The winners within all four target groupsGold 66% Chantelle floral printSilver 57% Heating with oil Until she discovers the Yeti (Lesch + Frei)Bronze 56% Nokia Ganz schön frech (Grey)

Television Ringier-TV is on the lookout for production contracts. A stake in ElevatorTV would suit the strategists.
CH 3, Channel 3, ElevatorTV - whatever the name of TV producer Dominik Kaiser's TV project, the pending license application at the Federal Office of Communications still reads ElevatorTV. But names are smoke and mirrors. More important are the content, the budget, a studio, the financing, the target group or the distribution options. But Dominik Kaiser still doesn't want to reveal anything about any of this. "Only when everything is nailed down," he says. However, he does hint that the launch will "probably not be this year". This has to do with distribution, although negotiations with Cablecom in particular are "going very well".
Kaiser remains silent. Instead, Domo, Ringier's in-house magazine, recently fueled speculation about the possible financial backers. In response to the rather surprising question as to which publishing house is behind the project, Domo quotes Marc Görtz, Managing Director of Ringier TV, as saying: "Of course I can't reveal that. But for us as a producer, the project is of course very welcome."
This suggests that Ringier not only wants to produce for Kaiser, but also wants to get involved in ElevatorTV itself. Fibo Deutsch, Head of the entire TV division at Ringier, at least does not relegate such thoughts to the realm of fantasy. "I am aware of Kaiser's project, and we are also looking into a form of cooperation - even if it is only to secure access to program slots for us as TV producers."
At the moment, however, it is still too early to provide any information regarding the form and extent of the cooperation. "First we want to know who the financial backer is." What is certain is that Ringier itself will "not be the driving force" behind ElevatorTV. Nor could it be. After all, the Group is still involved in other TV projects.
Fibo Deutsch recalls the 50 percent stake in Sat1 Switzerland, the 30 percent stake in Presse-TV and the 33.3 percent stake in the pay-TV channel Teleclub. "A cooperation with ElevatorTV would certainly affect the existing contracts," Deutsch points out. However, this does not mean that a new cooperation is impossible from the outset. "Ultimately, it depends on the extent," says Deutsch.
The project could also fit in with Jean Frey's plans Jean Frey AG is far less contractually bound in this respect, as it only holds a 10 percent stake in Presse-TV and has plans for Internet TV. This is probably why the publishing house is repeatedly mentioned as a possible main shareholder in ElevatorTV.
However, Jean-Frey CEO Filippo Leutenegger only says that he is familiar with the project. Has he already spoken to Kaiser? "No comment," says Leutenegger. But this much is certain: the new editor-in-chief of Weltwoche, Jürg Wildberger, was recently commissioned to investigate the TV station U1 for Jean Frey. Wildberger confirmed a corresponding report in the SonntagsZeitung newspaper on request. However, he remained silent about the underlying intention and the result.
A Ringier participation would affect existing contracts. Jean Frey AG is less committed.

Fibo Deutsch (left) and Marc Görtz, heads of Ringier TV.
Markus Knöpfli

Affinity of ads with supporters in the "alternative culture "Gold (159) Säuberli AG La Paz Mini Wilde Aroma Silver (157) SBB subscription Migros Fitnesspark incl. (Jung von Matt/Limmat)
Bronze (120) Zürcher Kantonalbank In love with the ground

Oliver Classen on the profile and tasks of the new editor-in-chief of Weltwoche.
It is well known that Switzerland has no natural resources. However, the fact that our print country also lacks editorial human resources is new. Or why else did Jean Frey Verlag (JF) reach for the stars for the top job on its journalistic flagship instead of the rightly controversial Köppel? to attribute this choice solely to a student friendship, as the competition does, falls short. Because "Jobzapper" (Der Bund) Jürg Wildberger is not only an old companion of JF CEO Filippo Leutenegger, but above all personifies the increasing interchangeability of the media. The increasingly loose association of more or less noble feathers called Weltwoche urgently needs a leading figure who not only has an integrating and inspiring effect, but also gives the crown jewel of Swiss journalism back its traditional liberal profile.
Even if "Wilpi" has the necessary intellectual stature: What he needs at the beginning of September is Machiavellian assertiveness. According to the philosopher of state, a new prince must prove his cruelty right from the start. Accordingly, we can only advise the third editor-in-chief since the magazine was published in 2002: Disempower the SVP parliamentary group, immediately and permanently. Otherwise you will end up like your predecessor, who was crushed between Leutenegger and Somm. And the Weltwoche brand will be even worse with this constant coming and going.
And please don't make the same mistake you made as Facts boss in 1995. Back then, you imposed an absolute smoking ban in the editorial office, which resulted in several threats of dismissal and days of negotiations. These ended with the establishment of a smoking corner in the canteen. From then on, however, it was reportedly not long before the tobacco ringleaders were smoking in front of their screens again.
> Oliver Classen, Editor

HumorNew ideas in ever new channels: Anyone who finds Harald Schmidt on television too little can now upgrade. The TV satirist wants to publish an entertainment commentary once a week in the German-language iTunes Music Stores via Apple. 10 minutes cost 99 cents. A bargain and "just as cheap as the first gags", critics noted when the first edition was released this week.

Effie How will the new Effie be publicized? This assignment is no small challenge for the PR agency Burson-Marsteller.
The campaign to promote participation in the newly launched BSW leading swiss agencies Effie is being launched this week. The six print ads have been realized by Wirz Werbung and will be placed in the trade press. The advertisements will also be sent to selected agencies and entrepreneurs as a mailing, and this classic campaign will now be flanked by a PR campaign from Burson-Marsteller. As BSW members, both agencies have offered their services to the association at special conditions on their own initiative.
While the advertisements are mainly aimed at advertisers and marketing managers in companies, PR is also intended to cultivate the necessary environment for interest in the Effie. "The Effie only works if the contractor and the client are jointly convinced of its efficiency," explains Marco Greiner, project manager for this key issue at Burson-Marsteller. This is because the clients have to help by providing certain information, otherwise the Effie cannot measure and evaluate market efficiency.
Burson-Marsteller's role now is to ensure that the whole discussion about the efficiency of advertising also takes place in the media. The PR people have a different target group for this, namely the heads of marketing. In most cases, the decision on whether or not to publish sales figures is made directly by the bosses and not by the marketing department. The bosses are also the ones who determine the strategy and sometimes also the marketing mix. It is therefore important to target these decision-makers precisely. "Our job is therefore to try and encourage the most prominent articles possible in the media about the effectiveness of advertising," explains Marco Greiner.
This is difficult in part because the effectiveness of advertising is neither a new nor a particularly marketable topic. Nevertheless, attempts are being made to launch such content. "This works by actually picking up the phone and targeting certain media people. We have selected media that we know are read by the people we are targeting, i.e. the well-known lead media including the Sunday press. This is where we give priority," explains the PR manager. These articles are not primarily written by advertising people, but by experts outside the agencies.
In the longer term, the Effie is also about convincing entrepreneurs that advertising really makes a difference and is very valuable. Of course it is nice when the word Effie appears in an article. But it should be about the power of advertising on the surface - and behind the scenes. It is also clear that the Effie event is still a long way off. It will take place in March 2006, so it is not yet a topic that even specialist editors would immediately jump on. The selected lead media are also unable to deal with such detailed topics. The aim here is to discover social developments and place them in a broader context. If anything, they want a comprehensive story about the entire industry or an interview with an illustrious representative from the wider guild. PR people also have a chance if they can offer renowned guest authors.
Getting laypeople interested in the topic "However, we don't initiate the articles by giving the media ready-made ideas. We explore together what could be interesting for a particular medium - and then we try to offer them something," explains Greiner.
In the specific case of the Effie, the media are already aware that they themselves depend on advertising and advertisements. From this point of view, cooperation would be opportune. However, the print titles also want to obey the market - and advertising is a topic that hardly interests 90 percent of the readership.
The facts about the Effie: Once the current submission phase has been completed, an expert advisory board consisting exclusively of scientists and opinion researchers will assess the Effie in purely quantitative terms.
judge: Is this effective advertising? Campaigns that cannot keep up here are no longer pursued. Only after this phase does the actual jury come into action, which is then also tasked with assessing the creative aspects of the advertising.
"We want to have a factual discussion about this in the media," says Greiner. Marketing managers and advertisers know what is being said here. However, the Effie should also be discussed by those who are not involved in advertising on a full-time basis. Summarized for all media activities, the message is: The Effie is new. Companies should take part. Advertising is effective.
Presentation courses for applicantsThere are still around eight months to go before the Effie is awarded. During the launch phase, companies will be mobilized to submit their campaigns. This work by Wirz Werbung and Burson-Marsteller must now become effective. Later, it will only be possible to attract attention to the event. Then, however, it will be a little easier for communication in terms of PR.
To make it easier to submit entries at this stage, the BSW is running a course in which interested parties can learn how to present their campaign successfully. For the first time this year, submissions will be made purely online. The work will also be evaluated online in this first phase.
"We are not Hollywood "PR for the Effie is currently working on a rolling plan. However, it is clear that in a second phase, the Effie is to be styled as the most important award in the field of marketing and communication in Switzerland, in line with BSW's declared aim.
The aim is to generate ongoing coverage with an event character later on. "Of course, we're not Hollywood, where a lot of money is spent on marketing for the Oscars," says Greiner. Nevertheless, a suspense effect can be created with various milestones around the judging and finally the countdown to March 23, when the big gala takes place. The aim here is to convince the media: The Effie is not just an important prize for advertising, but for everyone.
The PR networkInspiring a PR article in a medium does not necessarily have to be about relationships. More important is the content orientation of a particular editorial team. Most editors are now receptive to good stories. When it comes to advertising in particular, editors are naturally very willing - after all, the interests and income of their publishers are also at stake. But it is also easier than ever to place PR material in a medium. Large titles with a nationwide reach are still very selective. It can also be seen that in the course of the ongoing job cuts in editorial offices, the remaining journalists are developing more ambition to make a name for themselves with their own articles. In addition, responsible media do not like to be instrumentalized. A topic needs to be convincingly topical and relevant to a wider readership in order to be given a chance. There is a catalog of requirements that a story must meet: interesting, current, relevant. Conversely, PR agencies in smaller media can benefit from the fact that many editorial offices are massively underfunded. Such editorial offices are happy to receive ready-made stories because they often don't have time to set the important topics themselves. Anyone offering useful ideas is welcomed with open arms.
In the specific case of the Effie, the basically cooperative and willing editorial teams are challenged to find the most interesting ways possible.
New Effie in detailEntries can be submitted in nine categories:
- Consumer goods Food
- Consumer goods Nonfood
- Consumer goods
- Trade
- Capital goods
- Services
- Financial services
- Media
- Nonprofit organizations
The dates:September 15, 2005
Opening tender online
October 31, 2005
Closing date
End of January 2006
Announcement of nomination
March 23, 2006
Effie Award Ceremony
Sucking up to the boss? No, thank you! Wirz Werbung recommends the Effie as a better way to promote your career.
Andreas Panzeri

PlakatClear Channel Plakanda (CCP) acquires the outdoor advertising company Plakatron. The Group is thus expanding its offering with around 700 illuminated billboards using prism turner technology. For the time being at least, CCP CEO Beat Roeschlin will be in charge of management, while company founder Gustav C. Maurer is stepping down. The Plakatron brand will be retained in any case; the operational employees will continue to work for CCP. It is still unclear whether the accounting department staff will continue to be employed.

TV The German pay-TV company Premiere generated a net profit of 3.3 million euros in the first half of 2005. This is the first semester ever in the black for the former problem child of the Kirch Group. A loss of 61.2 million euros was recorded a year ago. By the middle of the year, the company counted around 3.5 million viewers among its customers.

Objective: To publicize the latest creations from Kern & Sammet Advertising media: Advertisements. Use: Until further notice.
Client: Kern & Sammet; Responsibility: Martin Mohr, Head of Marketing & Sales; Heidi Wälchli, Marketing Assistant. Advertising agency: Pucci Sulzer, Zurich; CD: Däni Sulzer; AD: Ray Inauen; Graphics: Daniele
Pucci; Text/concept: Marcel Elsener; Photo: Zusanna Trnka; Consulting: Frank Mitteldorf, Patricia Amsler.

Media journalism Klartext, the pioneering magazine for critical media journalism, is celebrating its first quarter of a century - and remains indispensable. "It is an achievement that Klartext still exists today," says Hans Stutz, editor-in-chief of the first independent and non-profit Swiss media magazine for five years now. In fact, for 25 years, practically all the exponents of the press, radio and television have been reading between the lines of the competition in Klartext. The magazine has made itself indispensable for media professionals and publishers alike. If you leaf through the six issues of the past three years alone, the list of interviewees in the big interview, the Klartext trademark, reads like a veritable panopticon of the local media industry - including those on the other side of the Alpine ridge and the Röstigraben: Ringier, Köppel, Bollmann, Rothenbühler, Gisler, Lebrument, Hartmeier, Deltenre, Marchand, Rohner, Deutsch, Lüdin, but also Leuenberger (Moritz) as well as representatives from media science and media law. Since a slight refreshment of the layout almost four years ago, a portrait or reportage has joined the large, five- to six-page interview as a second focus in the magazine. Stutz describes the political orientation of Klartext as left-wing, but far removed from party-political thinking. "We report from the perspective of media professionals and focus strongly on the debate with publishers," he says. Unlike many in the industry, Klartext defends the public service and questions the socio-political and educational relevance of the media. Stutz considers the continuity of the content of the articles to be the greatest achievement in Klartext's 25-year history. Over the decades, many well-known authors have succeeded in continuously depicting and questioning the complete upheaval of the media landscape. They warned early on (and unsuccessfully) against the rampant commercialization of radio, television and the press.
Klartext was created out of concern for the continued existence of critical journalism at a time of youth unrest, advertising boycotts and the dismissal of critical journalists and editors-in-chief. The first issue was published in October 1980 by the Swiss Journalists' Union (SJU) in order to take the critical discourse on media policy beyond the trade unions. "We thought we needed an independent magazine to reinforce these concerns," recalls Jürg Bürgi, who was involved from the very beginning and later became President of the Foundation Board and editor of Klartext for many years. They took the new magazine to the streets and quickly gathered enough subscribers. The revealing reports about the inner workings of the media quickly attracted attention in the boardrooms, where reports were diligently copied out.
The Klartext Foundation was later established to ensure editorial independence. From January 1985, Max Jäggi was editor-in-chief of Klartext for almost ten years, and many see his era as the reason for the paper's continuity. Insiders are of the opinion that Klartext was more aggressive and cheekier in Max Jäggi's day than it is today.
"Today's perception in German-speaking Switzerland is somewhat strange," comments Hans Stutz. Back then, the articles were not marked to protect them from repression and sources were sometimes insufficiently documented, which is generally considered outdated today. In contrast, the interviewees are always amazed at how much attention their statements receive. Conversely, plain language is rarely quoted in the media, says Stutz. Where hateful letters to the editor used to be the order of the day, reactions have generally declined. Today, you search in vain to find out who the Klartext editorial team has probably been up to no good.
In French-speaking Switzerland, on the other hand, there is a kind of boycott against the magazine, with publishers dismissing it as a mere trade union organ. "But it's still read," says Helen Brügger, long-time correspondent for French-speaking Switzerland, whose articles successfully combat the Rösti divide. "That's important, because if you see the media as the fourth power, then the whole of Switzerland is part of it," says Brügger. However - and this applies to the entire Swiss media landscape - it has become more difficult to come up with statements that can be quoted, as today you can only talk to the bosses. This is not surprising, as many still fear for their jobs after the massive job cuts of recent years.
Klartext is published four times a year with a print run of 3500 copies and twice with a large print run of 8000 copies. The magazine is also distributed to members of the Comedia media union, who partly finance it through their membership fees. Klartext missed out on numerous subscriptions because not all media unions joined Comedia seven years ago. As a result, the changeover to a monthly publication frequency, which was repeatedly mentioned, was also postponed. "This means we can often only react slowly to current events and have to keep our articles more general," says Stutz. However, the idea is not dead. But for the time being, everything should remain the same - including on the Internet. "An additional newsletter would be too much and would only work if it replaced an existing one," says Stutz. They would much rather think about the future of media journalism, as in the current anniversary issue, and continue to add salt to the Swiss media soup.
"We report from the perspective of media professionals and focus strongly on the debate with publishers."
A Nico caricature adorns the front of the 90-page anniversary edition.
René Worni

Column SBB and Sauber show the way: Those who create trust in themselves or their brand emerge stronger from even the fiercest summer media storms.On Monday is the Zurich cantonal council, on Tuesday the police press conference, on Wednesday the municipal council. Spring and late summer, always before and after the big vacations, are particularly busy. The same is true in the Federal Parliament: Because there is never as much happening as will fit in the newspaper, the filters are finely tuned when there is an increased demand for news. During the sessions of the federal councils, association news, statements and the like have a harder time than, say, between Christmas and mid-January. And since on 40 of 52 weekends there are at most a couple of quiet party congresses, the Sunday newspapers are popular targets for launched news, especially since they compete so fiercely that they can be played off against each other splendidly.
But who am I telling? Is this a revision course for the PR assistant course? No. It started with the plastic bears in Zurich. A mediocre local farce, but it produces 600 colorful pictures that every editor likes to have to brighten up the gray of his pages: tough pictures with a jööö effect.
The bear has apparently understood and has come immediately in person in anticipation of the free movement of people across the border. And the reporters are racing. What a story! Never before has such a blurred picture been printed so diligently. No wonder, the donation Meccano works as never before. SonntagsBlick alone has donated 10,000 Stutz. (And, honestly, for a good cause, because the new National Park Center in Zernez is a great thing!)
You can smile about bears and similar jokes. But when it gets serious, it's worth considering. How does an important story expand in the news hole? And what do I have to do to ensure that my company or my customer emerges from the news machine as unscathed as possible?
- The case of the University Hospital Zurich is a good example: If you don't deal cleverly with the media, or better: with the movements and moods they generate, you will have problems. And basic mistrust can hardly be eliminated. Aircraft noise Unique, genetic engineering and the SVP have probably noticed this as well. This summer, however, there were two examples of how to emerge stronger from a news vortex:
- The historic power failure did not hurt SBB's good image for two reasons: because it gave top priority to information even during the crisis - and because SBB enjoys a high level of basic trust after its brilliant timetable changeover.
- And Peter Sauber managed to present his company sale to BMW as a forward-looking step. This was accepted because he had built up an image of integrity and solidity long in advance. We are learning that the three basic corporate and cross-sectional functions - strategy, finance, human resources - have long since been joined by a fourth: communication. Those who cannot make their profile, their position and their goals clear in the competition of messages have hardly any chance to prevail. But when it comes to serious business, it is not so much the right media relations that count, but only the trust that can only be earned.
Or vice versa: "Communication errors" and "information breakdowns," as they are often apologetically given as reasons for crises, are usually signs of deeper-seated system errors. The compulsion to communicate with the public acts almost like a psychoanalysis. By talking about problems, the unfinished business comes to the surface and becomes visible - to everyone.
> is a freelance publicist and passionate hunter.
Karl Lüönd

TourismThe Australian Tourism Authority consolidates its global advertising budgets. M&C Saatchi is taking over the creative budget and Carat the media budget. The two agencies won out over more than 20 applicants in a four-month selection process. Prior to the tender, Tourism Australia worked with eight different creative and media agencies. The organization wants to attract more affluent tourist segments to the country. The government has promised additional investment of 120 million Swiss francs for international promotion by 2008, according to a press release.