The insurance company La Vaudoise is changing its advertising agency:. Simko in Geneva replaces the previous agency Hermès Communication. Simko prevailed against four competitors in a competitive presentation.federal court supports Geneva advertising bans. Cantons may ban billboard advertising for alcohol and tobacco. The Federal Supreme Court has approved a law from the canton of Geneva and rejected an appeal by companies from the advertising, tobacco and alcohol industries. The Geneva advertising law prohibits the advertising of tobacco and high-proof alcoholic beverages on public property as well as on private property that is visible to the public.
"Scholz & Kids" are in the red. From A for Alyona to V for Valentina, the range of sugar-sweet image bearers that adorn the annual report of the Berlin agency group Scholz & Friends, which has been listed on the stock exchange since November 2001, extends. The photos from the family albums of their human capital stand for their (private) productivity on the one hand, but also for the future orientation of the network, which is now represented in 14 European countries. In 2001, however, its baby fat in terms of turnover shrank by almost ten percent to 74.4 million euros. So it's no wonder that Scholz & Friends boss Sebastian Turner is looking to the future with hope.
Jewelry safe. Jewelry fans will have new reading material from mid-October: Tres Or magazine will report quarterly on unique jewelry. It will be piggybacked onto the Tamedia magazines Facts and Annabelle and distributed via luxury hotels, designer boutiques and by direct mail order to goldsmith customers. The initial print run of the 128-page, four-color magazine is around 200,000 copies. The October launch issue will be published in German, with an edition for French-speaking Switzerland planned for 2003. Behind Tres Or is publisher Jean-Christophe Gyr, who already publishes Gold'Or, a trade magazine for precious metals, watches, jewelry and stones. The magazine is realized and marketed by the Zurich agency Bleuler MediaNeutralCommunication.
Soccer games. For some, it may be because they've been watching too much football. For others, the problem is more serious. It could be due to an overused ball of the foot. At least that's what the advertisement with the erect toes in the sexy open sandals suggests. At second glance, it is of course about erectile dysfunction. Jung von Matt/Limmat has creatively tackled the problem, which according to research affects around 500,000 men in Switzerland. The fact that self-experiments with aphrodisiacs are not recommended because they "only cost time and money" can be read at www.wir-helfen-koennen.ch, where you can also find advice on taking pills further with a new product in the year four after Viagra.
Corporate identity. Corporate identity can also be understood as physical identity. At any rate, this is illustrated by a new flyer from the communications agency of Marc Bohnenblust and Joseph Haas. BH, as the agency at Lavaterstrasse 101 in Zurich calls itself, wants to "create brands that convince customers, employees and shareholders alike", as it says when the flyer is turned over. To clarify: the front of the flyer is, of course, about business - without BH.
Advertising expenditure falls by 5.25% in May. Gross advertising expenditure in Switzerland fell by 5.25% in May compared to the previous year. According to Media Focus figures, only radio (3.4%) and cinema (23.2%) recorded a positive result. The daily newspapers had to bleed more heavily again after the narrow decline (0.5%) in April: Their advertising sales fell by 7.2%. Trade journals also did not have a good May with a loss of 6.0%, while consumer magazines got off lightly with a loss of 1.1%. Teletext and posters lost 3.9% and. 7.5% respectively.
Free beer for everyone. Mercedes-Benz congratulated the runner-up with a full-page advertisement in the Frankfurter Allgemeine Zeitung (FAZ), as did Lufthansa and Karstadt. The department store invited customers to "free beer for all" in Karstadt stores with restaurants and offered a "30% world champion discount". Germany thus reacted to the samba in Yokohama with dignity. Naturally, the FAZ editorial team could not stand back. Under the title "Kampf, Kampf, Weinkrampf, Kahn", the feature writers created a poem from 29 Bild newspaper headlines. "The headline for the final match was not yet certain when our feature went to press, but it was quite likely," the paper apologized for the final rhyme: "Kahn of all people! But you'll still be our hero!". A click on Bild-Online would have been enough for the lazy colleagues to add the addendum: "You can't have everything..."
The book on noise. The music of the zeitgeist, which drives the cultural director of Blick and her "Vis-à-Vis" desperately away from the noisy city to the hotel, triggered cultural-historical research at Werd-Verlag: "Street Parade - das Buch" is the title of the volume in which Christoph Soltmannowski traces the cultural background of the Zurich Street Parade back to 1902. Back then, figures from the world of travesty were first spotted in the procession of guild members at Sechseläuten. In 1916, it was the Dadaists around Hugo Ball who also caused a lack of understanding among cultural experts with a bourgeois imagination. "All sounds and noises are music", Karlheinz Stockhausen is also said to have claimed. In more than 140 pages, Soltmannowski describes how this cultural heritage gave rise to the Street Parade, which some people now regard as nothing more than noise, and what this event does away from the hotel beds in Zurich. A little tip: switch off the TV and start a nice chat with the book.
Editorial

Springboard without a pool? Economic analysts are still looking for signs of a turnaround with a magnifying glass. However, the silver lining on the advertising horizon for the current semester also appears to be a mirage. The BSW (Swiss Association of Advertising and Communication Agencies) is now defying the gloomy data from Media Focus, Publicitas and Wemf with a talent workshop (see article on page 12). Prima vista, the timing may not seem ideal. But why shouldn't it be cheap for the BSW to do what many foreign trade associations are happy to do?
In fact, so-called "Advertising Weeks" for young creative talent have proven their worth in France, Scandinavia and England. Thanks to such campaigns, people from outside the industry are constantly shaking up the advertising scene and giving the communications sector a good reputation. If agencies now preach anti-cyclical behavior to their clients in recessionary economic phases and conclusively prove that they can sustainably gain market share with this strategy, the BSW can set a good example. Only by investing in the future can the labor market be prevented from drying up as it did two years ago.
In times of shrinking budgets, so much utilitarian optimism seems suspicious, say skeptics of the workshop: Although there are hardly any top vacancies to fill at the moment, the workshop suggests that there are real opportunities to get started. And: while talented career changers are being sought, the agencies themselves are investing little time and money in their own junior staff. As a result, some suspect that this quick bleaching is nothing more than a low-cost bridal show.
Speaking of anti-cyclical brand management: the BSW and its German counterpart - the German Association of Advertising Agencies (GWA) - canceled the fifth Marbach Academy a good year ago due to under-attendance. At that time, before the actual slump after September 11, the organizers attributed the lack of interest to the economic situation.
It will be interesting to see whether the Sawi introductory courses in advertising and marketing will attract talent, or whether the BSW experiment, like the advertising motif, will turn out to be an unintentionally ironic springboard without a pool. Luca Aloisi

Scotti puts the pedal to the metal for Winterthur Insurance's service strengthBy Ernst Weber Winterthur Insurance's advertising focus has shifted from image to product advertising since the Group ended its collaboration with Advico Young & Rubicam. This is demonstrated by a tactical presentation designed by Scotti, Zurich. It focuses on the company's service quality.
Under the influence of Credit Suisse Financial Services (CSFS), the future advertising strategy of Winterthur Insurance is currently being evaluated. The Swiss insurance company, which generated a gross premium volume of CHF 2.7 billion in 2001, has been owned by the financial institution since 1997 and is the market leader.
Richard Lüthert, Head of Marketing Services at Winterthur Insurance, explains that the branding is being considered on an international level. Until a decision has been made, product-related campaigns in particular will be used, which will also be discussed with CSFS.
The product presentations attempt to communicate in a concrete way. This is in stark contrast to the image advertising of some insurers, who use generalities to spread their message, such as a feeling of happiness. In addition, Winterthur is convinced that it can eliminate consumer uncertainty through concrete advertising. This was mainly caused by the fact that the sometimes identical offers of the various insurance companies were no longer distinguishable for laypeople.
Putting the product at the image wheel
The most recent example of a concrete campaign is a tactical TV commercial by the Zurich agency Scotti, which has been working for Winterthur since 1995. The campaign succeeds in presenting so-called me-too services in the area of claims management and the conclusion of insurance policies as quasi unique services of the insurance company.
Conceived in Claude Catsky's creative kitchen, the commercials are not lacking in humor. In the film about claims management, for example, a father sweats blood as his son's driving instructor. He maneuvers the car from one dicey situation to another, accompanied by honking horns and clear hand signals from impaired road users. In the commercial for the online service, an Italian lover submits to the gentle force of his mistress, who demands that he take out household contents insurance before she is prepared to give herself to him again.

Vierwaldstätter Verlag launched a second title and is planning moreBy Markus Knöpfli Vierwaldstätter Verlags GmbH, which launched in spring 2001 with the four-weekly program title TV 4, quietly launched a monthly puzzle magazine in March. Publisher Rüdiger Hahn is planning two or three more titles by the end of 2003.
The biggest mystery surrounding Rüdiger Hahn, sole owner of Vierwaldstätter Verlags GmbH in Kastanienbaum LU, has still not been solved: Where did the money come from that allowed him to distribute his TV 4 in its first eight months with a print run of 300,000 copies, mostly free of charge, and to launch a second magazine, TV 4-Rätselspass, in spring 2002? Not to mention the money for the magazine planned for November 2002 (see box).
Conversely, there are indications that Hahn's publishing house has not always paid its invoices on time. However, the publisher does not want to comment on "such general rumors". Nevertheless: Hahn will reveal the secret about his source of money in the fall.
It is clear that there has to be one, because the magazines published by the small Vierwaldstätter Verlag (share capital CHF 40,000) are not self-supporting. Hahn states that TV 4 will break even in September and that the puzzle fun should cover its costs by the end of the year, the latter not counting advertisements! But he doesn't want to say anything about how this will be possible.
In any case, it can't be down to the ads, which are few and far between in both magazines. According to Hahn, TV 4 has had one paid advertising page each in the last few months at 8900 francs. The situation is similar with the new puzzle magazine, where the entire cover page costs 2900 francs for the time being. "The advertising business is not a priority for these titles, it is neglected," says Hahn casually.
It is also difficult to cover costs with subscriptions, even if these are apparently increasing. Hahn says that TV 4 currently has 20,000 paying subscribers, including some major customers such as hotels who buy several copies, which means that 25,000 copies are sold via subscriptions. The newsstand circulation is currently 35,000 copies, of which 25,000 are sold per month, according to Hahn. For comparison: last fall, TV 4 sold 14,000 copies via subscriptions and 19,000 copies at newsstands.
Many puzzles also want to be solved in airplanes
In the case of the 34-page, full-color family puzzle booklet, which was launched without communication and a free print run and was only distributed via newsstands, even Hahn reportedly does not know how many copies he has sold so far at a price of four francs. Nevertheless, he has reduced the newsstand circulation from an initial 20,000 to 15,000 copies. On the other hand, a free puzzle is now enclosed with the TV 4 program booklet for the first time - a promotion that Hahn only wants to run twice.
In the meantime, newspaper publishers are said to have asked him to give the magazine to their subscribers as a supplement. In addition, Hahn wants to sell the unsold newsstand tours of his puzzle magazine to hotels, travel agencies or even an airline. Although his third title does not yet exist, Hahn is already thinking about a fourth or fifth. Further puzzle booklets for specific target groups are possible. But he also has something in mind for the lifestyle or car sectors.
Cheaper than two tele editions

Rüdiger Hahn is currently preparing the launch of a fortnightly TV program guide - "for a completely different target group to that of TV 4", as he says. With his third Swiss title, he is once again entering a niche that has so far only been occupied by the German titles TV 14, TV direkt, TV Movie, TV Spielfilm and TV today. With a price of around five francs, Hahn's magazine will cost about twice as much.
In terms of content and price, however, the 160-page magazine is likely to compete with Ringier's weekly title Tele (single price: CHF 3.60), as a four-person editorial team will report on multimedia, DVD, video, TV and film news on 25 pages. The first three issues will each comprise 500,000 copies, of which 100,000 will go to newsstands and the rest to all households regionally free of charge. This time Hahn is planning TV and radio spots, advertisements and an advertising event. For the new title, he is relying on advertisements and wants to see at least five per issue. The introductory price per page in the three large print runs will be "under 10,000 francs", says Hahn, who is pleased to have already sold two advertisements three times.

Muse & Musse Hanspeter Hürlimann What was the last cultural event you attended?
Hanspeter Hürlimann: Bingo with Beat Schlatter. As head of the Zürcher Brockenhaus, trash culture is the order of the day for me.
What are you reading right now?
Hürlimann: "Morbus fonticuli" or "Die Sehnsucht des Laien" by Frank Schulz. Frank Baumann foisted this tome on me. I enjoy reading Schulz's language and narrative art.
Which CD are you currently listening to ?
Hürlimann: "Keith Jarrett at the Blue Note, New York".
Which movie would you most like to see again?
Hürlimann: "Polizischt Wäckerli". He's so wonderfully bourgeois.
What TV show did you fall asleep during the other night?
Hürlimann: "Wetten dass...?"
What is your latest discovery on the Internet?
Hürlimann: Our homepage www.zuercher-brockenhaus.ch
What could you never do without?
Hürlimann: To a very good glass of wine with your meal.
What do you do in a free minute?
Hürlimann: Dreaming.
Love is...?
Hürlimann: ...accept a person as they are.

Radio spots on SRG stations would make private radio stations losersIf private TV providers receive a share of the SRG fees, SRG wants to compensate for the associated loss of revenue with radio advertising on its stations. This was previously the SRG's position. However, it has now (almost completely) abandoned this position. At the annual media conference on July 2, SRG Director General Armin Walpen explained that he would not be applying for radio advertising because private radio stations would suffer as a result. Currently, CHF 11 million is distributed to private radio stations each year, but they are demanding more. In addition, around CHF 40 million in favor of private TVs is currently being considered in the political debate, and according to Walpen, the SRG is prepared to cede a maximum of CHF 15 million. However, in the event of a larger increase in the fee-splitting share, he called for the levying of two fees for the sake of transparency, one for SRG and one for the private broadcasters, as well as compensation for SRG's loss of revenue. And just in case no compensation is granted, Walpen is keeping the back door of radio advertising open.
Walpen justified the fact that SRG is now putting down the "radio advertising" fence post with a study commissioned by SRG from the Berlin-based Goldmedia Institute. According to the study, the sponsorship and advertising turnover of private radio stations would increase to CHF 173 million by 2010 if conditions remained the same as today, and SRG would receive an additional CHF 12 million in sponsorship. With radio advertising on SRG radios, on the other hand, radio advertising revenue would even rise to CHF 243 million (3.7% of the total advertising volume), with SRG radios alone accounting for CHF 148 million - mainly thanks to their greater reach. And even if a total of three private regional-language stations were approved, SRG radio would still be left with CHF 111 million.
With radio advertising, the SRG could therefore easily make up for its loss of income from the extended fee splitting, whereas the publishers, who in most cases are the sponsors of private TVs and radios, would lose more on balance than they would gain from fee splitting. Markus Knöpfli

Wirz drives up to the best addresses for the BrockenhausBy Ernst Weber When you shop at the mother of all second-hand stores, you don't bring home fleas or junk, but trouvailles. An image campaign designed by Wirz, Zurich, for the Zürcher Brockenhaus positions the 98-year-old social welfare organization as the first address for junk.
The Zürcher Brockenhaus was founded in September 1904 as a non-profit organization to offer people of little means a cheap shopping opportunity. The initiative came from Zurich's oldest masonic lodge, Modestia cum Libertate (McL). Representatives of the lodge came up with the idea after visiting the Brockenhaus run by a certain Julius Müller in Munich at the turn of the century. The German philanthropist financed his social work by selling second-hand goods.
In order to broaden its base, the board of the Zurich Brockenhaus was recruited from officials of the Reformed and Catholic churches, the Jewish religious community, the city of Zurich and the lodge. It is still composed according to this formula today. Over the past 25 years, the organization, which is also independent of the public sector, has donated around twelve million francs to various social institutions.
"We are a non-profit organization that pays taxes and VAT and has to generate all the funds it distributes itself," says Managing Director Hanspeter Hürlimann (see also page 5).
Chunks from the Queen Mum's estate
Although the Zurich Brockenhaus has served the same purpose for 98 years, its image has changed considerably. The shop
fencing in Zurich's former poor man's second-hand department store, which has since been nicknamed "Zurich's most original department store", is becoming increasingly popular. In the record year 2001, sales of 2.6 million francs were achieved.
The transformation from a dingy second-hand store to a cult shopping destination is now documented in an image presentation designed free of charge by Wirz, Zurich. It positions the institution as a house of trouvailles.
The subjects show the Brockenhaus delivery van parked in front of buildings such as the White House or Buckingham Palace. Labeled with the name and the slogan "We get everything", the viewer is forced to conclude that the Zurich Brockenhaus can never consist solely of kitsch and junk.
The Buckingham Palace motif, for example, is given an additional effect by being embedded in a contemporary context due to Queen Mum's recent death.
The concept is an organic whole. All content is communicated in a single step. In this way, the presentation leaves the platform of traditional advertising and moves in the direction of product placement. "The presentation is a bit of a stroke of luck, a compression that doesn't always work so well," says Wirz-CD Matthias Freuler.

Ruf Lanz dramatizes the busy VBZ timetable with "botched" vacation photosContrary to the impression from last Sunday's World Cup, the colors white and blue continue to dominate Zurich's cityscape. However, this is mainly characterized by the vehicles of the public transport company of the city of Zurich (VBZ), which give the city on the Limmat its blue and white look, which was already praised by Karl Valentin. Streetcars and buses serve 664 stops for 20 hours a day, so it's no wonder that their colors are almost omnipresent. This year, VBZ wants to present this timetable, which is unique in Europe, at the open-air cinema "Orange-
Cinema" with an appearance by Ruf Lanz.
"The primary aim was to fill the advertising time available to VBZ due to its cooperation with the event organizers," says CD Markus Ruf, describing the initial situation. To this end, the creative duo asked themselves the unusual question of who actually "suffers" from the tight VBZ timetable? The CD is firmly convinced of the answer: tourists, who can hardly capture a single Zurich attraction on celluloid without a streetcar or bus entering the picture.
Ruf Lanz dramatizes this disadvantage in a slideshow of the fictional Japanese tourist Tagashi Akai. The audience witnesses Akai's desperate attempts to photograph his always bravely smiling wife - to no avail: each of his pictures is "botched" by a streetcar or bus. The couple express their anger with loud expressions of displeasure in Japanese.
The spot, in the form of a slide show, allowed for cost-effective production. However, the idea met with such great enthusiasm within VBZ that it is now being extended to advertisements and posters. Simone Keller

In January 2003, Wemf is launching its own regular statistics on advertising expenditure; the project with the working title Monica (Monitor of Investments in Classic Advertising) aims to publish data on a daily or weekly basis. The aim is to report the gross advertising sales invoiced. Wemf has recruited Hans-Jürg Gränicher and Stephan Wyss, the two fathers of Media Focus, for the project. Monica will draw directly on the media's scheduling data for data collection. Wemf boss René Schmutz is offering to work with rival Media Focus (see page 5). Media Focus does not wish to comment on this. "We need more information to make a statement," explains Knuth Hackbarth, responsible for Media Focus at the IHA-GfK. He is relaxed and believes that competition stimulates business. "We are also aiming for faster data publication," he adds. Shorter delivery cycles - once a week instead of once a month - are also being examined. "We are now clarifying what our customers really need." (dse)

It’s noticeable: If you look at a woman’s breasts, you quickly risk being labeled a sexist—even if there’s not a trace of sexual intent behind that glance, which is usually brief. You don’t look because the face is unattractive or because that part of the body is strikingly prominent. No, you look to glean important insights about women—such as that blondes do have brains, or that they’ve been to the hairdresser. The fact that a key female erogenous zone lies behind these sayings leads, at most, to a distortion of the text. Because ever since Dolly Parton admitted that bicycle pumps are multipurpose, caution is advised against too much air. Chandra Kurt [email protected]
Column

A Lowe for 12 Aebi by Thomas Lüber
Following Italy's scandalous elimination in South Korea, the Panini sticker kidnappers want to withdraw from the soccer business and urgently need new sources of revenue.
Now there are unofficial plans for an album titled «Cannes 2003.» That makes sense, because advertising executives have a significantly larger budget at their disposal for the hunt for a photo featuring their own logo than, for example, my son does for acquiring Ahmad Al-Dokhi from Saudi Arabia’s World Cup team. The only problem is: Every advertiser must first secure one of the spots on their country’s album page—spots that are as rare as they are coveted. In Switzerland, this is particularly difficult because everyone, except Edi Andrist, considers it beneath them to openly declare their claim. The ADC has therefore formed a committee to allocate the Swiss spots, thereby ensuring that Frank Bodin, Peter Lesch, and Dani Matter no longer have to calculate their chances.
Nevertheless, the battle for a spot on the roster is in full swing. So don’t even try to reach Jean Etienne Aebi, because he’s on the phone with Ruedi Wyler, who’s calling Markus Ruf, who’s coordinating with Dani Lanz on how to elegantly maneuver things so that Martin Spillmann doesn’t veto Publicis receiving twelve quota spots. Meanwhile, Reini Weber is once again trying to get in touch with Martin Denecke, who, however, is currently at the Kronenhalle, busy downing exorbitantly expensive slivovitz to getting Hansjörg Zürcher drunk—which is proving to be relatively difficult, since Zürcher keeps getting distracted by his cell phone, on which Claude Catsky is trying to reach him with a certain persistence. What unfortunately got lost in the commotion: Due to its poor showing at Cannes 2002, Switzerland isn’t represented at all in the Panini album.
[email protected]
Thomas Lüber is Managing Director Creation at Lesch+Frei Zurich.
Business lunch

Dreams of Mediterranean Delights on Lake Zurich: “Plaisirs de la Méditerranée”—this is the theme under which Director Nathalie Egli-Grisoni and Executive Chef Sven Nindel have curated the culinary delights at the Bel Etage of the Steigenberger Bellerive au Lac. Well chosen! Well cooked! Well presented.
One thing is clear: The Bellerive, which was briefly repurposed in the 1990s, is celebrating its 70th anniversary this year, but following its renovation by architect Tilla Theus, it certainly doesn’t look like a place for retirees: The world of Art Deco is back in Zurich. But the decorative retro trend hasn’t made its way into the kitchen. There, Nindel reigns supreme with a confident focus on French Mediterranean cuisine, which he doesn’t shy away from even during the business lunch. On the contrary. The appetizer looked delicious to the eye and lived up to that impression on the palate: a shrimp cocktail accompanied by an artfully arranged salad bouquet. The shrimp were served on a lengthwise-sliced, rolled-up slice of yellow zucchini. For the main course, there was beef entrecôte with lime butter, melon risotto with prosciutto, and vegetables from the market.
As an Italian with clear roots in Veneto—the heartland of risotto—I’m skeptical when it comes to combining rice with other ingredients. Risotto is a peasant dish that’s «flavored» with whatever is currently growing in the fields—mainly vegetables—or whatever has been slaughtered in the barns, including the chicken coop. My favorite is and always will be
A risotto with chicken liver and… but that’s a family recipe—otherwise Nonna Maria would turn in her grave—it’s tasty, it’s delicious: melon, rice, and prosciutto. Highly recommended. The three-course meal, priced at 53 francs, concluded with a sorbet plate beautifully «decorated» with fruit. All of this for that price? Perfect.
Egli-Grisoni also offers a fine selection of wines. Six white wines, four red wines—vintages that won’t break the bank and are the perfect accompaniment to a lunch at this location. It goes without saying that the service is «impeccable»; after all, the manager knows exactly how to treat four-star guests, having rightly begun her career in the hotel industry in the kitchen. Is it even necessary to mention that this is evident in the menu planning and the culinary offerings? That would be like carrying water to the nearby lakeshore. Good business facilities for groups. Turn off your cell phones—the thick walls make it hard to hear. Carlo Bernasconi [email protected]
Steigenberger Bellerive au Lac, 47 Utoquai
8008 Zurich
Tel. 01 254 40 00
Fax 01 254 40 01
Parking is available in the nearby parking garage.
Evaluation

Food .......................4
Drinks ..................4
Operation ................4
Business Factor ........5
5=top, 4=very good, 3=o.k., 2=naja, 1=flop

By Beat FritschThe week's kick-off party was held by Publimag Basel on Wednesday afternoon in beautiful sunshine. The 100th anniversary of the Coop press was celebrated. The whole thing took place at Kurt Aeschbacher's V-Labor in Zurich's Westend. On the part of the advertisers, the turnout was limited. On the one hand, not that many had registered in advance - the majority of the guests were Coop partner companies - and on the other hand, when the sun is shining, advertisers tend to stay away with the help of weighty arguments. And one wonders why so many customers schedule competitor presentations at short notice, usually in good weather... Well, fortunately Aeschbi's lab has a garden seating area where one could enjoy the weather to the fullest. The air conditioning inside also served its purpose on this day.
There was a veritable stage show, many interesting talks, a raffle by Freespace and catering by Gamma Catering. At the latter, however, one has - despite the gigantic kitchen effort - also eaten better. They actually drove up with two full-sized vans for the catering - and then grilled sausages and lamb chops in the backyard of Aeschbi's V-Labor. All right, the tagliatelle were great, and so were the desserts. Nevertheless, the Horst Petermann level was not reached, even if the prices for Gamma catering can definitely keep up with those of the "Kunststuben".
Football matches have also been a source of much discussion and jubilation over the past four weeks. Heinz Krebs, publishing director of the Zürich Express, took advantage of this. From the quarter-finals onwards, invited guests were allowed to watch the matches on a big screen in Zurich's "Newsbar". Herbi Lips from the Conelli Circus, for example, was there to watch the match between Korea and Germany, while also promoting his Christmas circus on Zurich's Bauschänzli. At the final - the venue was almost bursting at the seams - we spotted Bettina Schmid, Tina Lehmann, Nadja Jordi and Markus Presta among the football fans.
Despite all the advertising events - last week belonged to the Roxy with Jean Pierre Grätzer and Peter Renner. The two former in-club owners from Beatengasse set many a trend in Zurich in the eighties. Now the Roxy is closing its doors. Forever and ever! What caused many of the former members (the Roxy-Membercard opened the gates to the higher society, called Schickeria) to a last visit; the Roxy was socialization point and scene living room in one. The whole thing gave the impression of a huge class reunion. The sharp rabbits have become attractive mothers, and the once crisp boys now have graying temples - if they still have hair at all.
The start of the demolition party series made filmmaker Ernst Wirz of Wirz&Fraefel with his band Medium Rare on Wednesday. This was already a gig that no one wanted to miss. Wirz' band used to play at the Roxy on special occasions. Very close to the stage, of course, was Irène Hiltpold, but also advertising veteran Gebi Schregenberger, Tamedia training manager René Bortolani, Francis Sulzer of Sulzer Sutter, Theophil Butz of Rosa, gallery owner Andy Illien, HR consultant Sonja Sigg, Weltwoche editor-in-chief Roger Köppel, Annabelle marketing manager Jacqueline Joos, Tamedia press officer Peter Hartmeier and filmmaker Franziska Graf.
On Thursday evening it was as pumping as in the very best times of the club. Soon the door said: Sorry, no entry! The eighties celebrated their resurrection with cult DJ Oli Stumm. Stumm was the Roxy's first resident DJ and is now a music producer in New York. Theophil Butz was joined by Kenneth Angst, filmmakers Reiner Roduner of Absolutturnus and Nadia Rosasco of Chocolate Films, advertiser Oliver Burger, Marc Schürmann of Mosaik, Sandra Wildbolz, journalist Anna von Senger and producer Ingrid Thommen of Condor. And also some girls and boys, who wanted to have a look at the legendary Roxy, which their parents always tell about. Some of the young people might have been the results of former Roxy liaisons of the first hour.
How could it be otherwise, the club was once again overflowing on the weekend. "The Rebirth of Technomusic" could have been the motto for Friday. A revival of the nineties was announced with DJ Gogo, today co-owner of the popular Club Q on Förrlibuckstrasse. Then on Saturday, a look back at the club's recent past. "Almost like old times" was the motto when Rainer Kuhn started his cult parties at the Roxy.
Initially only quarterly, then monthly, Kuhn managed to breathe life into the in-disco once again in the new millennium. Now the Roxy era is definitely over - and if the toilets and back rooms on Beatengasse could tell stories: Oh boy - the "Borer scandal" would be a tired fart compared to that. What scandalous material would have been gathered there over the years for the boulevard...
Beat Fritsch

with Stefan Hostettler during the four-day farewell to the good old "Roxy. The house, which was home to the former in-nightclub and scene meeting place, has to make way for a new building. Almost everyone came who had been there before - but who is now 20 years older! Also happening last week: The Coop-Presse celebrated its 100th anniversary in Kurt Aeschbacher's V-Labor (he too was a busy Roxy-goer in earlier times). And the ZürichExpress soccer World Cup invitations to the "Newsbar", where the final matches were watched on the big screen.
We locate who is meeting in the communications scene at the various events and parties in the industry. Do you already have something exciting to report? Pick up the phone (01
296 97 98) or into the keyboard ([email protected]). For event tips as well as further shortlist images: www. werbewoche.ch

Wirz launches an ironic image campaign for the Zurich BrockenhausThe Zurich Brockenhaus is bidding farewell to its "poor man's" image and for the first time is going big with a poster campaign designed by Wirz: The "most original department store" in the city of Zurich parks its pick-up camion in front of the White House or Buckingham Palace. The image campaign was commissioned by Silvio Denz, President of the Brockenhaus Association, because the image of this social institution has changed in recent years and more and more young customers are now shopping at the junk shop - even if the junk has not yet been sorted out by George W. Bush. Page 10

WHS positions the SoZ as Sunday reading for readers with an eye on the mediocreBy Ernst Weber Three months after the launch of the NZZ am Sonntag on March 17, the SonntagsZeitung (SoZ) believes it has an overview of the new market situation. Against the background of the new positions, Weber Hodel Schmid (WHS), Zurich, has designed an advertising campaign for the Sonntagsblatt from Werdstrasse.
WHS won the SoZ mandate at the beginning of May in a pitch against the previous budget holder and another agency. The decision was apparently not helped by the fact that WHS lost the budget of the Tages-Anzeiger, also published by the Zurich publishing house Tamedia, to Guye Benker. "There was no compulsion to make this choice," says SoZ publishing director Sandra Geiger. Rather, it was the agency's performance that tipped the scales.
After the SoZ celebrated its 15th anniversary in January with an image campaign produced in-house, the publisher wanted to "wait and see until the new competition had used up its massive advertising resources" after the launch of the NZZ am Sonntag, according to Geiger. In the meantime, a study has shown that despite NZZ am Sonntag's massive advertising resources, only 40 percent of people know that there are three Sunday newspapers in German-speaking Switzerland. And this is based on an aided question.
Prior to a new, already planned image campaign, the SonntagsZeitung therefore wants to sensitize the advertising industry to the fact that the newspaper from Tamedia is the ideal medium, namely the middle ground between NZZ am Sonntag and SonntagsBlick, to be able to place a broad-based campaign with the public.
Sandra Geiger also sees the four-subject presentation as a "smiling campaign". The appearance of the SoZ is symbolically compared with the image of the NZZ am Sonntag and with clichés about the SonntagsBlick. The statement in favor of the independent brand profile is: Everyone understands the Sonntagszeitung!
One motif shows three egg cups. Only the middle one contains an egg. Underneath it says "Sonntags: Zeitung". This spelling of the product name will form the advertising logo in future. The other cups contain a potato and a portion of caviar. The assignment of the other two Sunday papers to the contents of the other egg cups is left up to the viewer.
"After not hearing from us for a long time, this is a first shot aimed at advertisers and the advertising industry," says Sandra Geiger.
NZZ am Sonntag and SonntagsBlick have a big brand behind them. The SoZ, on the other hand, could not be assigned to a brand by the viewer as it is not called Sonntags-Tagi. According to WHS CEO Reini Weber, the colon in the name now makes SoZ the Sunday newspaper par excellence.