This Thursday morning, there are a lot of clothes hangers hanging on the poles of the Zurich streetcars on lines 4, 6 and 13. A total of 10,000 lucky tickets are attached to the hangers. The fashion chain Big is behind the advertising campaign, as 20 Minuten reports. The campaign was realized by the Zurich agency Hochspannung. "When I was on the streetcar one day, I suddenly thought that these hangers are actually the same as the ones in my closet at home and that they could be used for an advertising campaign," Matthew Katumba, CD of the agency, is quoted as saying in the free newspaper. Will such campaigns soon be part of everyday life on the streetcar? According to Phillip Saladin from VBZ, the aim is not to cover customers with massive amounts of advertising. "But if the coat hangers are a success, we will look into further such campaigns."

The statement in full: "The very fact that it took a conciliation conference to resolve the differences between the Council of States and the National Council shows how controversial this bill was. And it was necessary for reasons of legal certainty that clarification was finally reached and that the RTVA was amended accordingly. As always with controversial issues, weighing up the legal interests was a delicate matter. Despite opposition from prevention and other circles, the decision was ultimately made in favor of the European regulation and film funding. This is to be welcomed insofar as the same conditions now apply to everyone in this country. And advertisers from the affected sectors now have new ways of communicating. In an age of rampant advertising bans, this can be welcomed with relief. The fact that there is nevertheless only cautious rejoicing is due not least to the question of whether liberalization will not lead to a backlash in other laws. "

Cinema operator Pathé is extending its marketing contract with Publicitas Cinecom for the long term. The Publicitas marketing unit for cinema advertising is delighted to be able to continue marketing Switzerland's largest cinema operator in the future, as detailed in a press release issued on Thursday.
The Pathé Group has been working with cinema marketer Publicitas Cinecom in Switzerland since 2004 and has now extended its exclusive contract. Brian Jones, CEO of Pathé Suisse, comments: "In Publicitas Cinecom we have a strategic partner for the important advertising business whose services we greatly value. We are delighted that the partnership will now continue and that we can develop additional business together with Publicitas Cinecom." The international company Pathé is the market leader in the Swiss cinema landscape and owns around 70 cinemas in ten locations. Tim Dührkoop, Head of Electronic & Interactive: "The fact that the market leader in Switzerland has once again opted for Publicitas Cinecom strengthens our cinema business and allows cinemas to benefit from our many years of expertise and digital infrastructure. Especially in these difficult economic times, such a long-term contract extension is a special vote of confidence that we greatly appreciate."
By marketing Pathé cinemas, Publicitas Cinecom can continue to offer cinema advertising on a very broad basis. Patrick Knecht, Head of Cinema national: "The contract extension with Pathé is a great incentive and a super motivation for our work. The entire team is very much looking forward to continuing our collaboration."

Kitag also extends its marketing contract
Cinema operator Kitag has also renewed its marketing contract with Publicitas Cinecom on a long-term basis. Kitag owns around 85 cinemas, making it one of the largest cinema operators in Switzerland. The contract extension means that Publicitas Cinecom will retain an important part of the cinemas marketed to date on the national market, the statement continues.
Kitag owns around 85 cinemas, making it one of the largest cinema operators in Switzerland. The contract extension means that Publicitas Cinecom will retain an important part of the cinemas marketed to date on the national market. Tim Dührkoop, Head of Electronic & Interactive at Publicitas: "After an intensive negotiation phase, the contracting parties have reached a positive agreement for all parties involved. The Publicitas cinema business will emerge stronger and Kitag cinemas will continue to benefit from the many years of experience of our employees, from our sales performance and from our digital infrastructure."
This is good news for advertising clients, as the previous contact persons and their expertise in cinema marketing will be retained. Patrick Knecht, Head of Cinema national: "The extension of the contract confirms our work and means we can continue to offer customers and agencies cinema advertising on a very broad basis." Publicitas Cinecom has been strengthened by the Kitag parent company Cinetrade: Gregor Eschle, Head of Commercial at Cinetrade, is responsible for the marketing of all advertising space within the Cinetrade group of companies, including Kitag cinemas. Wilfried Heinzelmann, member of the Board of Directors of Cinetrade and Kitag, comments: "We want to market the advertising opportunities within the Cinetrade group of companies across our entire portfolio and cross-media. This includes not only the advertising opportunities in Kitag cinemas, but also those on the Teleclub television platform, the Teleclub and Kitag websites and the Group's print media Close-Up! and Teleclub Mitgliedermagazin. Gregor Eschle and his team are responsible for this. We would also like to continue using the expertise of Publicitas Cinecom for national and local cinema advertising.

Now they have finally managed to apologize, the bad boys of the Jodelchörli Urnäsch on the Säntis. Some of the yodelers had given a, to put it mildly, not exactly xenophobic snort in front of a running TV camera. TV viewers then complained to the SRG ombudsman, the complaint was upheld, and SF sports director Urs Leutert apologized for the faux pas. René Frischknecht, proud president of the yodel combo, saw no reason to apologize for the behavior of his protégés. What finally made him jump over his shadow is not known. Fact is, however, that the choir apologized publicly for its misdeed on Wednesday in the SF program "Schweiz aktuell". So there you go guys, it does work.

Ruf Lanz has created an extremely topical and funny commercial for Weltwoche publisher and editor-in-chief Roger Köppel. This was prompted by the fact that Köppel, who had originally been invited to the "Arena" show, was unceremoniously disinvited by the "Arena" editorial team under pressure from the FDP, as the newly elected Federal Councillor Didier Burkhalter did not want to debate with him on the political show.
The 9-second spot ran as the last contribution immediately before the broadcast. The message was: "Everything I'm not allowed to say in the Arena today, you'll read in the next Weltwoche. Sincerely, Roger Köppel."
The film had to be produced in record time: The editor of Weltwoche phoned Danielle Lanz and Markus Ruf at 2 p.m. - around eight hours later, the commercial already had to be on air. Responsible at Ruf Lanz were Danielle Lanz and Markus Ruf as CD, Marcel Schläfle (art), Markus Ruf (text), Michael Gassler (consulting). The flash production was carried out by Manifesto Film.

The Federal Office of Communications is open to discussions regarding the future of Radio Energy. A VHF transitional solution is being considered - but only if the other private radio stations in the greater Zurich area agree. The Office met with Ringier on Monday and exchanged ideas, said Caroline Sauser, spokesperson for Bakom, on Wednesday at the request of SDA. Energy once again argued in favor of a VHF transitional solution. For the Federal Office, however, the case has actually been decided: "The rules of the game were clear", Sauser continued. Radio 1, Radio 24 and Radio Zürisee had received a license for the Zurich/Glarus broadcasting area with around 1.5 million potential listeners. What matters now is the opinion of the other private radio stations in Zurich. If they all agreed, there would be no objections from OFCOM. However, the question is whether the other players are prepared to share the advertising pie with a fourth participant. Ringier must hold these talks now.
With the transitional solution, Ringier would like an FM frequency for Energy until a seamless switch to DAB+ digital technology is possible one day. For a fourth FM frequency in the Zurich area, SRG would have to move DRS 2, for example - which Ringier says it would be prepared to do.
Other private radio stations show little interest
The other Zurich radio broadcasters show little interest in a transitional solution for Radio Energy. The licensing procedure has now been completed after almost two long years, said Radio 1 boss Roger Schawinski on request. To question the result now would degrade it to a farce. Tamedia, owner of Radio 24, did not wish to comment further on the matter on Wednesday. Spokesman Christoph Zimmer referred to statements already made, for example in the NZZ on Wednesday. There, Tamedia points out that there are already a dozen radio stations in the Zurich area. Further segmentation is not acceptable, according to Zimmer. "We are clearly against it", Tony Immer, head of Radio Zürisee, also told SDA. They are not prepared to change the rules of the game retrospectively.

Cosmic Bern has won the Shoppyland shopping center as a new client. The agency came out on top in a competitive presentation for the 2009 Christmas campaign and will be responsible for the shopping center's future communication presence.

Publisuisse returns to first place in the media marketer category after a three-year hiatus. IP Multimedia, the first-time winner of the award a year ago, has to share second place with the increasingly strong AdLink from the same company. Cinecom, winner in 2006 and 2007, has lost further ground and the cinema and TV marketer from Publicitas has now fallen back to 6th place. Among media providers, 20 Minuten is celebrating its third victory in a row. NZZ has returned to the podium. Tamedia Zeitungen, both former award winners, remained there.
Part 1
Part 2
Part 3

As of October 1, 2009, Edwin Schmidheiny (photo) will head the Brand Strategy division at Nose, where he will contribute his experience in building and managing internationally successful brands. As a member of the Executive Board, he will also help shape and further expand the Nose offering for the development of consistent brand experiences along an experience chain. According to the press release, Schmidheiny is an internationally experienced creative director and brand consultant. Over the course of his career, he has worked in leading positions at brand agencies such as Saul Bass / Herb Yager Associates, Frog Design, Landor Associates and Interbrand Zintzmeyer & Lux AG. In addition to these major clients in various industries, he has also had a lasting influence on the brands of various airlines. These include Swissair, Lufthansa, Thai Airways and Japan Airlines.
Nose has also announced further personnel changes: Oliver Berger is taking over the management of the Industrial Design division from Christian Harbeke so that he can focus more on the development and support of key accounts. In his new role, Oliver Berger will also take a seat on the management board. Previously, as Senior Designer and Project Manager, he was responsible for product design and development for the customers Mammut, Betty Bossi, Phonak, Bombardier and Stadler Rail.
Bruno Bürgi is appointed Chief Operating Officer (COO) and member of the Executive Board. In this role, he will head the Services division and oversee all internal processes. Bürgi was most recently Head of Design Visualization at Mercedes-Benz for four years.
Mattias Weber is Edwin Schmidheiny's new deputy and will support him in expanding Nose's strategic consulting expertise.

On Tuesday, the free biweekly magazine Aaround was published for the first time in Aarau and 15 surrounding municipalities. A review of the first issue can be read in Wednesday's Aargauer Zeitung. Overall, Aaraound No. 1 spreads a positive mood, but seems somewhat unstructured and unexciting. The advertisements in the purely advertising-financed magazine are not lavish. On the other hand, Aaround sponsors a competition or an autumn recipe, for example. In addition, the magazine is the official information organ of the Aarau Standortmarketing association, although this is not declared on the corresponding double page, but only in the small print masthead.

Sometimes Jürg Streun's work is enough to make you cry. At least when he does it well. Then the trained decoration designer makes his clients cry. But Streun also has laughter in his program, just as his customer wants. Jürg Streun and his two sons Ivan and Nicolas are the heads of Streun Communications. The company produces films, TV commercials and corporate videos and offers event scenography under the brand "Die Szenografen". "Scenography is the art of staging messages in a virtuoso and multimedia way and placing the right effect at the right time so that the viewer leaves an event with strong emotions," defines Jürg Streun. In short: scenography wants to make a message tangible. For example, Fiat is planning a dealer conference for around 400 people. With this event, the car company wants to motivate its people, offer them entertainment, and treat their stomachs to a sumptuous feast. At the end of the event, everyone will receive a small gift to commemorate the occasion. The company also wants a moderator to lead the evening in German, Italian and French, as well as a common thread linking all the elements of the event. Cars do not necessarily have to be on display that evening.
Now the Streuns are getting into the act: "First we looked to find a suitable location for the event," explains Jürg Streun. "We decided on the StageOne event hall in Zurich Oerlikon." Here, in addition to the convenient location, the three event professionals found the technical equipment needed for the staging as well as a large screen for an effective multimedia presentation. "Our basic idea for the event was to combine the world of work with the world of glamour. Then we developed a theme for the event: Grazie - Thank You, and designed a logo to match," Streun says. "On the one hand, the logo summed up Fiat's message to its dealers, and on the other hand, it served as a common thread for us that linked the various elements of the event." The logo also reappeared on the giveaway, a chocolate heart from Sprüngli.
Three men and one occasion
The scenographers also organized the catering. However, not because Jürg Streun is a passionate amateur chef, but because food and drink were to underline the message of the event. "At an event, we take care of all the elements that have something to do with the message to be conveyed," Streun explains. "That's what makes us different from an event agency." The Streuns also hired a moderator who speaks German, French and Italian for the Fiat event, in addition to several show acts whose performances, like the catering, were integrated into the overall message: The a capella troupe A-Live, for example, did not simply step on stage and sing, but began sweeping the stage during the CEO's speech. The latter reacted playfully
irritably at the cleaning work and pointed out that cleaning was now unnecessary - if they could sing, then it would be something else ... And already the singers were raising their voices. "It's very important to us in our scenography that not just any event set pieces are strung together," Streun explains his concept. "Every facet of the event should be necessary for the event to work. Only then is everything all of a piece. And only then are we satisfied." Fiat was also satisfied. "Our customer told us that the event had been a huge success," Streun says. "Everyone present was thrilled, he says, and some dealers even shed tears of enthusiasm."
With all media for all senses
Because Streun attaches great importance to careful planning, he also manages to get complications under control: A few years ago, half the hotel where the event was to be staged burned down an hour before it was due to start. "We moved a lot of our equipment to another building and started the event an hour late," Streun recalls. "In addition, we played images of the burning hotel on the screen, which were carried on various news programs. Finally, this event was now part of our event." Streun has never experienced a self-inflicted breakdown: "I've been waiting for that for a long time, but so far nothing has ever gone wrong. But before events, I often dream that everything will collapse. After all, every event is unique and we have no chance of repeating it. I therefore hope that it will continue to be just dreaming."
Arborist with passion
Jürg Streun was born and raised in Bern, and the city has left its mark on him: "As a child, I often walked back and forth under the arcades with my mother and admired the constantly changing shop windows," he recalls. "I loved what new things the decorators conjured up season after season; I wanted to do something like that when I grew up." Dreamed, done: Streun trained as a decorator after high school. He learns how to not only decorate rooms and shop windows, but how to skillfully stage them with photos, decorative elements and the merchandise for sale. "A decorator has to be good at a lot of things: painting, carpentry, photography and three-dimensional design," Streun explains. "That's always a bit suspect and an insult to any specialist - but that's the way it is. I've benefited tremendously from this training." Above all, Streun trained a quality that is the crucial basis for his work as a scenographer: imagination. "Back then, I had to be able to imagine what would come out when I linked different elements to form a whole," he says. Only someone who has mastered this game in his mind is a good "stage designer," whether it's for shop windows or large corporate events.
After his apprenticeship at Globus Bern, Streun worked for several years as a decorator at Globus and Jelmolí in Zurich. At 24, he is gripped by the desire to travel: He goes to Berlin, Paris and London, and in Berlin he works under Peter Stein at the Schaubühne am Halleschen Ufer as a stage cacheur. In 1976, Streun returns to Switzerland and takes a job as an event consultant and technician at the Holiday Inn congress hotel in Regensdorf. "The Holiday Inn, which is now the Mövenpick Hotel, had a large training area at the time with an audiovisual communications studio that provided training for employees of Mövenpick companies," Streun says. "In this training
center, I worked as an event consultant and was responsible for the stage technology in the congress hall. So I was able to gain a lot of experience, especially because video technology came up during that time." But in the long run, this job is not creative enough for Streun. He quits his job and works for four years on various television and theater projects. Along the way, he acquires knowledge in marketing and communication.
When the father with the sons
In 1982, Streun ventured into self-employment: He founded his first company, AVS - Audio Vision Streun, which he later renamed Streun Produktion. Until 2001, Streun produces films, TV commercials and multimedia events. Then he decides to liquidate his company and look for new challenges. He wanted to open a restaurant and do something completely different. Just two months later, Streun founded another multimedia company: Streun.com - Streun Communications. "My son Ivan wanted to start a business with me," Streun explains. "Actually, I had just finished with it, but then it appealed to me to work together with my son. Besides, former customers approached me with orders. So we founded the new company and agreed that Ivan would take over as managing director from 2003 and I would contribute my knowledge as a senior consultant." Streun's younger son Nicolas also works in the family business, as a graphics freelancer while he catches up on his Matura. "We work perfectly together and are good at incorporating all media into our productions," Streun says. "Ivan is very creative, patient and persistent, a tech geek and a total pro at post-production. Nicolas is a great graphic designer and insanely accurate. I have a lot of experience in film production and countless contacts. Besides, all three of us are obsessed with working out perfect productions. That fits together."
Above all, this fits in with the demands of the clients: "Each of our clients has different requirements, but they are always high and everyone wants the perfect staging," Jürg Streun knows. How the scenographers go about their work depends on the client's briefing. Some companies already know exactly what they want, others have just a vague message or a current advertising campaign that somehow needs to be incorporated into the event. "The most difficult step is to find the right location," says Streun, "then an important part of the work is already done. There are a myriad of facets to the scenographic realization of events: Decor, film, translation, moderation, music, food and drink. Of course, the three men don't do all that themselves. Streun Communications acts as a general contractor, bringing in the right people for every task: Event technicians, decorating studios, props makers, show people, presenters.
It takes about one to two months to develop and implement the scenography for an event. "We also like to take on short-term projects where everything has to happen very quickly," Jürg Streun emphasizes. "Then everyone involved is more willing to make decisions." Streun Communications is engaged either directly by corporate marketing or by advertising agencies that bring the scenography specialists on board for an assignment. "Often it's a matter of incorporating an ongoing campaign into an event," says Streun. "Then, of course, it's good if we work closely with the advertisers."
An event for 200 to 300 people can be had from 20′ 000 francs, a large event can quickly cost 500,000 francs. It depends on what acts and special effects the client wants. For a star performing in the evening alone, you have to factor in 10,000 to 50,000 francs, Streun calculates. "We notice that the money for event staging is not so loose at the moment with the companies," he says. "But panic is unnecessary, good events are always needed."
Pulling stitches with effect
The Streun tercet seems to be working well: Streun Communications looks after national and international clients such as Fiat, Chevrolet, Kia, Renault, Hyundai, Harley-Davidson, the EHMA Congress, Schwabe Pharma, Cantavino, the International Country Music Festival and Opel Ruckstuhl. The three have already staged events for the Fiat Group, BMW and Chevrolet. All car? "In fact, there is almost no car company represented in Switzerland that we haven't worked for," Streun says. "I'm a car and motorcycle freak, but I also like to do other jobs - always the one I'm working on the most." Still, Streun dreams of staging a big truck presentation one day, preferably on a giant screen with giant trucks in a stadium. A huge one, of course. The main thing is that it has an impact.
Anne-Friederike Wilhelm