134. NESCAFE, “Great Cities of the World” Campaign, 1979-1980

NESCAFÉ’s most successful campaigns in the 1980s was, without a doubt,  the "Great Cities of the World", conceived by the all-Filipino agency, Advertising and Marketing Associates in 1979. In fact, the “Great Cities” campaign turned out to be a pre-cursor of another major NESCAFÉ hit—the “One World of Nescafe” , launched in 1983. But that is getting ahead of the story.

The “Great Cities” campaign was actually NESCAFÉ’s response to the claim of Blend 45 that “everyday, millions of cups are served all over the Philippines”.  Blend 45 then was NESCAFÉ’s chief competitor, primarily because of economics (it was cheaper),with a taste that’s “good enough” (although research shows that if the consumer respondent had money, he would go for Nescafe).

Research also showed that the positive image of NESCAFÉ was being driven by perceptions that it was an “international” and “imported” brand—which are often equated to “higher quality” in a time when colonial mentality was still prevalent in the Philippines.

The “internationality” of NESCAFÉ vs. the local Blend 45 thus became the basis of the campaign’s proposition, articulated by the consumers themselves: “We prefer NESCAFÉ because of its superior taste and quality, being an internationally-accepted brand”.

The next step was for creative chief Greg Macabenta to write the thematic line for the campaign, which he summed up as “NESCAFÉ…enjoyed in the great cities of the world.”  Nestle, represented by marketing head, Mr. Levi Castillo, approved the campaign.

TV commercials were immediately produced, with foreign footages supplied by the McCann-Erickson ad agency, which was shooting similar commercials for Nestle Japan. Scenes of people enjoying NESCAFÉ in Madrid, Rome, Paris and other European cities were featured in print ads, and of course, the campaign  was highlighted by a Manila version of the successful commercial series.

The campaign ran for three years until 1983, when the same concept was reincarnated into the equally-acclaimed launches of  "A Classic Taste The World Enjoys" and “One World of NESCAFÉ" extension campaigns.

SOURCE:

Macabenta, Greg B., ”How to Make a Benta - Anecdotes, Lectures & Articles from the Advertising Wars”. pp. 88-89. March 2011

109. Tsikletin Mo Baby!: CHICLETS “Mas Hilig ng Bibig” Campaign, 1980

TSIKLETIN MO, BABY! Frames from the very successful CHICLETS TV ad.

Adams CHICLETS—those peppermint-flavored gums in their familiar thin yellow packs—were already well known to Filipino in the 1960s. CHICLETS was created by Thomas Adams, who, upon the prodding of Mexican Antonio Lopez de Sta. Ana, produced the gum from “chicle”—a soft, chewy substance extracted from sapote tree.

ADAMS CHICLETS, 1964 print ad.

He mass produced his gum after receiving chewing gum machine patent in 1871 and began selling them in drug stores under Adams, Sons and Co in 1876. It wasn’t until the early 1900’s that the product was fully developed as the CHICLETS that we know now, now--candy-coated, and boxed in thin packs. Adams was eventually absorbed by the American Chicle Co., one of the world’s largest producers of gums and mints.

ADAMS CHEWING GUM. Made to compete against Juicy Fruit. 1965

In 1962, pharmaceutical firm Warner Lambert bought American Chicle Co., which included the Adams brand of gums like Dentyne, Trident, Certs, Cloret mints and of course, CHICLETS.

The CHICLETS thus became available in the Philippines around 1964, in Peppermint, Spearmint and Tutti-Frutti flavors. The next year, CHICLET sticks in foil wraps were launched to compete with Wrigley’s Juicy Fruit. CHICLETS were marketed and advertised on leading weekly magazines, with illustrated print ads in color.

WATCH CHICLETS' "HILIG NG BIBIG" TVC 30s HERE.

Warner-Lambert Philippines signed up with local agency Basic Advertising in 1978, after the U.S. headquarters ok'd the arrangement. In 1979, the agency started production of  CHICLETS TV commercial—“Mas Hilig ng Bibig” (More Preferred by your Mouth)—made waves for its catchy, repetitive jingle with a melody adapted from the song “Mexican Hat Dance”, and a catchphrase—“Tsikletin Mo, Baby!”, coined by ad icon, Herminio “Minyong Ordoñez (+). The TVC hit the airwaves in the 2nd quarter of 1980. With its fast intercuts, split screens,  expressive close-ups of gum-chewing models—plus the use of the local language—the CHICLETS commercial did wonders for the brand, grabbing the market leadership from old-time rival, Juicy Fruit Gum.

CREDITS:

AGENCY: Basic Advertising

CREATIVE DIRECTOR/WRITER/PRODUCER: Herminio G. Ordoñez

ACCOUNT MANAGER : Popy Gutay

ART DIRECTOR: Rudy San Pedro

DIRECTOR: Jun Urbano

CINEMATOGRAPHER: Maning Roxas

CLIENT: Warner-Lambert Phils.Inc.

SOURCES:
youtube, Lessons from Chiclets: https://www.youtube.com/watch?v=6YRQjqLbIxg, , ulpaoded 13 June 2013, by ogilvy do. Thanks, Paolo Mercado.Popi Gutay for the details.

106. THE ART OF DUNKIN’ DONUTS, according to Lydia Velasco-Cruz

DUNKIN' DONUTS MUNCHKINS AD. Illustrated by Lydia Velasco-Cruz. 1984.

America’s favorite coffee and baked goods chain was founded in 1950 by William Rosenberg in Quincy, Massachusetts. DUNKIN' DONUTS has come to be one of the largest food chains in the world with presence in 36 countries.

 It was only in 1981 that it came to the Philippines, when Golden Donuts Inc.,based in Mandaluyong, acquired the Dunkin’ Donuts franchise.The corporation is owned largely by the Prieto family, which also owned the local franchise for Shakey’s, Racks and Tia Maria, among others. Golden Donuts, Inc. opened its first ever shop at the Quad Car Park in Makati, and began serving food-loving Filipinos the first Dunkin’ Donuts. Its menu included filled and plain donuts, Munchkins, coffee, hot and cold beverages, croissants, bunwiches, brownies, muffins.


The donuts proved to be a hit, and Ace-Compton Advertising, which had already been working on the Shakey’s account, was also assigned the Dunkin’ Donuts chain.

The creative team included a talented female art director, Lydia Velasco-Cruz, one of the few in the male-dominated field of advertising art.

 Lydia Velasco, (b. 1942 ) was the eldest child in a family of nine brothers and sistaters, the daughter of Jose Velasco, a noted LVN set designer. Her first job was selling fish in her native Navotas and in Malabon. But she heeded her artistic calling and enrolled in Fine Arts, major in Advertising, at the University of Santo Tomas.

 After graduation, she landed a job as an artist at Philprom, where de. she honed her art direction skills for over a decade. She went on to become a full-fledged Art Director for several multinational advertising companies, with a long and productive stint at Ace-Compton Advertising. Lydia worked on the blue chip Procter and Gamble PMC account, and was also assigned some Johnson & Johnson brands like Reach Toothbrush and Modess Napkins. She would actually illustrate the artworks herself with her mastery of pastel crayons.

DUNKIN' DONUTS AD, Art direction by Lydia Velasco-Cruz

Her Dunkin’ Donuts assignment was a nice break from the more rigid P&G ads that she used to do, and it allowed her a freer rein to experiment with drawings, art direction techniques, typography and composition. In 1988, Lydia left advertising to be a co-partner of Lightmoves Photo/Design, Inc., but the changing business environment forced her to give up the business and return to her first love: painting.

BREWED COFFEE AD, art direction by Lydia Velasco-Cruz, 1984

She joined Malang’s Saturday Group and rediscovered the feel and power of her brush,. Soon, she was mounting her own exhibits, and became known for her massive, heavy-set beautiful women engaged in their work—selling wares, fish, flowers and fruits.

CHRISTMAS AD, DUNKIN' DONUTS, art directed by Lydia Velasco-Cruz, 1984

Today, this former Dunkin’ Donuts art director is one of the country’s most celebrated female painters; her works are in private homes and galleries around the world, and are prized at international auction houses. It’s been a long and arduous journey, but for Lydia Velasco-Cruz----it’s worth the trip!

99. Brand Stories: STAR MARGARINE, Philippine Manufacturing Company (PMC)

STAR MARGARINE, in a new, more colorful air-tight packaging with a lid. 1955.

The company that would come to be known as the giant  Procter & Gamble PMC  started in 1908 as a partnership called the Manila Refining Company, with the purpose of manufacturing candles and fertilizer. In 1913, the company was incorporated into the Philippine Manufacturing Company (PMC), initially capitalized at Php One Thousand pesos, which was later increased to half a million.

 

AN EARLY STAR PRINT AD, late 40s.

 It shifted its objective to the manufacture and selling of coconut oil—as up to 1914, there was only one coconut oil mill operating in the country. Besides, edible oils in the Philippines came largely from pork lard and imported peanut oil from Hong Kong and Shanghai.

 

HAPPINESS IS A STAR. early 1951 print ad.

In 1917, PMC employed a chemist to develop edible products from coconut oil—and in 1919—PURICO was introduced to the market---the first vegetable shortening made in the Philippines. The reception to this coconut oil-based produt was overwhelming so PMC sought to produce another consumer food product.

 

TYPICAL B&W STAR PRINT AD,1950s.

It would take 12 years to introduce the first vegetable-base margarine to the country i—known then in 1931, and still now—as STAR MARGARINE. The creamy-rich flavored golden yellow margarine was fortified with Vitamins A and D, and came packaged in small, circular tins, branded with a . By the time Procter and Gamble of Cincinnati, Ohio acquired PMC in 1935, STAR MARGARINE had already a steady following.

 

NEW STAR VITAMINIZED WITH VIT. B1, AGAINST BERI-BERI. 1951

From the 1940s to the 50s,  STAR MARGARINE was actively pushed in the trade as well as through advertising,  a marketing tool that P&G always believed in. Black and white print ads in leading women’s and general family magazines were used to promote the healthy benefits of STAR, using the early slogan—“Stars for Flavors”. The use of STAR as filler for sandwiches or a spread for bibingka and puto was encouraged in the early print ads.

 

STAR DAILY ON RICE & BREAD TO PREVENT BERI-BERI, 1951

Then, in 1951, a major product development was introduced---the addition of Vitamin B1 in STAR. Vitamin B1 was touted as an effective ingredient against beri-beri which was a common affliction of Filipino children in the 50s.

 

GET YOUR DRIVE & ENERGY FROM STAR, 1960.

In the 1960s, STAR MARGARINE shifted to energy stories in its print ads, even targeting young adults in the brand’s quest for a broader appeal. It was only a decade later that P&G and its ad agency, Ace-Compton Advertising, re-looked at theVitamin B1 ingredient of STAR MARGARINE, which happened to be a growth-stimulating vitamin. Thus, the campaign,”Iba na’ng Matangkad!” (Being Tall Makes A Difference) was born. The famous tagline embodied the aspiration of the generally height-challenged Filipino to tower—and triumph--over the competition.

Early TV executions dramatized the advantage of being tall—hence a child basketball player performed better, and even mundane tasks as reaching for a fruit hanging from a tree branch was a breeze for a vertically-superior youngster. When statuesque Aurora Pijuan won Miss International 1970, she became the face of STAR. Her popular commercial showed her standing shoulder to shoulder with other international beauties, while we hear her voice-over: “Magaganda sila…Matatangkad..Buti, ako rin!”.

WATCH THIS 2008 STAR MARGARINE

"Iba Na'ng Matangkad-James Yap" TVC

The “Iba Na’ng Matangkad” campaign  endures to this day, even as P&G PMC sold STAR MARGARINE along with Dari Creme, to the Magnolia division of San Miguel Corporation in 1994. It has evolved into “Angat sa Height, Ang Future Mas Bright” (“Increased height, for a brighter future”). It’s pro-growth equity has also crossed over to other San Miguel-Purefoods brands like the Purefoods STAR Hotdogs and Purefoods STAR Corned Beef--which just goes to show that nothing succeeds like success.

44. MAGNOLIA FLAVOR OF THE MONTH

MAGNOLIA FLAVOR OF THE MONTH, 1965

For over 90 years,, Magnolia has been synonymous with the finest name in ice cream. One of its most distinctive product line was the Flavor of the Month ice cream series which represented the dozen months of the calendar.

APRIL FLAVOR OF THE MONTH--MOCHA NUT, 1964

 Introduced in March 1954, Magnolia’s Flavor of the Month (FOM) had Tru-Fruit Strawberry as its initial offering. Positioned as a superior ice cream with novel, exciting and various flavors throughout the year, FOM flavors range from fruit-based or confectionery-flavored ice cream with homegrown or imported ingredients.

JUNE FLAVOR OF THE MONTH--STRAWBERRY RIBBONETTE, 1961

 The flavor names evoked mouth-watering and sometimes, exotic deliciousness—“Coffee Mangosteen”, “Ube-Nangka Fiesta”, “Corn ‘n Coco Flip”, “Vanilla Macaroon”, “Atis Glacé”. 

MAY FLAVOR OF THE MONTH--RAINBOW
PINEAPPLE, 1964

FOM’s advertising weaves through the texture of time and growth of the products themselves in terms of sales volume. Initial print advertising featured illustrated ice cream scoops in goblets, but eventually, photography was used to enhance appetite appeal. In the 1970s,

FOM models were used to endorse the product, hence the “Miss Magnolia” search was hatched. The winner pitched the product with all her wholesome charm, in print, poster and TV commercials.

JULY FLAVOR OF THE MONTH---VANILLA MACAROON, 1979

 “Magnolia, the finest name in ice cream, now presents the Ice Cream Flavor of the Month”—goes the jingle which opens the commercial and which then led to Miss Magnolia—“For March, it’s Tutti-Frutti!”, and then proceeds to describe the ingredients of the flavor.

MAY FLAVOR OF THE MONTH--GOLDEN NANGKA FIESTA, 1979

 In the late 70s thru the early 80s, FOM ads, designed by its long-time agency J. Romero & Associates, latched on to seasonal themes and visuals—a wedding setting for June, kite-flying for May. Miss Magnolia was relegated as an inset picture in FOM ads, until she was eased out completely; the last Miss Magnolia quest was held in 1980.

 The Magnolia’s FOM line was discontinued when SMC transferred its ice cream and dairy businesses to Magnolia-Nestlé Corp. In 1998, SMC withdrew from the joint venture with Nestlé and a "non-compete" clause barred it from the ice cream and milk businesses for five years. When the clause lapsed in 2004, SMC revived its ice cream through subsidiary, Magnolia, Inc., but not its FOM line.

27. ZOOM-ZOOM SUPERSHELL: The 1st Philippine Ad To Earn a Clio Citation

ZOOM ZOOM SUPERSHELL, Launch Print Ad, late 1968.

 In 1969, J. Walter Thompson Philippines produced what could be the first all-music commercial for Shell’s new gasoline product that would create a stir in the local airwaves and beyond. The one-minute ad featured new talent discovery Carl Onrubia dancing to a lively and catchy “Zoom-Zoom Supershell” full song, interspersed with shots of racing champion Joey Bundalian, speeding in an F1 car.

WATCH THE SHELL COMMERCIAL HERE:

Credits: Mr. Jojo Bailon, aianchan80, published 9 Oct. 2017

“Zoom Zoom Supershell” carried the distinction as being the 1^st Clio-cited  from the Philippines,  given at the CLIO Awards Presentation in New York,  during the 1970 American Television and Radio Commercials Festival.

It was cited for its contribution to the changing landscape of creative advertising landscape of the era, effectively using emotive elements for a gas ad campaign: “you car will feel like an F1 if you load up on Shell”.

Thirty three years years later, it was honored as one of the best 25 commercials of the Philippines aired over the last 25 years at the Pilipino Advertising Klasik Awards (PILAK)  in 2002 from the Association of Accredited Advertising Agencies of the Philippines.

POSTSCRIPT: The Onrubia Sisters--Ces and Carl-- were popular campus figures in the late 60s, They went to school in Maryknoll and were among the first female cheerleaders of the Ateneo basketball team. Cecille  "Ces"  Onrubia married banker Sonny Jacinto, while Camille "Carl" Onrubia is now Mrs. Cruz.

CREDITS:
AGENCY: J. Walter Thompson         /       CLIENT: Shell Phils.
Copywriter: Johnny Santos
Art Director: Senyong Atienza
Producer: Art de Guzman
Director: Tony Smith
Music: Polding Silos, Tiongco Brothers
Choreographer: Manny Zamora

SOURCES:
aianchan80, Mr. Jojo Bailon

3. 1920s: THE DECADE OF THE FIRST AD AGENCIES