Magazine Saisonküche, the most widely read cooking title, is now launching its lifestyle magazine for women on a regular basis. 
 
Saisonelle, the new lifestyle magazine for women published by the Migros Cooperative Alliance, is appearing regularly in German-speaking Switzerland for the first time this year, following the launch of test editions last year and the year before last. Reader surveys have shown that the new lifestyle magazine has met with an all-round positive response. No wonder: subscribers receive the magazine piggybacked on the unchanged subscription price of Saisonküche, which is already a low CHF 34, as real added value. "That's an unbeatable package," says publishing director Andi Huggel. The first of six issues will be offered together with the February issue of Saisonküche. In addition to the 150,000 copies that reach readers in German-speaking Switzerland with Saisonküche, the publisher is aiming to distribute a further 50,000 copies by post via one or more partners. This would make Saisonelle the women's magazine with the highest circulation in German-speaking Switzerland. It focuses on the same target group as the prominent Annabelle. "We already have a similar readership to Annabelle," says Andi Huggel. Although advertisers are aware of this, they have not yet wanted to advertise in the food segment. This is why there has been a lack of advertisements from other segments, as perfume and chicken don't go well together. "With Saisonelle, we offer these customers the ideal environment," says Huggel.
In terms of content, the new 84-page glossy-cover magazine focuses on trends and new insights from the areas of beauty, wellness, sport, fitness, nutrition, gardening and living. In this way, Saisonelle meets the needs of readers of Saisonküche, who are not exclusively interested in cuisine and cooking. Relevant people at home and abroad will be available to answer questions.
Seasonal themes have already been set for this year's six issues. The first February/March issue, for example, deals with health and nutrition under the title "Fit for spring".
For example, whether you really need eight hours of sleep to be really fit for spring, or that nutrition also has to do with aesthetics. Doing something good for yourself with style and taste is the motto of the wellness and beauty stories. And when it comes to travel, local experts guide readers to their favorite locations in the world's trendiest cities. Saisonelle also has short food pages with relevant news from all subject areas.
In terms of images and graphics, the magazine sees itself as independent, but is deliberately based on Saisonküche. The latter already underwent a striking facelift in September 2005. The title was modernized from a pure recipe magazine to a food magazine with additional stories about cooking, regular columns and reports from abroad. "Saisonelle is clearly aimed at women, but the content also appeals to men," says Andi Huggel.
In terms of rates, Saisonelle starts with an introductory offer of 25 percent for insertions in all six issues - calculated on a page price of CHF 15,600. With a reach of 16.7 percent or 344,000 readers according to Mach Basic 2007/2, Saisonelle is ahead of SI Style (12.8%) and Annabelle (12.5%). It also has the lowest thousand-reader price of CHF 33.12, based on a 4-color page. 23 percent of the readers of SI Style and Annabelle, a total of 125,000, also read Saisonküche and Saisonelle respectively.
It is currently unclear whether the magazine will also be published in other parts of the country. "We can well imagine an edition for French-speaking Switzerland and also for Ticino if the Swiss-German edition is launched successfully," says Huggel.

René Worni

The recently opened Zurich branch of Saatchi & Saatchi Simko has hired two new Creative Directors, John Leuppi and Sascha Fanetti. Both are moving from Wirz.
John Leuppi previously worked as a copywriter/concept developer at Young & Rubicam, Honegger von Matt and Matter & Partner. At Wirz, he worked together with Art Director Sascha Fanetti. Fanetti earned his spurs at Ruf Lanz, Lesch & Frei, Honegger von Matt and Matter & Partner, among others. Both are members of the ADC.
Kaspar Loeb, CEO of Saatchi & Saatchi Simko, sees it as a stroke of luck that the two are already a well-established team. He wants to focus on creative people who still have their zenith ahead of them.
Saatchi & Saatchi Simko opened its office on Bäckerstrasse in Zurich in mid-January and works for clients such as Orange, SEAT and the disability insurance company.

 
Design Pro Carton is launching a design competition for new packaging and cartonboard applications. 
In a cycle of two years, Pro Carton Switzerland organizes a design competition for new packaging and carton applications. The competition, which is organized jointly with the sda swiss design association and is endowed with 7,000 Swiss francs, is aimed at design students. Pro Carton wants to open itself up to new ideas in the processing of cartonboard. Although the areas of application for cardboard are many and varied, young design students in particular are constantly coming up with new ideas that have not been thought of before and that are also exciting to implement. Thus, the designs submitted to the jury for evaluation about a year and a half ago were particularly convincing because of their novelty and creativity.Public presentationDesign students wishing to enter the competition must submit their projects by April 18, 2008. The jury, consisting of Prof. Gregor Naef, Jury Chairman, Lecturer FHNW and President sda swiss design association, Remo Biedermann, Head of Packaging Swatch SA, Judith Imhof, Head of Packaging Design Coop, Bruno Schmid, Partner MetaDesign as well as Jürg Schneller, Chairman Pro Carton Switzerland, will make their evaluation on May 21, 2008. The official announcement of the winners will take place on September 26, 2008 at the Gewerbemuseum in Winterthur. The museum, which specializes in design, will also open the month-long exhibition at the same time as the awards event, in which the participants' design proposals will be presented to the public. This will give the prototypes an excellent place to present themselves and show the public how creative cardboard can be.
 
Sabine Flaxman 

 
For Patrizia Kettenbach, perfect casting plays the main role in every film and photo production. 
Spending a week at cattle markets and in farmhouse parlors looking for "waschöchten" Appenzeller character heads. Searching countless school classes for talented people who can play baseball as well as kids in Brooklyn. Looking out for originals in the scene who you can tell want to win a karaoke competition. - This is the world of Patrizia Kettenbach. The trained actress and former film production assistant has been running her own agency, Kettenbach Casting, for just over a year.
She found her Appenzeller for the Contexta cheese advertisement and the commercial by Michael Steiner. The kids played basketball in a trailer for Swiss television. The "character faces" could be seen shortly before Christmas in Beck&Bondi's karaoke campaign for Swisscom Mobile's broadband.
Their casting agency does not work by managing a card index, Kettenbach offers a constantly new search as casting director. Kettenbach Casting is therefore "an independent authority that advises production companies".
Of course, she makes her work easier with a card index that "is constantly growing with every job". However, Kettenbach's aim is to look for new characters and talents for each commission as exclusively as possible. To this end, the specialist regularly visits theater productions across the country or graduation projects at drama schools. She makes targeted calls on the website www.kettenbachcasting.ch, for example when she needs to find Indian or Asian people, goat farmers, foresters, truck drivers or boxers.
With all this work, Patrizia Kettenbach is increasingly expanding her card index with professional actors. Based on her background, her aim is to "carry out more and more professional actor castings". However, with every job you have to develop a feeling for whether a trained actor or a talented amateur could be the right cast. Patrizia Kettenbach likes her job because it offers the opportunity to look into completely different worlds again and again. She is also aware of her responsibility. When she spends a week as a guest in countless farmhouse parlors for the Appenzeller commercial and is allowed to photograph the children, she has to "develop a certain flair" for dealing with people in a different way to model casting. "But that suits me well. I love dealing with people and have no fear of contact."
Patrizia Kettenbach first studied German and history after completing her business baccalaureate in Zurich. However, her secret love has always been the theater. During her semester breaks, she attended acting workshops in Berlin and Munich. At the age of 24, she decided that now was the last opportunity to switch to acting. So she switched to a full-time drama school in Hamburg. Three years of training were followed by play contracts and she was able to make a living from her dream job, most recently with a permanent engagement in the ensemble of a municipal theater.
During this time, however, she realized that although this profession is beautiful and exciting, "there is more to it than just this kind of work". Acting is also a way of life. You always have to be ready to move to another city for a new role, you live out of a suitcase for a long time. Your private life is turned upside down ...
Back in Switzerland, Kettenbach has found her new stage in advertising. She worked in strategic planning at Wirz Werbung for a year. She conducted street interviews for the then current pitch for Sunrise. Later, she also had to find out "what people think" for other pitches. After a year, she decided she wanted to gain experience in the film industry.
Kettenbach applied to various film productions and ended up at Kontraproduktion, the company run by Michael Steiner, Pascal Walder, Adrian Frutiger and Andi Huber. She worked there for almost two years as a production assistant between the two feature films "Spital in Angst" and "Eugen". They shot apple juice, Appenzeller and many music clips for Obi. "I was able to gain a lot of experience with these videos and had a completely free hand in organizing the production." Kettenbach did castings and production for clips with Stress, Bligg, Tears and Adrian Weiermann.
When the financing for the later feature film success "Eugen" was not yet secured, Kettenbach's next professional challenge came with Pumpkin Film. Here she got to know the world of international advertising films. After a year in a permanent position, Kettenbach took the plunge into self-employment. This idea had been buzzing around in her head for a long time. Initially, she worked as a freelance production manager or production assistant for various production companies. Since the fall of 2006, however, she has worked exclusively as a caster.
She was already fascinated by the complex considerations involved in casting roles during her time as an actress. As she has worked in front of the camera herself and is also familiar with the needs of the production side, staging a casting is now definitely her core competence. "I can create a pleasant atmosphere and use my background to assess an actor's potential well." She is therefore also pleased to receive feedback from seasoned professionals that they felt comfortable at the casting and were able to try things out.
Patrizia Kettenbach explains this ability to motivate with her interest in people and their stories - "which is also what originally prompted me to become an actress".
Shortly before starting Kettenbach Casting, she also began a postgraduate degree in cultural management at the University of Basel. However, as her casting work takes up all of her time, she decided to postpone her degree for two years.
The next goal is to move to a larger office on Bremgartenstrasse in the spring. Kettenbach Casting will be sharing an office there with freelance production manager Nicole Spring, with whom she has worked a lot in the past.
She is currently casting the supporting roles for an international Renault commercial starring Formula 1 star Fernando Alonso on behalf of Pumpkin Film.
 
Andreas Panzeri

 
Druck Heidelberg has made technological enhancements to its entire Suprasetter family in the run-up to the next Drupa. 
Since its market launch at drupa 2004, the Suprasetter family from Heidelberger Druckmaschinen AG has become a bestseller. Well over 1,500 systems are on the market. Users particularly appreciate the high quality, modular design and reliability of the system, which was developed entirely by Heidelberg. All models are now being equipped with new and additional functions for greater productivity and flexibility. Fast response times thanks to Remote Service and the use of different Saphira printing plates adapt the system flexibly to the requirements in the pressroom.higher plate throughputOne of the improvements is the increase in performance of the laser diodes used by around 60 percent. This enables a significantly higher plate throughput per hour and shortens the exposure time for individual plate sets. At the same time, the Suprasetter 74 models are now available in three speeds and the 150 models in four, and from drupa onwards in four and five speeds with a maximum throughput of up to 38 plates per hour. The extended range of speeds with the new models offers investment security, as the Heidelberg service team can upgrade the Suprasetter on site. The speed advantage is particularly high when using chemical-free or processless printing plates. Due to the higher exposure energy, this type of plate can be exposed much faster - in the case of the Heidelberg Saphira Chemfree plate by around 35 percent. In addition, Heidelberg has now released around 40 different printing plates for use in the Suprasetter models. Customers can also choose between two platesetter resolutions. In addition to the resolution of 2540 dpi, laser heads with a resolution of 2400 dpi are also available.
New service functionsIn addition, press-specific punches are available for all Suprasetter models, taking into account practically all makes available on the market and eliminating the need for inaccurate manual punching of the printing plate. This reduces makeready times on the press and avoids register problems. Since the introduction of the Internet-based Remote Service, the availability of Suprasetter models has already increased considerably, as many on-site visits have become superfluous. The new Suprasetter models now notify the operator when coolants need to be replaced, punches are worn or suction filters are dirty before a breakdown can occur.
This enables the customer to instruct Heidelberg Service to take the appropriate measures in good time. In addition, the operator or prepress manager can be informed by e-mail or SMS if the device malfunctions and can intervene immediately. This is particularly important if the print shop wants to expose plates overnight and without supervision.
Sabine Flaxman

 
Tough times for newsstands: loss of sales due to the new Blick early delivery. 
According to Wemf circulation statistics, around 131,000 copies of newspapers are sold daily (excluding Sunday) in German-speaking Switzerland (not including Ticino, French-speaking Switzerland and foreign titles). Ringier's tabloid Blick contributes 87,635 copies a day, i.e. more than half, to this EV volume. Even if part of Blick's EV is generated via boxes and stores, the title plays an important role for newsstands. "Blick is very important among the daily newspapers," confirms Valora spokeswoman Stefania Misteli. Valora operates the k kiosks. Hansluz Nussbaum, President of the Swiss Kiosk Owners' Association SKIV, agrees: "Blick is a frequency generator for us: Blick buyers often buy something else as well." Some of the 300 SKIV members therefore estimate their business success according to the number of copies of Blick sold, says Nussbaum.
However, it is also clear that Blick was already more important for the newsstands. In 1996, for example, 160,000 copies were sold daily via the EV channel. Since then, not only has the total circulation of Blick fallen by a quarter, but the EV share has also fallen from 50.2 to 36.6 percent. And it will continue to fall. This is because Ringier is shifting the sales channel for its tabloid from the street to the living room with the Blick early delivery service from the beginning of March. The publisher is thus catering to the ageing Blick readership and setting itself apart from the commuter papers that literally dominate the tabloids today.
Both Misteli and Nussbaum therefore anticipate further declines in sales. However, Valora is still hoping that the new Blick concept will strengthen the paper to such an extent that "all sales channels will benefit". And anyway: despite early delivery, there will also be a lot going on at the POS, says Misteli. "Ringier and we are working together on various concepts to promote sales."
Markus Knöpfli

 
Column The editorial middle class is thinning out, with serious consequences for journalistic quality. A field report. 
While Helvetia's press warlords are brooding over ever more convoluted attack and defense tactics, the writing rank and file are increasingly harboring escape fantasies. According to a report published at last year's publishers' conference, it is above all those ranks who would like to desert from the combat units of attention that once made up the majority of the guild as "drawing editors". Another thesis of this article, ironically written by the Journalist of the Year 2007: "Journalists are classless: they know and meet everyone, from construction workers to CEOs." From the audience's perspective, this sounds plausible. In their own industry, however, the complete opposite is true: newspaper people are often corporate soldiers who think and act hierarchically. However, their social categories have changed dramatically in recent times. The traditional command and career line of editor - department head - editor-in-chief is increasingly being overshadowed by a new trinity of young and willing free content providers, the aforementioned professionals with hard-won signing authority and a royal class of overpaid, hard-boiled columnists.
This model is based - as columns generally are - on emotionless and disinterested experience. As a professional informant, a.k.a. PR fiddler, I deal with all three classes on an almost daily basis and hear how the solid middle class complain about being under increasing pressure from above and below as "salami in a sandwich". The child soldiers in the press war are lowering the standard in terms of workmanship and pay, and the parallel rampant columnism is replacing editorial glosses and commentaries. Journalistic duty and freestyle thus have two (to this extent) new players that are worlds apart. The remaining universal editors of old grist and grit are annoyed and bored to death in between, resulting in a qualitative clear-cutting of the paper.
A pro-domo example: As expected, our engagement this year of actress Melanie Winiger for the WEF-critical Public Eye did not go uncommented. It was symptomatic, for example, that Zweihänder-Zimmi pulled out the red card in its .ch fringe column for the "merciless overconfidence of an ex-Miss who judges corporate compliance". As is generally the case in columns, judgment and knowledge are inversely proportional here. At the other end of the scale, a similarly half-baked and uninformed novice journalist reported today that "the two lovebirds" Winiger and Stress were also staying at the Davos hotel where the Public Eye took place. Whereupon Blick promptly reported the next day that a little mountain air would certainly help the tabloid dream couple's desire to have children.
In addition to such bullshit, Winiger's appearance also provoked cogent analyses of the impact of showbiz on the economy and politics, for example from a (drawing!) magazine editor. You guessed it: the result was no less critical, but far more qualified. This - by column standards - thoroughly representative finding confirms my initial thesis: the editor, frustrated and endangered by youth mania, red pencils and outsourcing, is the assault gun of quality journalism. Consequently, I should make the space in this column available to my esteemed former colleagues who had to laboriously demand, edit and produce this text. But here (and only here) I agree with Oscar Wilde: the only consistent thing is inconsistency.
Oliver Classen is press spokesman for the development policy organization Berne Declaration. He previously worked as a media journalist.

 
Film The RED camera offers digital images in 35 mm quality. Daniel Reichenbach from element p works with it and is convinced: "RED will have a lasting impact on the spot industry." 
WW: The camera with the concise name RED is preceded by a real euphoria. What makes this camera so special? Daniel Reichenbach: RED has up to five times more resolution than High Definition, making it the first serious digital replacement for shooting on 35 mm film. But the RED is more cost-efficient. The detour from film to development to digitization is eliminated. In addition, all common formats from Super 35 mm to HD and web films can be derived from a RED workflow. Recording is done on flash card or hard disk. The data can be imported and edited directly in editing programs such as Final Cut. However, the images are only finally "developed" during final grading.
If you wanted to shoot your commercials with an analogue 35 mm camera in order to achieve the desired high image quality, you had to reckon with around 800 francs per 35 mm film roll, including development and digitization. For a demanding commercial, that quickly adds up to 15 rolls of film of 4.5 minutes or 12,000 francs. RED eliminates all these costs, and agencies can also assess a high-quality image on set.
And the image quality is really the same? How is this technically possible? RED has the same resolution and the same optical design options as the analog 35 mm format. But this is a topic for technology freaks. For me as a director and cameraman, factors such as economy and workflow optimization are more important. Production becomes cheaper and I can concentrate on the scene in front of the camera during filming without always having the accountant's eye on my neck. At the end of the day, movies live from their content and plot. This doesn't get better just because the picture quality in the high-end range may deviate by 5 percent.
The driving force behind RED Digital Cinema is Jim Jannard, founder and majority shareholder of sunglasses and fashion manufacturer Oakley. Jim sold his trendy brand last year for around 2.1 billion dollars and is now focusing on revolutionizing and democratizing the film industry. He sells the RED for 17,500 dollars. This is possible thanks to the series production of 8,000 cameras per year that he is aiming for. However, if you want to invest seriously in this technology, you will have to spend a few more bucks on lenses and accessories, for example. With RED, Jannard wants to provoke a similar development as in photography. Digital technology has long been accepted in this field, and both amateurs and professionals can afford the same equipment.
This means that we can expect an enormous rush for this new camera. I've been working on this thing for a long time and am in close contact with the guys from RED in the USA. Almost two years ago, I bought an option on one of the first cameras for 1,000 dollars at NAB, the biggest industry trade fair in Las Vegas - and was pretty much ridiculed in the industry for it.
You are the only owner in Switzerland - at the moment, yes. There are waiting times of up to six months for the 3,500 orders that have now been placed worldwide. Two of the next REDs will be delivered to C-Films. Tobi Fueter invited me to RED tests for the newly announced series "Day and Night" and was thrilled.
No, I want to keep my time free for our production company element p. After splitting off from Twin Productions, we moved into larger premises in Biel and also expanded our staff.
What does element p produce? We produce commercials and commissioned films, and we are also working on docudramas. Our portfolio now includes Weleda International, CSS Krankenversicherung and German companies such as Mainova and Valensina. We also work closely with orange8 interactive in the field of branded entertainment, a market of the future. We were awarded the Grand Prix at the 2006 International Business Film Festival in Vienna and bronze at the Edi 06 for our film "Mittendrin" about the Lucerne Kapo. Swissness pays off for us.
Interview: Andreas Panzeri

 
Packaging design Every year in January, the International Sweets and Biscuits Fair (ISM) shows where the sweet journey is heading. 
 
The appetite for sweets continues unabated in Europe. The Swiss chocolate industry is also benefiting from this, posting record results last year. According to Chocosuisse, the Association of Swiss Chocolate Manufacturers, sales rose by a further 7.7% year-on-year to 181,266 tons and industry turnover increased by 9.0% to CHF 1662 million. Once again this year, chocolate manufacturers will be pulling out all the stops to win over consumers. The results were already visible in January at the International Sweets and Biscuits Fair (ISM), which takes place every year in Cologne. Tempting the eyeAs was already clear last year, the trend towards fine products continued this year. This applies above all to chocolate specialties, which are made exclusively from high-quality ingredients and whose compositions are becoming increasingly exclusive. Wellness and fitness are also an issue, and organic products in particular. The demand for organic products is also growing continuously in the confectionery sector, with more and more manufacturers offering products from organic cultivation and production.
These trends are also reflected in the packaging concepts. ISM has long been a must for all those who are not only interested in confectionery but also in packaging design. Creative ideas that serve as inspiration can be found here in abundance. Today, confectionery packaging is increasingly becoming an eye-catcher that stands out on the shelf and is intended to stimulate the desire to buy. The more sophisticated the contents, the more elaborate and refined the packaging. Customers also seem to like this, as demand shows.
Sweet pieces of jewelryAn example of the trend towards exclusivity are the products of Memmingen-based newcomer Sabine Kober, who presented herself at ISM for the first time and was inundated with inquiries. Her concept is to offer exclusive chocolate specialties in beautiful gift packaging. For her, luxury begins with the packaging. She has matching wrappers created for her high-quality chocolates, which, together with the contents, appeal to all the senses as well as the palate. Based on her extensive experience in marketing luxury items, Kober has now founded her own lifestyle company, which also bears her name. Her vision is to design exceptional gift items and confectionery specialties exclusively for specialist retailers. "Everyone who works in and for the specialist trade knows that new, surprising approaches and incomparable offers are always needed to satisfy today's discerning customers and retain their loyalty to the stores in the long term," she explains her motivation.
Appealing to all the sensesPeople are looking for something unique, such as exquisite "masterpieces" made with exquisite raw materials, lovingly crafted by hand and with the utmost care. "In addition to top quality, there has long been another level: the design and the emotional message," she explains. From the first glance to the touch to the final enjoyment of the fine products, Kober always wants to appeal to all the senses. Another unusual aspect of her concept is that the attractive packaging can also be purchased unfilled. At the ISM, she presented her high-quality gift ideas with an elegant look, exclusive surfaces and changing colors as well as unexpected closures filled with the finest chocolates. After the sweet pieces of jewelry have been eaten, the elegant boxes can be filled with small treasures of all kinds. They therefore offer a useful second use. The fact that such unusual ideas are in demand was confirmed for Kober at the ISM. "We were literally overrun by inquiries," she said. Kober and her small team work together with several medium-sized companies to manufacture the products. She still has many arrows in her quiver for the future. One of the goals is to build a kind of star alliance of premium products in the confectionery industry, in which partners from different sectors work together and are also successful together.
ISM and ProSweets 2009Together what belongs together. With ProSweets Cologne, the industry supplier fair for the confectionery sector, which takes place in the interpack-free years, Koelnmesse launched a new event in 2006 that was an immediate success. Already at the 2nd edition in 2007, the trade fair recorded a 20 percent increase in exhibitors. The next ProSweets will take place from February 1 to 4, 2009, parallel to ISM. With ProSweets Cologne and the leading trade fair ISM, the entire value chain of the confectionery industry will be represented at one trade fair location, starting with the individual raw materials through technology and packaging to the ready-to-sell product. This is a good opportunity for manufacturers of confectionery packaging to meet customers, make new contacts and present their products at the trade fair.
Sabine Flaxman
 
 
 
 
A good giftThe young company Sabine Kober,
offers exclusive gift packaging and confectionery specialties with messages. Its customers include industry, trade and commerce as direct customers and resellers in the upmarket specialist trade.

 
Concessions Tamedia is losing out in Schaffhausen and has support in Basel. 
This was not necessarily to be expected: the Schaffhausen government has given Tele Top preference over the joint TV project of Tele Züri and Schaffhauser Fernsehen (SHTV). In its consultation response to the various license applications in Eastern Switzerland, the Schaffhausen government stated that TeleZüri was also a good candidate. However, Tele Top, where the Winterthur radio and TV producer Günter Heuberger is in charge, offers more of a guarantee that the Schaffhausen region will be considered. This is because Tele Top is geographically anchored in the Winterthur-Frauenfeld-Schaffhausen area. TeleZüri, on the other hand, will continue to focus on the greater Zurich area.Heuberger reacted immediately - and was delighted. This was a completely surprising decision that he "never expected". He thanked the Schaffhausen government and promised to contact SHTV as requested. However, Heuberger also gave the head of SHTV, Norbert Neininger, the tariff. In the event that Tele Top was actually licensed by the Federal Office of Communications, there would be no room for "politically one-sided statements" à la SHTV during elections and votes. Heuberger will also not support the so-called Tele Blocher, a weekly program with the former Federal Councillor. This is "not compatible with the principle of balance ... and the journalistic duty of care".
There was also a small surprise in north-western Switzerland. There, the governments of the two Basel half-cantons expressed their goodwill towards the existing local radio stations Basel 1 (Basler Zeitung Medien) and Basilisk (Tamedia). In the case of the third applicant, the new Radio RBB ("Radio that offers more Basel") of former Basilisk co-founder Christian Heeb, the governments expressed doubts about its economic viability. Speaking of TeleBasel: this is supported by both Basel governments.
A fourth statement was also available from the canton of Solothurn at the time of going to press. The government there is in favor of relicensing Radio 32. There are no reasons for no longer granting the local station a broadcasting license. Radio 32 is the only applicant for an FM license in the Solothurn-Olten region. (mk)

 The town council of Rapperswil-Jona has commented on the TV concessions put out to tender. It once again criticizes the division of the TV coverage areas and would like to see two areas overlap. The Federal Office of Communications (Bakom) has allocated Rapperswil-Jona to the Eastern Switzerland coverage area. However, as Tele Züri, a popular station in the region, is applying for the Zurich-North-Eastern Switzerland area, the people of Rapperswil would no longer be able to watch the station if it is awarded the license. This does not suit the city council, as the city has strong ties to Zurich. The council had already made representations to the Federal Council on this matter last year and has now reiterated its concerns in its statement to Bakom. It is calling for an overlapping solution: Rapperswil-Jona should be assigned to the two areas of Zurich-North-Eastern Switzerland and Eastern Switzerland. The city government favors Tele Züri for the former area and Tele Ostschweiz for the latter.
According to Bakom, changes to the TV coverage areas will only be considered after the new licenses come into force. It will therefore still take a while if the adjustment requested by Rapperswil-Jona is implemented at all.

 
Environment SFLB shows with clear messages where Migros has massively reduced its CO2 emissions. 
The topic of climate protection is becoming more present in the media every day. Migros has not just recognized the problem now. Years ago, the major distributor took measures in its industrial operations and stores to conserve scarce energy resources and reduce CO2 emissions: by using waste heat, optimizing building shells, shifting transport to rail or converting to more climate-friendly energy sources. The result: since 1990, Migros has saved a total of more than 800,000 tons of CO2 - that's about as much as 300,000 single-family homes of modern construction emit in a year. Migros can therefore offer concrete results in terms of CO2 reduction. In its current climate campaign, it is therefore dispensing with the typical admonishing fingers and empty phrases of this advertising category and is also not drawing attention to the dangers of climate change - every child knows these by now. Instead, Migros shows in concrete terms what it has achieved in terms of CO2 emissions.
Spillmann Felser Leo Burnett has chosen a symbol that is frequently used in the retail sector to show the reduction in CO2 emissions in a simple and striking way: the savings flash. For once, however, it is not about reducing the price, but about reducing CO2 emissions.
Flashes with real examplesThis reduction flash is shown together with a Migros product that is representative of the reduction in CO2 emissions - for example in one of Migros' industrial operations. Herbert Bolliger, Chairman of the Executive Board: "We want to show that Migros is not only committed to affordable quality products, but also to environmental and climate protection."
The campaign starts with ten full-page and double-page advertisements in the press. The topic is also present in the current Migros magazine: a campaign motif adorns the front page and Herbert Bolliger writes an editorial on Migros' commitment to the climate. The Migros magazine also included a large "Climate Extra".
Banners on popular websites also draw attention to CO2 reduction - linked to
where you can find out more about Migros and its commitment to the climate. 
Andreas Panzeri