558. Memorable Campaigns: JOLLIBEE ""I Love You Sabado", 1992

One of the most well-remembered campaigns from the trove of JOLLIBEE’s winning advertisements was created in 1990s by their newest ad agency, Ace-Saatchi & Saatchi Advertising—“I Love You Sabado”. The account was formerly handled by Basic Advertising, but in 1992, an executive decision was made to pitch the business out to other agencies in an effort to gain new perspectives and fresh points of views on how to improve the company’s creative marketing communications.

Of course, the news made quite a buzz in the industry as Jollibee, with its multi-million peso promotional budget,  was considered a premiere client in the same league as Procter & Gamble, PRC Unilever, and San Miguel Corp.

The invited agencies were briefed for a Kids’ campaign, to sell their Chicken Joy and Yumburger, with parents as secondary targets. Ace-Saatchi & Saatchi brought their depth of experience in strategic thinking by creating a campaign hitched on a consumer insight—hidden truths about a consumer’s deep feelings, habits, values and sensitivities that can affect his actions and decision-making. The challenge for the agency was to ferret these insights out of their consumers, and use these to create a bond with them thru creative storytelling.

The consumer insight was so surprisingly simple: Working parents are out in their offices and work places 5 days a week, eking out a living, leaving little time for their kids, except on weekends. Kids have also come to accept this reality--that they can only enjoy moments with  parents when it’s their day-off.

Hence, Saatchi’s creative team sought to dramatize the specialness of weekends, by thoughtfully creating eager anticipation for Saturday: when work stops for parents, and when kids become the center of attention—and their world again. Thus the catchphrase ,”I Love You Sabado!”—an expression of kids’ love for their favorite day of the week, when they become special again in their parents’ eyes, with hopes answered and wishes granted. It was woven seamlessly into an existing Jollibee theme "Alagang Pilipino, At Home sa Jollibee". 

The Saatchi Client presentation was auspiciously held on Saturday, in the agency’s Makati office. In attendance were all the Tan Caktiong brothers, as well the marketing director, who were convinced of the agency’s proposition. The pitch material was approved as is, straight for production. (The only minor revision was to include Sunday as well, whuch was solved by just tweaking the jingle: (“I Love You Sabado..pati na rin Linggo”)

WATCH THE 1992 "I LOVE YOU, SABADO" TVC HERE:

The ”anticipation” story was charmingly told in a TV commercial starring a little boy dreaming and yearning for Saturday to arrive, his thought voice set in a wistful jingle that starts with “Isang tulog na lang ang hinihintay buong Linggo… dahil nandy’an na ang araw na ako’y mabubusog…. Yayayain si mama’t papa, mag-enjoy ng chicken joy!...I love you Sabado, pati na rin Linggo/Hintay ka lang Jollibee nandy’an na ‘ko, /Sabado and araw ko, masusunod ang puso ko!”.

Cast as the Boy who lives for Saturdays was Boy2 Quizon, Epy Quizon's nephew and grandson of the legendary comedian Dolphy. The “I Love You Sabado” jingle itself, written by agency creative Marci Reyes and composed by Bob Serrano, was a blockbuster hit. Soon, the catchy jingle could be heard on both TV and radio airwaves, in malls and in theaters. Filipino kids began singing it in their classrooms, school events, and in sing-alongs.

I LOVE YOU SABADO was incorporated in ads for other Jollibee products like this 1993 Kiddie Pack TVC

The campaign would be sustained with several follow-up TVCs under the same “Sabado” theme, used for such other products as the Kiddie Pack meal (1993). This particular commercial had a female kiddie talent. A dance routine was  also choregraphed for shows, events and TV appearances by Jollibee and Friends. The campaign line also spawned a Viva movie of the same title “I Love You Sabado”, starring Mikee Cojuangco, Janno Gibbs, and Geneva Cruz.

I LOVE YOU SABADO, the movie. Source: Video48

 As if that was not enough, a special derivative print ad for Mother’s Day won for the Agency a Print Ad of the Month for May 1994. The copy was cleverly lifted from the campaign line itself, but given a twist: ”Mommy, I love you Sabado, Linggo, Lunes..Martes..Miyerkoles..Huwebes, Biyernes…Happy Mother’s Day! Punta tayo sa JOLLIBEE!”.

Creative Guild Ad of the Month for May 1994

“I Love You, Sabado” ran for some many years, remade again in 1998-2002, then again in 2015. but many would continue to recall long after the campaign was over, as it evoked memories of childhood and pleasant Jollibee weekend visits. The campaign was last resurrected in 2015, featuring basically the same story—that of a homebound boy who longs for the weekend so he could go biking with his school-age siblings and get treated to Jollibee by his parents.

WATCH THE 2015 RE-MAKE OF THE "I LOVE YOU SABADO" TVC HERE:

Fueled by nostalgia, the campaign continued to live on and work wonders for the brand. To this day, it is one of the most memorable Jollibee campaigns ever made for the brand, a classic commercial which reset new benchmarks in creating empathy, connecting with consumers, and in pushing Jollibee to a while legion of Filipino kids and their parents, in a way that’s fun, truthful and real.

 CREDITS:

Advertiser: JOLLIBEE FOODS CORP.

Products: Jollibee Chicken Joy/ Yumburger

Agency: ACE-SAATCHI & SAATCHI ADVERTISING

Executive Creative Director: JIMMY SANTIAGO / Creative Director: ROBERT LABAYEN

Concept Team: MARCI REYES / EUGENE DE MATA

Agency Producer: KAREN STO. DOMINGO /Print Producer: RODEL QUITAN 

Head of Account : GIGI GARCIA

Management Supervisor: MILA MARQUEZ

Production House: PHOENIX FILMS / Director: CRIS MOJICA

Executive Producer: AIDA VICTORIA

Jingle Composer: BOB SERRANO

 SOURCES:

“I Love You, Sabado” TVC 30s, uploaded on youTube, 2014,  by Mark Lester Miranda,

"I Love You, Sabado", 2015 version, Jollibee Studios, 2017

Interview with Gigi Garcia-Iglesias, VP Head of Accounts for Jollibee, Ace-Saatchi & Saatchi.

 Piling-Piling Patalastas: 1994 Creative Guild of the Year Program, 6 April 1995, Louie’s Cinema, Mile Long Makati, Manila.

Video 48, for the” I Love You Sabado” Viva Films movie poster

557. Creative Guild’s 1989 TV Ad of the Year: SIME DARBY, “Asal Hayop” TV Series

CLAY CULPRITS, pioneer in claymation animation.

J. Walter  Thompson scored a consecutive victory the following year with another pioneering ad, this time using the delightful, painstaking Claymation technique mastered by the Alcazaren brothers. The campaign “Asal Hayop “ series involved four 15 sec. public serice plugs by the manufacturer, Sime Darby.

There was an urgent need for the ads to be different, Pitargue recalls. “Sime Darby was a latecomer in the business of advertising,” she recalls. “Goodyear and Firestone had established reputations in terms of technology, and they had been advertising for quite awhile.” What little material Sime Darby had so far had been very product-oriented, and the brand lacked the human touch, which Goodyear was then exploiting in a major way in its “Coming Home” commercials full of emotionally-charged reunions scenes.

The decision was to go for a public service campaign , and Pitargue looked to the streets of Manila for an idea that would work well with the envisioned Claymation execution. The creative team agreed upon the subject of bad driving habits. “People don’t behave like human beings when they drive,” Pitargue explains, “so we singled out the most interesting prototypes.”

 WATCH THE 1991 TV AD OF THE YEAR "Asal Hayop" HERE:

Source: Youtube, Sime Darby "Asal Hayop" uploaded by Miguel Alcazaren, 25 Apr. 2012.

The four ads, which all ends with a specific piece of advise (like “keep a safe distance”) and an exhortation from Sime Darby—“Mag-asal Tao. Drive Intelligently”—stars 4 different creatures with distinct personalities, demonstrating different dangerous habits to the accompaniment of graphic Pilipino copy by Nonon del Carmen and appropriate music by Charo Unite. The sleepy eyed green “pagong”—“Yung sobang kupad dumiskarte”—has his signature honky-tonk, comic music, while the flaming red “toro” (“Kahit pula na ang ilaw, sugod pa”) zoomed to bullfight music playing in the background.

Sime Darby achieved high recall because of the ads, which were immediately notice fo their novelty value, and which showed how an interesting execution could be used to gain attention for a basically staid, serious message.

 CREDITS

ADVERTISER: Sime Darby Philippines / PRODUCT: Road Safety Campaign

AGENCY: J. Walter Thompson Phils. / CREATIVE DIRECTOR: Socky Pitargue

ASSOCIATE CREATIVE DIRECTOR: Raymund Villaruel

COPYWRITER: Nonon del Carmen / ART DIRECTOR: Ghizelle Miguel

PRODUCER: Mila Bibat /  DIRECTOR: Mike Alcazaren

MUSIC ARRANGER: Charo Unite

PRODUCTION HOUSE: Lacelli/ Alcazaren Brothers

SOURCES:

Perfect 10, A Decade of Creativity in Philippine Advertising, published by the Exceutive Commitee of the Creative Guild of the Philippines, 1995, edited by Butch Uy.

Video Source: Youtube, Sime Darby "Asal Hayop" uploaded by Miguel Alcazaren, 25 Apr. 2012.

556. SOUVENIRS FROM THE NEW YORK WORLD’S FAIR 1964

SWISSAIR offered flights to New York World's Fair visitors in 1964

After New York successfully staged its first world’s fair in 1939, it Once again played host 25 years later to another international exposition known as the 1964–1965 New York World's Fair. 

The venue was at  a 646-acred fairground at Flushing Meadows–Corona Park in Queens, New York City, and the fair attracted 80 nations that put up their own exhibitions, activities, performances, films, art, crafts, and food presentation. "Peace through Understanding" was the fair’s theme and its symbol was the Unisphere, a stainless-steel model of Earth.

Among the 139 pavilions was the Republic of the Philippines building. Designed by national architect Otilio Arellano, the Philippine Pavilion was a circular structure made to look like a traditional salakot sun hat.

AMONG MY NY WORLD'S FAIR  SOUVENIRS. Capiz token and shell key chain.

This structure was widely praised and officially judged as one of the top ten most popular and visited international pavilions, highlighting the country's rich arts and culture.

Advertisers, particularly airlines an film outfits, cashed in on the international event, using the fair’s imagery for films and print ads. The Philippine Pavilion was also promoted through merchandising souvenirs that were sold on site.

SOURCES:

Movie print ad,”Romansa sa World’s Fair”, courtesy of Video 48.

555. The 1st Potato Chips Made in the Philippines: CAROL-ANN’s, 1964

It’s ironic that the Philippines was one of the top producers of root crops in the world—from kamote (sweet potato), ube (purple yam), gabi (taro) and even potatoes—yet, the country relied on America for potato chips!

Thanks to the PX goods coming out surreptitiously from Clark beginning in the mid-60s, Filipinos finally had a taste of these crunchy potato chip snacks that were American pantry staples. Early ‘60s brands available from PX Clark included Laura Scudder’s, Granny Goose, Pik-Nik Shoestring Potatos and Lay’s. Pringles, made from molded dehydrated potatos, were popular with Filipinos in 1975.

It was only in 1964, that the first commercially made potato chip made their appearance on Philippine market shelves: CAROL-ANN’s Shoestring Potatoes and Potato Chips. The maker is not indicated on their plastic packaging, but identified itself as a member of the Potato Chip Institute International, later known as the Snack Food Association, a major trade organization founded in the 1930s.

CAROL-ANN’S come plain or salted, but it has other flavors worth tasting: Barbecue,  Salami, Onion, Garlic, Chinese Flavored. In single bags or bigger institutional sizes, CAROL-ANN’s were promoted as perfect for picnics, parties and other social gatherings. Being the only potato chip snacks available, CAROL-ANN’s gain enough following to merit it own modest advertising.

Two years after, the Universal Robina Corporation introduced its own line of snack foods in 1966, with flagship brand Chiz Curls, along with its Jack ‘n Jill branded Potato Chips. By 1968, URC was a major market player in the filed of snack foods. CAROL-ANN’s continued its potato chip business until the 1980s-1990s, until the brand just disappeared.

To this day though, the maker remains a mystery—who made CAROL-ANN’s? Who is CAROL-ANN? Whatever, people still remember CAROL-ANN’s Shoestring Potatoes and Chips in their classic, clear plastic packaging—thinly sliced, perfectly fried, full of crisp, potato goodness from the first bite to the last!

554. The Coke Challenger that Went from Pop to Pfffft!: POP COLA. Various Print Ads, mid-1970s

In the mid 70s, Cosmos Bottling Corp., makers of the famous Cosmos Sarsaparilla soda drink, or SARSI, made bold move to expand their portfolio by introducing a new cola drink. The result was POP COLA, that had a refreshing sweet taste more aligned to Pinoy’s preference, and most of all, cheaper than the icon brands Coca Cola and Pepsi Cola.

 The imageries used in advertising were still foreign though, with a Charlie Chaplin and Laurel & Hardy-look-alike characters, with a smattering of mestizo models. POP COLA took off slowly, with many Filipinos trying the products. Marketing and promotions was a bit spotty, and other than the fact that it was the “cheaper cola”, it failed to win the imagination of the audience on media, what with not-so-memorable ads, unclear brand character and image, without any emotional benefit that Coke and Pepsi have successfully translated in their advertising.

Then in 1989, food and beverage giant RFM Corporation of the Concepcion family bought Cosmos and infused their newly acquired beverage brands with massive marketing budgets to push their relaunch, starting with the omnibus campaign “Bagong Tunog” (New Sound) created by Basic FCB for Sarsi, Cheers, Sunta, and POP COLA. The 2 minute campaign song was heard on primetime TV, ushering an-all new image for the Cosmos products.

Eventually, individual brand campaigns were launched, clearly delineating the brand image. SARSI’s “Angat sa Iba”, capitalized on its distinctive taste, the only sarsaparilla amidst a sea of colas.

POP COLA’s problem was a bit more complex. These ads from its early years, show an attempt to create a favorable image by for the brand , latching on to its U.S.-made ingredients as its point of superiority. At that time in the 70s, colonial mentality was still strong among Pinoys, who believe everything U.S.-made was better and therefore, more expensive. That, however, was in complete dissonance with its cheap pricing, which muddled consumers’ minds: Is POP COLA Pinoy or Kano?

To settle the confusing signals that marketing communications wrought, POP COLA was clearly positioned as the Cola made by Pinoys, for Pinoys—translated on screen as the commercial, “Bilib Sila Sa Pinoy”, and in its follow-up sustaining ads “Tayo’y Mga Pinoy”.

 The new, improved COSMOS brand image worked wonders for the individual brands, with POP COLA peaking in popularity. It even had a popular professional basketball team, the Pop Cola Panthers, in the Philippine Basketball Association from 1990 to 2001.

Of course, Coca Cola took the POP COLA threat seriously, but instead of competing head-on, it decided to negotiate with RFM for a buyout, resulting in the latter’s selling its stake  in Cosmos to a joint venture between Coca-Cola Bottlers Philippines, Inc. and San Miguel Corporation. This move gave Coke control of  90% of the Philippine softdrink market.

POP COLA’s resources were moved to support the flagship brand Coca Cola. With reduced funds for advertising, sales and merchandising support, POP COLA lost shelf space and market share, until it was pulled out of the market altogether.

553. Is that Who I Think He Is? VICTOR WOOD, in Angel Face Ad, 1967

 

Before he became sensationally famous in the 70s as the undisputed “Jukebox King”, singer Victor Wood was a struggling showbiz aspirant looking for his own place in the sun. By 1967, diminutive singer Nora Aunor was starting to blaze trails, breaking barriers for small, brown, Filipino looking talents, who had been bypassed for fairer mestizos and mestizas. She paved the way for the rise of more-Filipino looking singing stars like Tirso Cruz, Edgar Mortiz, Manny de Leon, Perla Adea, Espie Fabon, and many more.

Refusing to be tagged as just another American mestizo singer-actor, Victor Wood joined the showbiz bandwagon, and took every available job he could find that would elevate his visibility. He started joining casting calls for advertising models and in 1967, actually bagged a supporting role for an ANGEL FACE print ad.

ANGEL FACE was a major brand of cosmetic products introduced successfully in the late 1950s in the Philippines. Its most popular brand was the ANGEL FACE Foundation Powder, and by the mid 60s, was one of the country’ best-selling brand, supported by bid advertising budget, and with advertising professionaly handled by leading ad agency J. Walter Thompson.

 “All set for an afternoon sail at the Yacht Club is Diane Berrier and friend Victor Wood on board the Trident”—so says the caption. The 21 years old Victor cut a lean, striking figure beside the American model—even if he seems fascinated more by the ocean view than the fresh natural look of her ANGEL FACE.

After this ad was launched, Victor Wood bagged a few small parts in 1968 films by Sampaguita pictures: “May Tampuhan Paminsan-Minsan”, “Magic Guitar”, “Donata”. In 1969, he did lightweight teenybopper films: Teenage Escapade, the Mad Generation, Born to be Wild, Paula.

But it was in his recordings that Victor Wood gained notice. In 1970, he launched his Vicor album “I’m Sorry My Love”, which became a hit. This was followed by “Mr. Loney” ,  “In Despair”, “Fraulein”, “Eternally”, “Lonely Teardrops’, “Vaya con Dios”, “Crying Time”—all certified monster hits. Suddenly, Victor Wood became a hot star, and soon he was ding movied in starring roles with his hit songs as titles: “Malaguena, (1972), “Innamorata”, and “You Are My Destiny” (1973).

He appeared in big movies like “Annie Batungbakal”, and he was in the title role in “Victor Wood, Disco King” (1979), and covered Freddie Aguilar’s international hit, “Anak” in Indonesian. When his career cooled off, he migrated to the U.S. with his family (he was married thrice). He made news again when Wood ran for the Senate of the Philippines in  2007 under the KBL, but lost. He died due to COVID-19 complications on 23 April 2021.

 SOURCES:

Victor Wood, wikipedia, https://en.wikipedia.org/wiki/Victor_Wood

Victor Wood, Filmography: https://www.imdb.com/name/nm1047421/

The Victor Wood Playlist: https://www.philstar.com/entertainment/2021/05/12/2097497/victor-wood-playlist

 

552. Where Is She Now? JOYCE SAULOG-MANALO, The Face of OIL of OLAY, 1990

JOYCE SAULOG-MANALO, The Face of Oil of Olay, 1990 Ad

As the 1990s decade rolled in, Procter & Gamble Philippines’ OIL OF OLAY was nearing its 10^th year of successful existence in the Philippine market. It continued to be supported with advertising, nd, following the U.S. model, campaigns have to used real-life older, beautiful women with smoother, younger-looking complexion. Critical to the campaign then was casting the models who fit into this mould.

A fresh young face at Ace-Saatchi & Saatchi Casting Dept. 

The first model had been Myra Mendoza, the fresh-face teen known known for her appearances in the popular JINGLE Music Chordbook Magazine, and who had a flourishing career as a talent caster for the multinational ad agency, Ace-Saatchi & Saatchi. When P&G Clients saw Myra, they got her for Oil of Olay instead of the talents she was recommending!

At about the same time that Myra Mendoza was at Ace, a young newly-married JOYCE SAULOG-MANALO, just a few years out of college from U.S.T,  joined Ace-Saatchi & Saatchi. 

Joyce Saulog-Manalo  in an agency company outing.

The A.B. Communications graduate had quite an unorthodox career as she was recruited by talent manager Junn Guevara to be a member of the New Minstrels, 4^th Generation. The musical group attained a large measure of success in the recording and entertainment industry in the 70s. Joyce, an accomplished singer, joined the group and performed with them,

AS MEMBER OF THE NEW MINSTRELS, 4th Generation

“I left after one year dahil sa tawag ng pag-ibig”, Joyce laughingly recalled, “I got married!" The lucky man turned out to be Vicente “Boe” Manalo, whom Joyce met through her friend and college classmate Chola Manalo--Boe’s sister—who set them up for a blind date.

“No spark for me  at first”, Joyce remembers,  “but then I got to know him better. Ang bait niya…gentleman pa, maalaga. And, he adored my mama.. parang papa ko . Ayun na in🩷 na ako.” The two got married on 10 Dec. 1983.

Boe, at that time, was managing a thriving family fishpond for his cousin in Laguna. He was also into selling real estate and education plans. Then the first baby by came along, Miko. 

THE MAN SHE WOULD MARRY. Vicente Victor Jesus Manalo,
at the time of their engagement.

Hoping to help and looking for more something stable to do, Joyce joined the agency’s Casting Dept., where she learned the ropes quickly and impressed her boss, production dept. head Jack Dumaup.  But she also captivated her colleagues for her charm and beauty—plus factors in securing client approvals.

JOYCE SAULOG-MANALO, with fellow Talent Caster Flor Salanga (+),
also a well-known theater actress and occasional commercial model.

When it was time for the agency’s blue-chip Client P&G to do the 1990 campaign of Oil of Olay, the casting of the print ad model fell on Joyce’s lap.

 “Yes, I was assigned to do casting for Olay, kami ni Myra, and  we were having difficulty finding women in their 30s and 40s who looked younger, Then, someone suggested na magpa-test shot din ako. I actually agreed para lang mag ka souvenir photos”, she related with amusement.

Next thing she knew, the 30 year old Joyce was approved by the P&G Clients as the model for Oil of Olay’s 1990 print campaign. There was no need anymore to look for other models…she was it She was hustled off to the studio of topnotch photographer Bien Bautista, where her face was made up, and her pixie hair cut styled.  After which, she posed for her  head shots under the watchful direction of the professional photographer.

In her 30s, Joyce was the perfect Face for Oil of Olay .

Her stunning portrait, with her bare back and her face in profile showed off her soft, supple, smooth skin perfectly, belying her age. “I left time behind”, says the headline, and Joyce’s picture provided the irrefutable proof.

With Mr. Ramon R. Jimenez, then Executive Creative Director
of Ace-Saatchi & Saatchi where Joyce worked as a Caster . Jimenez 
would go on to become the Secretary of Tourism 2011-2016

The Oil of Olay ad was the first and only major modelling assignment Joyce took, as she considered  talent-casting her more serious profession. She would stay with Ace-Saatchi & Saatchi for a few more years, often bringing her oldest son Miko to the office. From Saatchi, she moved over to Basic FCB, this time to head the casting department as Casting Director. But when 4 more babies came—all boys—she decided to resign and work as a free-lance Casting Director instead, where she would have the convenience of working flexible hours.

THEN & NOW. Joyce has managed to retain her facial charms she has always been knonw for.

Junn Guevara tried to lure Joyce back by offering her a place in a girl band he was forming, with an option to go solo.. “But I decided not to push through with it”, she said, “By then, nag-e-enjoy na ako sa motherhood”

Now blessed with 5 five boys and 2 grandsons, Joyce, with her husband of 43 years Boe, lives a life fulfilled: family-centered, God-fearing and purposeful. Miko, the eldest son, is a general manager of Starcom, an international media company. Paolo works for Tiger 22 Radio Network. Carlo is with HSBC, Jio works a marketing job based in Scotland. Youngest Anton is a managing partner of Brand Republic ad agency. 

THE WINNING MANALOS! (L-R): Carlo, Anton, Papa Boe,
Mama Joyce, Anton (behind Joyce), Jio and Miko

Though everyone is well-settled, Joyce remains busy as ever—but this time doing things she loves the best, at her own pace and time. Nowadays, you would find her caught up in a whirl of mundane affairs such as baby-sitting her apos, going out on dinner dates with her hubby, attending school reunions, to traveling with family travels abroad. It is now these simpler things that give her the most joy. It would seem that the Oil of Olay girl had, indeed, left time behind---because time could not keep up with her!

SOURCES:

All photos and additional information, courtesy of Joyce Saulog-Manalo