Haribo is running its first «Swiss-Made» advertising campaign in Switzerland. The campaign was designed by Zogg Kettiger Gasser. A sack of sugar. That was the startup capital Hans (Ha) Riegel (ri) used 85 years ago to start his own business as a candy maker in Bonn (bo). His first employee was his wife, Gertrud. Two years after founding Haribo, he developed the Dancing Bear, which became the legendary Gold Bear—the flagship fruit gum product. Today, with a wide product range, a global market presence, an enduring advertising slogan (dating back to the 1960s), and brand ambassadors (Thomas Gottschalk since 1991), the third generation is steering the family business. Eighty million gummy bears—in bags and as individual pieces—leave production facilities around the globe every day—not including children’s pacifiers, licorice candies, and other items. The advertising expenditures of the Bonn-based confectionery giant are also astronomical. Despite a 4.4 percent decline in traditional media alone, they totaled 16.3 billion euros worldwide.
Growing Swiss Market
On TV, Haribo’s primary advertising medium, the well-known entertainer with the golden mane doesn’t just appear in commercials. The candy brand also sponsors his two popular shows, «Wetten, dass …» and «Gottschalk America.» Haribo’s media mix, designed to support brand awareness and reinforce recall, consists of radio spots and ads in special-interest publications as well as in children’s magazines. Given the concentrated advertising blitz—which is making an impact here in Switzerland thanks to infomercials—it’s no surprise that the Swiss distribution organization Cruspi SA has not yet commissioned a national advertising campaign for Haribo, the Swiss market leader (with a market share of just over 80%, excluding Migros products).
Everything would have remained the same had Product Manager Alexandra Rohrer not wanted a country-specific approach to the advertising campaign for local customers, and had Haribo not been facing pressure from, among others, Migros’s private label. «We’re deliberately launching the campaign at a time when many new fruit gum brands—mostly from abroad—are entering our market,» explains Rohrer.
Target Audience: Adults
The growing sales of fruit gummies—which, according to ACNielsen, have risen by just under six percent over the past two years to 32.6 million francs—are largely attributable to impulse purchases. Max Winiger, partner and concept developer at Zogg Kettiger Gasser (ZKG): «With Haribo, we’re seeing the same problem as with many major brands: Despite their high name recognition, popularity, and acceptance, their appeal and relevance are at risk of eroding.» To preempt this dangerous trend, the brand’s leaders commissioned a brand campaign targeting adults—primarily urban, heads of households, and women—although defining a core target audience is very difficult due to the brand’s broad product range. The advertising concept for the selected media—print and posters—was intended to align with the testimonial concept and revitalize the timeless tagline.
Since the ZKG creative team didn’t see any functional benefit, they focused on the fun appeal of the fruit gummies. «Entire generations associate Haribo with emotions, enjoyment, and high-quality fruit gummies in various colors, shapes, and flavors,» says Product Manager Alexandra Rohrer.
The campaign centers on the sheer fun of those fruity, chewy Haribo breaks. During these breaks, memories of youth and childhood—fun moments when we used to chew Haribo even more often—interrupt the dreary daily routine of adulthood. For a few “Haribo minutes,” adults can let their playful side run wild. As the eye-catching tagline puts it: take a break from your daily work routine to drive the remote-controlled toy car or play elastic.
Sweet memories of a time when life was still child's play: images from the Haribo campaign.
Luca Aloisi

Classified advertising market The Lausanne publishing house Edipresse is getting involved in the online contact platform Swissfriends.ch.It has acquired a minority stake in the operating company Comfriends SA. Edipresse intends to actively contribute to the development of Swissfriends in Switzerland and abroad. The existing partnership between the platform and Le Matin newspaper is to be expanded. "We are planning to launch a joint publication," Philippe Gendret, Directeur commercial of Edipresse Switzerland, told Le Temps.

Oliver Classen on the real leadership problem at Weltwoche: "If you read Weltwoche, it's your own fault." This statement, made recently in an interview with Novartis boss Daniel Vasella, comes from the former editor-in-chief Simon Heusser himself and could become a catchphrase for the next episode in Weltwoche's eventful history. After Heusser's abrupt departure, everything points in the direction of a new right-wing ideologization of Switzerland's most exciting media brand. Anything else would be more than surprising as long as CEO Filippo Leutenegger (of the shareholders) continues to exercise his arbitrary rule over the Jean Frey publishing house unhindered. Of all things, he accuses the
Heusser, who has been mobbed since taking office. The National Councilor should first put his own house in order.
Who insists on his double political-publicist mandate and is therefore only available to the publishing house with half his strength? And who is responsible for the months-long vacancy in the publishing and advertising management of the JF flagship, which is lurching again primarily because of this? The pinnacle of Leutenegger's unintentional self-irony, however, is that he systematically torpedoed the leadership claim of the nominal Weltwoche editor-in-chief through his "special relationship" with the SVP hardliners and internal Heusser antipodes Markus Somm and Eugen Sorg.
In addition, one would expect the quasi-publisher of such a traditional title to have a minimum of empathy with its creators. Don Filippo" proved that he lacks this completely with the appointment of Sorg as interim head, which was rescinded after only thirty minutes. If the editorial team worked the way the publishing house does," he said,
Weltwoche would have long since ceased to exist": This statement, also made by Heusser in a small circle, aptly outlines - after the political orientation - the second, more hidden line of conflict of which his potential successor should (also) be aware.
> Oliver Classen, Editor

At the beginning of July, Marcel Geissbühler becomes the new Director and General Manager Media at the Biel-based printing and publishing house W. Gassmann. He replaces Joachim Tillessen, who is moving to the Coop Group in the fall. Geissbühler was most recently Head of Conradio, the marketer of Espace Media's electronic media, and managed the business of TeleNews- Combi....
Robert Hegi becomes Head of Sales at Radio Top. At the beginning of September, he will take over from Managing Director Günter Heuberger, who has been in charge of sales at the local station in Eastern Switzerland since it was founded. Hegi is currently Project Manager Sponsoring at Schweizer Radio DRS.
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At the beginning of June, Philipp Welti set up his own agency, Welti Brand Communications, in Küsnacht. Welti built up an advertising department for Farner PR until the end of May. Before that, he was managing director and partner of the Dorland advertising agency.
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Laurence Saas will take over as Media Account Director at Mediaedge CIA in Zurich at the beginning of August. She succeeds Heinz Baumann.
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Daniel Kraft is now an equal partner of Scholtysik Niederberger. Accordingly, the corporate identity and branding agency has changed its name to Scholtysik Niederberger Kraft (SNK). Kraft joined the agency in summer 2004 as project manager and senior designer.
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Markus Kaufmann, previously Head of Corporate Communications at the Zurich-based software company Netcetera, is now responsible for the development of new business areas and products at cR Kommunikation. Management board member Stefan Gürtler is leaving the agency. He will be joining the Institute for Corporate Communications at the Solothurn University of Applied Sciences as a lecturer on July 1.
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Andreas Schaffner takes over as Managing Director of Ringier Print Adligenswil. At the beginning of July, he will take over from Karl Lehmann, who is retiring. Schaffner was previously Head of Strategic Projects at the Ringier printing company.

And once again a competition where the jury is also the winner. It's amazing how the big players in the industry always manage to put themselves in the limelight where they previously had deficits. Over the last 10 years, hardly any "new media project" from a large, traditional agency has won an award, but miraculously in 2005, three out of five entries on the shortlist for the Crossmedia Award were suddenly from precisely these agencies. And miraculously, these three agencies are on the jury. Of course we also entered, of course we were not shortlisted, and of course the author can be accused of writing out of sheer envy and disappointment. But that's not the reason, the reason is the obvious nepotism that serves to feign competence in an area that has so far been neglected. Because it has been realized that this field is becoming increasingly important, a new award was quickly created so that the potent agencies in cross-media can make their mark. That benefits everyone. Except for those who have been practicing crossmedia for 10 years.Thomas Bollinger, partner at the Bern-based ASW advertising agency Werbal René Eugster, on the article "Crossmedia also means crosswork" in WW 21/05.

Every early summer, the industry begins to wonder where ADC will hold the presentation of the current yearbook this year.After last year's tough "pièce de résistance" - the dominatrix party at the bar of the in-club Labyrinth is fondly remembered - things were more civilized this year, and the table was set at the Oerlikoner Giesserei.As always eagerly awaited, ADC chairman Andreas Prokesch gave a speech that could be described as rather whimsical. Plastic instead of jute is probably this year's motto, the president speculated at first sight of the book. And while leafing through it, he had to self-critically note that the ADC chairman had once again failed to write a decent foreword.
The selection of the responsible persons was, of course, also part of the procedure. The reference book for unimaginative creatives and advertising historians was produced at the Sulzer Sutter advertising forge. Robert Köhler and Andreas Hornung were responsible for the concept, and the book was designed by the latter. Tobias R. Dürring was also involved, providing the photographic realizations. And, as Prokesch rightly pointed out: "Behind everything good at ADC, there is always Managing Director Helen Müller.
The coherent theme of the book is trophies. Those of poodle breeders, Formula 2000 or Manta drivers, and kickboxers, which are the prelude to the individual award categories. And, of course, Murat Yakin - Swiss champion with FCB and two-time Cup winner - with the championship trophy as the opening picture on the cover. The yearbook says goodbye with a visual of the last award of earthly existence, the funeral urn. And in between, of course, lots of excellent advertising.
As always, the yearbook vernissage was also a first-class news exchange. Thus one could learn that Advico-AD Pascal
Baumann, designer of last year's yearbook - the leather one with the zippers - is going independent with Sacha Baer, who is taking his leave at Jung von Matt/Limmat. The new agency will be called p°formance.
Goldbach Media wanted to be creative, even revolutionary, on the occasion of the Mediarena with the first Crossmedia Award. Revolutionary ideas were to be honored, and the revolutionary theme ran through all the visuals used to promote the event. The series of lectures during the day was moderated by a competent and well-prepared Stephan Klapproth. Unfortunately, the same Klapproth then mimed during the award ceremony as a quasi joker the late sixty-eight with megaphone, which immediately destroyed the positive impression just gained.
Frank Bodin and his Euro RSCG were delighted with the award, which was presented for the first time. The agency pulled out all the stops in networked electronic communication for its "Great things begin with a letter" postal campaign. This was worth the trophy in the form of a paving stone behind Plexiglas to the jury under President Dominique von Matt. The other shortlists went to Lever Fabergé for Dove, the agency Trio for Opel Tigra, Jung von Matt/Limmat for Granador and Spillmann Felser Leo Burnett for the advertising classic Feldschlösschen.
There was also a bit of news at the Mediarena aperitif. For example, Sandro Prezzi, formerly managing director of Optimedia, told us that his first day at work at his new employer Mediaedge CIA had been at the Mediarena. Egon Blatter of DJ Radio, on the other hand, could be seen wearing a jacket more often lately - which was a very unusual sight and simply unthinkable in the past. Well, even the busy youth radio producer is bowing to the signs of the times. Since the concession was granted for his project, he too has to represent from time to time.
With pride and the new ADC Yearbook: ADC Chairman Andreas Prokesch with Patricia Haller (l.) and Elisabeth Hubatka.
"Well, did we do that well?" - AD Robert Köhler (l.) and photographer Tobias R.
Dürring are pleased with the successful work.
17 years of ADC patronage and finally on the shortlist, laughed Helmut Rose, WPS, with Angela Sigg (l.) and Simone Wildeman, Siggset.
Without them, nothing would work at ADC: Managing Director Helen Müller (left) and Brigitta Schmid, ADC freelance assistant.
Pascal Baumann, designer of last year's yearbook, with Euro-RSCG CD Petra Bottignole (l.) and freelancer Isabelle Linsi.
They know each other from their time together at Ogilvy: photographer Matthias Studer (l.) and
Roger Ott of Ott Advertising.
Creative duo at the ADC-Apéro: Nicole Domokos, AD at Exxtra, and Alain Piccard, CD at Effact since two months.
A nice trio infernale: Brigitte Bolliger with producers Bettina Bussey, Popfilm, and Nadia Rosasco, Rosas'n'Co (from left).
Met for a chat at the Giesserei bar: CD Stefan Frey (l.) from Freyart with director and producer Max Emmenegger.
Casual: Benny Goldstein posed with Publicis graphic designer Andrea Dübendorfer (l.) and Karin Gleichner from Future Connection.
Also having fun at the Giesserei: Contexta copywriter Moritz Staehelin with Publicis graphic designer Barbara Staub.
Hopeful young talent: GGK graphic designer Gabriel Giger, freelance AD Dario Kast and promo specialist Jacques von Mandach (from left).
Art buyer Ingrid Monnard with ADC book conceptor Andreas Hornung (l.) and Francis Sulzer, quasi production supervisor.
Happyness: Wirz-AD Andrea Reinhart, Rea Eggli, Swissandfamous, Danielle Stulz, DS Photographers, Evelyne Dössegger, Lowe (from left).
Did not miss the vernissage: Markus Cavegn (l.), Cavegnwerbung, with girlfriend Nicole Bohn and Roli Scotoni.
Satisfied with the event: Klaus Kappeler (l.), Goldbach Media, and Crossmedia Award jury president Dominique von Matt.
Urs Beer (l.), Communication Consultant, and Paul Riesen, omnipresent co-organizer of the Mediarena, at the closing aperitif.
They had a great chat: conference moderator Stephan Klapproth (l.) with Beat Steiger from Vertical AG.
Daniela Bemberg, Optimedia, and IP Multimedia CEO Michi Frank (r.) congratulated Peter Zeller, Euro RSCG, on the Crossmedia Award.
Moreno Cavaliere (l.) and Peter Urs Naef were impressed by the diverse presentations during the Mediarena.
Award joy with the Euro team: Pascal Baumgartner and Sonja Hürlimann with friend Pete Kurath, Blofeld Entertainment (from left).
Talking shop at the aperitif: Patrick Price, Scout24, Stephan Obwegeser, 20 Minuten, and speaker Martin Radelfinger, Adlink (from left).
Cheers with well-deserved beer: Mike Weber, Active Mobile, Peer Dittmar, Swisscom, and Sandro Prezzi, Mediaedge CIA (from left).
They could laugh together: Erika Paneth, Zeitweise GmbH, with Gerhard Illek and Klaus Wintersperger (r.) from Mediashop.
ASW Board Member Andy Ruf, SW Managing Director Monika Luck and René Meyer from DM-Druckerei Baumer (from left).
Came from World Television: Deborah Kiener (l.), Media Consultant, and Michaela Krcho, Managing Director.
Andreas Bergmann of RMS Hamburg, Yvonne Schmid-Kempf, Universal McCann, and Michel Emmenegger, Bayer (from left).
Good acquaintances: Marcel Bosshard from IP Multimedia with Egon Blatter and Oliver Flueckiger from DJ Radio (from left).
Sacha Geritsen and Sonja Honauer demonstrated the possible uses of the screen images they represent.
Apéro smile: Nico Keramaris (l.) from IPM with Caroline Trachsler, Initiative Media, and Stefan Halter, Special Project Manager at IPM.
The urn as an exit from earthly existence and supernatural ADC yearbook.
The Mediarena was revolutionary.
Beat Fritsch behind bars at ADC. This year's book vernissage, however, was not a rehash of last year's dominatrix party at the Labyrinth gay club, but took place this year in a well-behaved and civilized manner in the newly renovated bar of the Giesserei.
The first Crossmedia Award was presented at the Mediarena organized by Goldbach Media at the World Trade Center near Leutschenbach. The award is a distinction for the targeted and campaign-appropriate use of electronic media - and surprisingly went to an advertising campaign by Swiss Post - for letter writing. Euro RSCG invented it.

When the bosses of T-Online and Springer appear as authors of a study on the future, you might expect something groundbreaking, but in fact "Deutschland Online" is just a social and economic stocktaking. The only interesting aspects are the scenarios about future forms and alliances in online marketing - especially for reading between the lines.> Deutschland Online. Development Perspectives for Media and Internet Markets by Thomas Holtrop and Mathias Döpfner. 2nd, revised edition. Gabler Verlag, Wiesbaden 2004. 248 pages, 98 francs.

Advertising statistics Have publishers previously provided false data, and if so, was it deliberate? Interview with Wemf Director René Schmutz on the reliability of self-declarations.
Since the beginning of the year, advertising statistics for the Swiss press have been based on data from Wemf's Advertising Index Switzerland (AIS) - with the exception of free newspapers, the specialty press and the trade press. Wemf communicated this change in good time. However, it was also made because the previous advertising statistics had probably been handled rather imprecisely by the publishers for years. Wemf only announced this last week - almost as an aside in Flash, the newsletter of the Swiss Press Association (VSP). What is even more confusing is that the Wemf itself draws a damning conclusion in its text. It says: "In view of these differences, any comparison between titles is of course illusory." This gives the impression that the discrepancies persist and have not been resolved despite intensive discussions with some publishers. WW In the VSP newsletter you write about the VSW statistics: "Any comparison between the individual print titles is illusory." Since when?
René Schmutz We noticed the deviations towards the end of last year.
How so?
The data for our Advertising Index Switzerland (AIS) is collected according to the same rules as the advertising statistics. However, when comparing the two sets of data, we noticed differences because the detailed rules, which are easy to understand, were interpreted differently even by larger publications. With the aim of publishing consistent data, we have therefore - as far as possible - switched the source to AIS from January 1 of this year and reconstructed the 2004 data on the basis of the AIS results. This ensures a comparison with the previous year.
This means that I receive AIS figures when I click on the Wemf-
homepage to call up the advertising statistics for 2004?
Yes.
And those from 2003 and further back are from the old statistics
and are no longer comparable with the data from 2004 and 2005?
That's right. There is a break between 2003 and 2004, as there was when we changed the Mach Basic from the K1 to the LpA value.
This break has not yet been clearly communicated. In addition, anyone searching for data from 2004 on the Wemf homepage automatically receives the
incomparable figures from 2003 without a warning.
The fact that there was a break was communicated, perhaps too little emphatically.
Why were there any discrepancies at all? After all, both the AIS data and the previous advertising statistics are reported by the publishers.
Correct, but the path is different. The former advertising statistics were often compiled in the advertising departments, whereas the AIS data comes from the billing department and therefore from IT. For the AIS, the volume is calculated on the basis of individual invoices. This is why this figure is very reliable.
You write of "significant deviations" in "many cases". How many of the 200 or so titles surveyed provided incorrect information?
I will not provide any details, as the advertising statistics are intended for internal purposes and can only be accessed with a password. They also represent a trend analysis in which advertising categories such as publishers' own advertisements for other publishing products, countertrade and similar are also relevant. The main deviations are to be found in these areas and in somewhat idiosyncratic interpretations of regulations. The primary purpose of the AIS, on the other hand, is to map the development of commercial advertising; the data originates from invoicing to customers. A very high level of accuracy was achieved from the outset.
Is "idiosyncratic interpretation" a nice euphemism for manipulating or cheating?
No. In the advertisement statistics, it was found once that false figures were knowingly given. In my 16 years at Wemf, I have generally found very little fraud.
However, you write in the VSP newsletter that "some publishers deliberately reported their sales very cautiously".
There were publishers who did not report everything they should have - i.e. their own advertisements for other products of the publisher. Conversely, however, we have not found any cases where too much was reported. This is understandable in terms of the guidelines. It states, for example, that only the volume invoiced to customers is counted. Now, by definition, no money flows in the case of countertrades, which is why in such cases we must not forget to include the corresponding theoretical turnover and volumes in the statistics. It became clear that it is not possible to start from the invoices alone, because various sales do not appear there. These must be recorded separately. In addition, the regulations on countertrade transactions were different. This was an error on our part, which has since been rectified.
There were probably similar uncertainties with regard to advertisements for own titles.
Yes, but we eliminated it a long time ago through more precise regulations. If the Tagi advertises in its own paper for its carte blanche, then this own advertisement is not counted. The situation is different if an advertisement for Facts appears in the Tagi. Our rule is: as soon as a non-title product is advertised, we count the advertisement.
They wrote that some publishers had had problems with the classified ads and that individual ad categories had been "forgotten".
We distinguish between classified and commercial advertisements. Some publishers have now reported advertisements that appear under titles such as "Language schools", "Crafts" or "Travel in Austria" simply as classified ads. However, classified ads are defined as jobs, real estate and other. Other" includes examples such as acquaintances, eroticism, obituaries, sales - in other words, more personal matters. Advertisements with a commercial orientation are clearly not included.
"Significant deviations", misinterpretations "in many cases", "deliberate" understating of sales, "forgotten" advertising categories - none of this reflects well on the publishing house managers and publishers.
You have to look at it differently: The detailed guidelines for the advertisement statistics can be found in Appendix 2 to a paper from 2001. Such tasks are delegated to someone within the publishing house, and one cannot rule out the possibility that over time they become a monthly compulsory exercise whose purpose is forgotten. This is exactly what happened. There was no deliberate deception.
It is not clear from the newsletter text how erroneous the current statistics are. To be specific: is a comparison between title A and title B still illusory today, on June 6?
No, the errors have been identified and corrected. I assume that the data can now be compared with each other. Of course, statistics will never be one hundred percent error-free. As I said, the data usually comes directly from the IT system, so there is little scope for manipulation.
Nevertheless, the switch to computer-based data does not guarantee anything if the basics are programmed incorrectly. Did you have to arrange corrections with some publishers?
Adjustments were made where necessary.
The discrepancies in the advertising statistics raise doubts about the AIS as a whole: are the figures for other media types as flawed as those for print?
Once again, the differences were primarily to be found in the advertisements, which do not run through the normal invoicing routines but have to be entered separately afterwards. However, it cannot be ruled out that errors also occur in other media categories.
Another sideways glance at Mediafocus: This institute at least measures the print page volumes itself - which is probably more reliable.
At AIS, the figures at individual customer level are less than five percent off. Mediafocus, on the other hand, does not include the sales of inserts. The ads in rate combinations are counted several times, the classified ads are not counted at all.
"There were publishers who did not report everything they should have": Wemf Director René Schmutz.
Interview: Markus Knöpfli

Radio The youngest DRS station Virus wants to position itself even more clearly as a program by young people for young people, but the advertisers at SFLB are not focusing on the broad range of topics in the new campaign - from party and concert tips to school and games - but on the most frequently used reception type in order to convey the little-known cable frequencies. The seven-person team artistically conjured up three quirky cable faces from the antenna socket.

Gratispresse Tagblatt der Stadt Zürich AG is taking over Büry-Verlag, which publishes the Zurich neighborhood weekly Die Vorstadt, at the beginning of July. Advertising management remains with Publicitas. Vorstadt is published with around 37,000 copies and is distributed free of charge to households in Zurich North. The Tagblatt der Stadt Zürich AG is 60 percent owned by Tamedia and 40 percent by the NZZ Group.

Contract Negotiations between Tamedia and Publicitas on a new contract for the advertising commission have come to a standstill.a year after Tamedia terminated the commission agreement with Publicitas, there is still no agreement in sight. This is according to written responses that Werbewoche received from both parties in response to its inquiry. "Actual negotiations regarding a commission agreement have not yet taken place. Everything is up in the air," says Jürg Brauchli, Head of Newspapers at Tamedia. Publicitas takes a different view. "As our contract with Tamedia is still valid, the mutual obligations of the basic agreement will be honored," writes Otto Meier, General Director of PubliPresse.
This shows that the two parties have not yet moved beyond the old positions that could ultimately end in a legal dispute. The background: shortly after the announcement of the Zurich press deal between PubliGroupe and NZZ last July, Tamedia terminated the agreement at the end of 2004 - albeit without notice. However, Tamedia took the position that the greatly changed market situation in the greater Zurich area justified this step. Therefore, from their point of view, there has been no contract since January 1, 2005. Tamedia underlined this position at the beginning of the year by offering media agencies a "direct booking compensation" if they booked with Tamedia-
advertise titles directly instead of via Publimedia.
Publicitas, for its part, assumes that the termination is not legal and that the commission agreement will therefore continue until the end of 2005. For this reason, Otto Meier is in no hurry. On the contrary: as Jürg Brauchli now explains for the first time, P only sent Tamedia a proposal last December, "which we were unable to accept". Tamedia then responded with a counter-proposal, also in December. Since then, there has been radio silence. Brauchli: "We are still waiting for a conclusive answer, although we have already made several written and verbal enquiries." P has already verbally promised a new proposal on several occasions. "However, we have still not received it," writes Brauchli.
Meier does not even address this in his e-mail to Werbewoche. He simply points out that P continues to fulfill all its contractual obligations and thus continues to take over the delcredere for Tamedia. Meier had considered cutting back on services on this point if Tamedia were to retain the direct booking compensation for agencies. "I can't answer whether Tamedia will stick to the direct booking discount or the 6.5 percent consultancy commission for large agencies," he says, clueless. Brauchli, on the other hand, leaves no doubt about this and speaks clearly of "direct booking compensation". He continues: "From our point of view, nothing has changed at all."
Although Otto Meier is otherwise silent on the status of the negotiations, he does reveal one controversial point: "We disagree on the bonus part of the commission agreement," he writes. No wonder: in his proposal, Jürg Brauchli had called for a change from bonuses based on turnover to bonuses based on market share. He explained how he envisioned this in an interview with Werbewoche in February as follows: "You jointly define certain market players, and if the market share then changes in our favor, that's worth a bonus. Otherwise not. Simply swinging along with the advertising boom is not an additional effort; the P has the commission for that." However, Meier clearly does not want to get involved in this. He states: "I can't give any information about the structure of the bonus agreement yet, but the performance basis will certainly also be a prerequisite for the future."
Opinions differ on the bonus: Jürg Brauchli, Head of Newspapers at Tamedia (left), Otto Meier, General Manager of PubliPresse.
Markus Knöpfli

Magazines With Jö-Effekt, the agency KSSJ is on the hunt for advertisers, because although Tierwelt has key figures that others can only dream of - 367,000 readers at a record-breaking TLP of less than six francs, according to consultant Tanya Balogis - advertisers and media professionals didn't want to know anything about the magazine until recently. It is only with the spring campaign with the motto "Our readers love all animals" that their attitude seems to have changed. The campaign culminated in an original animal world being enclosed with the trade press. On the cover, a cuddly bunny winks lasciviously at the special target group. Presumably the bunny is looking for a new owner, i.e. an advertiser.