Creepy, creepy, what went down last week. It started at the new Pathé cinema complex in Dietlikon, where Film had invited to the preview of the children's shocker "Harry Potter and the Prisoner of Azkaban" on the occasion of its 200th release. Don't laugh! In contrast to its gentler predecessors, the movie shows scenes that even make adults shudder. For example, you finally realize what the favourite saying of all aunts and uncles ("God, the children have grown up!") is all about. The cute Hogwarts kids have mutated into pretty big teenagers - and that's the age the audience should be to see the movie. Unless, of course, you want to provide your brats with first-class nightmares for at least a week and also have an excellent means of exerting pressure on unruly quenchers ("Eat up or the Dementors will get you!").
Helen Müller and Andreas Prokesch took an even harder line at the ADC. From Potter, they continued in gothic style to dominant CDs, obedient creative maids, nasty copywriters and intimately pierced conceptual designers. The Labyrinth, the first address for fetish fans and lace & leather addicts, hosted the vernissage of the latest ADC opus. It was boldly announced as the strictest yearbook of all time, and it looks pretty chic in its little latex coat.
The idea came from Pascal Baumann, who realized the book with the paternal help of Roland Scotoni and the rest of the Advico creation - or what is left of it, as one rather uncharming contemporary grumbled.
The master-and-servant parade by the group Toxic was much less harsh than the slavish life of an advertiser. A slightly exaggerated dominatrix splashed around a bit with candle wax with a pretty young slave girl. However, more interesting games were left out - to the disappointment of some guests who were apparently quite familiar with the relevant practices.
Beat Fritschmay not be in paint and leather, but at least with a latex ADC primer. The strictest yearbook of all time can actually also be used to chastise unfaithful or lazy people.
More creative use. The new Harry Potter film also has a gothic feel. This could be seen at an exclusive preview on the occasion of the 200th edition of the film.
Where the communications, media and publishing industries meet for their parties, we locate them at the events of the scene. Do you already have something to report? Pick up the phone (01 296 97 98) or hit the keys ([email protected]). Event tips and further shortlist images are available online at www.werbewoche.ch.
The new Potter movie is really creepy.
Is said to have been a former creative director: Domina from Toxic.
Celebrating the 200th clapperboard: Antoine Egger, Joel Dufour, George Klee, publisher Roland Ray and Jean-Pierre Grey (from left) from Film demnächst.
Looking forward to meeting Harry: Nicole Zubler (l.) from Carat and Patricia Welti from the Winterthur skate and snowboard distributor John Doe.
Kids become fans for an exclusive Potter preview - Peter Heeb from Star TV with fan club: Katarina, Alexandra and Isabelle (from left).
She's a big Harry Potter fan, he takes a more pragmatic view: Nadja Jordi and Dani Büchi from Radio Energy.
Pottermania also with Joel Dufour, Sales Manager Film coming soon, Patrick Craman (l.) from Levi's and Geraldo Egitto from Diesel.
Lovers of paint and leather: ADC yearbook designer Pascal Baumann (l.) with filmmaker and motorcycle fan Rudi Haller.
ADC dominators: Andreas Prokesch, grand chairman, with Helen Müller, the club's managing director.
The creative directors, not in leather, but among themselves: Edi Andrist (left) had a great chat with Advico CD Daniel Comte.
SW Managing Director Monika Luck introduced Georg Gadient, the new slave (=trainee) at the SW office.
The women were far too kind to him: Sabrina Arthur (l.) and Laurence Bolinger with Sacha Baer, consultant at JvM/Limmat.
Joining the tough ADC party: Katja Hübener from Glamour Engineering with Thomas Städeli, Advico Young & Rubicam.
Patricia Haller and Publicis Managing Director Markus Gut (right) were determined not to spank the naughty Claudio Zuccolini.
The copywriters moved to a quieter corner: Script Managing Director Christoph Fuchs (l.) with Kaspar Silberschmidt.
Old rope teams: Domenic K. Geissbühler, Urs Schrepfer and Roland Scotoni (from left) besieged the bar in the labyrinth together.
It was a stone's throw for them: Tereza Stäheli and Sebastian Rundy's Acapulco agency is not far from the labyrinth.
Looking forward to Cannes: Keystone winners Chantal Ehrensperger (l.) and Hanna Zimmermann, with Johannes Raggio.
Promoting young talent: Diego Bally helps Petra Tschudi from On Line Video 46 to win a bet with this photo.
Shop talk among ADs: Dave Hanselmann (l.) from Jung von Matt/Limmat with Sascha Fanetti from Ruf Lanz.
New agency owners Dani Krieg and Uwe Schlupp from KSSJ with former colleague Flo Wacker from Publicis (from left).
"We're already getting him used to the creative parties," said dad Philip Skrabal (right) and godfather Simon Staub with little Romeo.

Crossmedia Nick Hösli is to market Ringier better. He relies on cross-media and advertises with a film.
George Orwell and his "1984" in a different way: Instead of the victim's perspective, a new Ringier marketing film shows how things go on in the Big Brother headquarters. The marketing and advertising manager of company Y, together with a team from Ringier, follows the daily routine of a couple on monitors - unlike in Orwell, of course, with the good intention of drawing the couple's attention to the new product Super-X via various channels during the course of the day and making them happy with it. The team does this by commissioning the print shop from the control center to produce a special issue and to place a strip ad about Super-X in the couple's daily newspaper. Later, it places a banner on the website accessed from the office PC, activates the delivery of direct mail, orders a call center to contact the couple, and triggers a product placement on TV. At the end of the day, after countless contacts with Super-X, the two are finally gripped by gwunder and call an order hotline. They also leave their address. The big handshake follows in the control center.
Many channels to consumers
The message of the Ringier strip is clear: The media group has a multitude of channels to consumers, from newspapers and magazines to television, online advertising, printers, address management company and call center, and is thus able to target almost any desired audience, anytime, anywhere. "We are the largest Swiss multimedia company and are represented in the three main language areas. Therefore, it would be grossly negligent if we did not also offer this potential in bundled form," says Nick Hösli, Key Account Manager (KAM) at Ringier since the beginning of the year.
His job is to present the possibilities of the Ringier Group as a total package for integrated communication to advertising customers - or in the language of the film: to make customers "gluschtig" to enter the Ringier control center and pull all the desired levers there. It goes without saying that this is only an option for major customers: nothing works at this level for less than a quarter of a million francs.
But if you have the wherewithal, you have access to an impressive reach: Ringier media together generate more than 11 million customer contacts in Switzerland every week - no other publisher, and not even SBB, can hold a candle to Ringier in this respect. One ad in all Ringier titles already reaches 3.3 million Swiss people 1.7 times each.
But Hösli stresses that integrated communication goes beyond taking three pages of Blick and five pages of Schweizer Illustrierte at the same time. "Such offers were already possible in the normal day-to-day business - I don't want to interfere with that at all." For him, it's all about intelligently linking media and advertising forms (competitions, sponsoring, public reports) in a precisely timed manner so that the multi-channel message addresses new target groups and creates multiple contacts. "In the future, sales potential will be tapped primarily with networked, target-group-oriented offers across all channels," he is convinced.
In addition to the bundled range of coverage, the KAM and the Ringier taskforce (see box on the right) offer the following main advantages: The potential customer has only one contact person at KAM, the taskforce team presents him with customized solutions, and at the end he receives a single invoice for all services.
The goal is additional budgets
Hösli adheres to certain principles: For example, his customer contacts should in no way affect day-to-day business. "Our goal is to use the KAM system to gain additional budgets and thus market share," he says. He also wants to strictly separate editorial and commercial work.
In addition, Hösli does not limit himself to Ringier channels, but includes other media (radio, billboard, mobile) or events if necessary. "Of course, we primarily want to sell our media, but the customer benefit must always be in the foreground for us, which is why we are open to all appropriate communication channels," he says. He wants to walk the tightrope between his own and the customer's benefit with the greatest possible transparency. So for him, it goes without saying that the customer can involve his media, advertising or event agency in the planning sessions if he so wishes.
In the first few months of this year, the Key Account Taskforce built up the KAM concept. Since April, Hösli has been working on approaching existing key accounts. He can already point to initial successes: Ringier, for example, implemented a first example of integrated communication with Lever Fabergé in May, which will be presented for the first time at the Crossmedia Symposium on June 10. Various other projects are in the pipeline in the coming weeks and months. Overall, however, he expects the consistent implementation of KAM to take about two years.
"Nick Hösli on the new corporate culture at Ringier and the lessons learned from "Gesundheit Sprechstunde.
WW: Ringier already made its first cross-media
Walking tests. Why didn't it work back then?
Nick Hösli: For one thing, the customers weren't ready yet. Cross-media or integrated communication were still foreign words. But Ringier has also evolved: Our offering at the time was almost exclusively print-oriented; we didn't have TV and the Internet yet, or only in the early stages. In addition, the divisions had to grow closer together and get away from the garden-variety mindset.
What tipped the scales in favor of the new start-up? That's partly due to the economic situation. During the economic boom, such ideas are less likely to occur. Now, however, we have to win additional volume - and so it was obvious to present our entire range of products and services. We also know from our day-to-day business that customers are increasingly expecting creative, unconventional solutions. We now offer these cross-media. What's more, with our cross-media packages, we want to offer them an attractive alternative to TV-only campaigns and draw funds away from there.
At "Gesundheit Sprechstunde," crossmedia made big waves on a smaller scale. What lessons do you draw for your work?
I am not responsible for the media association Gesundheit Sprechstunde, and I do not want to comment on it because of the ongoing Bakom investigation. Regardless of the outcome, however, it's clear that cross-media is a very sensitive matter. You have to be careful not to mix editorial and commercial.
Don't you have a kind of watchdog function over "health consultation hours".
No, not at all. The responsibility for the topic of health lies solely with Ringier-TV and the editorial teams involved. This has nothing to do with me.
There are no editorial representatives on the KAM task force, but on "Gesundheit Sprechstunde" even the main presenter actively acquires sponsors. Why does Ringier separate editorial and sponsorship at the KAM level, but not at the association level?
Key Accounting is purely a marketing tool, so only the advertising and marketing managers from the individual divisions are involved. The editorial teams remain independent as always, but of course our customers are always invited to discuss editorial topics with them. The editorial teams then decide independently whether or not to editorialize the topics.
Markus Knöpfli
Concentrated know-how for Ringier customersThe Ringier Key Account Taskforce is currently made up of the following people: Thomas Trüb, Head of Marketing and Member of the Group Executive Board, Nick Hösli, KAM, Bruno Hörler,
Head of Marketing Ringier Print, Thomas Passen, Head of Advertising Market Magazines, Mario Cecchin, Head of Advertising Market Blick Group, Andreas Waldis, Head of Marketing Ringier-TV, and Thomas Kords, Key Account Coordinator.
"We always make our first visit to a customer as a closed group," says Hösli. Firstly, this means that the customer has a competent person of information in front of them for each Ringier area, and secondly, they are then directly informed about the customer's needs. This is then important in the development of concrete cross-media ideas. "We always create these ideas in the overall team," says Hösli. (mk)
Ringier offers the opportunity to pick up audiences via different channels: The same message in print, online and on TV.
Nick Hösli pushes crossmedia.
The client cockpit assigns the messages to the individual channels.
Markus Knöpfli

Daniel Köhler from the Federal Office of Communications (Bakom) told the Mittelland Zeitung that the Federal Council will probably deal with the TV project's application this month. The full-language regional program is aimed at young people, who are to participate in the station via the Internet and SMS. The initiator is Dominik Kaiser, co-organizer of the Street Parade and former managing director of the interactive German music channel Viva Plus.

Stefano Monachesi on the pitfalls of advertising languageAre you one of those happy generations who were still allowed to be children? Today we only use "kids". It sounds cooler and fits better in a short headline. The English word was imported by marketers when children became target groups - because children supposedly don't want to be treated as children. "Cracks" is another word that only people who want to reach young people use. Unlike kids, it's not even proper English. For the British, anyone who glides cool over the snow is not a snowboard crack, but "a crack snowboarder". As a noun, "a crack" is a spinner.
Which also sheds new light on the (ultimately not cool enough) newspaper name Cracks for Kids. Using "für" instead of "for" would be correct new German. But do a Google search for "Cracks for Kids". The only English search results are "Cracks for kids to fall through": (social) cracks through which children can fall.
English is full of such cracks, and advertisers fall into them again and again. That doesn't stop them from continuing to make diligent use of the global language. According to a study by the University of Hanover, thirty percent of German advertising slogans today use English expressions. In the 1980s, the figure was just three percent. Fortunately for the advertisers, their slips of the tongue are rarely noticed by the target group. They understand too little English for that.
But this opens up the next pitfall: English slogans are often not understood by consumers at all. The Cologne-based brand agency Endmark presented 1100 people with twelve current English slogans. Only two were correctly translated by more than half of them.
However, even Werbewoche could not resist the temptation to dress itself up with English words. This column, for example, is not just my opinion - it is an "opinion". That carries weight and is relevant. After all, anyone can have an opinion.
But hopefully a few more generations will pass before this newspaper is called Advertising Weekly.
> Stefano Monachesi, Editor

Sponsorship Nespresso supports the 32nd America's Cup. The Nestlé subsidiary is the official coffee supplier of the four-year sailing competition, the final of which is being held in Europe for the first time, and Nespresso's portioned coffee will be served at the VIP receptions and in all public catering areas on the regatta site.

Insurance tattoos are not just in, they're absolutely mega-in. Anyone who can't afford a diamond - and there are more and more of them in view of the economy - gives themselves a TCS policy and a tattoo to go with it. These are also forever. That's probably what the advertisers were thinking.
Tattoo freaks, pimps or showmen were not the ones to be honored for the realization of this captivating association. For the sake of older TCS regular customers, the creatives sentenced propere models to wear the TCS body jewelry for the rest of their lives. Among them was Silvia (14), known to school friends simply as Sile. Silvia easily obtained her mother's permission, as she is also insured with the well-known club. Although the haze of sleaze and the raw sex appeal of the
Tattoo under the pimple cream face and braces. But the young target group certainly understands such blemishes and doesn't feel taken in by the cheeky fish.
Only the tattoo artist initially came into conflict with professional honor. After all, he knew the barely erotic motif from the radiator grille of his Mustang. But at the time, he didn't know how sexy the fat, fat artist's fee in the advertising industry was.
(la)

Local radio "Hot AC" is the name of the new music format that Radio Basilisk has been broadcasting since June 8. In concrete terms: the hits from the 80s, which were previously predominant, have gradually had to make way for those from the 90s and selected new tracks. Basilisk is now working with the Brand Support Company, a Bavarian research company with which Radio 24 also cooperates. As Andreas Meier, Head of Music at Basilisk and 24, explained, a panel will be held every 14 days to test how the individual tracks are received by the target audience. The music mix in Zurich is then planned. (mk)

Youth radio The Federal Office of Communications (Bakom) has held hearings with the five applicants for the Zurich youth radio frequency, focusing primarily on the programming and musical orientation. According to Mike Gut from the Radio Max project, Bakom is now carrying out the final evaluation. The dossier will then be forwarded to Federal Councillor Moritz Leuenberger with a recommendation. The decision will be made in the fall.

Online Ron Orp is a man of pleasure. As a pastime researcher, he lives in many places around the world - and now gives Zurich residents tips for the day.Ron Orp's Mail has been compiling the best of culture, going out, gastronomy, media and consumption for its subscribers every day since the beginning of May. The online service was invented by the two advertisers Romano Strebel, consultant at JvM/Limmat, and Christian Klinner, former consultant at Matter & Partner, who is now setting up his own business with Ron Orp. The ad-financed newsletter (subscribe at www.ronorp.ch) has around 300 subscribers, mainly from the advertising and media scene, according to Christian Klinner.

Guest commentary by Peter Wippermann on the rapid pace of social change - and the challenges that this poses for brand strategists if they want to profit.Ebay was the most popular brand in Germany in 2003. This success had nothing to do with brand technology, but with interactive technology and communicative feedback loops.The rules of brand management have changed fundamentally, their trends follow the proximity to the consumer. Economic success requires marketing to adapt to social, technological, economic and cultural change.
One of the most serious changes in our society results from its ageing population. In future, there will be less money available for consumption because there will be fewer buyers. The "silver market", so named after the gray temples of the new old, will become the last growth market. The motto of the aging baby boomers themselves will be "Never old again". The perceived age will become the focus of all brand promises.
The task for brand strategists: Which brand promises will keep you attractive to the new old? What do the new offers for a single society look like? And is intergenerational brand management worthwhile?
Further impetus is coming from the triumphant advance of the Internet. The use of the Internet and cell phones in the private sphere is changing our everyday culture and the sphere of "personal media" is gaining in importance. Mobility and media accessibility are establishing a new lifestyle of remote presence; information technology is becoming relationship technology.
The task for brand strategists: How do you organize media proximity to make profits? How do you develop new brands in the media society? And how interactive must the "old" brands become?
Have you ever thought about your own time? No? But you should, because your own time, the personal time used economically, is your capital of the future - and that of your customers. Personal time brings prosperity: Businessweek magazine reported at the end of 2003 that a US family statistically already saves 4500 dollars a year through online shopping. "Dynamic pricing" is the result of calculating with consumers' time. If you have little money, you invest time and accept the providers' externally determined time. Those with money buy time in order to optimize their own time.
The task for brand strategists: How do you utilize the advantages of "dynamic pricing"? How do you calculate the time factor in offers? Do price and cult brands have to merge if consumption is determined by one's own time?
The end of linearity is also evident in culture. Traditions used to be the anchor of orientation, today they are subject to playful reinterpretation. The cultural vacuum is being redefined by means of sport. The success of various TV casting shows demonstrates this: What constitutes fame and star quality is no longer a question of artistic competence, but results from the sporting struggle of the media audience.
The task for brand strategists: In which ranking is my greatest profit? How do I minimize the costs of casting? How do I stimulate voting? How do I focus on my core brand values?
> Peter Wippermann Founder of Trendbüro, Professor of Communication Design at the University of Duisburg/Essen.

Disposal Following a competitive presentation, the Pet Recycling Switzerland (PRS) association has decided to work with Spillmann Felser Leo Burnett (SFLB), previously supported by Bopp Werbung in Zurich. The aim of PRS's communication measures is to further increase the pet return rate.

TV production The German production company Plazamedia will continue to produce the live broadcast of the Super League for Sat 1 Switzerland in the first half of the coming football season.TV production The German production company Plazamedia will continue to produce the live broadcast of the Super League for Sat 1 Switzerland in the first half of the coming football season. Plazamedia replaced TV Productioncenter Zürich in the second half of last season. The focus was on cost savings for Sat 1 Schweiz. The new season begins on Sat 1 Switzerland on August 15. Plazamedia employs around 40 people and ten cameras for production. The former subsidiary of the Kirch Group also produces the German Soccer League as general contractor for its marketer Infront.