Shareholdings LZ Medien expands co-determination rights LZ Medien is working on strategic advantages on two levels. Board delegate Erwin Bachmann is considering a 30 percent stake in Anzeiger Luzern AG for his Neue Luzerner Zeitung (Neue LZ), as he told Werbewoche. Anzeiger Luzern AG is also willing to talk, according to its director Peter Wüthrich. In October, Neue LZ had "provisionally" called off its long-planned participation, but it remains to be seen whether a cooperation would be approved by the Competition Commission. The Commission had started an investigation, but stopped it after Neue LZ withdrew. One reason for the possible alliance between the two Lucerne publishers is the commuter newspaper 20 Minuten's drive towards Lucerne and St. Gallen. The 20 Minuten Board of Directors has so far put such plans on ice. Now that the participation situation at the commuter paper has been clarified in terms of competition law, the expansion is expected in Lucerne.
At Radio Sunshine, however, for which majority shareholder Markus Ruoss is looking for a successor, Neue LZ already has an advantage. It owns 16 percent of the shares there and wants more. In addition, it has been on the Sunshine Board of Directors since the beginning of the year with Jürg Weber, publishing director of Neue LZ, as it was in 1999. At that time, however, Ruoss disputed Neue LZ's right to a Board of Directors. A legal dispute ensued, which has now ended with a settlement. This settlement grants Neue LZ a seat on the Board of Directors. According to Ruoss, however, this has nothing to do with the succession plan.
Markus Knöpfli

Advertising network The small Rheintalische Volkszeitung is the 13th partner of the Südostschweiz pool. Since January 1, 2004, the Südostschweiz (SO) advertising pool has had a teasing little northern corner that stretches along the Rhine Valley to Lake Constance: it is the distribution area of the Rheintalische Volkszeitung (RV), which has been cooperating editorially with the SO member Bündner Tagblatt for some time. In short: the Südostschweiz pool now extends even further into the territory of the St. Galler Tagblatt (SGT). "This is supposed to be SGT territory? The Rhine Valley is our territory. After all, we've been around for 150 years," disagrees RV Publishing Director Hanspeter Sonderegger. The connection to the SO pool gives the RV a similarly long spike in the national market compared to its local competitor Rheintaler, which is in the Swisspool as the SGT header system, says Sonderegger.weekly large circulation
The RV could also have gained national publicity through a merger with the Rheintaler. The latter has been trying for ten years to find a model with the RV that would allow both titles to continue to exist, but would also indirectly incorporate the RV into the SGT (see box). Talks have been resumed in the last six months, says René Wuffli, publishing director of the Rheintaler. However, by joining the SO pool, the RV has probably given him and thus also the SGT a definite thumbs down. St. Gallen did not wish to comment on the matter.
For its part, the SO-Pool gained a 13th partner in the RV and was able to increase its total circulation by 6466 to 144602 copies and its reach by 17000 readers (+7 percent). The basic pool price per millimeter was increased by 5.6 percent to CHF 3.80. In addition, the RV and nine other pool partners publish a large weekly circulation totaling 86,000 copies, which is not charged to pool customers.
The model of René Wuffli, publishing director of the Rheintaler, would have envisaged a publisher for the Rheintal that would have published the Rheintaler as a full newspaper with four SGT bundles and a local bundle as before, as well as the RV as a local paper - both with an identical local section. The idea was born when the Rheintaler joined the association with the SGT head paper. "At the time, some existing Rheintaler subscribers rejected the new full newspaper as too extensive," says Wuffli.
That's why he wanted his model to meet both needs in the Rhine Valley.
do justice to it. "Nothing will come of it now," regrets Wuffli. (mk)
Seamless coverage from Bernina to Lake Constance.
Markus Knöpfli

The fact that the Art Directors Club's annual judging was based on a new system was already causing a stir before the dice were cast. People suspected the worst, and not without good reason: Michael Conrad's points system is quite something. Jean Etienne Aebi revealed to us in advance that as many dice were awarded as Publicis had won alone last year, although the stricter mode brings the judging process into line with the international level. This means that the ADC has taken an important step and is already fully EU-compatible, where others are still struggling with
bilateral talks.
All the greater the joy among the winners of the trophies that were in short supply. Not the first of his career, but the first nine cubes for his young agency SFLB were won by Martin Spillmann, the reigning Advertiser of the Year, and his team. And almost outrageously, Markus Ruf and Danielle Lanz bagged eleven cubes. Publicis with ten and Jung von Matt/Limmat with seven round off the top places. Other agencies accustomed to success came away empty-handed. And other "big names" did not make it past the bronze places. Such unpleasantness was forgotten during the subsequent meal at Kaufleuten. Tout à l'indien - the setting, the food and the show transported the guests to Bollywood on the banks of the Ganges, and the ADC festival magazine, FETE, with the layout of the TV magazine TELE, was once again a pleasure to read. With "my name is Bosch, Walter Bosch" and Melanie Winiger as the Bosch girl on the cover. ADC chairman Andreas Prokesch had a five-minute fit of laughter when he was presented with the cover for the first time. Hack, shot, rink, curl and take-out - technical terms that were heard last week in a hall in Baden-Dättwil. Twenty teams from the communications industry had gathered there to push heavy granite stones across the ice. It's called curling and used to be disrespectfully referred to as an old man's sport. Untrained participants notice that this is not the case the next day when their muscles ache.
They competed against each other in the best of moods. And as curling is an extremely social sport, people chatted, drank, laughed and indulged in games between matches. The "Töggeli box", darts machine and even Jass cards were used.
The tournament winner was the team from the TBWA-DM agency Tequila. Peter Raissig donated one of the fruit baskets to Sonja Hürlimann, skip of the Eisstock Elite Emmental. The curlers, all curling rookies, faced the professionals from Küsnacht in the first game of their career. And because curling is a "gentleman's sport", the youngsters were taken under the wing for a lesson in technique and rules beforehand. It worked - the Emmental elite finished in 14th place, just behind the team of the shortlist author, who had entered the race with Piero Schäfer, photographer Dominic Ott and Leos Gerteis from NJP Tonstudio.
Despite secret weapon Laurence Bidaud, Publimedia's Curl & the Gang team only made it to second place. Bidaud is one of the world's best curlers with Olympic and World Championship experience. Third place went to Markus Marchel's g...media curlers, who had also brought Ueli Müller into the team.
Finally, the Sunday Sliders of Sonntags-Zeitung sales manager Daniel Pauletto were in last place at the end of the tournament - at least this team did well with their Jass results.
Beat Fritsch met last week with the Idée-VfW association, of which he is president.
on the bare ice. The traditional curling tournament for advertisers, media and publishing professionals was on the program. Finally, on Sunday evening, the ADC had the pleasure of spoiling the guests. After the annual dice game, the Kaufleuten hosted the finest Indian delicacies and a colorful show under the Bollywood theme. Where the communications, media and publishing industries meet for their parties is where we find out at the various events in 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
Bollywood or Most India? - Presenter Anoop Singh, a genuine Thurgau native with a red passport.
Markus Marchel, skip of the g...media team, was ordered to clean the ice.
Filmmakers (almost) among themselves: Alberto Venzago (l.) next to Aly Cha with Marcello Schnyder from Glass-Film and Ruth Arber, Casa Smeralda.
Indian photo wall for snapshots in the foyer: Susanne Friedli with Urs Schrepfer, who didn't quite dare.
Met in the crowd: BSW President Dominique von Matt (l.) with Ilonca Galliard and AD Dave Hanselmann, Jung von Matt/Limmat.
They had plenty of cube-shaped reasons to toast each other in high spirits: directors Serge Höltschi (l.) and Patrick Senn.
Two cheerful characters in full action: AD Chris Burkhard (l.) and lyricist Alex Taiganidis were seen in the Kaufleuten Himmelbar.
Met in the completely overcrowded restaurant at the ADC aperitif: Andreas Panzeri (l.), Star TV, and Markus Cavegn, Cavegnwerbung.
Daniel Cherbuin came accompanied by singer Carole Kay - he was responsible for the editing and "bad taste" of Venzago's judging film.
Petra Gayko Hefermehl (l.) with Michi Frank, CEO of IP Multimedia, and IPM Head of Communications Bettina Singeisen.
The new Contexta CD Jürg Brechbühl with his former SFLB protégés Patrik Rohner and Dana Wirz (from left).
Inviting the shortlisted author to the table: Art Buyer Vera Schmid with ADs Florian Brand (l.) and Pascal Baumann, AY & R.
Making themselves comfortable on the less crowded second floor with a super view: Simone Fennel, Roger Köppel (right) and Wendelin Hess.
Priscilla Kämpfer from the Eric Voser agency with Flo Wacker (l.) and Thomas Ammann from Publicis.
The liveliest ADC presenter for years and almost as eloquent as Reich-Ranicki: Hannes Hug (right), here with Matthew Katumba.
Euro-RSCG-CD Jürg Aemmer (center), here with Marcel Schläfle and Diana Rossi, also had a lot of fun at the table.
Flavia Schlittler (r.) came straight from a snowshoe trip in the mountains to Kaufleuten - with table neighbor Steffanie Zappa.
The Tequila team with Robi Schuhmacher, Hansruedi Waldmeier and Peter Raissig (from left) took Sonja Hürlimann under their wing.
Neo-curler Piero Schäfer, editor-in-chief of the newly launched Seesicht magazine, with curling club barmaid Andrea Benz.
IP Multimedia Team: Urs Keim, Michi Frank, Marcel Bosshard, Patricia Fässler and Frank Bodin (from left) - 6th place.
Nicole Zubler from Carat, shown here with Philippe Meyer from Publicis, came all the way from Davos to strengthen the media agency inter-team.
The not quite complete Starplayer team from Starplakat with Dieter Zachmann, Luca Schena and Rolf Zachmann (from left).
Jeannette Lorenzoni (l.), graphic designer at Rüegg Fontana Heiderich, played with publishing consultant Yvonne Philipp in Team Milestones.
The good soul of WochenZeitung, Kilian Gasser (l.), with team colleague Oliver Huber from the media agency OMD Zürich See.
Tiziano Obrecht (l.) and Philipp Scheidegger competed in the Publimedia team Curl & the Gang and finished in second place.
Peter Frank (r.), Publicon Werbe AG, from the Publicurlers, with Michi "Herminator 2" Hermann from the Weltwoche team The Icebreakers.
Idée curling visitors who would soon deserve an honorary broom: Ruth Mumenthaler and Rolf Ruch from Raverta Marketing.
Barbara Grossmann and Beat Gerber, Roth Gerüstebau, played for the team of Idée accountant Roli Hofer (not pictured).
Ueli Müller from CC Baden strengthened the team of Markus Marchel (l.), who had to perform cleaning duties (see left).

Media management Three consultants urge the industry to switch from the traditional attention economy to "customer centricity" The foreword announces the quintessence of many years of consulting experience at Booz Allen Hamilton. The trio of authors use it for two clarifications: Firstly, the concept of "customer centricity" is not simply an industry-specific management tool, but a complex new way of thinking (at least for media companies). And secondly, it goes far beyond what is offered today under terms such as "customer orientation" or "customer relationship management." Both comments are evidence of the need for legitimization of a guild whose bubble-forming growth euphoria is not entirely innocent of the current media misery. This is not referred to as a "crisis", but as a "maturing and consolidation process" in which one can and should learn from other sectors. Nevertheless, the analysis of the galloping shift in power in the media value chain - away from the sender to the receiver (aka: customer) - is worth reading and considering.
In future, it will no longer be the attention of as many consumers as possible, but the quality and quantity of direct customer dialog that will be the key currency in the media business. According to Bird, Künstner and Vogelsang, this shift towards an "economy of interaction" is initially about evoking "consumer response" and then using this systematically, i.e. optimizing value creation on a customer basis.
In seven fluently written chapters and using many case studies from other industries, the authors show how the rocky road "from mass to mass production" or "from reach to feedback" can look and be taken.
There is no doubt that this pragmatic "road map" of professional management scouts has what it takes to become the standard work of a new media century or a new
self-image of its main players. And these are still the innovative, instinctive providers. Oliver Classen
> Customer Centricity: The new opportunity for the media industry
by Adam Bird, Thomas Künstner and Gregor Vogelsang. Campus
Verlag, Frankfurt am Main 2003. 202 pages, 69.40 Fr.

E-Commerce The search engine operator Search.ch and Mediaforum, the industry portal for print and media production, are working together in the field of education.E-Commerce The search engine operator Search.ch and Mediaforum, the industry portal for print and media production, are working together in the field of education. The Mediaforum seminar guide has been integrated into the continuing education section of the Search.ch platform. The Mediaforum seminar database can be accessed directly by selecting an area and keyword search. The Mediaforum seminar guide was already present on eight industry-related websites. However, the partnership with Search.ch represents the most significant expansion of this network, according to a press release.

Branding The Carat agency group has adopted a new corporate identity (CI). It is intended to reflect the development process that Carat has undergone since it was founded in 1988, from a European media network to a global communications group with 109 offices and 4800 employees in 63 countries. "The attributes Power, Science and Art are the foundations of our new CI," explains Andy Lehmann, Swiss Managing Director of the Aegis Media Group, to which Carat belongs. According to Jane Borgström, Managing Director of Carat in Zurich, the new image underlines the agency's orientation in a world increasingly dominated by screens. Carat developed its CI with the London agency North Design.

Column PR disasters such as top banker Joe Ackermann's victory gesture point to a loss of reality in the boardroom. And jeopardize the (brand) value of companies.
During his first appearance before the Düsseldorf court, which is accusing him of "breach of trust" because he approved high severance payments and bonuses as a former member of the Mannesmann Supervisory Board, Josef "Joe" Ackermann spread his fingers in a victory sign. The powerful head of Deutsche Bank thus used - as a defendant - the same gesture that Winston Churchill used in his fight against Hitler or John Wayne in his fight against cancer. With disastrous consequences: The professionally brilliant and personally likeable Swiss investment banker lost his battle for public opinion with a single casual hand gesture.Perhaps it was wrong for the ex-Mannesmann boss to receive a fat compensation after the (lost) defensive battle against Vodafone. The bonus for the then Chairman of the Supervisory Board may have been even more questionable. But "disloyalty"? That is an extremely elastic term and paragraph. Should the salaries and bonuses of German board members be determined by the courts in future? Is three million a year okay, but five million is disloyalty?
Ackermann had and still has a good chance of being acquitted. If he had remained calm and objective and trusted the rule of law, many liberals would be on his side today. Now, however, even Bernd Michael, head of the Grey advertising agency, speaks of a "confirmation of old prejudices". He is of course referring to the arrogance of power.
What is the truth of this accusation? Ackermann's predecessor, Hilmar Kopper, openly called the 50 million marks that his bank had to replace due to a bankruptcy "peanuts". And Rolf Breuer, from whom Ackermann took over as CEO in mid-2002, gave an interview that gave the impression that he doubted the creditworthiness of his major client Leo Kirch. As a result, an American court recently sentenced Deutsche Bank to pay damages. Does the management of Germany's largest financial institution only engage in "specialist communication" for investors and forget that it operates in a cultural and communication space in which millions of people decide on the reputation and thus the "brand value" of Deutsche Bank?
It may be that the people who run corporate communications at Deutsche Bank are not good enough. According to press reports, one of Ackermann's lawyers explained his Victory sign as a (self-)ironic allusion to Michael Jackson - who, incidentally, is accused of abusing children. But it may also be that the bosses are simply not listening to their communicators. Could it be that managers of the "global class" (Ralf Dahrendorf), who decide on investments or loans worth billions, live and operate in gated communities? That they can no longer imagine what people (must) think of their public actions and statements, for whom a million euros or francs is an insane amount of money?
Grey boss Michael has invoked the "humility of a service provider". Perhaps the Christian connotation of the term "humility" is too moralistic. Let's just replace it with good old customer orientation. In the Internet age, customers are constantly and inexorably becoming more powerful due to increasing price transparency and falling transaction costs. Even if a major bank wanted to say goodbye to SMEs and small private customers, it would not remain unaffected by Blick and Bild headlines and a "Glotze" that cannot get enough of embarrassing mishaps such as Ackermann's victory gesture. In short: top managers not only have to control their language, but also their body language.
> Peter Glotz is Professor for
Media and Communication Management at the University of St. Gallen.

Frank Zazza, godfather of product placement, speculates on the future of TV advertising in the youthful offshoot of Stern (motto: "Actually, we should grow up"): "Branded content is actually the same (as PP, the ed.), only much more money is made with it today. It used to be great if a series hero had a certain beer can in his hand. Today, entire shows are written to showcase products. (...) We are currently developing a system with which the price of a placement can be reliably quantified. On a scale of ten levels, we assess whether a product is only in the background, whether the brand name can be read, whether the actor uses the product and possibly even talks about it. (...) My industry will also expand to other media: Music, for example. If a rapper drinks Dom Perignon, why shouldn't he advertise something else in the song? A song is also advertising space."
...
The intelligentsia paper emphasizes the merits of good old-fashioned print advertising and asks somewhat hypocritically: Is the history of advertising over after the new economy party? The latest trends and events - Microsoft's announcement that it will support ad blockers from mid-2004, or the predictions regarding the increase in hard disk-based TV consumption - can be interpreted to mean that it is not advertising that is dead, but those new media that believe they can captivate the recipient with a program scheme and force them to consume interruption advertising. (...) What Seth Godin recommends as a new advertising strategy (namely permisson marketing, the ed.) has long been common practice in newspapers, for example: you can't stop newspaper readers from skipping advertising unless it's good advertising, advertising that captivates and respects the recipient as a communication partner.
...
Media editor Simon Bärtschi mocks the media synergies in the wake of "Music Star": "Switzerland has a new TV format that is overwhelming everyone. First and foremost Swiss television. SF DRS is being overwhelmed by its own success. (...) 'Music Star' works according to the tabloid principle: nobodies are built up into stars, exposed and dropped. Anyone who produces tabloids and at the same time is outraged by their effect is naive or hypocritical. But even the tabloid professionals at Ringier are out of their depth with 'Music Star'. (...) The "Fröhlich Theater" organized by Blick was hair-raisingly hypocritical and virtually became the case of 'Borer light' overnight."

Internet From now on, the figures on online advertising volumes are more reliable, promises Media Focus. 19.58 million Swiss francs were generated by the online sector in 2003 as a whole, compared with 16.39 million Swiss francs in 2002. This is according to Media Focus (MF) in its year-round industry overview. However, as with last year's monthly publications, MF again notes that the online figures cannot be compared with those of 2002. The relative increase of 19.5 percent in 2003 is therefore not accurate. The reason: at the beginning of last year, MF, in consultation with the Internet industry, completely revamped the survey of online volumes: Quantitative and methodological changes were made, as a result of which "gross billed" data should now be available.
This data had been awaited with a certain amount of excitement, as it was unclear until the end what effect the new survey method would have. Since January 2003, in addition to the volumes of the online marketers Adlink, Publimedia Webadvertising and Active Agent, those large and small website operators who acquire online advertising themselves have increasingly been included. The aim is to represent the online volume as completely as possible.
A second change: marketers report which advertising media they market exclusively and which customers have invested what gross amount there. Self-marketers also report their customers. This means that budget duplications, which were previously relatively common, can be avoided.
Thirdly, the budgets must be broken down into the individual months of their term. Previously, entire annual budgets were reported in a single month. Fourthly, it has been stipulated that gross values should be reported before deduction of discounts, freespace and special conditions. Previously, some also reported net values.
However, a great deal of persuasion was required throughout 2003 to make all this possible. This can also be seen in the last twelve MF monthly publications. If you compare, for example, the MF publication on online volume from the first half of 2003 with that of October 2003 and also with the current annual review, the monthly figures for no other medium vary as much as those for the Internet. The February volume, for example, which was still quoted at CHF 499,000 in the middle of the year, was CHF 2.3 million in October, but has now been corrected downwards by around 50 percent to just over CHF 1 million in the annual financial statements.
According to MF Managing Director Jens Windel, there are two reasons for this: On the one hand, important self-marketers such as Bluewin.ch, Search.
ch and PubliDirect. These published their volumes retroactively from January 2003, which is why monthly volumes were continuously corrected upwards. However, there were still errors in the first declarations of the "newcomers", which were later corrected - as was the case in February 2003.
Clean foundation laid
While the online data in the monthly publications could not be relied upon completely, this should now be different for the annual review. Everything has been thoroughly checked, says Windel and adds: "With the data for the whole of 2003, we have created a clean basis for future comparisons with the previous year. The figures for January 2004, which will be published in about 14 days' time, will therefore be comparable with those for January 2003." In terms of the recording method, there is also reliable comparability with the volumes of other media categories.
At the end of this week, MF, marketers and self-marketers will sit together once again to make a joint comment on the 2003 online figures. In a survey conducted by Werbewoche among marketers and major in-house marketers, most of them believe that the MF annual review reflects the online reality more reliably than before. The only question mark is the comparability with other media types.
Market shares: Teletext brings up the rear The medium of cinema apparently did not feel any recession in 2003: gross advertising expenditure rose by 13.65% to CHF 41.7 million. Newspapers (-6.55 percent), specialist magazines (-5.5 percent) and posters (-5.25 percent) suffered the most. There were hardly any losses for magazines and teletext (-0.2 percent each). TV and radio, on the other hand, increased by 5.2% and 3.1% respectively. The total advertising volume fell by 2.5%.
In terms of market share, there has been a shift in position: teletext has been narrowly overtaken by online and now brings up the rear of all media. Although newspapers remain in first place, they have lost more than one percentage point and are approaching the 40 percent mark. Television has benefited from this, increasing its market share from 17% to 18.4%. The other market shares have hardly changed. (mk)
Markus Knöpfli

Advertising history Dirk Schindelbeck's German consumer history is as funny as it is instructive. Because it shows us how we became the cult shoppers we are today.
Take a break" is the advice of a well-known German advertising slogan from the 1950s. The Coca-Cola Company's appeal to relax, which was limited in small print to a "hearty sip" of the "deliciously cool" refreshment, brought just the right dose of indulgence to the hustle and bustle of the reconstruction society. Just a decade later, the sparkling break-time happiness that people were content with in the early years of catch-up consumption had given way to a thoroughgoing hedonism. "Afri-Cola works immediately", Charles Wilp's legendary nuns coquettishly proclaimed "in an Afri-Cola frenzy". The advertising campaign from 1968, which promotes the alcohol-free party drink as a "stimulant" and "mood elixir", cleverly transforms elements of protest culture into a blasphemous and erotic invitation to consume.Advertising is a mirror of social sensitivities: based on this basic assumption, cultural researcher and advertising historian Dirk Schindelbeck has compiled an "illustrated German history of consumption". The lavishly illustrated book makes no claim to completeness or scholarship; it reads best as an entertaining collection of pictures and anecdotes.
With sketchy period overviews, exemplary campaign descriptions and amusing aperçus, the author traces the broad lines of German consumer development, from the staid catch-up consumption of the post-war years to the cult and adventure consumption of the affluent late capitalism. A particularly informative and well-documented chapter is devoted to "Forty years of consumption in the East". Here you can gain an insight into the world of goods in the planned economy, from shop window theories and consumption control campaigns to the "Speechless" cigarillos, a prime example of emotionless GDR product design.
"Advertising is the communication of goods or services or business in a form that moves the will": as early as 1910, Hans Weidenmüller from Leipzig recognized that effectiveness is not a question of volume. The self-proclaimed advertising lawyer countered the puffery of old advertising with his basic rules for the uniform and consistent use of all advertising media. Schindelbeck also counts Hans Domizlaff, the advertising consultant for the Reemtsma cigarette company, as one of the founders of modern brand technology. With R6 or Ernte 23, Domizlaff created the first cigarette brands in the 1920s and coined the original pattern of modern advertising slogans with the formula "Double fermented!".
Accomplice of the zeitgeist
Initially, advertising texts were often written by amateurs; the professional brand designs were sometimes accompanied by rather home-made purchase recommendations. In the 1950s, these still argued eloquently for "pleasure with reason" or "smoking with understanding". It was only later that advertising agencies introduced the first lifestyle products, most notably the Stuyvesant cigarette brand, which as early as 1962 focused on mobile cosmopolitanism and promised the "scent of the big, wide world".
However, advertising not only reflects the belief in progress and the future of the economic miracle. Its innovative adaptability also makes it a dazzling accomplice of the zeitgeist. The advertising industry reacted to the criticism of consumerism in the 1970s with experimental youthfulness or politically-inspired consumption. And ten or fifteen years later, it invented a new type of aesthetic of abundance that is still constantly being differentiated today, which was and is expressed in light products or the creation of disposable carts, for example.
Rapture: Charles Wilp caused a sensation and heated tempers with his rebellious campaign for Afri-Cola in 1968.

> Brands, fashions and campaigns. Illustrated German consumer history by Dirk Schindelbeck. Primus Verlag, Darmstadt 2003. 144 pages, 58.60 Fr.
Monika Burri

Diabetes prophylaxis The Winterthur-based advertising agency Partner & Partner has won the budget of the Foundation for Health Promotion (SfG), beating two competitors in a two-stage tender. The SfG has previously run general health campaigns, most recently with the "Dr. Luzi Fehr" character developed by Wirz Werbung. In future, the foundation only wants to support specific, changing projects with advertising, said Denise Nick, Head of Communications at the agency. The first project that Partner & Partner is supporting is "Action D - actively preventing diabetes".

Publishers There is no question: under the command of Rudolf Augstein, THE German news magazine grew into a European media monument, and in this respect the late founder of the Hamburg opinion empire certainly deserves a paper triumphal arch. However, his successors have now erected one for themselves: in the current Kress Report, Spiegel no longer claims sole market dominance, but - in the old Germanic manner - "renewed circulation leadership" ahead of Focus and Stern.
The only problem is that the certification north of the Rhine is immediately followed by the coverage report. According to this incomparably more market-relevant figure, the self-crowned emperor is only in third place behind Stern and Focus - and now stands quite naked and embarrassed in the winter press landscape. It is indeed a "nice present" to see how a democratic journalistic institution has made a mockery of a barbaric (in terms of malice) industry overnight out of pure pompousness.
(oc)