Fundraising After the tigers and bears, the lions at Zurich Zoo are finally to be given more room to roam. The zoo wants to secure the funding for the facility, which costs around six million francs, once again with a fundraising tour, supported by its main sponsor Axpo, which is sending the king of the animals out on the streets himself - to beg. Equipped with the obligatory cardboard sign, the proud lion is currently stretching out his begging arm for donations for his new home. The creative tamers who draped the predator for various advertising materials work in the neighboring area at Advico Young & Rubicam in Gockhausen.

Internet "We send out around 70 million emails per day," admits spam king Alan Ralsky - around 2.1 billion per month. According to his own figures, he registers 7,000 to 15,000 purchases per advertising campaign and collects 40 percent commission on the products sold as a result. In addition to loans, his emails also advertise penis extenders, dubious herbal pills and prescription drugs such as Valium and Viagra. By sending unsolicited advertising emails, Ralsky became a millionaire. For the investigators, he is hard to catch: his computers are located in China.

PR According to a study by the Swiss Public Relations Association, almost one in two Swiss people have little idea of what a PR consultant does, especially younger people and those with a lower level of education. PR consultants are only considered credible by around a third of the 700 people surveyed. The media enjoy a much better reputation: two thirds consider them to be credible.

Online marketer The customers of Publicitas Webservices are looking forward to hot days: the online marketer is repeating its discount campaign from last year.online marketer The customers of Publicitas Webservices are looking forward to hot days: the online marketer is repeating its discount campaign from last year. From June 21 to July 31, the daily temperature in Zurich will determine the discount level for advertising bookings in the site portfolio. A graph on P-webservices.ch provides information about the measured temperatures.

Body care For Nivea Sun, TBWA Switzerland introduces two comic characters and cooperates with the Swiss Cancer League. While paleness was considered a sign of wealth and elegance until the beginning of the 20th century, this changed in the 1920s when doctors recommended sunlight to treat certain diseases and tanned skin became associated with health, athleticism and beauty. The result has been dramatic for sun worshippers due to increasingly intense UV radiation. Although prevention campaigns such as that of the Swiss Cancer League have increased awareness that excessive sun exposure is harmful - especially for children - the number of skin cancer cases has risen sharply in recent years. Although a good 90 percent use a sun protection factor of over 15, they hardly apply the cream often enough. 50 to 80 percent of exposure to UV rays occurs during childhood and adolescence, so this stage of life is particularly crucial for the risk of melanoma. However, the consequences of sunburns can only be recognized later, which is why many people still underestimate the long-term risk. However, the fact that prevention should start early in life only seems to be slowly becoming established.
Nivea, whose sun protection tradition dates back to the 1930s and which introduced a completely realigned sun range in 1990, recognized the opportunity in this situation to expand its well-positioned product line in the youngest segment and thus build up a loyal customer base in the future. In addition to the emotional focus, the brand's competence values of authority, credibility and safety had to remain at the heart of the campaign.
With the Swiss Cancer League as a partner with a seriousness bonus for adults and a campaign aimed at end consumers, Nivea Sun wants to clearly demonstrate its expertise as a "sun protection expert". While trained Krebsliga staff visit all Swiss bathing establishments during the summer months, offering advice, product samples and give-aways, TBWA's mass media campaign is deployed.
Symbols for an entire generation
The team led by CD Hans-Joachim Timm came up with the comic characters Sunny and Blocky, who playfully illustrate the effects of the sun's rays and sun cream. The characters, who appear in advertisements, comic books, T-shirts and playing cards, are designed to teach children how to deal with the sun in an entertaining and age-appropriate way.
In the long term, the campaign managers hope that Sunny's piercing rays and the helpful Blocky will become symbolic figures for an entire generation. After all, account director Christina Maron explains that the give-aways were designed to last. To accompany this below-the-line campaign, three different commercials featuring the Kids Spray will be shown on TV.
Once Nivea, always Nivea: The products for kids are intended to build up a future customer base.

Playful instead of pointing fingers: give-aways warn against too much sun.
Luca Aloisi

Column On trying to write an article about Ruth Metzler's book. And the danger of unexpectedly coming face to face with your own fate.here, Mbwana, here! Look under the table. Oh yes, you're used to someone making big noises about journalism here every six weeks. (Opinion columns are a kind of venereal disease: they are almost all written by gentlemen with testicles the size of melons). But my voice - not to mention the rest of it - is weak at the moment. The reason is simple: I messed up my last article and nothing could have gone wrong: I had eight days, a brilliant mood and the favorite smell of journalists in my nose: the smell of fresh carrion. It was a perfect drama: an ex-Federal Councillor! The first to be voted out of office! The first to write a book! A monstrous ham! And now appearing again! And embarrasses her party terribly at her public farewell!
I did my duty: I printed out 200 pages from the SMD database, read the book, went to party conferences and book launches, spoke to the usual suspects of experts and even a few unusual ones - I had piles of quotes, anecdotes and analyses. Then I sat down and wrote: shortly before the editorial deadline, I had practically three quarters of the article and still hadn't told the slightest bit of what I wanted to. The final editors raged, and I delivered: 10500 dead letters, a tough mumble from the
Length and consistency of an NZZ editorial.
Since then, I've been walking around the city feeling deeply sad and asking myself why, why, why. Here's what I come up with:
1. arrogance. I was sure that the agony of the CVP and the self-destruction of a Federal Councillor into a cervelat celebrity was such dramatic material that nobody could ruin it. At least not me.
2nd retelling. Up to three quarters of the way through the article, I almost exclusively reported on what had appeared in other newspapers: career, book launch, party meeting, etc.
3. nosiness: This was followed by long comments on Ms. Metzler's false advisors, lack of contact with parliamentarians, the first-person style of her book - all plausible. But not what really interested me.
4. heartlessness. The crucial mistake. If I had listened to my heart, it would have been clear that the article should not have been written in a smart-alecky way, but in a frightened way: with honest fear. After all, how does someone manage to work in the Federal Parliament for five years without understanding its mechanisms? And not even after a bad defeat? How does someone manage to confuse themselves with their image ("I'm young and dynamic!") to such an extent that nothing more personal than that becomes apparent, even after extensive research? How can someone manage to write an entire autobiography about themselves with nothing but their own speeches, their own successes and the resulting
to quote the resulting newspaper article?
Ruth Metzler's rise and fall would have been a really interesting drama if it had been illuminated in this way - as a tragedy of the hype generation of the nineties, which slipped from boom to bust; as a study of a type of middle and upper management that falls into an unexpected crisis; as the fate of everyone who lives in files, agendas and media. Whether as a federal councillor, programmer or editor-in-chief: behind the job, nothingness awaits.
It's about that nasty feeling when an article has been left for dead: my existence feels a little thin. So do better than me, Mbwana! Never be arrogant. Write straight to the point. Never repeat what others have written. And listen to your heart.
And once again visit a swimming pool, a movie theater and some friends. Until the sweet smell of fresh carrion calls you back to work.
> Constantin Seibt is editor for politics and economics at the weekly newspaper (WOZ).

Education KS Kaderschulen, a company of the Kalaidos Education Group Switzerland, is considered one of the most important providers of continuing education in the field of business in German-speaking Switzerland, and the agency Krieg Schlupp Springer & Jacoby (KSSJ) now wants to communicate the school's qualities - a wide range of courses and individual support - with a new image campaign. The two-page advertisement makes it amusingly clear for whom one should consider further education, namely for one's own career. Further subjects will follow next fall and spring. The campaign idea will also be implemented on special poster sites and in various below-the-line activities.

Andreas Panzeri on the trick of attracting attention with simplicityThe city of Zurich is launching an image campaign to counter the stereotype of the lonely, frail and dependent old person with the self-confident, cheerful old person. The subjects with portrait photos of senior citizens seek attention with headlines such as "Who knows more about men than a 96-year-old?" or "Who knows more about sex than a 93-year-old?". In a paper presenting this campaign, the agency Matter & Partner also headlined "Who knows more about old people than Matter & Partner?".
The headlines sound good. But is it really true what the advertisers on behalf of Zurich City Council want us to believe?
The senior citizen consented to her statement, although she herself does not believe she knows more about sex than young people, according to the agency.
In fact, it can be assumed: A real 93-year-old doesn't know why her pubescent grandson doesn't mind being bombarded by a plethora of pop-ups every time he opens a seductive spam. She has no idea why her daughter went against her will to the swingers' club and sat in the hot tub with her husband and a stranger at the same time. She may suspect that her son is taking Viagra, but she doesn't really want to know. Nevertheless, the city poster reads: "Who knows more about sex than a 93-year-old?".
Advertisers usually excuse such headlines with the order. After all, Sloggy has to be sold. But old people? Nobody wants to buy them anymore. So why is the city council still so sexy as a client? Wouldn't it be up to such an authoritative body to look for other signals for its attention?
Why wasn't the mature pensioner allowed to formulate a headline herself? Maybe she knows English and knows that headlines have something to do with the head.
But perhaps the city council is right. Or would you have read this editorial if the title had read "Honor old age" instead of "Sex sells" in a politically correct way?
> Andreas Panzeri, Editor

Petra Lauk and Daniel Briel Lauk previously worked at Ernst & Young as Junior Project Manager Corporate Communications, Briel comes from IR Firm, the former Wirz Investor Relations. ...
Dominik Allemann has been working as a consultant at the Zurich agency Marcel Bernet Public Relations since the beginning of June. He previously worked for Sylvie Merlo Kommunikation, which specializes in design and architecture.
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Uli Rubner (pictured) is stepping down as publishing director of Weltwoche and Bilanz at her own request. She will remain in office until her successor has been appointed.
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Valentina Herrmann is joining the Lowe team as Creative Director (CD) in August. As a member of the management team, she will head up the Zurich-based advertising agency's creative activities together with Keith Loell. Herrmann was most recently Art Director at Advico Young & Rubicam.
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André Benker is stepping down as Executive Creative Director at Advico Young & Rubicam (AY&R) at the end of June. He had taken over the position in addition to his duties as CD of Guye Benker when it was acquired by Young & Rubicam at the beginning of 2003. Following Benker's departure, CD Daniel Comte is now in sole charge of AY&R's creative activities.
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Judith Stoletzky is the new CD of the agency Studerpartner - until recently Studer & Wohlgemuth. The Hamburg native most recently worked at Kolle Rebbe, before that at KNSK and Springer & Jacoby.
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Marc Aebli has joined the Kreuzlingen-based communications agency Wemako as a consultant. The qualified communications manager previously worked in marketing at Kuoni Travel.
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At the beginning of July, René Zeyer will become the new head of copywriting at the program magazine TR7. Zeyer is currently a writer for Geo magazine and a freelancer for Du und Glückspost.

Theater With the departure of the director duo Dünsser/Kukla from Zurich's most successful small theater, the Theater am Neumarkt, the house agency, FCB Leutenegger Krüll, also says goodbye. During the past five seasons, the agency created a new image and advertised over 65 productions, always with the aim of turning advertising into art and art into advertising. Among other things, FCBLK won the highest award of the North Rhine-Westphalia Design Center, the "red dot best of the best" for the 2001/2002 season booklet. "For me, that was more than advertising, beyond commerce and market share," says Mike Krüll. With the last poster, the requiem for the collaboration, so to speak, the agency presented Neumarkt with a gift for the last time.

It was no mean feat to find suitable events for the shortlist last week. Weltwoche and Bilanz invited a hand-picked group of Zurich advertisers to the exclusive ART preview in Basel, an event from the days when the Jean Frey publishing house belonged to the empire of the Basler Zeitung. It is nice that the old partnerships have been maintained and that the event continues to be held together with the BaZ and Publicitas. Otherwise, the art enthusiasts among the Zurich advertisers would have lost out on an event with the rating "more than just valuable". Guests in small groups enjoy extremely exclusive guided tours of the exhibition. The tour with John Armleder is highly sought-after, and usually one also meets his partner Silvie Fleury at some point. And from both are to be seen with attentive observation at several gallery outlets works, which are explained to one accordingly competently, if one asks for it. Other equally top-class art guides this year were Gerald Matt, director of the Kunsthalle Wien, Guido Magnaguagno of the Tinguely Museum, and Christoph Vitali, curator of the Fondation Beyeler. Not to forget the always fresh and cheeky artist siblings Julia and Claudia Müller, who are among Armleder's protégés and occupy a prominent place in the Swiss art scene.
But also otherwise the visit of the ART is worthwhile in any case. Next to the ART offshoot in Miami, it is probably the biggest and best umbilical show of contemporary art, which, however, is not always immediately distinguished by clear comprehensibility. And even the established can be marveled at. Where else can a Magritte, a Picasso, a Matisse, and all the great names of the last century be examined from a distance of less than 30 centimeters? Incidentally, art for the smaller purse is also available. Lithos by Bruce Nauman can be had for the ridiculous price of 7,000 francs - the Warhols, on the other hand, have risen sharply in price.
Last week, the ADC also invited to art, but to advertising in the form of spots, in the Studio Bellerive. According to the affiche, registration was only possible for members - a selection just as hand-picked as at the ART. The event, held shortly before the International Advertising Festival (IAF) in Cannes, is called the DDB Cannes Prediction Roll. It features 50 spots that the DDB creative superiors - including Michael Conrad from Wahlzürcher - have decided are lion candidates. Even more fun than the commercials, however, is the ADC lion tote. There, each viewer may tick 20 of 50 spots. After Cannes, points are distributed to the selected spots. There are 50 for the Grand Prix, 30 for Gold etc.. And the winner can look forward to a European flight of her choice with Swiss. Because according to statistics, it's mostly female consultants who have guessed correctly so far. Well then, have a good flight into the future of advertising!
Brilliant expert with event host: ART icon and gifted art guide John Armleder with publishing director Uli Rubner.
There was something to laugh about: Heidi and Ernst Meier (right) chatted with Bilanz editor-in-chief René Lüchinger.
They took the opportunity to visit the ART, because as former elective Viennese they are of course virtually art-infected: Andrea and Geri Aebi.
Advico CD Daniel Comte and wife Andrea also enjoyed the exclusive exhibition tour with an interest in art.
Franco Rogantini of Banca del Gottardo with the two advertisers Victor Zahn (r.) and Marcel Fankhauser (l.).
Size ratios: Ursula Guhl and Hans-Joachim Timm from TBWA in front of gigantic exhibition objects.
At the ART there are funny scurrilities that happen when you cram the whole family in the very back of the caravan ...
... or monstrosities like the object, but which, because of its attention to detail, also had the morbid and irresistible fascination.
Not without a certain smirk, moreover, the tattooed pig's belly was received by the visitors.
ADC Managing Director Helen Müller also welcomed Michael Schönhaus to the "small Cannes role" at Condor.
Sebahat Derdiyok with actor Jeremy Wolf (l.) and Beat Rebmann from @soho at the ADC Lions tote.
Script President Stephanie Hugentobler and Rafael Neziri discussed the quality of the visioned spots together.
Didn't miss the exclusive preview of the DDB-selected commercials: Isabelle Krieg and Markus Rottmann.
Christian Bobst of JvM/Spree, Serge Deville of Euro RSCG and Alain Picard, freshly minted text freelancer (from left).
Jürg Aemmer and Petra Tschudi reviewed what they had seen over a beer together.
Beat Fritsch

Newspapers Tamedia offered the magazine to BaZ and BZ. Without success. The head of the publishing house mimes serenity, but anyone who asks Tamedia what further plans they have for the magazine will be met with a blank stare. "The matter is not yet ready for discussion," says deputy editor-in-chief Peer Teuwsen. So something is being done. On the one hand, the magazine has not been refreshed since 1999 (apart from a touch-up at the beginning of this year), and on the other hand, Tamedia asked the Berner Zeitung (BZ) and the Basler Zeitung (BaZ) last year whether they would like the magazine as a supplement. St. Galler Tagblatt and Neue Luzerner Zeitung were not asked, which makes it clear that the magazine should cover the golden triangle, but the answers from Basel and Bern were different from what Zurich had hoped for. The BZ is still "checking", as publishing director Franziska von Weissenfluh announced last week. They were quicker in Basel. According to BaZ publisher Matthias Hagemann, his paper is not dependent on the magazine. To be considered as a supplement, it would have to be "nationally positioned". BaZ also wants to have a say in publishing and editorial matters (see WW 23/04). "We would want to include Basel topics", says Hagemann, who also makes it clear that he expects "a positive solution for BaZ in terms of costs and distribution of any profits". And then he adds: "We have submitted our request, now it's Tamedia's turn again." In other words: an increase in the magazine's reach cannot be achieved without changing the concept.
Playing for time on both sides
But it seems that the ship has sailed in Zurich, now that the relaunches in Bern and Basel - the ideal time to introduce a new supplement - are (almost) over. Maili Wolf, publishing director of Tages-Anzeiger and Magazin, confirms that she has received the Basel requests, but claims that she is not (or no longer) interested in them. "The Tages-Anzeiger already has a wide reach," she says succinctly. And referring to the "growing volume of advertisements", she says: "Never change a winning horse." Only in response to the objection that the magazine is a loss-making business for Tamedia does she admit: "The magazine is not a cash cow. But it is also laboriously produced." And when asked about a change of concept, she becomes taciturn and, like Teuwsen, says: "The topic is not yet ripe for discussion."
Or rather postponed? The fact is: Tamedia will receive new printing presses in autumn 2005, which means that a comprehensive relaunch is also on the cards for the Tages-Anzeiger (four-color throughout). However, as the company is in any case giving fundamental thought to the status, function and task of a subscription newspaper, no stone will be left unturned when it comes to the supplements. BaZ and BZ have apparently also realized this, which is why they are not saying no, but are still "reviewing" or imposing conditions at an early stage.
Circulation well below a quarter of a million1999 brought the magazine a drastic experience: around a third of its circulation was lost because the BZ dispensed with the supplement. Since then, the magazine has lost a further 15 percent because the Tages-Anzeiger, the carrier newspaper, has been weaker. Today there are 236,569 copies (494,000 readers). If BaZ (new) and BZ (again) could be won as carriers, the circulation would catapult to a good 500,000 copies - no paid Swiss magazine reaches this level.
In terms of advertising volume, the magazine lost 35 percent between 2000 and 2003, compared to 51 percent for the Tagi. In the first five months of this year, the magazine gained back 5.8 percent, while the Tages-Anzeiger is still down 7.1 percent. (mk)
"Nothing ready to say": The Zurich magazine publishers are stepping aside for the time being.
Markus Knöpfli