveils new niche lifestyle shows for the high-spending holidays – including one hosted by young star Heart Evangelista— the war for #3 could soon reignite.

Either way, the battle will be good viewing for the rest of us. Will Chris Sy be on the money yet again?

Will TV5 succeed in shaking up the industry for good? As a cliché from a most unprogressive Pinoy era would put it, abangan ang susunod na kabanata (stay tuned).

WHAT’S ON TV5 TV5 targets the “progressive Pinoy audience”, which it describes as those “open to new experiences and seeking a reprieve from what the usual TV landscape offers.”

The different programming blocks start with late-night dramas, beginning with Monday’s Midnight DJ, starring Paolo Contis training his “third eye” to pleading, vengeful and mischievous souls from beyond. Tuesdays bring a TV adaptation of the popular Summit series, Love Books Presents, with initial episodes produced by

Unitel's branded entertainment unit Gener8. By mid-week, viewers get a behind-the-scenes glimpse of a glamorous talent agency in Hush Hush, while the not-so glamorous life of an up-and-coming band is depicted in Rakista, created by advertising director Quark Henares. There’s even a Gossip Girl ripoff, the U-belt set Lipgloss.

To welcome the weekend, TV5 has Peque Gallaga and Lore Reyes revitalizing their 90s hit Batang X. There’s also a Friday-toSunday reality show block— kicking off with Philippines

Scariest Challenge, where celeb and non-celeb contestants go into haunted places by themselves. The show, which keeps a priest on staff, got an unintended publicity boost recently when a seemingly cursed taping of the Halloween episode ended in separate minor car accidents for guests Joyce Jimenez and Gwen Garci. Saturday has Talentadong Pinoy; My MVP

every Sunday is for basketball aspirants who’ve been overlooked by the regular leagues and is hosted by Norman Black, Jason Webb and Bayani Agbayani.

The station also has a comedy show tandem in Ogags and Lokomoko, a dating game called MysMatch with Iya Villania, and a revamped, more “street” Shall We Dance, hosted

by Lucy Torres-Gomez.

TV5 also provides a first in Philippine free TV, 5Max Movies!, an impressive nightly lineup that includes Spiderman, Terminator, Bad Boys, Maid in Manhattan, 13 going on 30, Crying Ladies and more. Much-loved shows of Nickelodeon dubbed in Filipino, popular anime titles, and a locally produced music show MP3 target the teen crowd. november-december 08

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CREATIVE REVIEW

by Chris Chiu Executive Creative Director, Leo Burnett Singapore

The Philippines is as award-hungry a market as the rest of Asia, and the country’s successes on the international award scene have only substantiated that. What ’s more, I’ve recently had the opportunity to work with some of the Philippines' best creative talent and that wonderful experience only confirms my suspicions that this award streak can only continue.

At Leo Burnett, as some of you might know, we use the 7+ scale to grade our creativity. A practice that happens every quarter, across work from every office around the world.

I thought I’d use that scale on this issue’s batch of work. Without going into too much detail on what each score means, historically, a score of 7 means it has a chance at picking up something in Cannes.

Chris Chiu got his start in advertising by writing radio commercials for a local radio station in California. Since then, he’s had stints with JWT, DYR, Batey Ads and Impiric before becoming Executive Creative Director of Leo Burnett’s Jakarta, Bangkok and now Singapore offices.

A member of the Leo Burnett Global Creative Board, Chris has over 300 awards to date and has had work recognized by juries from the D&AD, Cannes, One Show, Clio, New York Art Directors Club, AWARD, AdFest and Spikes among others. This tally includes consistent performances at key local award shows in the cities he’s been based.

Chris has also sat on the juries of several international and regional award shows and in 2008 was a member of the Cannes Direct Jury as well as Chairman of the Singapore Creative Circle Awards.

Didn’t do anything for me. Not quite sure what killing a deer has to do with a scarf besides. (3) WWF Deeper Luxury "Scarf", Print Leo Burnett Manila

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One of the better uses of this particular media space. However, I do think we have to give as much credit to the way it’s being presented via the in-site picture as we do the idea. But I suspect it’ll most definitely get a second look. If not for anything other than it was done for a big brand. (6) Gillette "Escalator", Ambient BBDO Guerrero

Wasted opportunity. Having a guy jumping to the left and right isn’t a sound check. And for a nuts product too. Shame. (2) Nagaraya Nuts "Sound Check", Cinema ad PC&V Communications

november-december 08

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CREATIVEREVIEW

Chris Chiu, Executive Creative Director, Leo Burnett Singapore

Interesting thought. A bit of work to figure out how it works. Perhaps it’s the way it was presented, but am guessing it starts off as a small piece that unfolds, yes? (6) WWF "Arctic", "Ice", Direct Mail BBDO Guerrero

A tough subject to work on it feels like. To encourage the use of a single national language when one has had so many foreign influences over its history. Unfortunately, my sense is that the imagery across the pictograms seems to make light of the situation. Felt it could and should have used a more somber tone. (5) Yabang Pinoy "Doom Mood", "Hear-Up", "Bar Oak", Posters Ace Saatchi & Saatchi

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CREATIVEREVIEW

Chris Chiu, Executive Creative Director, Leo Burnett Singapore

Applaud the agency for getting Coke to do something like this.

Just wished the execution was stronger or at the very least get the performances to go edgier or more overboard. As it is, it’s not really sitting anywhere. (5)

I saw a couple of my friends' names amongst the list of lecturers, so I’m sure the students will learn a lot and have a good time doing so. But an ad by creatives talking to junior creatives must most surely be more irreverent. (4)

Coke "Cinema", TVC McCann Erickson

RAW School "Cry", "Eat (Tanke)", "Eat(Tony)", Posters JimenezBasic

I remember the story of Benigno Aquino Jr from years ago watching it on the news. Must say I don’t remember the glasses as being significant then but am sure it must have been signature enough for Filipinos. I wish the scripting in this were stronger. It didn’t come across as inspiring as I’m sure it was meant to be. But one must appreciate the impact it must have made within the country. (6) Iamninoy "Glasses", TVC McCann WorldGroup Philippines

november-december 08

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CREATIVEREVIEW

Chris Chiu, Executive Creative Director, Leo Burnett Singapore

SSMI Ad-Adobo Magazine 7/10/08 4:14 PM Page 1 C

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Completely didn’t get this one. And I looked twice at the director ’s chair with appendages. (1) StraightShooters "Arm & Leg", Print ad Creative Juicie Manila

Pretty average eh? Think it's taken the ‘creative license’ bit to the limit. (2) Fita Spreads "2x", TVC Lowe Philippines

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Got it. Not exactly the first time I’ve seen this route.

Nor the second. (3) Canon "Zoom Lens Sale", Print ad DentsuIndio

november-december 08

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thebiggerpicture

Classic Advertising Quotations

by Cid Reyes

A

s some of you may collect stamps, frog or piggy figurines, miniature car models. I get a special thrill gathering quotations. Certainly no big deal, but I do regard quotations – as in quotable quotes – with a delectation bordering on poetic reverence. Quotations are jeweled statements, crystallizing perceptive insights and stirring

emotions. They are expressions of tremendous impact, and for the enterprising among you, quotations do make for great t-shirts.

In purchasing the book When Ads Work: New Proof That Advertising Triggers Sales, by John Philip Jones, we discovered a treasured litany of classic advertising quota-tions, which we now share with our adobo readers.

Most were gleaned from these pioneering books: Confessions

of an Advertising Man by David Ogilvy, Creativity in Advertising – What It Is and It Isn’t, by William Bernbach, Communications of an Advertising Man, by Leo Burnett, Scientific Advertising by Claude C. Hopkins, From Those Wonderful Folks Who Gave You Pearl Harbor

by Jerry Della Femina, Reality in Advertising by Rosser Reeves, What the Creative Wants from the Researcher by William M. Backer, A Technique for Producing Ideas,

by James Webb Young, Romancing The Brand by David N. Martin, It’s Never Been Done Before…

And Other Obstacles to Creativity

by Alvin Hampel, and The Act of Creation by Arthur Rossiter.

From these nuggets of expressions are gems of wisdom, guaranteed for us all to be the wiser for them. Most are vintage – but most are still so strikingly true, they could have been written yesterday.

“The consumer isn’t a moron, she is your wife.” David Ogilvy

“You can’t save souls in an empty church.”

David Ogilvy “Boredom with life is so widespread a disease that I reckon the first big job we have to do in advertising is to be interesting.”

James Webb Young “Our problem is they don’t even hate us. They are just bored with us. And the surest way to produce boredom is to do what everybody else is doing.”

William Bernbach

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itself. We maintain that every product has inherent drama.”

Leo Burnett

a cliché, and loses its emotional appeal.”

Arthur Koestler

“You should try to charm the consumer into buying your product.”

David Ogilvy

“If advertising did not contain an element of reward, either in the form of information, entertainment or some aesthetic compensation, we should be a mass of raving maniacs.”

Leo Burnett

“How do you storyboard a smile? Yet the quality of that smile may make the difference between a commercial that works and one that doesn’t work.”

William Bernbach

“We try to make our advertising ‘fun to look at’ – exciting to look at – but never forced, and right on the subject of the product

“Yesterday’s discoveries are today’s commonplaces; a daringly fresh image soon becomes stale by repetition, degenerates into

“If the public is bored today – then let’s blame it on the fact that it is being handed boring messages created by bored advertising people.”

Leo Burnett

“Music actually provides a measure of pleasurable entertainment. Some ‘entertainment’, even when irrelevant to the product, may

“Thou shalt honor thy public’s intelligence.” Leo Burnett

provide a modest benefit to an advertisement.”

Alfred Politz

please the seller. The interests of the buyer are forgotten.”

Claude C. Hopkins

“Advertising should be regarded as a branch of show business.”

Randall Rothenberg

“If a product has features worth paying money for, if must have features worth paying to.”

Alfred Politz

“Agencies are indulging in a lot of campaigns which burnish their reputations for ‘creativity’ but do not try to sell the product.”

David Ogilvy

“The key is to find out which button you can press on every person that makes him want to buy your product over another product. What’s the emotional thing that affects people.”

Jerry Della Femina

“Selling consumers through humor requires a very special talent. Today, within both agency and client organizations, too much caution prevails. There are too many grim and unhappy faces.”

Amil Gargano “Advertising still downgrades the consumer’s intelligence because the people who are doing the ads are often as stupid as the people they think they’re talking to.”

Jerry Della Femina

“A better way may be found through the use of advertising to add a subjective value to the tangible values of the product. For subjective values are no less real than the tangible ones.”

James Webb Young

“Ads are planned and written with some utterly wrong conceptions. They are written to

Arthur Koestler

“I sometimes think that a good commercial should only have two words in the beginning that said simply, ‘Watch this."

David Ogilvy “We can all point to many cases where the image is remembered long after the words are forgotten.”

Leo Burnett

“I doubt if more than one campaign in a hundred contains a big idea. I am supposed to be one of the more fertile inventors of big ideas, but in my long career as a copywriter I have not had more than twenty, if that.”

David Ogilvy “The advertisement may have said five, ten or fifteen things, but the consumer will tend to pick out just one, or else, in a fumbling, confused way, he tries to fuse them together into a concept of his own.”

Rosser Reeves

“All patterns of creative activity are trivalent: they can enter the service of humor, discovery or art.”

“Demonstrations don’t have to be dull. To demonstrate how strong paper-board can be, International Paper spanned a canyon with a bridge made of paper-board – and then drove a car over it.”

David Ogilvy (From a speech delivered at a professional conference) “Everything we have done today has been in the language of words.

And our market out there for most of the products that most of us sell involves talking to people for whom words are really going out of style.”

William M. Backer

“A look or a take from an actor or actress can often register consumer satisfaction better than words can.”

Alvin Hampel

“I now know that in television you must make your pictures tell the story. Try running your commercial with the sound turned off; if it doesn’t sell without sound, it is useless.”

David Ogilvy “We start with people.”

Alfred Politz But for me, still the most astounding quotation – indeed, the quotable David Ogilvy could not help quoting him – is still that of Lord Leverhulme, an advertising client: “Half the money I spent on advertising is wasted, and the trouble is I don’t know which half.”

CID REYES recently retired from Ace Saatchi & Saatchi.

The Creative Guild of the Philippines honored him with a Lifetime Achievement Award. He is now publisher of Larawan Books, specializing in coffee table books. november-december 08

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privateview

cents and values

Activation in Full Bloom

W

by Nanette Franco-Diyco

ith traditional media costs continuing to rise even in these difficult economic times, activation and special events have become a principal marketing tool. Even among big brands, advertising budgets are apparently beginning to favor more and more activation and special events. Hence, even for globally aligned multinational accounts, we now regularly hear of pitches among many agencies competing for special projects, special events and activation.

The rule being applied is that the alignment which exclusivizes agency work for global agencies apparently applies only to thematic campaigns. Anything outside thematic is fair game. Potential new business abounds, even for the newest agencies worthy to be invited to pitch for non-thematic work by a client-company.

I distinctly remember Unilever’s Dean Aragon searching high and low for a group to do something extraordinary for his big brand Rexona.

This was some five years ago, when activation was simply described as special events normally handled by public relations firms. At that time, Dean specifically said he wanted more excitement than the normal PR

D

uring tough times, awareness (as a result of consistent communication) is an imperative. If we assume therefore that an economic crisis looms, we must examine our place in the industry with jaundiced eyes, and see how our corporate or brand positioning will be affected. This brings up the appropriateness of doing advertising at this time. Is it the wise thing to do? Would it be prudent to take a breather, until the downturn is arrested and the economy bounces back?

Recent Manila visitor Miles Young, the incoming Global Chief of Ogilvy, shared an upbeat stance on advertising. Given the US slump, he expects several businesses to go slow on their marketing communications, but warned it would be extremely shortsighted for any company to simply ditch advertising. To abandon a communications tool can be a case of marketing myopia. Reasonable spending must be pushed; irrefutable evidence shows that simply dumping advertising is not a good strategy. “A company should consider its competitors’ share of voice or share of ink as basis for determining its communication investment,” he declared.

Surprisingly, when the economy slows down, it pays to keep communicating. Studies cited in the American Association of Advertising Agencies’ (AAAA) booklet show that companies which maintain or increase ad spending emerge from a downturn ahead of their competition. That gain, measured in sales, net income or market share, continues to grow in the years following the tough days.

In the 1981-1982 US recession, McGrawHill evaluated the performance of 600 industrial companies. The study revealed that firms which maintained or increased advertising expenditures during tough times grew their sales 275% from 1989-1985, vs. a measly 19% sales growth for those that cut their ad spending.

Another 1990 study examined 339 consumer businesses to determine the relationship between advertising investment and market share during a recession. It found out that companies which aggressively increased their ad spending (by 20%-100%) gained 0.9% share of the market. Those that moderately increased adspend (by 1%-19%), generated an average of 0.5%, while those that reduced adspend gained 0.2%.

These studies are among the many that debunk at least two dan-

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activities. And thus, he got Claire Drueco Lopez out of retirement. Soon after, activation as we see it today, was formally born.

Slowly but surely – activation companies were created by ad agencies as sister companies or special divisions. These new creations were an aggressive bunch, dreaming up exciting projects to recommend to the agency clientele. And because most of the strategists, creative and account teams came from mainstream advertising, activation projects trumpeted a selling efficiency that seemed to have more potency and pizzazz.

Let’s look at the ever-going activations of Adidas among the youth. It‘s almost by instinct that in the workplace, you come up with activities for your client that can make use of activities involving the school you come from.

TBWA\Santiago Mangada Puno and its activation company Tequila truly excelled in this.

This is their tale: “As early as November 2007, Adidas Philippines had already given TBWA a heads-up that they were in talks with De La Salle University, for a three-year teamwear and fanwear contract, allowing the multinational to be the only company to produce DLSUbranded merchandise.

In January 2008, Adidas and DLSU sign a three-year partnership contract, bringing together storied archrivals Ateneo De Manila University (partners with Adidas since 2003) and DLSU under the Adidas fold.

Conceptualization of the ADMU-DLSU campaign began in early January 2008. It was an extension of the global “Basketball is a

logic and magic When the going gets tough, the tough keep advertising

by Bong Osorio "It takes four to six months to see the results of an advertising program. Cutting back during a downturn is like throwing away precious investment.

Maintenance today costs much less than rebuilding tomorrow."

gerous assumptions. One, that customers spend less when money is tight, and therefore budgets allotted for advertising are wasted; and two, that it is safe to reduce, or worse yet eliminate, the advertising investment if competition is reducing or canceling theirs.

Can advertisers expect an immediate increase in ROI as a reward for their advertising aggressiveness? Not always. But capturing market share from their more timid, risk-averse competition is very likely. It provides an opportunity to dominate the market.

The desired increase in share is expected to pay out in greater profitability over the long term, as a result of the cumulative familiarity the target markets have developed with a company or a brand.

As Robert Wilson of the Newspaper Association of America says, “Maintaining brand recognition must be considered an on-going business investment. The moment it stops, it begins to lose power immediately, and future sales are in jeopardy. Studies have shown that it takes four

Adidas was lucky that the final two competing for the championship have students, alumni and alumnae who realistically belong to its core target market.

Brotherhood” campaign, by 180\TBWA, USA. TBWA\SMP and TEQUILA\Manila came up with a full force of account and creative teams coming from both so-called elite schools.

Heading the ADMU concept team was TBWA’s Atenean creative director Badong Abesamis, while leading the DLSU concept team was TEQUILA’s Lasallian executive creative director Marci Reyes. Overseeing the project on the account side was Atenean account supervisor Nate Dy-Liacco, ably assisted by Lasallian account manager Rich Sarinas.

Upon approval by local client, TBWA\SMP sent the campaign to the TBWA\Asia Pacific headquarters in Hong Kong, where the Adidas Asia Pacific account is being run from, for regional approval. It was approved in record time – one week.

The campaign formally started in early May 2008, at DLSU’s LPEP (freshman orientation), with three green banners hanging from the main St. La Salle building, greeting this year’s batch of La Salle freshmen with the last three words of the DLSU hymn, “Hail! Hail! Hail!”

When it was ADMU’s turn to open its doors in early June, adidasADMU co-branded banners featuring various Ateneo personalities – Theology professor Fr. Dacanay, Blue Eagle alumni and 2002 champions Enrico Villanueva and LA Tenorio, the dad of current Blue Eagle Kirk Long, Ateneo college girls, Ateneo grade school boys – lined up Fr. Masterson Road, hinting at an even bigger campaign once the UAAP season rolls out in early July.

All the while, life-size murals of the DLSU players appeared overnight on the wall of DLSU’s covered football field walkway parallel to Taft Avenue, and on the pillars of the Enrique Razon Sports Center.

Back to Katipunan, 15-foot tall standees of all 16 Blue Eagles sprouted on the portion of Fr. Masterson Road fronting the fabled Blue Eagle Gym. This was the first thing anyone who entered ADMU’s Gate 2 would see.

This marked the commencement of the annual basketball hostilities.

to six months to see the results of an advertising program. Cutting back during a downturn is like throwing away precious investment. Maintenance today costs much less than rebuilding tomorrow.”

So what does this mean for marketing communicators and advertisers today? What else can you do during tough times to keep your businesses afloat?

Put your ears to the ground and listen.

What do customers care about right now? What do they want to know? Stay in touch with target market mindset through regular research. You should be more consumer-centric than ever, since tough times can give birth to a new language that reflects a new psyche. While advertising is measured as a business, it is built on psychology and lifestyle. Thus, you need to stay close to stay relevant.

Focus on “As If” planning instead of “What If.” As Carolyn Carter of Grey Worldwide opines, “The tendency to meet hard times with “What If” or worst-case scenario planning has a real downside.—when the worst case becomes the objective, it can become a self-fulfilling prophecy as well. You need “As If” planning---not failing to recognize that the situation has changed, but planning as if long-term success is still the real objective, as if the basic opportunity for the brand is still there—but the way to seize the opportunity may have changed.”

Soon, the fight was brought outside the two campuses and into the neutral open. A billboard was put up in EdsaAnnapolis, print placements were made, and every Adidas store joined, with point-of-sale materials supporting the major product line launch.

During the season, ADMU and DLSU emerged to be the #1 and #2 teams in the men’s basketball standings, further giving credence to the already strong campaign.

In late August, as the elimination rounds were drawing to a close, Adidas brought both teams to the flagship store in Trinoma, where crowds met them for autographs and some “meet and greet”.

Of course, in mid-September, the Blue Eagles and the Green Archers sent their respective Final Four opponents home, arranging a repeat of the 2002 Finals.

In the finals, ADMU dismissed DLSU in a 2-0 sweep, completing a 4-0 sweep of the Archers this season.”

I cannot talk of juicy profits for Adidas immediately emanating from this particular activation. But I can personally vouch for fantastic brand recall and tremendous goodwill all around before, during and way after this basketball season.

I said it before; I’ll say it again. Adidas was lucky that the final two competing for the championship have students, alumni and alumnae who realistically belong to its core target market. TBWA’s dual force of ex-La Sallites and ex-Ateneans, I am certain, smoothly paved the way for softening the hearts of university officials to understand and approve of such non-conventional advertising.

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 BusinessWorld and a bi-monthly marketing column in Food & Beverage World Magazine.

Sharpen your prospecting skills.

The problem with a steady flow of economy-driven business is that you slow down your prospecting efforts. You become complacent. When business comes marching through the door, you slacken and avoid going out to generate more. You lift your ear from the track and take your finger off the market pulse. When business takes a downward spiral, you look around, confused and dismayed.

Have faith in the fundamentals of the business of advertising—they have not changed.

Focus and efficiency are the fuel to make you move. You should do more with less, and do what makes a difference. You need to come face to face with your consumers. Integrated marketing communication programming is basic. Expect relationship marketing, publicity, activation, branded entertainment, events sponsorship, and other below-the-line activities to grow. These can be the new tools that can buoy your brand up.

And lastly, keep communicating.

Your consumers want to hear from you. They want to know that you care about things that are important to them. This is the time to strengthen your current relationships, to make new ones, and step into the silence left by your competition.

Overall, you don’t want to run and hide when the going gets tough, but you don’t want to be overextended either. The trick is to implement a holding pattern until you know which way the situation is going to turn.

Those who cut back too fast and too far can be caught off guard by a sudden turnaround. But if the slowdown worsens, those in holding mode should be able to adjust very quickly as well.

Shake off the cobwebs and buckle down to work.

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. november-december 08

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marketmentor

Marketing Filipino Brands Overseas

L

by Willy Arcilla ocal companies seeking to venture overseas via exports or direct investments, BPO or tourism can opt for different strategies to position themselves in the global arena.

“Grown & Made, Born & Trained in the Philippines” Should you leverage the country as an origin? Yes, if the Philippines already enjoys a strong favorable image among prospective consumers as an excellent source of one’s product or service. Indeed, those already engaged in such industries should maximize their Philippine origins to further reinforce the country’s uniqueness and superiority, and at the same time, discourage encroachment by other countries onto their turf.

This can be applied on a wide range of products: from agriculture (e.g., carabao mangoes, Bukidnon pineapples and Davao bananas, Zamboanga sardines and GenSan tuna) to tropical furniture (rattan and bamboo used by Kenneth Cobonpue); from light manufacturing (giftware and household décor) to electronics sub-assembly. In services, we are renowned globally for a highly-skilled and Englishproficient labor force (nurses, seamen, construction workers, teachers and domestic helpers), and increasingly, information technology, accounting, marketing and advertising. Being naturally sensitive, polite and service-oriented, Filipinos are increasingly gaining a competitive advantage vs. pioneer India for customer interaction centers in the BPO (O&O) sector. Filipino musicians and singers liven up bars, pubs and star-rated hotels from Japan to Jakarta, from China to Cambodia. Philippine tourism promotes the image of a tropical paradise with powdery white sand beaches and crystal clear waters. Where else can one find a land as beautiful as its people; and a people as warm as its climate? Only here.

“Think Foreign, Act Foreign” Where origin is irrelevant to the target market, or the Philippines as a source does not add value to the brand, or may even be a handicap vis-à-vis existing competition, companies can opt to keep silent about the source.

This has been successful for companies like Liwayway Marketing, makers of O-ishi snacks. Not many Filipinos know that O-ishi is the leading snack brand in the world’s largest consumer market, China, where O-ishi is outselling Lay’s, the world’s leading snack brand. In China however, O-ishi is not actively marketed as a Philippine brand. In fact, the perception of most Chinese is that it must be Japanese in origin given that the name means “delicious” in Nippongo. In Thailand, few people know the leading biscuit manufacturer is the Philippine-based URC. Even in Vietnam, URC’s C2 RTD Tea uses the same formulation as it does here, but it is advertised as using the finest tea leaves from the highlands of Thai Nguyen, renowned as the best source of Vietnamese green tea. ICTSI, an emerging global leader in the management of container ports and terminals with operations in Asia, Europe and South America, is not marketed as a Filipino entity, while Unilab products enjoy market leadership across Southeast Asia as Medipharma.

This tact has served other global brands well. People still mistake

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Heineken as German. Philadelphia Cream Cheese is made in Chester, New York while Scandinavian-sounding Haagen Dazs premium ice cream is also made in the Big Apple. Giordano and Bossini are Hong Kong brands that evoke Italian imagery. Closer to home, Figaro is Italian but 100% Filipino, serving up barako (liberica) beans and supporting Cavite coffee farmers. Novellino is an Italian brand of sweet and semidry wines but 100% Filipino ingenuity.

Local Name, Global Fame It is gratifying to observe the overseas expansion of local Filipino brands — even with foreign names such as Bench and Penshoppe, Plains & Prints, and Folded & Hung. But it would be even more inspiring to see local names achieve global fame, as Japanese brandnames Toyota and Honda and Korean brand names like Samsung and Hyundai have done. Indeed, this very magazine is a sterling example of what a Pinoy name can achieve as it continues to grow in relevance and circulation around Asia.

Since everything begins and ends with the consumer, Filipino marketers must choose one or ther other: the foreign mainstream market or overseas Filipinos.

More than a Filipino Beer, the Filipino Way of Life Since the Philippines does not enjoy any superiority in brewing heritage vs. global beer brands from Europe or America and “all beers taste the same”, it is challenging to position San Miguel in foreign markets. Instead of promoting San Miguel as just another beer, perhaps we should promote the country, its people and the Filipino “way-of-life”.

Showcase the people’s positive values (hard-working yet fun-loving, witty and humorous), great attitude (cheerful and optimistic, resilient and high-spirited) and even quirks (demo-crazy freedom-lovers and karaoke experts). Advertising can also showcase the idyllic lifestyle of a tropical paradise blessed with 7,100 islands, each one glistening with white beaches and azure waters. We can even tap into the talent of thousands of Filipino bands worldwide that regale their upscale audiences at the perfect consumption location and occasion for beer drinking – bars and pubs and luxury hotels.

This borrows a leaf from the successful internationalization strategy adopted by Foster’s, which promoted itself as “Australian for Beer”, even if the leading beer in Australia continues to be Victoria Bitter. Corona glamorized the “manana” attitude of laid-back Mexicans on the beach, while Malaysia’s Tiger Beer created a cult following among British beer lovers via imagery of exotic oriental women with tiger-like qualities.

Fastfood — Western, Local or Filipino?

Instead of trying to outsell McDonald’s in hamburgers and KFC in chicken, it may be advisable for Jollibee to adapt the strategy it used against McDonald’s in the Philippines, i.e., coming up with local cuisine or fastfood dishes customized to the local tastes and preferences of its mainstream overseas markets.

For instance, in Jakarta, Chickenjoy can be cooked as “Ayam Goreng Mentega” or as “Ga Ta” roast chicken in Ho Chi Minh, thereby positioning itself as the local fastfood brand in every market it operates, instead of trying to sell “western fastfood in eastern shores”. Even McDonald’s has applied this strategy in some markets with the McRice Burger or the Maharajah in India. Alternatively, they can try introducing Filipino fare like Chicken Adobo, Kare-Kare, Lechon, Chicken Barbecue, Boneless Bangus, Pinakbet, Bicol Express, Laing, Bibingka, Halo-Halo, and promote a “Taste of the Philippines” in the same way that food from Asian countries has made inroads into the mainstream markets – Japanese – Korean – Chinese – Indonesian – Malaysian – Singaporean – Indian, Thai cuisine and Vietnamese. Interestingly, there is no Asian fastfood company that is promoting mainly western cuisine other than Jollibee. Further, the company can test the acceptance and appeal of other brands in their portfolio – Delifrance (French bakery and café), Greenwich (Italian pizza and pasta), Chowking (Oriental cuisine), and Red Ribbon (cakes and pastries).

Forex Rate – our Most Potent Weapon Arguably the single most potent weapon to enable Filipino brands to market effectively overseas is a competitive exchange rate that favors Philippine exports of goods and services. An export-driven strategy was a key factor for success of all Asian countries whose economies underwent a miraculous transformation in the latter half of the 20th century – Japan, Taiwan, Korea, Singapore, Malaysia, Thailand, China and now even Vietnam. Sadly, our country has suffered from wrong economic policies beginning with the historic Bell Trade Act of 1946 that pegged the Peso to the US Dollar at 2:1, thereby encouraging importation of US goods while discouraging the establishment of local industries.

Consequently, we have been forced to export our very own talents – OFWs, a short-term boon but long-term bane due to the severe brain drain from the local economy.

Mainstream global market or 10 Million OFWs? Since everything begins and ends with the consumer, Filipino marketers must choose one or ther other: the foreign mainstream market or overseas Filipinos. For example, Century Tuna is the clear favorite among OFWs in the Middle East, but locals do not automatically embrace it – perhaps because of perceptions that Century is suitable only for Filipinos and not locals, unless specific communications are targeted at attracting mainstream Arab consumers. At the recent Beijing Olympics however, Century won its own gold medal for having been served to and savored by 10,000 athletes. On the other hand, local banks and real estate companies rightfully focus on OFWs to attract their remittances for real estate investments, since foreigners in the mainstream are not allowed to own land anyway.

Filipino companies seeking to venture overseas using wellentrenched brands like San Miguel Beer and Jollibee, Century Tuna and Splash ought to focus on the mainstream markets: (1) Because there are 6 billion people on the planet vs. 10 million OFWs and (2), OFWs will patronize local brands anyway because of their affiliation. Coca-Cola is not marketed only to overseas Americans, nor is Toyota sold only to overseas Japanese. Corona is not just for Hispanics in the USA nor is Samsung only for Korean expatriates.

So what can the rest of us do to help local Filipino firms win in a global market? Make Filipino. Grow Filipino. Build Filipino. Market Filipino. And of course, Buy Filipino.

WILLY ARCILL A is President of Business Mentors, Inc., a management consultancy firm, and Regional Director of ZMG Ward Howell, Inc., a leading provider of human capital solutions.

He has had a 25 year career throughout the Asia-Pacific.

adalike

Super Lock Food Containers "Squid/Fish/Cockle" Print Ads McCann Erickson, Bangkok, Thailand 2008

Drixine "Cat/Flower" Posters DM9 JaymeSyfu 2008 november-december 08

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Merry Christmas and a Happy New Year

The No. 1 out-of-home audiovisual advertising network in the Philippines

FocusMedia Audiovisuals Inc.

Units 151-152, The Columbia Tower, Ortigas Avenue, Mandaluyong City • 722-7722 • 7244495 to 97 www.focusmedia.com.ph

CREATIVE SHOWCASE \ REGIONAL

Ad Title: Right Guard Deodorant "Bar", "Elevator", "Bus-Stop" / Agency: Leo Burnett Singapore / Advertiser: Beauty Factors Marketing / Creative Directors: Victor Ng, Jon Loke / Art Directors: Victor Ng, Jon Loke / Copywriters: Victor Ng, Jon Loke / Photographer: Eric Seow (Beacon Pictures) / Photo Retoucher: Lay Leng (Procolor) Production manager: Ace Tan

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CREATIVE SHOWCASE \ REGIONAL

Ad Title: "April", "Kees" / Agency: Saatchi Singapore / Advertiser: Inlingua / Executive Creative Directors: Andy Greenaway, Joel Clement / Art Director: Joel Clement, Kittitat Larppitakpong / Copywriter: Joel Clement Photograph: Jason Ness / Retouch: Stit Naikeat

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CREATIVE SHOWCASE \ REGIONAL

Ad title "Homeday", "Homenight", "Officeday" / Agency: BBDO Singapore / Advertiser: Pizza Hut Delivery / Creative Director: Juggi Ramakrishnan Art Director: Ivan Hady Wibowo / Copywriter: Sridhar Gopalratnam / Photographer: Derek Lim / Print Proudction & Digital Imaging: Procolor

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CREATIVE SHOWCASE \ REGIONAL

Ad Title: “Webbed Finger ” / Agency: Ogilvy Jakarta, Indonesia / Advertiser: PT Modern International / Creative Director: Gary Caulfield, Glenn Alexander, Yuwono Widodo, Leonardus Bramantya / Art Directors: Vito Winarko, Nicholas Kosasih, Darma Adhitia, Leonardus Bramantya / Copywriters: Ratna Puspita, Ken Priyahita, Glenn Alexander / Photographer: Heru Sur yoko, Leonardus Bramantya / Print Production, Digital Imaging: Heru Sur yoko

Ad Title: "Water World" / Agency: Jeh United, Bangkok / Client: Sylvania / Executive Creative Director: Jureeporn Thaidumrong / Creative Director: Jureeporn Thaidumrong / Copywriters: Jureeporn Thaidumrong, Vilaiwan Boonyhu, Showtika Somjid / Art Directors: Nittha Pruksacholavit / Production Company: Tongta, Bangkok Director: Rong Soralamp

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CREATIVE SHOWCASE \ REGIONAL

Ad Title: "Cleaning", "Shopping" / Agency: JWT Singapore / Advertiser: Bayer (SEA) Pte Ltd / Regional Executive Creative Director: Tay Guan Hin Executive Creative Director: Ali Shabaz / Copywriter: Joseph Cheong / Art Director: Mikkel Kroijer / Photographer: Jonathan Tay Digital Imaging: Evan Lim, Magic Cube

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CREATIVE SHOWCASE \ REGIONAL

Ad title: "Generous Donations", "Not Below" / Advertiser: Lua Viet Tours (Cu Chi Tunnels Museum Tours) / Agency: Saatchi & Saatchi Vietnam / Creative Director: Steve Hough, Andy Greenaway / Art Directors: Joel Clement, Linda Pham, Sumesh Peringeth / Copywriters: Steve Hough, Chi Minh De Leo / Photographer: Pier Laurenza, Teo Studio / Photographic Studio: The Vietnam Archieve (Texas Tech University) Corbis / Digital Imaging: Tran Thanh Truc

Absolut Vodka “Absolut Lovestory” Short Film / Agency: TBWA Vietnam / Advertiser: Absolut Vodka / Creative Director: Birger Linke Art Director: Apol Sta. Maria / Copywriter: Apol Sta. Maria

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CREATIVE SHOWCASE \ REGIONAL

Ad Title: “Headhunter Business Card” / Agency: Ogilvy Jakarta, Indonesia Advertiser: Headhunter / Creative Director: Glenn Alexander Art Directors: Leonardus Bramantya, Nicholas Kosasih, Darma Adhitia, Vito Winarko / Copywriters: Glenn Alexander, Ratna Puspita / Print Production/DI: -

To promote the screening of Knocked Up on SKY Movies, DDB New Zealand collected thousands of tadpoles and converted an Eyelite into a fish tank. They then created a model of an unfertilized egg, full of fish food that the tadpoles were attracted to.

Ad Title: "Tadpoles" / Agency: DDB New Zealand / Advertiser: Knocked Up / Executive Creative Director: Toby Talbot / Copywriter: Christie Cooper Art Director: James Conner / Group Account Director – Rose Thompson / Account Director – Danielle Richards / Account Executive – Brad Armstrong Production Manager: Andy Robilliard / Special Build Manufacturers: ThreeSixty

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CREATIVE SHOWCASE \ REGIONAL

By writing thousands of letters of protest every year, Amnesty International Malaysia has played a role in freeing dozens of political prisoners. But really, it's just a drop in the ocean.

There are still dozens more being wrongfully imprisoned for their opinions. To find how you can help, log on to www.aimalaysia.org to become a freedom writer.

Ad title: "Fountainpen" / Agency: Saatchi & Saatchi Malaysia / Advertisers: Amnesty International Malaysia, Write for Freedom Executive Creative Director: Adrian Miller / Art Directors: Gigi Lee, Jasphene Chew / Copy: Primus Nair / Illustration: Gigi Lee, Jasphene Chew

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CREATIVE SHOWCASE \ REGIONAL

Brief: To launch a new women's website network - Flossie.com.

The site helps women of all ages get in touch with everything they need or want, from a huge range of partner sites.

Ad title: Flossie.com "Man Vending Machine" / Agency: TBWA\Whybin New Zealand / Advertiser: Jenene Freer, Flossie.com / Creative Directors: Andy Blood, Guy Roberts / Creatives: Jessica Neale, Amy Thexton. / Type& Design: Charl Laubscher, Lauren Marriott / Production: 360 Design / Account Management: David Wilson

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Solution: We developed a campaign line "Whatever you need, it's on us." To show that Flossie.com has something for every woman, we created a Man Vending Machine - the world's first. it's an actual working vending machine, adapted to dispense real live single men on a busy inner city street.

Women got to pick what kind of man they liked - rich, action man, romantic, foreign or classic - press the button, and to their surprise, a genuinely single man emerged from inside the vending machine in a puff of smoke. If the woman was up for it, he whisked her away on a date.

If women pressed Mr. Perfect, they collected a vibrator instead.

It was supported with viral footage of the auditions for the men inside and the stunt itself, and got word of mouth via Flossie.com and its partner sites.

The men were snapped up in just over half an hour, and 200 vibrators found loving new homes.

Because whatever you need, it's on us - even men.

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BANG FOR THE BUCK

a glass and a half of success

Sweet-but-stodgy Cadbury UK embraces gorilla marketing BRAND: CADBURY DAIRY MILK With a glass and a half of full cream milk in every 250g bar THE CHALLENGE The UK is Cadbury’s biggest confectionery market. The company leads the chocolate market, with a share of 31.3 percent by end-2007, ahead of privately-owned Mars and Nestle.

While secure and well-regarded, however, the Cadbury U.K. brand was starting to lose its luster.

Fallon London, who was assigned the Cadbury brand early in 2007 , said, “The client wanted the brand to be loved. I mean, people knew what Cadbury was about and all that, but it needed to win people’s hearts. A nice brief, but a really hard one.”

THE OBJECTIVE Cadbury - “All advertisements will aim to make people smile and offer enjoy-ment, the same enjoyment that hopefully people get from eating a bar of Cadbury’s Dairy Milk.”

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From this almost generic brief emerged an advertisement that is anything but.

THE IDEA Fallon London conceived an unpredictable and emotional route to consumers’ hearts, one that delivered maximum entertainment as well as the excruciatingly functional “a glassand-a-half-of-milk” platform.

The route? 90 seconds of an actor in a gorilla suit, playing the drums to a hokey Phil Collins song. Repeat: Phil Collins.

Lee Rolston, head of marketing for Cadbury Dairy Milk, said: “The campaign represents a real gear shift for the brand, not only in the level of expenditure— the highest for any Cadbury chocolate bar for five years—but in the level of creativity.”

THE EXECUTION The spot was written and directed by Juan Cabral, creative director of Fallon London, who

AWARDS Black Pencil and Yellow Pencils D&AD Awards 2008 Grand Prix Cannes Film Lions 2008 Gold Clio 2008 Bronze Pencil One Show 2008 Gold British Television Advertising Awards 2008 Gold Internationals ANDY Awards 2008 FAB Award 2008 Epica d’Or Film 207 Gold Advertising Creative Circle Awards 2008 Grand Cristal Festival de la Publicite de Meribel Creativity Award Winner 2008

Case Studies of Effective Creativity The campaign lit up YouTube almost instantly, with nearly 500,000 views in the week after its release. It has since broken all records for downloads, with more than 600 postings and about 10 million viewings. was also behind the multi-awarded Sony Bravia ‘Balls’.

The film begins with the first bars of ‘In the Air Tonight’ as the camera slowly pans to reveal a gorilla sitting at a drum kit. As the music slowly builds, the gorilla starts to drum in perfect time, reaching near orgasmic heights by the end of the resurrected ‘80s classic. The spot ends with a shot of Cadbury milk being poured into a chocolate bar, and the line “A glass and a half full of joy” pops in.

The TV spot debuted in the UK during the ‘Big Brother’ finale in August 2007. “Gorilla” is the first execution from A Glass and a Half Full Productions, a platform created by Cadbury to showcase “exceptional pieces of entertainment”.

With total spend of about . £6.2m from Cadbury UK, the campaign includes outdoor, print,

a digital campaign from Hyper, PR support from Sputnik Communications and sponsorships.

RESULTS Beyond belief. The campaign lit up YouTube almost instantly, with nearly 500,000 views in the week after its release. It has since broken all records for downloads, with more than 600 postings and about 10 million viewings.

That doesn’t even count several excellent spoofs and remixes, including a controversial one for Wonderbra.

All for just the cost of production and one admittedly premium TV placement.

Speaking on the campaign at the World Effie in Singapore in 2008, Fallon’s strategic planner said, “It ran as a TV commercial, and almost immediately it became the most viewed UK TV commercial on YouTube! Over a million hits, 100 spoofs. Seventy Facebook groups say that it is ”the best commercial”. Even better, all this viral distribution is free – and each report of its success brings even more free exposure.

It was also reported that, in the space of a fortnight, 58,000 households took time out of their busy days to watch a long-form version of the ad using their red button (TIVO). Meaning, they could have skipped it but they didn’t. “Gorilla” had crossed over

from advertising to entertainment.

The campaign helped Cadbury’s chocolate sales grow by 7 percent in 2007—. 30% above the industry average of 5.2%,

and Cadbury’s highest level of underlying sales growth for well over a decade.

A company spokeswoman said: “The advert has been a huge success and it has positively affected sales of this product.

But there is more to come next year. All advertisements will aim to make people smile and offer enjoyment, the same enjoyment that hopefully people get from eating a bar of Cadbury’s Dairy Milk.”

There was even a happy spinoff for Phil Collins. After “Gorilla” aired, his 1981 hit reached no 9 in the UK download chart.

Of course, into each glass of milk a few crumbs must fall.

Fallon has since released its follow-up “Trucks”, set to a Queen song. Reviews have been mixed, largely due to the gorilla-sized expectations that have been set.

CREDITS Agency: Fallon London Client: Cadbury Dairy Milk Ad Title: “Gorilla” TV Creative Director: Juan Cabral Copywriter: Juan Cabral Art Director: Juan Cabral Productions Company: Blink Productions, London Director: Juan Cabral Agency Producer: Nicky Barnes Producer: Matthew Fone Cinematographer: Daniel Bronks Editor: Joe Guest Sound Design: Wave, London Costume Design: Stan Winston Studio Account Executive: Nicky Barnes

Roy Awards poster

Wonderbra spoof

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Junie Reyes, Carl Clemente, Tanya Blay Nicole Paman, Tats Paman, Raul Blay

Tami Acena, Lianne Salcedo, Lady San Pedro

Jeff Tuason of AstroJuan Uela Basco of Chillitees

Rainier Pengson Raul Blay

Zap Launch Bogey Bernardo & Sherie Chua of Pasok Mga Buwitre

Maan dela Cruz, Marijo Clauor, Gary Gardoce Tricia Jara, Ruel Yap Ranier with the adobo team

September 26, 2008 Top Shelf Fully Booked, Bonifacio High Street

Michelle and Joel Alagao

Director Dindo Angeles Jo Solano, Pam Pajarillo

Gino Roberto, Tami Acena, Derek Ileto, Lianne Salcedo, Jasper Cosico

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LIKING OF ADS

Key Descriptors

Like

Not like

Can’t Recall

Net Liking

PALMOLIVE SHAMPOO & CONDITIONER

KC: “Softness… irresistable- Palmolive Naturals Intensive Moisture blends 100% coco cream and milk proteins..../ Tagline: Feel the touch of softer hair.

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COLGATE TOOTHPASTE

Colgate Fresh Confidence Next Star- Alfoncy: “Sabayan nyo ako sa fresh experience ko, ang Colgate Fresh Confidence ...(Background song: “Akin ka na lang, akin ka na lang, iingatan ko ang puso mo)

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NESCAFE COFFEE

Description: Lovers running in the rain (Background song: A cup in hand, you know it’s worth your while. .. Let minutes turn to moments... Let’s sit and stay a while, one moment, one Nescafe.)

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COKE

Copyline: Buhay Nanay/ Tagline: Pasarapin ang buhay with Coke./ Copyline: Beijing Olympics

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CLEAR ANTI-DANDRUFF SHAMPOO

V.O.: “It’s time to join the 10 million Filipinos who’ve zeroed in on dandruff” Bea: “It’s time to change things”. John Lloyd: “It’s time to move on”. Piolo: “It’s time for Clear”. V.O: “Only Clear has Zinc Vitanol proven to make dandruff go away and stay away”. Piolo: “Millions are now discovering a future without Dandruff”. John Lloyd: “Gagamit ka pa ba ng napaglipasan na?” Piolo: “The future is CLEAR”.

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CREAM SILK CONDITIONERS

Toni Gonzaga: “Shinampoo mo lang? Puede kang sumabit. Dare to see the Creamsilk difference. Take the Creamsilk Hair Dare.

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NIDO FULL CREAM POWDERED MILK

Song: Look at me mom, shining like the sun. Bright as the day, you’re my number one. And there’s no treasure that I will cherish like you. And when I smile, they all see you glow. And they all know, you’re my number one- my one and only joy is to give you my love. My one love for you I give through and through.

I see you in the signs that bring joy that all the world can see so clearly. Look at me mom, shining like the sun. Bright as the day, you’re my number one.

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PALMOLIVE SOAPS

Heart Evangelista: “I look white, I stay white.”

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HEAD & SHOULDERS A NTI-DA NDRUFF SHA MPOO

Richard Guttierez: “Ano’ng nasa isip ko? Hmmm… Dahil hindi ko iniisip ang dandruff. Thanks to Head & Shoulders, tinatanggal na ang dandruff and stops it from coming back. So go on, be free to think of anything. With Head & Shoulders, stop dandruff from coming back”.

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TA NG POWDERED JUICES

Tagline: 100% Natural Fruit Flavor/ Kain na

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K NORR CUBES

Working Mom: “Suki, pabili naman ng isang kilong karne.” Vendor: “Ay naku suki, nagtaas na naman nitong araw lang, lahat yata ng bilihin ngayon pataas ng pataas.” Working Mom: “Sige, kalahating kilo na lang. Salamat.”

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AJINOMOTO MIXES

Endorser: Maricel Soriano/ Tagline: Do it all with Aji-Ginisa

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SOLMUX COUGH & COLD PREPAR ATIONS

Aga Muhlach: “Ok, explain ko na para tapos na. ‘Pag may ubo, madalas may plema. Puede mo’ng hayaan lang ‘yan kaso ang plema maaaring may bacteria, nakaka-grabe ng ubo, hindi biro yan. Kaya ang Solmux, may bacteria expel action, mine-melt ang plema para pagbuga kasama pati bacteria. Agapan ang ubo, piliin lagi Solmux. Tanggal plema, tanggal bacteria, ang gamot na may ibubuga.”

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L ACTUM

Endorsers: Jodi Sta.Maria, Claudine Barretto and Carmina Villaroel/ Tagline: 100% Nourished Kid

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MILO

Endorser: Miguel Molina/ Copyline: 32nd National Milo Marathon- Reasons to Run

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PA NTENE SHA MPOO & CONDITIONER

Endorser: Judy Anne and other women with the same name

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K NORR SOUPS

Tagline: Araw-arawin ang natural na soupstansiya.

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LUCK Y ME! NOODLES

Tagline: Sorry/ Most Honest Role- Sharon Cuneta/ Chant: Tayo na’t maglaro, tayo na’t maglaro sa Lucky Me! Pancit canton, pancit canton, pancit na puede maghapon, pancit na para sa lahat, mapapakembot sa sarap. Hmm-aa-hmm ang sarap…”

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9

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REXONA ROLL-ON DEODOR A NTS

V.O: If you are upside down, some things in life might run more smoothly.

Introducing Rexona’s new upside down roll-on. It’s revolutionary design means that it doesn’t dry out and it doesn’t get stuck. That’s why upside down’s the right way up.

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ULTR A DOW N Y FABRIC CONDITIONER

Tagline: Downy, isang banlaw

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18

5

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TUBETALK is part of AsiaBus, an omnibus survey of 1,000 adults from urban areas in Metro Manila. The fieldwork was conducted last September 12- 28, 2008 by Synovate and phd supplied the list of TV commercials for this survey

november-december 08

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Mad About

The State of Philippine Print Advertising Is the dead-tree medium dying as well? And what’s keeping us from winning our own Gold? In the wake of the first Philippine Tinta awards, adobo gets the skinny from publishers and creatives alike.

Print Advertising in the Philippines is going strong despite the global financial crisis. To show stability, banks are running big full page and spread ads, while real estate continue with their open house ads. As one developer clearly states” there is a need for aggressive advertising so that whenever the economy improves, our property will be the top of mind of would-be buyers”. Giant malls are sprouting everywhere, which means more SALE ads. Fast-moving consumer products are also slowly penetrating print, and thanks to melamine, milk products are being advertised more.

Broadsheets, tabloids and magazines are into experimentation, offering different creative executions such as special panoramic section, gatefold, scented ad, die-cut, tabs, post it, floating ads, white paper, false cover, belly wrap,

envelope, among others.

Unlike many years ago, the business and editorial groups of publications collaborate very closely now. The result is very profitable, with revenue-producing Lifestyle supplements and advertorials as well as tremendous goodwill to advertisers.

Print advertising is here to stay because the medium has a stable list of clients from telcos, real estate, malls and retail, automotive, banks, consumer durables, fast food chains, beauty and wellness services, airlines, insurance.

So, if you want to achieve the best results, go go go print.

Pepito R. Olarte VP – Advertising The Philippine Daily Inquirer Much of what could be said about Philippine Print advertising is unprintable.

But there are also lots of great ideas searching for an execution to do them justice.

Illustration and copy are our strongest areas of craft.

However photography, art direction and typography often let us down.

There are occasionally problems that come about through thinking that execution alone is a substitute for an idea.

Understandable when execution holds ideas back so often.

But only a great idea, well executed and relevant to the problem, will ever really create something of lasting value.

If clients start to see their competition getting free advertising and making news, maybe they’ll come back to their agencies and say, “I want some of that as well.”

John Merrifield Creative-At-Large TBWA\ Asia-Pacific

David Guerrero Chairman/Chief Creative Officer BBDO Guerrero

I like the emphasis on the creative use of the medium. There is so much to explore on print beyond just the flat surface.

Melvin Mangada Partner/Executive Creative Director TBWA\Santiago Mangada Puno

“The good thing is we know great print advertising when we see it. We drool. We gush.

And I believe we come up with very good print ideas. Unfortunately, that’s where it ends. We get all excited about the idea but forget the crafting. Getting the right layout, the ideal font and kerning, the perfect shadow play, the impeccable turn of a phrase, the smart choice of words – all these are sacrificed because somebody’s buzzing on YM or calling for

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merienda. Or the clock has struck 5. It’s like we think we can be world-class athletes without endless hours in the gym. Very few people – agency and clients -- take pains to do great print. Our consistent award winners are probono and house ads. That’s sad.”

Raoul Panes Executive Creative Director Leo Burnett Manila

The Print industry in the Philippines is alive and well!

Data from research firms reveal that the

print industry grew by almost 10% in 2007 in terms of overall ad spending. And this number is expected to rise in 2008. There has also been a noted increase in the number of publications in the market.

The United Print Media Group (UPMG), the umbrella organization of the leading publications in the country today, boasts a membership of 34 publication groups with over 150 titles.

In several meetings with our partners in the ad industry, it is without doubt that the print industry plays a major role in delivering the message to the consumers. In 2007, UPMG ran an ad campaign to show the power of print.

Among its messages was that national promos need to publish “print ads for details” as required by the Dept. of Trade and Industry (DTI).

The UPMG print ad campaign also

recognized the fact that today’s 360-degree consumer can still enjoy a publication to read while in the toilet, riding public transport, or even while enjoying the sun at the beach.

Special executions have been the trend.

Print ads are no longer limited to the sense of sight. There are print ads that you can smell, feel and store forever in a frame. We all know that a print ad has a longer shelf life; it’s more affordable and its impact can be measured.

All of these prove that advertising in print is still and will be a choice for clients and agencies especially at a time when the global economy is in crisis.

Ricky M. Alegre VP-Corporate Affairs Business Mirror

Print in general is competing against newer media platforms on a global level.

So, it's getting more difficult to create something fresh for this medium.

However, the rule of good print executions is still lacking in Manila.

Executions that convey the story in a convincing way.

From the way it is photographed to the way the images are cropped.

Small attention to details makes a big difference to the end result.

And that comes from discovering how you would like to present your ideas on a flat sheet of paper.

Since it's not interactive, perhaps finding new ways to express the same concepts could be worth exploring.

In the end, it's not what you put in but what others take out after they view your printed work that matters.

Tay Guan Hin Regional Executive Creative Director JWT Asia During my junior years, art directors learned the discipline and the graphic sense of print. There was typography discipline, and the visual communications in it. And you knew copywriting and the craft side was honed.

But now with the young guys there are a lot of choices -- interactive, ambient, TV, radio -- and you do not build the foundation and have the chance to master print.

I was told by my mentor years back that the print medium was the most difficult. You have a sheet of white paper facing you every day, and to fill it up with ideas is really tough, it’s not like a storyboard. But it is the basic form of advertising and is very important. I do not believe it is a dying medium. We should push to do more good print ads to uplift the medium.

Merlee Jayme Partner/Chief Creative Officer DM9 JaymeSyfu

Dave Ferrer Executive Creative Director JWT Manila

The ideas that I have seen in print [here] are so strong, as strong as in other markets in Asia. But the problem is we are not investing in it. Agencies aren’t, clients aren’t. There need to be good partner relationships, strong enough to execute work really well. We should execute our work over many weeks instead of one or two days, but that is one reality of communicating in the modern world. We don’t have the luxury of time.

Steve Clay Executive Creative Director Lowe Philippines

I do not remember one ad I’ve seen in the papers in the past three days. We need to incentivize greatness.

Publishers can submit their top 20 ads every month; a small committee can choose the best one, which will get free space 2-3 times a month. Put it on a pedestal, not once a year at the Tintas but every month. Reward the clients. If clients start to see their competition getting free advertising and making news, maybe they’ll come back to their agencies and say, “I want some of that as well.”

You cannot look at a print ad with craft alone, or at an idea in isolation.

I think you always have to consume it the same way other people would. Any ad that attracts my attention makes me feel and gets me to move. Of course all the technicalities -- the craft, the photography, the art direction, the copywriting -- contribute initially. It’s always hard to ignore when something moves you. That always get your attention.

John Merrifield Creative-At-Large TBWA/Asia-Pacific

Raul Castro Chief Creative Officer McCann Worldgroup november-december 08

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CLASSIFIED ADS 1196 Pablo Ocampo Ext., cor. Zapote St., Makati City Phone: (632) 896 2023 (632) 896 2049 Fax: (632) 895 5134 marketing@unitel.ph Contact Person: Maricel Royo

We are looking for: EDITORIAL ASSISTANT Familiar with the advertising beat.

post production

Email resume at editorial@adobomagazine.com

production houses

ELECTROMEDIA PRODUCTION 3rd Floor Maripola Bldg.

109 Perea Street Legaspi Village, Makati CIty Phone: (632) 840-5858 Fax: (632) 840-5015 mail@electromedia.com.ph contact persons: Amar M. Gambol Malou I. Domingo www.electromedia.com.ph

pr & promotions

One-stop-solutions-shop for your marketing services requirements.

•Literature Fulfillment/Trade Marketing •Merchandising & Promotions •Events management

STRAIGHT SHOOTERS Media Inc. 2663 Honduras Street, Makati City, 1200 Phils Phone: (632) 844-9360 Fax: (632) 844-9744 Email: gerry.deguia@filmex.ph call: Gerry de Guia Jun Garra

Q4 F/4 Salustiana D. Ty Tower, Paseo De Roxas, Makati City, Philippines 1229 phone: 830 2291/ 830 2296 call: Madonna Tarrayo/ Grace Quisias mobile: 0920 954 7551 email: madonna.tarrayo@straightshooters.ph

301 The Peninsula Court 8735 Paseo de Roxas 1227 Makati City Tel: (632) 752 0372 to 74 Fax: (632) 752 0375 www.88storeyfilms.com Contact Persons: Cielo Sanchez, Louie Araneta

Rm. 309 Cattleya Condo 235 Salcedo St., Legaspi Vill., Makati City Phone: +632 813 7619 to 19 Fax: +632 813 8645 Email: accounts@innovisionsinc. net, ivision@mozcom.com Call: Vira Arceo, Mabel Fernando, Kat Isla

FISH EYE 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

special events EVENTS POOL (CEL) 09189171232 (FAX) 09189321267 eventspool_asv@yahoo.com

advertising photographer

food / restaurants

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

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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

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.

CLASSIFIED ADS non-traditional ad medium

salon / stylist 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

courier

outdoor media advertising

T: 5287-136 customerservice@2GO.com.ph

sound production Argon Animation Inc.

UG 32 Cityland 8 Condominium, 9 Sen Gil Puyat Ave., Makati City Ph: (632) 813-0496 Fax: (632) 893-1734 Mobile: (632) 920-913-4670 Contact: Tim Bennet / President

MacGraphics Carranz International Corp. #80 Service Road, Francisville Subdivision, Mambugan, Antipolo City, Philippines 1870 Phone: 02.681.42.80 / 02.681.32.94 / 02.250.12.09 Fax: 02.681.79.44

casting house

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

Unit V, The Gallery Building, Amorsolo Street, Makati City 1229 Tel: +632 844 1091 to 94 Fax: +632 892 5575 Contact Person: Vic Icasas

Lourd Ramos Hair & Make-up/Stylist Ground Floor, Joya at Rockwell Plaza Drive cor. Joya Drive Tel: 403 0117 / 403 0119 Fax: 403 0120 Mobile: 0918-935603809209004959 Email emphasis@skyinet.net

63 917 8141000 Unit 3J, LEL Building 1075 J.P. Rizal St cor Camia Guadalupe Viejo Makati City

Services: Recording, Audio Posting, Sound Design, Radio Production, Jingles, Scores, Songs Unit 241 2/f Milelong Building, Amorsolo St., Legaspi Village, Makati City, Philippines 1200 Tel nos: 8447546, 8447549, 8439357 Telefax: 8448280 website: www.noisyneighborsinc.com

MILLET ARZ AGA Fashion Stylist 0917.8388020 milletarzaga.multiply.com/

Advertise in our classified ads section! Call +632 8450218 or email sales@adobomagazine.com november-december 08

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reactions

I love you guys!

David Droga, Founder, Droga5

I actually like your magazine a lot. It’s very “smart and honest” unlike other Pinoy magazines.

Katya Guerrero, artist, partner Pioneer Studios

Saw your office in your magazine, so nice and expensive!

Mon Punzalan, founding partner, Team Manila

I think I told you this before and I will tell you again, adobo magazine, is one to the best advertising magazines in the region! It is smart and intelligent. I enjoy reading it.

Miles Young, Ogilvy & Mather, Worldwide CEO

adobo deserves to be recognized as one of the Philippines’ big exports.

Willy Arcilla talking about the Philippines top exports

I like adobo magazine. Particularly like the coverage on the dispute between TV networks and ad agencies on production. The magazine is honest and feels like it is written for the reader and not the advertisers.

David Celdran Philippine broadcast journalist, Board Member of the Philippine Center for Investigative Journalism

Congratulations! I like reading adobo. It is an interesting read even from someone outside the industry like myself.

Illac Diaz, social entrepreneur2008 Young Global Leader of the World Economic Forum

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adobo is fantastic!

I can see the passion behind it.

John Merrifield, Creative At Large, TBWA\Asia

Taste of home: Saigon expats love their adobo.

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