Lotteries The Bern-based agency Contexta has realized new dreams for future millionaires for Swiss Lotto and Loterie Romande, and it's understandable that pages and pages of ideas tumbled onto the paper during this brainstorming session. After all, giving away millions on behalf of a client is not part of the agency's daily routine. "We came up with lots of abstruse ideas about what you could do with lottery millions," reveals Bernhard Abegglen. In the end, the CD at Contexta steered the imagination of his hard-working copywriters and graphic designers in a realistic direction: "Travel and indulge in sweet idleness" seemed to be the typical longings of the advertising servant, with which he wanted to cope with the fate of "lottery losers" in a psychologically healing way - and could therefore also advertise it.The Contexta creatives put their private desires aside again for this campaign. Beforehand, they dutifully looked at all the important ideas for lottery advertising around the world. And during their research, they discovered that advertising for games of chance is "of a very high standard" everywhere. "The creative task here is of course very enjoyable," says Abegglen, "because you don't have to sell a product, you can awaken a desire."
An oversized Jacuzzi for bathing, a small South Sea island with an almost equally large swimming pool next to the sea and a comfortable private jet for traveling to the office are the three subjects with which Contexta wants to teach even those who do not belong to the Gates' and Jacobs' of this world the necessary understanding for a little more wealth. With these themes, the well-known longing for luxury and freedom is portrayed as ironically as possible, as was already the case with the earlier campaigns. Contexta has been working for Swiss Lotto and Loterie Romande for four years now. Under the slogan "Lotto can change your life", the last campaign showed how the former have-nots more or less politely say goodbye to their bosses because they no longer have to work after winning the lottery.
Money really does make you happy
In the current campaign, the aim is to argue with the gain of joie de vivre and with joie de vivre instead of schadenfreude. The viewer is now directly invited to play. The claim "Now it's your turn!" - combined with the symbol of an oversized hand with an outstretched index finger - gets to the heart of the matter: anyone can be next... but only those who take part can win! According to the Contexta CD, the chances of winning are extremely high, namely 50 percent, even with a stake of just two francs. "50-50 whether you win or not," the creative calculates. At least for the realization of these ideas, the advertisers were able to breathe in some of the scent of the rich world. The commercial with the private jet was produced by Wirz + Fraefel in Cape Town and then flown to the owner-occupied housing estate on the computer. The small South Sea island with the swimming pool was also created on the computer.
In reality, such dreams are based on mathematically determinable coincidences. To pick six correct numbers, someone would have to play the lottery for 8.1 million francs. Potential private jet owners try their luck with 560000 lottery tickets per draw.
Andreas Panzeri

Collective labor agreement The Presidium of the Swiss Press Association (VSP) has noted growing dissatisfaction among publishers with the collective labor agreement (CLA), with more and more VSP members appearing to be prepared to "prefer a contractless situation to the current CLA if necessary", writes the VSP in its invitation to the extraordinary general meeting on April 24. The Executive Committee would like to be instructed by the meeting to enter into negotiations with the social partners. If these "do not lead to any prospect of a satisfactory result", the Executive Committee should be allowed to terminate the CLA. The current CLA is concluded until April 20, 2004 and can be terminated at any time from April 30, 2003.

Column What do media wars and advertising have in common? Walter Bosch laments the fact that aesthetics are winning out over ethics on both battlefields today.
The images on CNN were seductively beautiful. Tanks covered in dust in the vast desert and everything in the trendy Pantone colors 13-0640 TC to 17-1227 TC, plus acacia, milk coffee from yellow to gray to beige. The tracer bullets in the fresh green of the night vision devices. The digital zooms at the limit of their capacity to resolve the battle scenes into colorful squares. The fighter jet target cameras with their explosions in black and white and, of course, the generals who, far from being shot, appeared before the world's cameras in immaculate combat fatigues, wearing fashionable spats as if it were a Vogue shoot. In short: the images of war were an aesthetically perfectly staged soap opera. There is no better or more beautiful way to sell horror. Or to put it another way: with the right images, you can sell anything. Even the war.
What we got to see was not just a military campaign, but also a gigantic advertising campaign. With the copy platform that the "good guys" defeat the realm of darkness cleanly and efficiently on behalf of the free world. The fourth part of "The Lord of the Rings", so to speak. A video game in a class of its own. It has almost succeeded in making the worldwide anti-war demonstrations appear more brutal than the capture of Basra.
What a glaring contrast to this were the TV images that could be seen on SF DRS, but never on CNN. The Iraqi doctor, for example, standing desperately in the midst of countless corpses, not knowing how to get rid of them, while tens of thousands of flies feasted on them. Such "reality bites" would have damaged the campaign. Just as if an ad for the Porsche Cayenne Turbo had mentioned that it consumes 21.9 liters of gasoline per 100 kilometers in the city. The armored vehicles of the
17th Cavalry of the US Army.
Advertising hides what doesn't fit the picture. There is still a lot to learn from the Pentagon here. No matter how hard CNN tried to provide background information and analysis: The images were stronger, they were overwhelming. And the "embedded journalists" quickly became "buddies" of the troops. How could they have escaped the esprit de corps of their units?
And you can learn even more from the Pentagon. For example, that the simplest ideas are still the most effective. For example, distributing the likenesses of all the bad guys as a deck of cards. It's about death and life. But we are ignoring death in this campaign, just like the fuel consumption of an off-road Porsche. The motto is: Life is just a game. Who wouldn't want to play along?
> Walter Bosch was editor-in-chief of Blick, head of all Ringier editors-in-chief and co-founder of the advertising agency Bosch & Butz. Since selling the agency in 1998, he has been an entrepreneur and consultant in Zurich and the USA.

Furniture retailer Jung von Matt/Limmat advertises the Mobitare credo "Design at reasonable prices" in commercials featuring two unknown designers. Instead of being paid appropriately for their designs, they have to smoke discarded cigarette butts or secretly spoon out cat's milk bowls. What in 30 seconds looks like a crash course in Manchester capitalism turns out, under the light of a designer lamp, to be a commercial for the furniture store Mobitare, concocted by the Zurich branch of the agency network Jung von Matt. The message of the over-the-top short story for TV and cinema audiences: buy designer furniture before it becomes unaffordable, but that's only half the story. Because it is no longer true that in times of crisis, consumers prefer to spend their money on improving their own four walls instead of traveling to faraway countries. For most Swiss consumers (see box), remodeling and refurnishing their homes on a whim is too expensive in view of the tough economic climate. This is also confirmed by Christian G. Malzach, Head of Mobitare AG: "People are still shopping regularly, but less and much more price-sensitive than before."
A trend that has left its mark on the design furniture specialist from the Pfister-Arco Group: At 22.5 million Swiss francs, sales in 2002 slumped by 8.8 percent compared to the previous year. Even suppliers of furniture in the lower price segment confirm that the industry is suffering from consumer reluctance. "It is always said that we do better in bad times," says Klaus Peter Mager, Ikea
PR manager. The Swedish furniture store is also experiencing a decline despite rising visitor numbers
in per capita sales. A development that also affects Migros' own furniture store Micasa, as Head of Communications César Keller admits: "People are shopping even more price-consciously than before."
Swap Ikea for Mobitare
Since April 21, a new campaign has been designed to remind potential customers of the Mobitare furniture store. The agency responsible, Jung von Matt/Limmat (JvM), already has experience in the furniture sector. After all, they were in charge of Ikea's Swiss budget for several years. This budget had initially prevented Mobitare and the JvM team from working together: Due to the conflict of interest, JvM had to let Rüegg Werbung snatch the budget from under its nose three years ago.
In addition to the agency, Mobitare also changed the main medium: this year, the Dübendorf furniture store is present on Tele Züri and Zurich cinema screens with two commercials - flanked by three posters. However, the latter will be shown in more specialized theaters such as the Riff Raff, explains JvM CD Urs Schrepfer. The target audience is 30 to 50-year-old men and women who "have already found their bearings both professionally and privately". The new website aims to position Mobitare as a provider of designer furniture at reasonable, affordable prices.
"Buy his furniture before he makes a fortune with it", the voiceover in the Mobitare commercial urges the viewer - and shows the two young designers Andrei Munteanu and Jacco Bregonje in clearly pathetic poses. For more authenticity, JvM engaged the "real" furniture designers as well as the young director Enno.
With the new concept, the Möbel Pfister sister wants to make it known that she works primarily with designers who are just "starting out". The customer must always be able to understand the price based on the value of the piece. This is easier to achieve with young designers, as they do not yet have "horrendously high, utopian price expectations", reveals company manager Malzach and clarifies that this is not meant disrespectfully, but: "We want more than just the name. We also want a great product behind it."
Malzach is not worried that the designers will become "famous" as a result of the commercials and that the prices for their creations could drift into "utopian spheres". "We already have their furniture."
No-name designer is looking for Mobitare furniture customers to get out of the clochard milieu.
Sales performance of the three largest Swiss furniture retailers over the past three years
Simone Keller

Cinema magazines Movement among film magazines in French-speaking Switzerland: The cinema marketer Cinecom is making a new acquisition for the small Films, while competitor Mediavision is putting its hand on the big Live. The French cinema marketer Mediavision (MV), which has a 45 percent market share of cinema advertising in French-speaking Switzerland, has nothing directly to do with Live, the largest free cinema magazine in French-speaking Switzerland (140000 copies). And yet there has recently been a link between MV and Live - similar to the one that already exists between MV and the second free cinema magazine in French-speaking Switzerland, Avant première (AP), and its German-speaking Swiss sister magazine, Film demnächst: AP (97845 copies) and Film demnächst (134210 copies) are published by Promoéditions, a wholly owned publishing subsidiary of Quorum Communication in French-speaking Switzerland. The marketing of both magazines (also with combined advertising) is handled by
Promoguide, also a wholly owned subsidiary of the Quorum Group. Cinema industry expert Jean-Pierre Grey is responsible for the two magazines, and recently also joined Live as publishing director on behalf of Promoéditions.
Although Live is owned by the Lausanne publishing house Télimage, it transferred the production of Live to Promoéditions in February 2003 - with the aim of reducing costs. Grey refocused the previous music and film magazine entirely on film and has journalists from AP also write for Live. However, he emphasizes that neither magazine will take articles from the other. No cooperation is planned in the advertising sector either. However, such a cooperation would make sense because both together cover the Romandie cinemas completely: Live is available in cinemas of the Europlex chain (leased by Cinecom!), AP serves the others.
So what is the connection between MV and Live? Primarily in the person of Olivier Bloch, Director of Mediavision Suisse, but also through Roland Ray, Chairman of the Board of Directors of the Quorum Group. The two are friends and are also linked through board functions in various companies. Bloch, for example, is an authorized signatory of both Quorum subsidiaries and, within Promoéditions, is Vice-Chairman of the Board of Directors of the publishing house of Film imnächst. Conversely, Ray is Chairman of the Board at Bloch's advertising agency Mediapresse.
(Advertising) basket for Luchsinger
These connections are particularly explosive from the perspective of MV's competitor Cinecom, which markets the Teleclub cinema magazine Close-up (15,9,840 copies) in German-speaking Switzerland and would also like to be active in the print sector in French-speaking Switzerland. At the beginning of the year, it took over the marketing of the subscription magazine Films (20,000 copies). Although a combination with the free magazine Close-up makes no sense, Cinecom is entering the homes of its competitor with Films, which is also available in cinemas with MV leases. Matthias Luchsinger, CEO and co-owner of Cinecom, sees the new commitment primarily as an expansion of Cinecom's presence in French-speaking Switzerland. He also makes no secret of the fact that he would be interested in marketing Live and has already held talks. In fact, Live would fit well into the Cinecom portfolio because, like Live, Close-up is also linked to a cinema chain - Kitag. However, Luchsinger has apparently been turned down by Télimage. In any case, Télimage renewed its contract with the Lausanne agency General Media in February. It was able to increase Live's advertising volume by 6.5 percent last year! This is also exceptional in this sector: AP, for example, lost 11.6 percent.
As long as the MV-Quorum-Télimage connection exists, it will probably be even more difficult for Cinecom to access Live in the future. The reverse is more likely: that Teleclub Close-up will pass into new hands, such as those of General Media or Promoguide. This would pave the way for new combinations. Whether this happens depends on what is stronger: the pressure on the advertising front or the connections between Teleclub, Ringier, Sat1 (Switzerland) and Cinecom.
Winding publishing and advertising paths in the French-speaking Swiss cinema magazine market lead to the cash registers of Ray, Grey and Bloch.
New in Cinecom's portfolio alongside Close-up: Films.
Markus Knöpfli

Commuter newspapers Hardly any hope of Tamedia jobs for Express employees.
After the Tamedia management promised the employees of the unlaunched Express a secure future within the Group, everything now looks different. According to unconfirmed information, a majority of the contracts offered to Express employees at other Tamedia titles are "full of catches". Catch 1: Almost all contracts are said to be limited to one year. Catch 2: The Express employees remain Express employees, whose wages, according to reliable sources, are clearly below those of their Tagi, Sonntagszeitung and Facts colleagues. Catch 3: Their new jobs are not even listed in their new employers' budgets. Tamedia spokeswoman Franziska Hügli was tight-lipped: "These allegations are not correct. Before the Competition Commission has decided on the purchase of 20 Minuten, it is too early to make any statements about the Express editorial team." (sm)

The advertising agency Matter & Partner has secured the entire budget of the banking software developer Sobaco, with the Zurich-based creative team coming out on top against an unnamed competitor in a competitive presentation. Sobaco, based in Zurich, offers software solutions for private banks. The company was founded in 1984 but, according to agency head Daniel Matter, hardly ever used brand advertising. The company's products, which previously appeared under their own names, are to be combined under the Sobaco brand. Now that Matter & Partner has developed a strategic approach, an initial advertising campaign aimed at decision-makers in private banks is expected in May.

Food Under the motto "Licence to grill", the ketchup and delicatessen manufacturer Heinz is sending its sexy BBQ agent online to really get Swiss barbecue fans fired up under the grill.www. licencetogrill.ch will be offering prizes including bright red barbecue hairdryers from May. The campaign, managed in Switzerland by the Viva agency, is designed to make the market leader in the Tomato Ketchup segment "glow". Insert the ketchup cartridge and use it to spice up the well-grilled sausages.

Experience marketing "brandlands" such as VW's Autostadt or Nike Towns want to involve their visitors emotionally. In his latest book, theater and film scholar Christian Mikunda analyzes the psycho-dramaturgy of such "third places".
At home, the TV exudes pure boredom, in the office it's not as much fun as it used to be, so the only option is to flee to the "third place". This refers to locations such as shopping malls, lounges or theme parks - postmodern versions of the marketplace, in other words, where emotional productions are intended to provide distraction and a good mood. Welcome to the third place", Christian Mikunda takes the reader on an extensive study trip to such "3rd places". The expedition takes him to the Volkswagen city of Wolfsburg, to Helmut Lang's contemplative perfume store macj New York (where only one perfume bottle is on display at a time), to the artificial beach of the Japanese "Ocean Dome" and, of course, to marketers' favorite destination: Las Vegas.
Animating acoustics
As a doctor of film and theater studies, Mikunda analyzes these now cult consumer venues with the eye of a dramaturge. A third place must therefore follow a "brain script", a script in the mind with which a story is told. For example, in the tennis department of Nike Towns, where the visitor hears a dry "plop-plop" from hidden loudspeakers. The sound, familiar from television or the court, calls up a "tennis brain script" in the consumer's mind and places them directly in the situation in which the coveted product is used.
In addition, the third location should leave a strong visual impression and represent an aesthetic "landmark". Mikunda refers to guild signs that have made valid statements to the outside world for centuries. A key on the façade, for example, means that a locksmith works here. By exploring these and other historical contexts, it becomes clear that not everything that seems new in marketing is really new.
Hidden stories
Using the example of themed hotels in Las Vegas, the author further proves that third places usually contain a "hidden history" that tells of Venice, pirates or ancient Egypt. Such classic themed worlds have a basic escapist function - they enable a temporary escape to the land of foreign fantasies. Mikunda notes a paradoxical development towards authenticity. Even thoroughly calculated "backdrops of happiness" (Gerhard Schulze) à la Planet Hollywood are increasingly perceived as authentic by a younger audience today. The author mentions the Noodles restaurant in the Bellagio Hotel in Las Vegas as a seminal example. Several types of pasta are displayed there in glass cylinders. The Italian décor matches the culinary offering. Mikunda considers this to be "artificial authenticity" or the staging of the same.
Mikunda claims to have discovered another form of expression of the apparently insatiable longing for authenticity in Volkswagen's glass factory. In Dresden, car buyers can follow the production of the luxury goods they have ordered. Anyone who buys a Phaedon will be able to be present for up to a week to observe how their new vehicle is produced. This makes transparent a process that has taken place behind closed factory gates since industrialization.
Without consumer culture, our cities would be boring, claims Mikunda. Star architect Rem Koolhaas also describes shopping as a "fundamental element of modern primal culture" and Walter Benjamin already regarded department stores as "temples dedicated to intoxication".
Two books in one year
Mikunda's reportages from the artificial paradises of our consumer world are rich in detail and vivid descriptions, making them an enjoyable read.
In other words, the author has learned from analyzing his objects how to stage a palatable reading event. An earlier such event ("Der verbotene Ort oder die inszenierte Verführung. Unwiderstehliches Marketing durch strategische Dramaturgie" from 1996) has recently been reissued and invites comparison in thesis development and narrative talent.
Walter Benjamin already regarded department stores as "temples dedicated to intoxication". > Feel the marketing. Welcome to the third place by Christian Mikunda. Redline Wirtschaft by Ueberreuter, Munich 2002. 229 pages, Fr. 60.20.
Francis Müller

Because we have agreed with the Art Directors Club not to disclose our reasons for leaving, we don't want to go into great detail about your report on our departure, but two points are important to us before we definitively close the ADC issue: firstly, despite our confidentiality agreement with the ADC, information from its board about our reasons for leaving was obviously leaked to Werbewoche. And secondly, at a "farewell dinner" in Frauenfeld on March 18, we spent three hours telling ADC boss Andreas Prokesch in detail about our various reasons for leaving the ADC. His statement that we made accusations but did not explain them in detail is therefore not correct. Incidentally, we intend to continue working towards the ADC's goals in the future - simply outside the ADC.
Tamàs Kiss, co-owner of the advertising agency Hesskiss, on the article "ADC resignation" in WW 15/03

"Creativity is something unusual: it frightens. It disturbs. It is subversive." With these words, Fabrica, the creative store and advertising agency of the Benetton fashion group, is looking for new talent: young people from the fields of graphics, photography, design, video, music, fashion and new media are invited to apply for a place. Candidates must be a maximum of 25 years old and speak English well. Applications, including a CV and a brief presentation of previous work, should be sent to Elisabetta Prando at Fabrica Spa, Via Ferrarezza, I-31050 Catena di Villorba. Further information can be found at www.fabrica.it

Heinz Bischof has been the new Managing Director of the Universal McCann media agency in Zurich since the beginning of April.what distinguishes Heinz Bischof from Ian Fleming's novel hero James Bond? Clearly, the new managing director of Universal McCann would never order a dry martini shaken. Whether he takes it when business is going well is up to him. The fact that he knows how to use a shaker and a bar spoon is part of this man's career.
But first things first: The new Managing Director at Universal McCann in Zurich specifically chose Mosse-Annoncen as a training company for his commercial apprenticeship. "Unfortunately, no agency experience" was the initial disappointing rejection when he later wanted to join a real advertising agency. Bischof therefore decided to take a two-year "foray into gastronomy". After a retraining course at the Swiss Innkeepers' Association and a further training course to become a barman, he finally had an entertaining time as a bartender in Geneva. There he spent long nights at the bar listening for hours on end, "acquiring a knowledge of human nature". A quality that still serves him well today when talking to customers. "Finding out what matters to the other side," is how he sums up his experience.
Bischof returned to advertising in 1979. After applying for a job as a consulting assistant at Gisler und Gisler, he ended up in the media department of this advertising agency "rather by chance", where he worked as a media planner for five years. "But I soon realized that this job was not just my profession, but my vocation". As a side job, Bischof first taught at KV Zurich (advertising assistant training) and later also at Sawi.
He then moved to Young & Rubicam, which was still based in Bern at the time, as Head of Media, where he took over the management of the media department. At the same time, he was responsible for building up the media department in the increasingly important Zurich branch.
At the end of 2001, the then Managing Director of Innomedia and later Media Planning wanted to change direction again after almost twelve years. Media research or a switch to the media side would have been the options before the development work for the new Polycom communications school finally got him the most excited. During his brief period of self-employment, Bischof took over the management of this first comprehensive communications training program in Switzerland, which is offered jointly by Sawi and SPRI in Lausanne and Zurich. He established contact with potential students and lecturers, informed the careers advisors, looked for training rooms and finally drew up the entire communication concept.
"It's something pleasant and interesting to get together with people who want to delve deeper into the subject matter. You constantly have to be at the forefront of developments," says Bischof today about his sideline as a lecturer.
In his main job as Managing Director at Universal McCann, he is attracted by "such interesting budgets" as Camel, Unilever, Coca-Cola, XL Capital and Roche. After many years working in smaller agencies, he now likes the fact that managing employees has become a bigger challenge.
Bischof has also set himself ambitious goals for New Business at Universal McCann. At the moment, the carousel of budgets is not spinning as fast as it used to. "But there are also very exciting jobs that we will be applying for."
Skillfully juggling numbers and ice cubes: Heinz Bischof.
Andreas Panzeri