Alcoholic beverages The Graubünden beer Calanda is now advertising with the Bern agency Contexta, which until a few months ago looked after Feldschlösschen.Alcoholic beverages The Graubünden beer Calanda is now advertising with the Bern agency Contexta, which until a few months ago looked after Feldschlösschen. Marketing Manager Guy Schleiniger is looking forward "to a long-term good cooperation." Agency owners Bene Abegglen and Daniel Hartmann, who held the Calanda account years ago, are convinced that an advertising agency simply needs a beer and add: "The fact that it is now not just any beer, but the traditional Grisons brand Calanda, makes us particularly happy." The first works will be on display towards the end of the year.

Nonprofit To mark the 60th anniversary of the Pestalozzi Children's Foundation, six media partners presented it with a multimedia campaign created by Exxtra Kommunikation, which focuses on the poverty of children in Africa. This is visualized with the image of a cowhide satchel whose pattern represents the outline of the African continent. Scheffold.Vizner, ansichtsache ag, Mediaedge:cia, Treibhaus, philippemoritz and Cinecom are involved in the goodwill campaign.

Local TV Christian Heeb, former head of Radio Basilisk, has acquired a stake in local TV station NordWest 5.Heeb has bought a 17 percent share and is now also a member of the board of directors of NordWest Medien AG, the station announced. The share capital has been doubled to CHF 600,000. NordWest 5 was recently granted an extension of its concession area by the federal government to cover the whole of north-western Switzerland. The TV station's Board of Directors hopes that the former radio pioneer Heeb will "significantly strengthen its position".

In *Lovemarks*, Kevin Roberts, CEO of Saatchi & Saatchi, explains—among other things—his own success.
Kevin Roberts has sold just about everything in his life: wet razors, caffeinated sodas, laundry detergent. And what he loves most—and does best—is selling himself. As a self-promoter, he’s always good for media-friendly stunts. For example, as CEO of Pepsi in Canada, when he picked up a rifle at the end of a speech and «executed» a Coca-Cola vending machine set up on stage. The audience fled in a panic, the media reported on it for days—and Pepsi dramatically increased its market share in Canada. Roberts likes to tell this anecdote, including in *Lovemarks*. Because it aptly describes his character: «All or nothing at all.» Anyone who reads this book can sense that. Roberts is convincing because he believes in what he writes, because he loves what he does. That’s why the slightly more than 200 pages are worth reading, even if the idea behind them is anything but new. But no one before him has sold it so skillfully—neither Marc Gobé in *Emotional Branding* (2001) nor Tim Sanders in *Love Is the Killer App* (2002). And more importantly: No one has come up with such a beautiful name for it.
Love is the answer
Why would someone pay twice as much for a motorcycle that delivers only half the performance? Why do people who are always in a hurry wait months for a computer? Because Harley-Davidson and Apple have turned their products not just into trademarks or trustmarks, but into lovemarks—which Roberts sees as the future of all brand building and management. In our success- and efficiency-oriented societies, there is an emotional void that drives people to seek warmth, security, and love elsewhere. And according to Roberts, they find these things less in partners, girlfriends, or colleagues than in Lovemarks.
That’s because they’re not only easy to care for and always available, but above all sensual, mysterious, and yet familiar. This sets them apart from other products that may even be better or cheaper, but aren’t as desirable. What becomes a Lovemark, therefore, is decided by customers with their hearts, not their heads. According to Roberts, it takes them barely three seconds to decide. Either they feel a thrill when a Mini drives by, and they get butterflies in their stomach when they hold a Montblanc fountain pen in their hands—or they don’t. However, if the initial spark is there, it often develops into a lasting relationship that outlasts many marriages.
Love is in the air
But how do you get more or less reasonable people to love products that are, in and of themselves, soulless? The self-absorbed author’s simplistic psychological answer is: Only those who love are loved. It follows, then, that customers will only elevate products to the status of “Lovemarks” if there are people behind them who put their heart and soul into their work and identify deeply with it. Willie G. Davidson (Harley) and Steve Jobs (Apple) are living proof of this.
Occasionally, though, Roberts makes things a little too simple. His tips, for example, on how to turn customers into loyal fans, are a bit too obvious. Here’s an example: «Contact at least three customers every week. The only way to find out what they really think is to talk to them and listen to them.» We probably would never have thought of that on our own …
All You Need Is Love
Thanks to Robert’s infectious enthusiasm, Lovemarks still have what it takes to become a trend. That’s why anyone who promotes themselves or others should read this book—even though it focuses primarily on Saatchi & Saatchi’s campaigns and clients, and even though the layout is more confusing than organized and doesn’t follow any coherent concept.
The lighthearted prose, which the New Zealander peppers with colorful examples and amusing anecdotes in the best American style, nevertheless gives readers food for thought. Not just about love—though that’s part of it—but above all about the future of branding and the brands themselves.
Is the glass half full or half empty? For professional optimists like Kevin Roberts, the answer is clear, and their success proves their philosophy right.
Roger Hausmann – The reviewer is a freelance copywriter and journalist. On schreibwerkstatt.ch, he regularly recommends books on marketing and communication.

Radio The first six months of 2004 brought more reach for most stations, but also a lower listening time.The changes to radio research introduced on January 1, 2004 (see box) have had consequences. The reason for this is the inclusion of peripheral listeners who were previously not counted at all. This happened with the change from the reception area (EG) to the distribution area (VG). As the latter is significantly larger than the EG for most stations, this automatically results in an expansion of the audience. However, because the "gained" listeners tend to be characterized by a below-average intensity of use, they push down the overall listening time. This can already be seen in the global figures for the three parts of the country, all of which declined. In German-speaking Switzerland, net listening time fell from 123 minutes to 114.7 minutes. In French-speaking Switzerland, it shrank from 117 to 110 minutes, and in Ticino it fell from 118 to 113.3 minutes.
The same trend can also be found among the individual stations. For many of them, the average listening time has fallen by a few minutes. On the other hand, however, the vast majority of radio stations have seen an increase in listenership, with only a few having to live with reductions. However, only half a dozen of these changes are statistically significant.
DRS 3 reaches 1 032 700 listeners
In German-speaking Switzerland, DRS 3 is among the winners. The SRG station increased its audience by 8.1 percent to 1032700.
The other winner is Argovia, which has seen significant growth as a result of the switch from EG to VG. And not too close: Aargauer Radio increased by a record-breaking 22% to 18,3300 listeners.
MW 531, on the other hand, had a poor first half of 2004. Its listener figures fell significantly by 23 percent to 211,100. Rottu's result also looks unpleasant, with 21 percent fewer listeners than in the previous semester. However, the Valais station, together with Grischa, Fréquence Jura and Jura Bernois, is one of the radios whose reach shrank significantly due to an increase in the number of Radiocontrol clocks in their area.
While three of the stations mentioned swallowed the toad and have now released their listener figures again after an interruption, those of Grischa are still missing. Hanspeter Lebrument, head of the Südostschweizer Mediengruppe, which owns the majority of the station, expects this to happen this month. "I would first like an explanation from Publica Data as to how such large fluctuations can occur in the first place," says Lebrument.
The Virus problem has been solvedThe difficulties faced by radio researchers at Virus have been definitively solved. Since the simultaneous takeover of the DRS 3 programs "Hitparade" and "Sounds", it was no longer possible for Radiocontrol to assign the station beyond doubt.
The problem has been solved by broadcasting these programs on Virus with a five-minute delay.
Radio Fribourg grew rapidly
The majority of radio stations in French-speaking Switzerland were also on the upswing. However, this was only significant in the case of the French-language version of Radio Fribourg, which saw a strong increase from 65,200 to 82,100 listeners (+ 26%). As already mentioned, the figures for the two other stations in French-speaking Switzerland with significantly lower listener figures, Jura Bernois and Fréquence Jura, are not comparable with the previous semester.
In Ticino, station 3iii has seen audience growth, albeit not to a great extent. In contrast, there was a significant change at the bottom of the list of southern Swiss radio stations. While the Italian station Studio Star was one of the big losers in the previous semester, the tide has now turned. However, even with the current growth of more than 240 percent, the station only has a modest 4,100 listeners.
The tubes are glowing for less time: the average time spent listening to the radio has decreased.
Limited comparabilityComparisons with the previous semester are only possible to a limited extent this time. This is due to the changes introduced by Publica Data on January 1, 2004: On the one hand, there was a change from the reception area to the (larger) distribution area (see WW 02/04). On the other hand, the number of Radiocontrol clocks was increased in some areas, which means that comparability with previous listener figures is no longer possible. (dse)
Daniel Schifferle

Doing more with less - who doesn't have to do that in these tough, nasty times, and the relevant "how to" literature is booming accordingly. This low-budget primer, however, impresses with its consistent theory and plausible practical examples. And the modest layout of the volume seems only logical for this topic.> How to advertise successfully on a tight budget. Instruments, strategies and examples by Michael Böhm. Cornelsen Verlag, Berlin 2004.
216 pages, Fr. 42.20.

Event agencies Hans-Jürg "Schoscho" Rufener organizes events for top companies worldwide with his agency Rufener events.WW Are there any particular trends discernible in the event scene?
authentic stories. Events no longer offer some kind of circus and show, but something really substantial. An event must be measurable.
Why are events booming?
There is a certain saturation with classic stories. An event is permission marketing. In today's battle for attention, the event has the great advantage that someone consciously registers. You have the good fortune of being able to address people who come voluntarily for two to three hours. You can't get that anywhere else. A potential customer reserves their time for you. This means they are not distracted and are fully focused on your message. When they read a newspaper advertisement, they are distracted on various levels. In permission marketing, he clearly says: Yes, I want to have contact with you. That's why his expectations are much more positive. As an event organizer, I then only have to anchor the topics more deeply.
What can't be achieved with an event?
An event certainly doesn't immediately mean sales. You can build image, build trust. This then leads to a delayed sale. An event is also limited in the amount of information you can provide. The audience can only take in a maximum of four to five topics.
What mistakes are made again and again?
Many events are organized without a real reason. This leads to eventitis. An event becomes interchangeable. You no longer know who is really inviting you when company A and company B invite you to the same restaurant and both serve the same catering and have the same Miss as presenter. Then an event becomes interchangeable. Other mistakes include a lack of attention to detail. It is also often overestimated that you can simply pick up your target group directly.
What is the recipe for success for a good event?
The important thing is to find out what the customer really wants! Then you have to decide whether an event is actually the right tool. This decision-making process and the conceptualization are like a foundation for a successful event. "The reason why", what is the goal and how do we do it? The rest can be deduced. Bad events are stories that have not been thought through enough, that do not respond to the guest enough and therefore do not pick them up.
Have the budgets for events increased?
Budgets have increased in the high-end sector. In the medium and low range, people have become more mindful. It doesn't always have to be the best wine. It's a question of effect: what money brings what effect?
How do developments in Switzerland compare with those abroad?
Internationally, there are more highly professional companies abroad. Switzerland still has a lot to learn in terms of emotions, networked thinking, professional advice and choice of location.
Is there a noticeable shift in budgets from traditional advertising to events?
We have consistently good inquiries with our agency. However, I don't see them working against each other, but with each other, where both instruments are used and allowed to play together. An event is less and less conceived as a single discipline. First you launch a poster campaign, for example, and then an event follows. Or someone creates an initial event and has it multiplied via the other channels.
There are more and more event agencies. What is the competition like?
There are around ten established players in German-speaking Switzerland who really have a lot of customers and a lot to do. Because an event is an elusive occasion that demands trust, many clients want a company with experience. Event organization is a business of experience.
What distinguishes independent event agencies from corresponding departments in an advertising agency?
A good event effectively always requires more specialist knowledge.
A specialized agency has a greater wealth of experience and a more extensive network.
The recipe for success: "Find out what the customer really wants."
Interview: Andreas Panzeri

Patrick Lienert is to become the new Creative Director and Partner of the Bern-based advertising agency Lang Gysi Knoll. Lienert, who most recently worked as CD for Seiler Zurich, will take up the position at the beginning of September. At the same time, LGK establishes a branch office in Zurich. It will be managed in an initial phase by
Lienert managed.
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Anita Haberthür joined Wirz Werbung at the beginning of July as consulting group manager. Most recently, she worked at Matter & Partner as Head of Consulting and a member of the Executive Board.
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Publishing Director Sandra Geiger is leaving the SonntagsZeitung. She is taking up the same position at the business magazine Bilanz and will also become a member of the Executive Board of Jean Frey AG. Geiger replaces Uli Rubner, the previous publishing director of Bilanz and Weltwoche. The publishing house of Weltwoche will be managed by Jean Frey CEO Filippo Leutenegger until a definitive appointment is made.
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The publishing director of the fashion and lifestyle magazine Bolero, Martina Allenspach, is leaving Ringier Verlag at the end of November for personal reasons. Her successor has not yet been named.
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Marco Stettler has been Head of Classifieds at the Neue Zürcher Zeitung (NZZ) since July. He replaces Roger Knabenhans, who is moving to the program guide TR7 as Publishing Director in September. Marco Stettler previously worked as Managing Director at Publicitas Swiss Press in Zurich.
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Editor-in-chief Beni Leoni is leaving the private broadcaster U1 TV Station. He justified his resignation with differing views on the future program strategy. The terms of his departure have not yet been clarified.
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The IAA Young Chapter has a new president. Gabriele Spiller (Publisuisse) is taking over from Katja Barlogis, who is stepping down from the Board. Pascal Staub (m.a.d.) will become Vice President of the Young Chapter. Beat Fingerhut (Ikea) and Tamara Schmid (IP Multimedia) are new members of the event team. Gabriella Skala (Skala Communications) will take over the finance/controlling area.

Awards: The New York Festivals presented the Midas Awards for Financial Communications for the fourth time.In the «Banking» category, a gold medal went to Ruf Lanz for the print ads «Money Launderers» and «Money Launderers» Paradise” from the Bank Coop campaign.

Automotive The Bern-based advertising agency Cosmic has won four of the last five pitches for Smart's national account, including Trösch Autoglas, Rapid Autoglas and Jumbo Markt before the deal with the DaimlerChrysler subsidiary, and Cosmic's Zurich office has also landed the account of vacation rights provider Hapimag. The agency is to help the Smart Forfour achieve broad awareness and higher market shares. In addition, the aim is to "maintain and further develop the uniqueness" of the car brand.

Guest commentary It is not PubliGroupe but the new RTVA that is jeopardizing the TV market, says Christian Gartmann. After all, "P" had long announced its intention to become active in the audiovisual market. In Cinecom, it has taken over a very successful marketer.
Compared to the market as a whole, however, Cinecom is a small, colorful fish. Nevertheless, calls for the Competition Commission can be heard here and there. There is talk of media concentration and monopolies. But unfortunately, the Competition Commission won't fix the messed-up Swiss TV system.
If "P" is now also getting involved in the TV and cinema business, then this simply shows that private television is also growing up in this country a good ten years after the introduction of advertising windows, program windows and local television. Politically, the roles have already been distributed for some time and will be further cemented in the new RTVA. Above all those of the state-supporting and incessantly whining SRG, flanked by commercially harmless local broadcasters on the one side and the "villains" from Germany and France with their advertising windows on the other.
The fact that "P" is now taking over the marketing of a program and advertising window is no coincidence. Around ten years ago, the window broadcasters gladly jumped into the breach and brought the Swiss TV market to life. In terms of revenue, SRG benefited the most. The "P" has now apparently taken the trouble to investigate the sustainable development of windows and their investments in Switzerland and obviously has more faith in the window broadcasters than the political opinion makers.
In the advertising market, window transmitters are finally accepted for what they have been doing for years: importing a product from abroad that nobody produces in Switzerland.
Those who are now calling for the ComCo on the occasion of the Cinecom takeover are ignoring the reality: the private TV market is ridiculously small compared to the SRG. And nobody shouts "monopoly!" when SRG once again opens a radio station to crush a private broadcaster or demands new fees to keep the prices for sports rights so high that no one else can afford them.
Instead of writing to the Competition Commission about the "P", we should write to our federal politicians about the RTVA. Let them write into the new law what was originally written on its label: liberalization of the market. With less regulation, TV offerings could one day emerge that make the medium a topic for other investors. The Competition Commission cannot pave the way for this. Only politicians can do this with a commitment to a genuine Swiss TV market.
> Christian Gartmann is Managing Director for Switzerland of the ProSiebenSat 1 Group.

Awards: The Art Directors Club of Europe has awarded 16 gold medals for the continent’s most creative advertising. Switzerland received one gold medal: Sulzer Sutter, Zurich, was honored for the Parisienne packaging design «Smoke local.» With nine additional nominations, Swiss advertising achieved its best result to date.