Res Strehle on the NZZ relaunch
The NZZ is a duty, the Tages-Anzeiger a pleasure. This is how the head of communications at a Zurich private bank summed up his relationship with the two quality Zurich newspapers a few weeks ago. In the meantime, both have a new design and the conclusion from the private banker's point of view could be drawn as follows: The NZZ is still a must-read, but in its new guise it has also become a bit more fun. And that's a good thing. After all, the NZZ's compulsory readers are slowly dying off. Today, only very few readers are commanded to read the daily newspaper directly by the superego. In the age of fast information via the Internet and commuter newspapers, those who read newspapers in large format on paper will indulge in luxury and leisure. Broadsheet (the name for the large format, which is a very handy size in Switzerland) suddenly sounds a lot like Broadway. So pleasure has to be part of it somehow - all the better if it is offered at a high level.
This is the case: the eye has more space in the new NZZ. There is a recognizable hierarchy between different articles on one page. The pictures have been selected and are shown to better advantage. The analytical competence is more visible through clear focal points in the first bundle (Opinion & Debate), in the second bundle (Reflections) and in the third bundle as a whole, which is bursting with analytical competence.
The concentration on three frets does not bother the reader either. It conveys a feeling of compactness, a requirement that every soccer coach sends his team onto the field with today. The decline in advertisements has meant that with six or more frets, especially in times when advertising is low (summer, January, February), some frets only consisted of four pages, so there could hardly be any talk of frets, or as our northern neighbors say: books. The only painful thing about this is that the NZZ lost its own local bundle - a courageous decision for a daily newspaper with the name Zurich in its title. If this is linked to the strategy of being perceived more strongly as a national language title in future, then it is the right move. Otherwise, it is probably very risky.
As with every newspaper after a relaunch, the new layout still has a few harmless teething problems that can still be cured in the coming weeks: In the first few days, the pictures were more informative than good and often somewhat stereotypical in size. In the first few days, solidarity with Peter Handke's mission against the flood of images seemed to be more important to the business section than accessibility for the reader. And the short, two-line skyboxes with a gray background and sparse font do not really help the reader to successfully navigate through the paper.
But all in all, readers now enjoy reading this newspaper much more. If it continues like this, the NZZ will become a viable alternative to sports television on the home trainers in the fitness center. The spectre of the demise of quality media is spreading nationally and worldwide. Lucky is a city that has two daily newspapers that want to prove every day that quality and pleasure are not mutually exclusive.
Res Strehle is co-editor-in-chief of the Tages Anzeiger

Rainer Stadler on the Tagi relaunch
When a company redesigns the packaging of its product range, you should frown. Has the volume of the pack increased because more content has been added? Or did the increase in volume not serve the purpose of putting in less so that the actual price increase remains hidden from the buyer? The consumer-critical pedant will clarify the facts by reading the small print. They can then - provided they have a calculator - work out how many francs they have paid for how many milliliters of perfume or how many grams of salted nuts.
However, when a newspaper spruces itself up, the calculator is no longer of any use. No paper states how many kilos of characters it presents to the public every day. So the suspicion that the offer used to be more extensive simply lingers in our minds.
This is also what one thinks when leafing through the new Tages-Anzeiger. According to its self-declaration, the editorial team wants to set more of its own accents and reflect the daily agenda less. In fact, the selection of topics has become tougher. On Monday, for example, there was not a single line about the SVP delegates' almost unanimous vote in favor of the minaret initiative. Who will be surprised if the political players make more and more noise in order to get into the editorial columns at all?
But that was a question about the content. However, I was asked to assess the design of the Tages-Anzeiger. So: I was disappointed by the first issue after the reform. Perceptions are strongly influenced by expectations. In other words, I had high expectations of the visual design of the Tages-Anzeiger. The paper undoubtedly still looked serious, but was heavy and gloomy, especially because of the dark font. I was puzzled by the thick line just above the headlines. To put it in vulgar psychological terms, it presses down on the main messages like an overfather. It robs them of their breath.
After a week, I've long since got used to the new design regime. It's certainly not revolutionary, but it's easy to live with. No aesthetic quirks make reading difficult. You appreciate that. Reports, commentaries and interviews are clearly differentiated by the typeface: Justified type versus justified type. Of course, the subjective has always been somewhat fluttery. Perhaps that's why it needs the strict, organizing line above every text. Afraid of losing control? The choice of images is much better today than in the first issue. The impression of gloom has evaporated. Even when leafing through the first reform edition again, the design seems less oppressive to me - perceptions are obviously volatile.
The current redesign of Zurich's three major daily newspapers has met with a strong media response. What other product would receive such journalistic favor! At least this marketing effect can be favorably generated by the cash-strapped press. The big positive message was definitely intended: We're staying tuned, we're doing something.
Rainer Stadler is media editor of the Neue Zürcher Zeitung

Swiss TXT has been continuously expanding its IT services in the multimedia environment for several years. Four years ago, the Swiss TXT Multimedia Solutions division was created for this area, which has grown from ten to 30 employees during this time. With this year's expansion, new positions have been created for project managers, system administrators, developers and a marketing specialist.
Until now, services have mainly been provided for various SRG business units. From now on, the new Customer Relations department will position the Multimedia Solutions division more strongly in the market. The new sub-brand will ensure that multimedia products are clearly differentiated from the teletext business.
Target customers are media companies and companies that rely on mobile communication and audio-Viedo solutions.

www.swisstxt.ch

The founder of the agency, Clemens Gähwiler, was previously a PR consultant at Burson-Marsteller in Zurich for several years, drawing on over 10 years of experience in the communications industry. In 2008, the qualified business economist HWV also completed further training to become a federally certified PR consultant.

www.pr-werkstatt.ch

Each week, the magazine provides an overview of a total of 93 channels - 59 analog and 34 digital. The Tele digital supplement, which was previously available for an additional charge, will be discontinued. At the same time, the magazine introduces a "film planner": a four-page overview of the TV week's feature film offerings.

www.tele.ch

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The Federal Council and Federal Assembly had come to the conclusion that the initiative was valid, said Urs Weishaupt, head of media for the city of St. Gallen, explaining the authority's decision. "It's not our job to decide whether the proposal is clever." According to Bazonline.ch, the poster in and of itself is not racist from Weishaupt's point of view. The picture shows a Swiss flag, a veiled woman and some minarets: "What should be discriminatory about that?" says Weishaupt.
The reason for the uproar is the image of a veiled woman in front of a Swiss flag with rocket-like mosques on it. The supporters want to put up this poster in several Swiss cities the week after next.

Dispute over the publication of the minaret posters
The canton of Basel-Stadt has already made its decision and is banning the supporters from putting up their poster on public property as it is racist, as André Frauchiger, spokesman for the Department of Construction and Transport, confirmed a report on Tuesday in the Tages-Anzeiger and in the Bund. According to SDA, Zurich, Winterthur, Bern and Lucerne are also toying with the idea of banning the poster. They are waiting for an expert opinion from the Federal Commission against Racism FCR, which Lucerne has commissioned. The opinion of international human rights organizations is also to be included in the ruling. The city of Lausanne has also banned the controversial poster. According to the city government, it conveys racist and dangerous images.
The newspaper publishers also have reservations. Ringier has already rejected the advertisements. The image equates Islam and minarets with violence. According to Tamedia spokesman Christoph Zimmer, the Tages-Anzeiger has also dispensed with the advertisement, and 20 Minuten, Berner Zeitung and Bund are also likely to do so. The decision will be left to the publishers themselves. The NZZ has not yet decided.

www.bazonline.ch

www.tages-anzeiger.ch

New is not always good: new advertising and PR ideas are constantly popping up like corks on the surface of the communications industry. Most of them are one-day or at most two-day flies. But some ideas have the potential for more: we have put together some funny and exciting ideas for you to think about. By Anne-Friederike Wilhelm.
> To the ideas

With the construction site advertisement announcing the rebuilding of the Tages-Anzeiger, Spillmann Felser Leo Burnett brought a former WHS copywriter onto the scene. The same idea had already been hatched there for the Tagi in 1997. But the all-time slogan for this newspaper says: "We're staying tuned." So the unintentional recycling is probably excused. And with the new ads, SFLB has moved into new dimensions. "What if the important convinced people of this world hadn't stuck with their idea?"

At the annual Nestlé ambassadors' party, I'll be in charge of the soup and George Clooney will serve the coffee," joked Claudio Zuccolini at the presentation of the new Maggi products. It's no joke, however, that Claudio will be present for the next three years in the service of Nestlé in various channels as the kitchen fairy Margrit for Maggi. Like Clooney for Nespresso, Zuccolini has been hired as a kind of "Mrs. Doubtfire" for a brand campaign and for the launch of ten new products. The popular comedian slips into women's clothes and acts like a good old aunt. Not a fag, however, as great care was taken during the production of the commercials. Maggi came up with the fantasy character Margrit because the female identification figure, which has been emblazoned on the legendary Maggi bottle since the beginning of advertising, was to be brought into a modern age. However, they didn't want a staid housewife with the know-it-all charm of many TV chefs, but a likeable character with a twinkle in her eye. Claudio as a woman is not the evil mother-in-law who worries about her son's physical well-being. But Margrit is immediately at the stove if there are any problems in the kitchen. And with the new Maggi products, that should no longer be the case for anyone.
The cross-media advertising campaign, including the Margrit concept, was developed by Ringier Media Sales. The advertising agency Publicis and Manifesto were responsible for the spot realization. Reto Salimbeni shot six films with Zuccolini over the course of a week. In future, Ringier's WebCenter will produce a further two episodes per month in slightly longer versions for the web. Our Margrit is set to become a cult figure on www.maggi.ch. The newly designed site also contains countless recipes and suggestions for creative cooking with Maggi. In keeping with the culinary theme, Ringier Digital Media has developed an online competition in which users can cook virtually on Maggi.ch. A promotional package with publicity reports, online advertorials and display advertising for the Blick Group, Schweizer Illustrierte and Illustré channels has been put together for this purpose, as Roland Will from Multichanneling at Ringier proudly explains from the kitchen. Myrta Hefner from Optimedia also played a key role in the Margrit campaign in terms of media technology, as Miguel Serrano, Marketing Manager Maggi at Nestlé Switzerland, explains.
In addition to Maggi, Zucco is now also cooking up his third solo program.
Andreas Panzeri
> Spot

The Lausanne judges thus upheld a decision by the Independent
At that time, the UBI had rejected two complaints from a German mathematics professor. The scientist criticized the survey results before the
Referendums on February 24, 2008 and before the federal elections
In 2007, he accused SF of having violated the information principles of program law. Television had handled the figures too loosely.
Both complaints were rejected by the UBI on the grounds that television had provided appropriate information and observed its own guidelines. Based on the results presented, the audience had been able to form its own opinion.
The Federal Supreme Court did not respond to one of the two appeals back in March.
was upheld, SF writes further. With the ruling on the second appeal on September 30, both UBI decisions are therefore legally binding.

www.sda.ch

Publishers have been talking about paywall for months, but no one is acting, observes U.S. media expert Alan D. Mutter. Why is that? In game theory terms, the publishers are in a prisoner's dilemma: No one knows how the others will behave. But if you are the first to risk taking the necessary step, you are dependent on your competitors following very quickly - or you will lose your online customers to the competition. Collusion, on the other hand, is not permitted under antitrust law. So much for the facts.
What is increasingly annoying is the ideologically highly charged and ultimately narrow-minded discussion about whether good journalism can or even should cost anything. Of course it can, indeed it must, if it wants to maintain or regain its independence and credibility. It is astonishing to see the naivety with which the authors of the Internet Manifesto in Germany are praising the Web as a place of freedom of domination, as if the octopuses (and new oligopolists ...) Google and Microsoft did not exist. And with what doggedness they defend the everything-for-free culture of the Internet: "More is more - there is no such thing as too much information," they claim, as if no one had a problem with info-junk and as if we didn't need professional help to keep us from drowning in the flood of news.
On top of that, even a respected and often original lateral thinker like Werbewoche columnist Oliver Reichenstein apparently expects all salvation from the state (Werbewoche No. 30/31). Certainly, the conventional extensive cross-financing of journalism via advertising no longer works. The old media companies are losing their oligopoly or monopoly positions, and thanks to search engines and social networks, the advertising industry can reach the addressees of its messages elsewhere more cheaply and more precisely than via the dinosaur media of print and television. Then the public purse, i.e. the taxpayer, should pay for journalism, suggests Reichenstein in all seriousness - and with him many concerned self-appointed defenders of the cultural asset that is the newspaper, including such prominent colleagues as the philosopher and social researcher Jürgen Habermas. As if we didn't know long ago that where the state has a monopoly on journalism, governments generally also make journalists compliant - Putin, Ghadaffi, Berlusconi & Co send their regards.
No, Mr. Reichenstein, let's fight back against the beginnings: Public broadcasters are already big and expensive enough, and not everywhere in the world have they developed a journalism culture of incorruptibility like in Switzerland. At ARD, ZDF, ORF and RAI, but even at the honorable BBC, cases of corruption and abuse of fees have increased in recent years.
Expensive private elite universities like Harvard, Stanford or Princeton, on the other hand, are not a "grotesque" even in the Internet age, dear Mr. Reichenstein, but are still "the best and the brightest" in research and also in the training of future leaders. Even these universities may only boil with water, but they gain the insights we need to further improve our quality of life and to keep the free exchange of information going.
In terms of knowledge production and distribution, they are not at all dissimilar to the recently renovated NZZ, but also to the New York Times, the Guardian, the Frankfurter Allgemeine Zeitung and Le Monde. Certainly, it no longer costs anything to circulate information. But it is still expensive to obtain it and to separate the relevant from the irrelevant. That's exactly what excellent journalism does, and that's exactly what there will be a market for online once the paywall goes up. The big newspaper companies can then remain what they are: Media production sites for premium content, financed not by Tom, Dick and Harry, but by smart readers. As online users, they will no longer pay for expensive and environmentally harmful printed paper and time-consuming delivery, but they will pay for first-class journalism. To a more modest, but not negligible extent, those advertisers who want to reach such elites specifically will then also find their way back to newspaper websites.

Three quarters of the store operators surveyed reinvest up to ten percent of their generated turnover in advertising. 41 percent of respondents spend between one and five percent of their turnover on advertising. In the range of six to ten percent, the figure is 33 percent. The proportion of store operators who invest more than 30 percent in advertising is four percent. This is the result of an internet survey conducted by the Trusted Shops store operator blog. www.shopbetreiber-blog.de - among more than 500 store operators. They were asked about the proportion of costs for Google AdWords, price comparison sites, banners, ads, affiliate programs and other forms of online advertising.
Across all the values surveyed, the average advertising expenditure is just under ten percent. Industry experts confirm the result based on practical experience. Especially in online retail, sales-oriented advertising, such as search engine marketing SEM and search engine optimization SEO, is still the most frequently used instrument. Thanks to the performance-oriented remuneration models (cost-per-click) in this area, store operators take a limited risk in the development of their advertising costs.

The chart below shows the distribution of advertising expenditure in online retail.

www.trustedshops.de/presse