Reich has worked as an editor at the daily newspaper Der Landbote in Winterthur since 2002. According to SDA, he is head of the City of Winterthur and Culture section.
WW: Your agency GreenLight arranges photos and music rights for celebrities who are no longer with us. Which stars are still considered hard-working earners in heaven?
David Reeder: Historically, Elvis Presley had the highest earning power of all deceased celebrities. However, he was overtaken by Michael Jackson in the last two years. His unexpected death has also meant that the incomes of deceased celebrities have suddenly become a topic of public interest. Most of the money earned by Jackson comes from the rights to his music. The use of his pictures is even more modest in comparison. The same applies to Elvis. Of the other deceased celebrities who constantly appear on the Forbes list of top earners, Marilyn Monroe generates the most money exclusively from the rights to her image.
How much do the rights to an advertising campaign with Elvis or Marilyn cost?
The fees for the use of the symbols depend on the same parameters and guidelines that apply to most living celebrities. The price is determined by factors such as the length of the term of use. It also depends on the specific use - online, outdoor, print, TV - as well as the area of intended use. In addition, we examine the role in which the celebrity is used. Is his or her image just one of many symbols in the campaign or will the famous testimonial be used exclusively for advertising? All these variables and a feeling for the historical value of a particular personality, which we also estimate on the basis of previous campaigns, ultimately lead to the individually negotiated price.
And how much do I have to pay if I use the photos without the appropriate rights?
This is a difficult question. The rights vary greatly from country to country. If we discover an unauthorized use, we normally assume that the infringing party had no idea that special rights were needed here. We then try to resolve the situation peacefully. In rare cases, we have to impose a penalty for unauthorized use or if someone tries to deceive us with improper license fees. In some cases, we are forced to stop the campaign or even the product.
How should an agency proceed if it wants to advertise with the image or music of a legendary star? Does it have to be able to present a concrete design before the negotiation?
As far as the images are concerned, we are a subsidiary of the Corbis photo agency. We do not own any images ourselves, we only clear the rights. Anyone looking for a photo in connection with the personalities we represent will find the right image for their advertising campaign on the Corbis website. The Corbis sales organization then forwards the request to us. We check the authorization for the respective purpose and negotiate the corresponding costs. When authorizing the use of an image for advertising purposes, we check both the creative idea and the good reputation of a product or brand. The image must match the personality we represent. The situation is slightly different if, for example, the agency wants to use the music of a deceased personality for advertising purposes. It has to negotiate with the record company in question. This can be a very lengthy process. However, we at GreenLight can take this work off the agency's hands, as we have years of experience in this area. We carry out thousands of these legal clarifications every year, so we have a global overview of the actual market prices and, thanks to our business volume, quite a lot of negotiating power.
Who decides whether a campaign with Elvis or Michael Jackson is approved?
The respective holders of the rights. GreenLight assumes the role of intermediary and negotiates with the rights holders on behalf of and in the name of the interested advertising agency.
Who gets the money?
As a rule, it is the family that administers the inheritance. Sometimes the rights belong to an institution. Albert Einstein, for example, bequeathed the rights to Hebrow University in Jerusalem. Part of Marilyn Monroe's estate was recently bought by a private equity firm, and a few years ago another company acquired a majority stake in the estate of Elvis Presley.
How can you monitor the correct payment of copyrights worldwide?
Years of experience working around the world have made us experts. We have many colleagues, clients and friends around the world who tell us about possible unauthorized use of such rights. In addition, the transparency of the Internet makes it virtually impossible to launch a sensational campaign with unauthorized images or stolen music. Sooner or later we will discover this.
What is GreenLight's most successful advertising story with famous testimonials?
We have been able to use Steve McQueen, for example, for a few very authentic and successful campaigns. McQueen remained a brand ambassador for Tag Heuer for years after his death.
Why can someone become "immortal"?
Immortal icons are incredibly rare. Today, anyone can become famous quickly, but usually only for a very short time. All the more reason for the public to look for stars who have achieved something truly unique. They enrich our culture and that is why we are drawn to such personalities. People long for such outsized identity opportunities and we want to identify with the aura of legends. This is why such stars are immortal and will continue to exude a great deal of power in the future, for example for use in advertising.
Interview: Andreas Panzeri
Today's annual earnings of great legends:
Michael Jackson: 170 million $
Elvis Presley: 55 million $
Marilyn Monroe: 27 million $
Liz Taylor: 12 million $
John Lennon: 12 million $
With the certification as a "Q-Publication", the Schweizer Holzzeitung fulfills the guidelines of the Swiss Media Association, which stipulate, among other things, the focus on the reader, journalistic independence and media transparency of a specialist medium. The trade journal thus fulfills an important function as an information, communication and advertising medium within the Swiss wood industry, according to a press release from Schweizer Holzzeitung. Thanks to its content focus on specialist and thematic areas, its editorial expertise and credibility and its role as an opinion leader with a high level of reader loyalty, the Schweizer Holzzeitung is an important link between all participants in the entire timber industry.
Leuthard succeeds Thomas Schäppi, who will become program developer for SRF's TV editorial department. The latter has headed the "Tagesschau" editorial team since 2008 and will also take on his new role at the beginning of 2012. The new "Tagesschau" editorial director is looking forward to "being able to take on more management responsibility again," Schweizer Fernsehen SF announced on Thursday.
Leuthard has been head of "Rundschau" for four years. Since 2002, he has also hosted the voting programs and the session program Classe politique. He will continue to host the voting broadcasts. The moderator position at "Rundschau" has not yet been filled.
The Basler Zeitung is to remain a forum newspaper. Filippo Leutenegger had promised this at a meeting on Thursday, as the editorial office reported on Bazonline.ch announced. This journalistic commitment will be fully supported. BaZ should continue to offer "independent, non-partisan and critical reporting". The editorial team is convinced that the readership does not want a one-sided newspaper, but rather a variety of opinions and quality.
The new main shareholder of the holding company MVH, which is taking over BaZ, told the media in Zurich on Wednesday that he wanted a high-profile newspaper with a right-wing, middle-class orientation.
Of the 132 print titles from all over Switzerland listed here, 45 are increasing the price per advertising page as of 2012, while only two are reducing their page prices. The latter are GuideTVLoisirs from Edipresse (now: Tamedia Publications romandes) and the Ticino daily newspaper LaRegione Ticino. While GuideTVLoisirs now has a quarter fewer readers following the concept and name change almost two years ago, a rate reduction was also appropriate. However, at -14.7 percent, it remains well below the loss in readership, which is why the thousand-reader price (TLP) for the program guide has increased - at least compared to before. The situation is different at LaRegione: although its rate reduction of -0.3 percent appears to be small, the fact that the newspaper has 7.8 percent more readers results in a lower TLP. This is probably primarily for strategic reasons, as LaRegione has to hold its own against the new 20 minuti. However, the most significant - albeit hidden - price reduction compared to the previous year can be found at the weekly newspaper WoZ: it is keeping its prices at the current level despite a significant increase in reach of 18.8 percent. Its TLP has thus fallen by 15.8 percent. Among the titles that are actively increasing their page prices, some stand out with increases of over 10 percent: Firstly, there is the young Migros magazine Vivai, which is increasing by 78 percent - even before the first readership figures are available. No explanation was given by Migros. Even more astonishing is the price increase of almost 20 percent for the Geneva-based business daily Agefi, which has lost almost half of its readers (-43.8 %) within a year according to the latest readership figures. This means that Agefi's TLP doubled in 2012 - also without justification.
The Edipresse local newspapers La Broye and Journal de Morges are also among the astonishing price increases: they will cost 13.4 percent and 9.3 percent more respectively in future. Blick am Abend and Magazin are also increasing their prices by more than 10 percent, although the increases are moderate. Ringier's free paper is increasing its page price by 15.6 percent, which is less than the 23.8 percent increase in performance. Its TLP will therefore be cheaper. The magazine is also charging 15 percent more per page, but this corresponds exactly to the increase in reach. As is the case every year, there are also a whole series of hidden price increases, for example when a title loses a significant number of readers but does not adjust its prices in any way. Both are the case for eight titles, which are therefore increasing their TLP. Specifically, the TV Star is increasing its TLP by 12.7 percent compared to the previous year, Bilan is increasing it by 12.6 percent, Finanz und Wirtschaft by 12 percent, Le Temps by 11 percent, 20 minutes by 7.3 percent, SI Style by 6.7 percent, SonntagsBlick by 5.5 percent and Gesundheits- Tipp by 5.4 percent.
However, it is also interesting to see how press titles have performed in terms of price since 2008, when the financial crisis began. Werbewoche therefore compared - where possible - the rates in 2012 with those in 2008 - as well as the underlying performance values (reach). The result: 37 titles are still charging the same amount per advertising page in 2012 as in 2008, 21 even cost less than back then. However, 54 titles raised their prices despite the recession. The highest increase in Swiss francs was recorded by 20 minutes, namely by 110 percent, followed by Heute/Blick am Abend (91.7 %) and 20 Minuten Deutschschweiz (+35 %). The biggest rate reductions were made by Axel Springer Switzerland's TV2 and TV vier program guides, which halved their page prices (-50.8 %).
At the TLP level, 56 titles have become more expensive since 2008, i.e. their price has risen by a higher percentage than their performance since the first year of the crisis. 20 minutes is a good example of this: as mentioned, the page rate has risen by 110% in the last four years, while the range has "only" increased by 67%. The TLP thus increased by 25.5 percent.
However, it is downright cheeky when the range is reduced and the price is nevertheless raised sharply. Agefi is probably the prime example of this, but because its 2008 tariffs are not available, the four-year comparison cannot be made.
But Agefi is not alone: the Basler Zeitung has also become 12.7 percent more expensive since 2008, but its reach has decreased by 14.4 percent in the same period. The Oltner Tagblatt increased its price by 13 percent, despite losing 9.3 percent of its reach. The Zürichsee-Zeitung is selling its advertising page 2.4 percent more expensively, although it has 15.7 percent fewer readers. The Tages-Anzeiger increased its page price by 11.8 percent, despite a 5.2 percent loss in readership. GHI increased by 3.4 percent, but lost 9.6 percent of its readers. Blick charged 3.1 percent more despite losing 9.7 percent of its readership. And NZZ is also charging 5.6 percent more, although it has 6.4 percent fewer readers. Le Temps and Südostschweiz show that things can be done differently: Le Temps now has exactly the same reach as in 2008 - and the same price as back then - in other words, zero mark-up.
The situation is similar at Südostschweiz, where price and performance have both fallen by 0.4 percent since 2008. At SI Style and SonntagsZeitung, the gap between price and performance has also remained very small over the four years.
However, it is also worth mentioning the 28 titles that reduced their TLP during the crisis - by reducing tariffs, improving services - or both. Today, the TLP of TV vier and TV2 is around 35 percent lower than in 2008, while Impartial reduced its TLP by 14.9 percent in the same period, Glückspost by 12.5 percent and TV8 by 11.3 percent. Markus Knöpfli
December 6, 9 am. The six-member "Only an ad can do this" jury meets in the cafeteria at Publicitas headquarters in Zurich-Altstetten to select the best entries for next year's campaign. Toni Vetterli, Head of Marketing at the Swiss Media Association, explains to those present at the start that 76 entries were submitted.
The brief for participants in the tenth edition of the creative competition was the same as at the launch: advertisements were sought that drew attention to the benefits of advertisements. However, the competition had a few new features for the anniversary. On the one hand, a briefing event was held to explain the framework conditions and draw attention to stumbling blocks. After all, there are quite a few stumbling blocks, as was discovered at last year's competition - the winning entry "Karaoke", which used the lyrics to Frank Sinatra's "I did it my way", was beyond the financial scope due to the rights to the songs and could therefore not be realized. On the other hand, both ideas for individual subjects and ideas for campaigns could be submitted this year.
Only the idea counts
22 individual subjects and 54 campaign proposals were submitted. Slightly more than last year, says Vetterli happily. Then it's time to get to work. The jurors stroll through the cafeteria and examine the subjects spread out on tables and on the floor. Jury president Andreas Prokesch gives a few more instructions: For the time being, he says, it's just a matter of evaluating the idea. "Is it good? Is it feasible?" However, the jurors should not pay attention to the quality of the execution. Good ideas can be "made to fly" with a little fine-tuning, Prokesch continues. In the first round, the jurors mark ideas that they like with colored Post-it stickers. Around 23 campaigns or subjects make it through to the next round. After pleas from individual jurors for their favorites and discussions - do the works hit the mark? Which ideas are really new? Are the subjects feasible? - the shortlist winners are determined by vote. Six submissions remain on the table.
After a further round, it will be decided which two works will receive the ticket to Oslo: Two teams from the shortlist will travel to the BestYET competition next May 2012, which is attended by young creatives from all over Europe. For the time being, however, the jury does not yet know who it has sent to the Norwegian capital. The evaluation is anonymous, the subjects are simply given numbers.
Then comes the final task for the jury members: they have to decide which advertisements from the shortlist will be realized. The decision is made in favor of six different subjects. They are to appear next year as filler ads in over 100 newspapers and magazines.
Who is traveling to Oslo?
Before heading to lunch together, Toni Vetterli reveals the secret of who is responsible for the subjects. It is agreed to maintain confidentiality for the time being. The shortlist winners will only find out that they have won at the awards ceremony on December 13. Just like the three creatives who will represent Switzerland at BestYET: Gaël Tran and David Moret, both from Euro RSCG Genève, and Silvio Seiler. The latter is no stranger to the competition, having already won it two years ago. For these three, it's time to prepare. After all, the title of Best Young European Team and two tickets to the Cannes Lions International Advertising Festival are up for grabs at BestYET.
The jury
The six-member jury for the creative competition included Isabelle Hauser, Art Director at Ruf Lanz, and Patrick Ryffel, copywriter at Philipp und Keuntje (Hamburg) - both multiple winners of "Das kann nur ein Inserat".
They were supported by Simon Smit, copywriter at Spillmann/Felser/Leo Burnett, Stefan Erhart, Head of Brand Management Switzerland at Swiss Life, who is responsible for the current "Wendeätze" campaign, and Toni Vetterli, Head of Marketing at the Swiss Media Association, who stood in for his association colleague Michael Seiler, Head of Advertising Market Newspapers Espace Media. Andreas Prokesch, long-standing chairman of the ADC judging panel and freelance copywriter and concept developer, acted as president. Isabel Imper
Award ceremony
The award ceremony and the exhibition of all the works submitted for "Das kann nur ein Inserat" took place on Tuesday evening at Zurich's Basilica club. The young creatives had the opportunity to exchange ideas over an aperitif. Toni Vetterli opened the official part of the evening by explaining the competition procedure and thanking the sponsors. He then handed over to jury president Andreas Prokesch, who explained the jury's new procedure and presented the shortlist subjects to the creatives, sponsors and media representatives present and congratulated the winners. The picture on the left shows the three shortlisted winners, who are traveling to the bestYET in Oslo at the invitation of Publimedia. Gaël Tran (left) and David Moret; the two creatives from Euro RSCG traveled all the way from Geneva for the award ceremony, where they also inquired about the nightlife options while they were in Zurich. Next to them is Silvio Seiler (right), who runs his own office under the name Silvio Seiler Graphik und Design in Appenzell Ausserrhoden. (Image: Blaženka Kostolnà)
A personalized mailing, microsite, brochure, advertisements, F24 posters and a cinema spot produced by Encore and directed by Neil Stubbings provide information about the new features. On the microsite, around 52,000 customers of Sankt Galler Stadtwerke can order their electricity easily and conveniently. The integrated electricity calculator calculates the prices for each electricity product based on consumption over the last twelve months. And shows how little it takes to do something for an ecologically sustainable future.
Responsible at Sankt Galler Stadtwerke: Peter Graf (Member of the Executive Board). Advertising agency: Mainland, St.Gallen/Zurich.
This was announced by SRG on Wednesday. At the new location, the editorial offices of DRS 2, the cultural editorial offices of DRS 1, SF and "Swiss Satellite Radio" (Swiss Classic, Swiss Jazz, Swiss Pop) will in future jointly develop offerings for radio, television and the Internet. Until now, the editorial teams headed by Nathalie Wappler have worked separately at the Bruderholz in Basel, the Brunnenhof radio studio in Zurich and the Leutschenbach television studio in Zurich. Together with the editorial offices of the culture department, the regional editorial offices for Baselland and Baselstadt will also move. More than half of the 250 employees affected already work in Basel. Part of the radio drama production and the television studio production will remain in Zurich because no HD studio is being built in Basel and post-production facilities are being limited there.
Employees move by 2014
The building in the Bruderholz district of Basel, which was built in 1940, would have to be renovated at great expense in the coming years, according to the statement. The premises are also not suitable for multimedia-oriented editorial offices. By moving to the city by 2014 at the latest, the BoD wants to create modern conditions and new development opportunities at the Basel studio location. Various possible locations in Basel's city center are currently being examined - the future use of the Bruderholz site is still open. SRG is in talks with the Basel Radio and Television Cooperative (RFB), the owner of the Bruderholz site. The approximately 250 employees are to move to the new location by 2014 at the latest.
The guarantee is unlimited, MVH principal shareholder Tito Tettamanti told the media in Zurich on Wednesday, according to SDA. Blocher had assured him that he would guarantee for possible losses incurred by a restructuring on the industrial side of the group. In return, Tettamanti promised to buy back the shares from the Blocher family.
However, Tettamanti said that the former Federal Councilor should not and should not interfere in the newspaper itself. The Baz would maintain its right-wing course. Nothing will change editorially. He and Blocher had come to the conclusion that it would be better if Blocher did not appear as a shareholder in the new company in the future.
