Jean Etienne Aebi on the campaign of the year 2001 by Publicis, Zurich "Successful creativity simply works better"
Even though Jean Etienn Aebi has already won many prizes, he is particularly pleased about the Campaign of the Year 2001 award because "it fits into our time in the most beautiful way".
Congratulations on being named Campaign of the Year 2001. How do you feel?
Jean Etienne Aebi: It's almost a bit like 20 years ago, when we won everything there was to win with the Toni Yogurt campaign. With this campaign, we have achieved the ultimate goal that we always strive for: Not only to design new variants within the same strategy, but also to create a new and surprising implementation. You can't do that every year with every client and every campaign. The current appearance for the Zurich Transport Association (ZVV) is based on the same idea as last year's campaign, which worked perfectly. "I'm also a..." has become a catchphrase in no time. In the new implementation, we actually moved the streetcar to the lake and put the ship on the road. People immediately recognized the hook.
And what is the mood at ZVV?
Aebi: They are delighted that this is the first time an advertising campaign that they have launched has made such a big impact. The previous campaign won an Effie, was awarded silver by ADC Switzerland, won a World Medal in New York and received the Public Transport Innovation Award, a competition in which the marketing concepts of public transport companies are compared.
How did the campaign come about?
Aebi: We came up with this idea relatively quickly. It is the result of a wonderful encounter: namely a client who is enthusiastic about creative solutions and demands them, and an incredibly simple and succinct conclusion. The fact that a streetcar says it is not just a streetcar is astonishingly simple in an almost idiotic way. Not even the headline is particularly original. Now that we've seen enough streetcars with "I'm also a ship" written on them, we came up with this trivial "reverse thrust". We said: "Now we'll just show a streetcar crossing the lake" - on double-page spreads and billboards.
Are you surprised that a performance that meets the requirements of the Art Directors Club (ADC) has become Campaign of the Year 2001?
Aebi: No, not at all, and I think it's significant that the campaign has been a hit with both experts and the lay public. I am still convinced that truly successful creativity - and not creativity as an end in itself, not an overwrought gag - i.e. a genuinely original, independent, irreplaceable and astonishing idea, simply works better with the public. It confirms me and everyone else who believes that reduced, concise ideas have the greatest impact. I don't want to get philosophical, but this campaign fits in beautifully with our times because it's fun and funny without being forced or overly gimmicky. I am really pleased that such a generously simple idea has become Campaign of the Year 2001.
Interview: Ernst Weber

The graphic designer and agency founder has put his life's work into a thick bookBy Andreas Panzeri "Looking back on 5 x 10 years of graphic design etc." is the name of the thick illustrated book in which GGK co-founder Karl Gerstner reviews his influential work as a designer. The book reads as a history of advertising, but equally well as a textbook for design.
As a co-founder of the GGK, the Basel designer Karl Gerstner became an international ambassador for modern typography and graphic design in the sixties and seventies. Karl Gerstner, who is intellectually close to Max Bill and Richard P. Lohse, is considered the Swiss graphic designer with the greatest international influence in this era.
At least that's how Manfred Kröplien, professor at the Academy of Fine Arts in Stuttgart, sees it, expertly justified, when he writes in the foreword to Gerstner's new book: "The real influences on German graphic design did not come from the USA, as one might have thought, but from Switzerland." In his analysis, Kröplien already locates a "spirit of optimism for the fifties, in which Gerstner's work must also be placed." Until the beginning of the sixties, Swiss graphic art was a model for the Germans, "as a result of the international ostracism of Nazi Germany. The Swiss provided their big neighbor with new substitute roots, so to speak, after the wartime collapse.
Gerstner, who was born in Basel in 1930, began this resurgent period of the rose-tinted "economic miracle" as a freelancer for the Basel-based chemical company Geigy. There he designed advertisements for dyes in the fifties. Blotter sheets for doctors, a popular medium for pharmaceutical advertising at the time, were also among his tasks.
In 1958, Gerstner's direct client at Geigy was Markus Kutter, who organized the PR for the 200th anniversary of the traditional Basel-based chemical company. For Dr. phil. I, who made his first voyage to America on the Atlantic giant "Andrea Doria," which later sank, Gerstner not only designed the cover for his novel "Ship to Europe," but also lent the text in the book a very diverse typography. Gerstner's idea was "a confusing puzzle of letters that unravels after reading." This creative interplay of typography and text would later become an important trademark of the young GGK.
The prehistory of the communications company began on January 1, 1959, with the founding of an agency Gerstner und Kutter - Werbung, Grafik, Publizität. This became GGK in 1963. Three years earlier, Paul Gredinger, a certified architect ETH, had also been hired. The partner authorized as the second G in the logo, who had previously composed electronic music, was responsible for the product form and later design department at GGK. "Without corresponding orders, however," as Gerstner recalls in his slightly ironic anecdotes. The time was evidently not yet ripe for such thoroughly styled products, although Gerstner had already organized a first conference on the subject of appearance - "later called corporate identity" - for the Association of Swiss Graphic Designers in 1959.
From nostalgic graphics to modern art
All these epochs of Gerstner's work are richly illustrated in the "Retrospect" book, starting with the brochure "200 Years of Geigy" and a comprehensive chapter with VW advertising to international exhibition posters on Gerstner's artistic work in current times.
Many nostalgic gems are depicted, such as graphic works for the Boîte à musique, a trendy record store in Basel at the time, or early advertisements for the Rheinbrücke department store. This then area-wide communication around the new styling of the Basel department store formed the first major commission for the advertising agency Gerstner and Kutter.
Such graphics, which are interesting in terms of advertising history, are supplemented in "Retrospect," quasi as books within a book, by many theories that are still valid and that Karl Gerstner repeatedly published on the subjects of design, art, and typography during his time as an advertiser.
In 1957, for example, he published the booklet "Cold Art - On the Location of Contemporary Painting. With it, he wanted to help the constructive-concrete art, to which he counted himself, to gain more understanding. "A little volume that today is one of the sought-after items in rare book stores," he reveals, not without pride. Also in 1957, Gerstner, as an artist, can also look forward to his own first exhibition in Zurich.
His publication "Die neue Grafik" (The New Graphic) is a history of advertising graphics in which Gerstner incorporates his large collection of exemplary designs, including those of colleagues he particularly appreciated, into a book. The work is accompanied by a text by Markus Kutter. In the fall of 1963, Gerstner's volume "Designing Programs" is published. This publication became a cult book in the graphic design scene of the 1960s and was also honored with an exhibition at the Museum of Modern Art in New York.
His "Compendium for Alphabets" becomes the most important writing on modern typography in 1972. The basis of the compendium is a then newly understood interplay of type and language, as has since become the style at the then GGK. Other books in the eighties are: "The Spirit of Color," "The Art of Karl Gerstner," "The Forms of Color," and "The Artist and the Majority." It should not be forgotten that Gerstner was also fond of epicurean pleasures, but with a high critical consciousness. For example, he incorporated his insights into gastronomy into the book "Avant Garde Küche," which pleads for a cultivated approach to hedonistic demands.
As he matured, art took an increasingly important place in Karl Gerstner's life. Books about art were an occasion for him "so that a thought could be thought through to its conclusion. Once again, of course, in the current work on the history of design, his "Visual Logic. The Art of Karl Gerstner" from 1997.
The respective posters document his numerous international art exhibitions, for example in New York, Düsseldorf or Caracas as well as at Marlborough, London, Beyeler, Basel, or Jamileh Weber in Zurich.
Anecdotes from the GGK period told from a personal perspective
Wonderful anecdotes from the GGK era, told in a personal tone with a sense of humor, can be found throughout the chapters. For example, how Gerstner and Gredinger, who were pushing for expansion, had accepted a 20 million budget for Ford in 1967 almost secretly against the will of Kutter, who was much more cautious in his planning, and had to kick out the old but much smaller customer Audi because of this, as well as found a branch agency in Düsseldorf overnight. Gerstner becomes the first foreign head of GGK Düsseldorf, and this from now on also international agency is also managed many years later by Robert Stalder as well as Reini Weber.
With such reminiscences from his GGK days, the former agency manager also thinks analytically about the business, for example about the development from graphics to art directing. Gerstner sees this as a shift from visual to more verbal ideas.
The man behind the first G of GGK also allows himself critical thoughts on the developments of his agency group, which in the meantime had offshoots halfway around the world. Why did the leading company with 600 employees at the time have to degenerate again into a partial conglomerate, as the changed GGK presents itself today?
Gerstner himself had already withdrawn from day-to-day business in the 1970s and remained with GGK only as a member of the board of directors. Instead, he redesigned the German business magazine Capital as a freelancer. He also gave the newspaper France Soir a new look during a stay in Paris. Later, he restyled the Basler Zeitung, as well as the Frankfurter Allgemeine and the Süddeutsche Zeitung.
In his later work, Karl Gerstner accepted more and more such specialized commissions for publishing houses. Burda, Ringier and Langenscheidt also had Gerstner give them a new CI. All ideas for these commissions are didactically and constructively documented in the book presented here. All development steps from the first draft to the successfully accepted design solution are competently commented with many questions and answers by Gerstner.
Logos and labels tell economic history
Gerstner's most important work in the eighties included the new design for IBM. Another interesting chapter is the development of a new corporate design for Swissair. Gerstner was able to cram this through as a freelance designer during the Baltensweiler era. With the step from the drawn aviator symbol to the set, simple logo with the Futura bold, Gerstner caused passionate discussion not only in the industry, but throughout Switzerland at that time. This development process with Swissair, which was completely transformed visually at the time, is also documented in the thick book.
As early as 1964, GGK had been commissioned to change the appearance of Shell with its distinctive shell logo. The ideas were rejected. Nevertheless, they are documented in the book as an insert worth reading about the brand's history.
Karl Gerstner wrote this "review" in Alsace. Today he lives and works there in Hippolskirch, together with Esther Grether, entrepreneur and art collector. In 1988, he is nominated for the Hall of Fame of the New York Art Directors Club. However, he had to forego the crowning party in the USA because Gerstner became an honorary member of the German Art Directors Club on the same weekend, and in 1992 he also became a member of the Academy of Arts in Berlin.
His latest book is printed in a typeface designed by Gerstner himself and named after him. The "Retrospect" (also available in an English edition) counts 700 illustrations on more than 250 pages and is published by Hatje Cantz Verlag, ISBN 3-7757-9058-6.
The GGK archive in its former domicile on Aeschengraben in Basel had to be cleared out a year ago for reasons of space. On this occasion, the Basel Poster Collection was allowed to look through the large-format archive boxes and remove all the receipts and objects of interest to posterity, as a donation from Lowe Lintas GGK, Zurich.
Since then, part of the valuable holdings have been housed in the Poster Collection in the exhibition rooms of the School of Design at Spalenvorstadt 2 in Basel and in the Graphic Arts Collection of the Zurich Museum of Design at Technoparkstrasse 1 in Zurich.

Kenwood has recently been focusing on small but powerful models. So small that they can fit into any pair of underpants, even men's. This progress is advertised with the slogan "Performance is not a question of size, but of technology". Well, who says so. It would be interesting to know where the speakers would be mounted. Test article... uh... aside - and back to the fundamental gender discourse. One thinks with it, the other really wants it, but it doesn't really matter. It only gets embarrassing when this "gender thinking" is coupled with prawns and stereo systems, when women are portrayed as if they always have the yardstick to hand and men prefer to put their best bits in the mousetrap. So dear Kendall-Jackson and Kenwood advertisers, how about a little more factual horniness. Otherwise, it's easy to believe that women don't particularly like the stimulating effect of Kendall Jackson wines. Cheers, Chandra Kurt
Language observer We make up a German text
After 254 articles, Beat Gloor is taking his leave as WerbeWoche's language observer. The last one - a heap of letters - according to the statistics on how often the letters appear in a German text...do it yourself...
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Goals of the year column
By Markus Ruf
The ADC will soon once again be judging the above-average, outstanding and pioneering work of the past advertising year. And that's a good thing. However, the bizarre, the curious and the not-so-successful are of almost even greater entertainment value - which is why I would like to briefly acknowledge the highlights of this category here.
The typo of the year goes to Coop, which wrote in a pork belly ad on July 10: "Beef and pork poop, 1000 g 6.95." A typo could not have gone more wrong.
The product name of the year goes to Ikea for the naming of their beds, although I can't quite decide between "Rekdal" and "Gutvik". Both fit, if you know that Ikea was the official designer of the "Big Brother" living containers. Did Nadim use the "Gutvik" model?
The headline of the year goes to the Bild newspaper for the local report "Drugs: Young hamburger dead at McDonald's". I wonder who got the poor little Big Mac hooked?
The pun of the year goes to Möbel Märki for its slogan "Das märki mir". It's worth the trip to Egerkingen, Jona or Hunzenschwil.
The slip of the tongue of the year goes to the Austrian radio commentator who summarized after a ski race: "We look back on a wonderful race. Thousands of spectators stood on the slopes and pistes." (And I always thought it was the racers who were running this).
The best blunder of 2001 came from Berti Vogts, former German national team coach, who said indignantly at a press conference in the spring after hooligan riots: "Hate doesn't belong in a football stadium. People should live out their emotions at home in the living room with their wife." Mr. Vogts, you deserve the special "Goal of the Year" award.
[email protected]
Markus Ruf is Creative Director and co-owner of the Ruf Lanz agency.

Dominique von Matt wins the vote for Advertiser of the Year 2002 "For me, brands are like lighthouses in
a society that is becoming increasingly chaotic, unmanageable, interconnected
and more complex. I refer to my brother Jean Rémy and myself as
Lighthouse builders. In this we are the same. If you went into detail, he would be
the architect, I the engineer". Whoever describes his profession so pictorially
does not handle trowel and mortar. The
"Brand worlds" that Dominique von Matt builds consist of communication
and a lot of motivation. For the consistent development of its successful
Jung von Matt/Limmat agency, and for their work he has been awarded every
fourth vote clearly elected Advertiser of the Year 2002. Although the
Ascent to advertising heaven for the business economist with
doctorate is anything but easy. Thanks to determined action and
The lateral entrant, who was able to gain entry to the
advertising was denied for a long time, nevertheless a place among the strongest
and most creative advertising agencies in Switzerland. Page 12

The ZVV appearance of Publicis, Zurich, was chosen by the readers of WerbeWoche, Schweizer Illustrierte and Tele as the campaign of the year 2001.The ZVV appearance of Publicis, Zurich, was chosen by the readers of WerbeWoche, Schweizer Illustrierte and Tele as the campaign of the year 2001. The "holy streetcar of Zurich," which whizzes across water, and the ships, which "rightly run" also whiz through the countryside, advertise the image of Zurich's public transportation system. The campaign has already won an Effie. page 15

The ZVV appearance by Publicis, Zurich, was chosen as the campaign of the year 2001Right backwards won
By Ernst Weber
Readers of WerbeWoche, Schweizer Illustrierte and Tele voted the "upside-down" appearance of the Zürcher Verkehrsverbund (ZVV) as the campaign of the year 2001.
The election of the Campaign of the Year took place for the third time. While the first two votes were cast exclusively by WerbeWoche readers, this year, for the first time, readers of the general-interest magazines Schweizer Illustrierte and Tele also helped determine the outcome of the vote.
The winning campaign, conceived by the Zurich-based advertising agency Publicis, came out on top among the 21 nominated advertising campaigns. It received around 18 percent of all votes and appealed equally to consumers and the professional audience.
The campaign, which has already won an Effie - award for efficient advertising - pours water on the mills of the Art Directors Club Switzerland, which not only wishes to see more creative advertising, but also regards good ideas as a condition of advertising effectiveness. A condition that the Campaign of the Year 2001 fulfills superbly.
The streetcar docks in the harbor, ships sail along the road
In a short communication path, the ad conveys the benefits of the transport association: that passengers can use various means of public transport with just one ticket, for example, they can change from the bus to the train and to the ship.
According to the motto "If you've got it backwards, then get it right", the ad subjects designed by Chief Creative Officer (CCO) Jean Etienne Aebi show public transport vehicles in completely the wrong places: the train and the ship travel on the road; while the bus has been put on the rails, the streetcar travels by sea. The witty slogan "richtig verkehrt" (really wrong) crowns the campaign. It not only resolves the visuals, but also contributes to the high entertainment value that helped the campaign win the "Campaign of the Year" award.
The major distributors share second and third place
A campaign designed by the Zurich agency Publicis for ZVV the previous year had already caused a sensation and a smile. It used the means of transport as an advertising medium with a similarly perplexing message. In a verbal implementation that used the same line of argument, suburban trains ("I am also a ship") suddenly pretended to be ships and vice versa.
Second place went to the cinema spot campaign for Migros (including "Jeans are better bought at Migros") by the Zurich agency Exxtra. The image campaign for Coop ("So macht's Freude"), created by Basel-based cRDDB, came in third.
PS: The Giant XTC NRS 980 mountain bike raffled off in a contest by WerbeWoche, Schweizer Illustrierte and Tele goes to Marianne Marty from Buch am Irchel ZH. Have a good ride.

Edelweiss, the women's magazine in French-speaking Switzerland published by Ringier Romandie, is once again without an editor-in-chief. Marie-France Vigor, who took over the post a year ago, has been dismissed with immediate effect.News Edelweiss Dismissed Editor-in-Chief
Neither the person concerned nor Gérard Geiger, Director of Ringier Romandie, would comment on the reasons. After Ludivine Ribeiro, Marie-France Vigor is already the second editor-in-chief of the paper, which was launched in 1998, to have to resign. The deputy editor-in-chief, Valérie Hoffmeyer, is taking over editorial responsibility ad interim.
Three cable radio stations still have time The three regional language cable radio stations Swiss Music Radio, Hit Radio and Swiss Klassik Rock have until the end of 2002 to go on the air. The Federal Council has granted them a one-year extension. The two music special-interest stations, Hit Radio and Swiss Klassik Rock, are largely produced by Radio Argovia and intend to offer classic rock music and German pop tunes. Swiss Music Radio is a program of Interradio AG from the canton of Zug, which intends to concentrate on Swiss pop and rock music. It has also received a license from the Federal Council for international broadcasting by satellite throughout Europe and in parts of North Africa.
Engadin Press definitely merged Engadin Press AG has definitely been merged with Südostschweiz Print AG. The company will continue to operate under the Engadin Press brand, and the approximately 60 employees will remain based in Samedan. In October, the Südostschweiz Media Group in Chur had acquired the majority of shares in Engadin Press.

The jury of WerbeWoche nominated six - male! - Advertisers nominated for Advertiser of the YearFrank BodinSince
Last March, Frank Bodin (38) took over as Chairman and CEO of the Euro
RSCG Group Switzerland lives up to its name: Since then, the agency group shall
won 18 new clients and awards. His career began
Bodin, who studied music and worked until 1988 as a concert pianist and
composer was on the road, at Andy Steiner and GGK, Küsnacht, namely
as a copywriter/conceptual designer. From 1992 to 1996, the now two-time
father at Aebi Strebel, from June 1996 to February 2001 as CD and
Member of the GL at McCann-Erickson, Geneva. In the course of his career
Bodin was awarded at important national and international festivals.
honored with over 200 awards. For his characters in the
advertising landscape, the originality and quality of its work and for
the courage with which he transformed a traditional into a creative agency
converts, the jury puts him to the vote.
Claude CatskyBefore
Claude Catsky (40) entered advertising in 1984, he tried his hand without
Success as a painter and jazz musician. During the study of the
art history, he followed in the footsteps of the LNN as a cartoonist.
of his father Nico. His path from junior lyricist to CD led him through
renowned agencies - Aebi & Partner, GGK, Basel, WHS, Publicis,
Aebi/BBDO and McCann-Erickson. For five years, the
Family father as a "relatively free" CD and concept writer/copywriter for
numerous agencies. Catsky is a member of ADC Switzerland as well as
of several international juries, garnished more than 150 awards - including
a Silver Lion - and has written and co-produced close to 50 spots.
His portfolio ranges from Alcoholics Anonymous and Suva to the
Nico yearbook to the antenna campaign for Radiotele. The jury
nominates him because of his top performance for agencies and clients.
Markus GoodMarkus
Gut (36) got into advertising when he was 20. At that time, the
Phil.I student, who then graduated with a graphic arts diploma from the School of
Gestaltung, Zürich, (SfGZ), at Cash RSCG. Between 1990 and
In 1994, he climbed the steps from junior AD at Wirz Werbeberatung to AD
at GGK, Zurich, and then joined Publicis, where he was appointed
Managing Director Creation ascended. Well, with over 200 national and
international creative awards draped and member of the ADC Board,
is the creator of APG's "Angie Becker", the blue NZZ pencil and
of the UBS Mondrian look Member of the Swiss Graphic Designer and Member
of the examination board at the SfGZ. The lover of everything
Anglo-Saxon and single malt connoisseur was nominated among others,
because he "took over from Jean Etienne Aebi without compromising on quality
has managed".
Dominique von MattWith
Dominique von Matt (43) put the fear of God into many people.
The business administration graduate, who studied at the University of
Zurich with a thesis on brand policy, the agency
Honegger von Matt in 1993. Von Matt previously worked as a
Marketing Assistant at Dalhouse Conference Centre, Halifax (Canada),
Product Manager at Unilever, as Account Executive at DMB&B,
London, and as consulting group leader and GL member at Wirz high.
The "fraternization" with Jung von Matt in Hamburg was the consequent
consequence of the successful agency build-up. The new house includes
In addition to creation, the company now has a PR unit and an Internet unit with
a total of 57 employees. For his proactive spirit and for the
creative output, the jury put him forward as a candidate.
Daniel MatterDaniel
Matter's (47) track record is impressive: He is in the
ADC board member and her jury chairman, creative school board member.
BSW/ADC, has fetched over 100 awards at home and abroad and won the
BBE of his agency increased by over 40 percent within two years.
He started his career as a junior copywriter at Zintzmeyer & Lux,
then joined Gisler & Gisler as a copywriter, worked at Wirz,
became a freelance copywriter and head copywriter and GL member at Wirz. 1990
Matter founded the Frei Matter Galbucci agency, which in 1992 was dedicated to
international Leo Burnett Group. In 1999 he took over the
Majority of the newly named agency Matter & Partner. Its
Consistency in high style and level is credited to him by the jury as well
as the reputation his agency has gained.
Martin SpillmannIn
For the past eight years, Martin Spillmann (47) has been the CD for
Advico Young & Rubicam (AY&R), Zurich, numerous
awards - including the Golden Lion in Cannes in 2001. His
He began his career as a freelance graphic designer. In 1985 he joined the company as art director
at Y&R. There he created award-winning campaigns, such as for
Chromachron watches, Mazda cars and Publicitas. In 1989 he was drawn to
Y&R, New York, where he was appointed Vice President/Creative Director in 1990.
was promoted. Four years later, he returned to AY&R as a CD.
Under his leadership, many internationally award-winning
Campaigns for clients such as Hakle, Citterio, UBS (the Poems campaign),
Swissair and Kuoni. The jury justifies his nomination with his
Consistency and the lead position in the ADC, Effie and
AdvertisingWeek Creative Ranking.
The election is opened Who
created outstanding campaigns in the year that is drawing to a close, and
thus shaped Swiss advertising? Who has made a particularly strong commitment to
the advertising industry and gave it new impetus? Who has
through its bold creations and trend-setting concepts.
stood out? In other words: Who has what it takes to be "Advertiser of the Year
2002"?
To make the agony of choice a little easier for you, suggests
the advertising academy from former advertisers of the year the adjoining
six candidates. However, you can also select a person of your choice
nominate. As before, the subscribers have the final say.
Subscribers to WerbeWoche. The 25th "Advertiser of the Year" election is
thus opened. We will send you the election card these days with
separate mail. Do not forget to send them by
December 31 to be returned (date of postmark). The election ceremony
with the Egon award ceremony will take place on Thursday, January 17, 2002, at the
Palais X-tra in Zurich will take place. You will find the invitation card on page
15. but you can also register online at
www.werberdesjahres.ch
By the way: The invitation advertisement with the
Registration card for the election ceremony designed Markus Ruf, whose year of office
as Advertiser of the Year now expires. Samuel Helbling,
Editor-in-Chief

Spamnetradio.ch produces web radio for advertisers from JanuaryBy Bruno Amstutz Internet radio still ekes out a wallflower existence in Switzerland. Spamnetradio
.ch wants to remedy this state of affairs - with a web-based special interest radio station that has the advertising industry in its sights.
A radio program can be broadcast via the web without a huge infrastructure and frequency license. On the receiver side, all that is needed is a computer and a fast connection to the network. The Internet is ideally suited for special-interest radio, but this option is still hardly used in Switzerland.
With Spamnetradio.ch, a pilot project will be launched in January to discover the potential of web-based special interest radio - with advertisers as test animals. They serve as a test audience for a program specially tailored to the advertising industry, which sends editorial contributions through the network of networks on Friday afternoons and music the rest of the week.
Responsible for the project are Roland Schmid from Jingle Jungle, responsible for production and music editing, Thomy Häusermann from Comzept, who looks after the technology, and Dominik Schaetz from the Internet agency Nikin, who contributes the website. They are convinced that special interest radio is the radio of the future. "We don't want to produce average programming suitable for the masses, as can be heard on any local radio station," says Schmid, explaining the concept, "but rather targeted programming that listeners are also interested in." The advertising industry offers the ideal stomping ground for a pilot project, since the radio producers are very familiar with the scene. That's why they also see Friday afternoons as the predestined broadcasting time for editorial programming, since in their eyes the chill-out phase is already setting in at the agencies.
The name Spamnetradio.ch already hints at what advertisers must be prepared for: satirical attacks on the industry and its exponents and infotainment from the scene about the scene. "The program will not be straightforward, but peppered with provocations and humor," Häusermann announces, "it should be funny." The moderation will be done by seasoned professionals in their profession, who will also guarantee the quality of the broadcasts.
Also gloating can now be
publicly disclose
In addition to the simple distribution channel, Internet radio also has advertising advantages: According to the current RTVA, there are no advertising restrictions for radio on the web, and there are also no legal limits to the imagination in terms of content. However, the new RTVA could curtail this freedom again.
"Advertisers have the opportunity to be present not only acoustically on the radio, but also visually on the website or the Radioplayer at the same time," explains Dominik Schaetz. In addition, forums on the website offer various opportunities to provide feedback.
In this way, the appeal and success of the programs can be monitored, and the click rates allow conclusions to be drawn about the number of listeners. The aim of the radio producers is to reach the target group of advertisers as completely as possible. If the project proves successful, special-interest programs on other topics could be created.
On Monday, January 14, Spamnetradio.ch will go on air for the first time and will closely follow and comment on the election of the Advertiser of the Year this week. Among other things, the "spammiest" advertiser can be chosen at www.spamnetradio.ch as an alternative to the official Advertiser of the Year. Secret gloating can thus be made public from January.

Nonprofit organizations are recommended to jump over the shadow of political correctnessBy Christian Rintelen* Donation marketing and advertising for idealistic causes is booming in the run-up to Christmas. But advertising by non-profit organizations is often hardly noticed because it is not sufficiently provocative. After all, effective advertising and political correctness are opposites and difficult to reconcile.
A blonde lady stands on an air shaft and tries desperately to keep her skirt, blown up by the upward blowing air, in check. An elderly gentleman with a tangled white hairstyle sticks his tongue out at the photographer with a mischievous look. An airplane crashes into a skyscraper; next to it is a second one, black smoke billowing from its top floors.
The images described don't even have to be pictured for everyone to recognize them: Marilyn Monroe on the subway shaft, the famous photo of Albert Einstein, or the images of September 11, 2001 are stored in memory. So apparently there is something like a collective memory for images that are so strong, so iconic, that they are seen without being shown - it is enough to briefly describe the content of the image to bring the image before everyone's inner eye. I could probably cite ten more such images, and at each one everyone would nod in recognition.
I am equally sure that I cannot describe a single advertisement that everyone knows. Which is somewhat astonishing. After all, advertising produces images like probably no other industry and spends a lot of money trying to store them in the viewer's consciousness and trigger something. Of course, I could describe the Marlboro ad and everyone would know what I'm talking about. However, they would not remember a single, defined image. But rather a staged world.
So why is it that certain images become icons and others do not? There are plenty of reasons for this. One major reason is likely to be: Advertising does try to create icons. But they are not absorbed into the collective memory, because images in advertising are not l'art pour l'art - images fulfill a function in advertising. Advertising is never an end in itself (even if it sometimes gives that impression). Advertising always wants to achieve something. That is in the nature of things. For advertising to achieve its goals, it needs a message. For example: "Don't buy Triumph underwear, because with every Triumph brassiere you support a military dictatorship!"
Our culture renounces confrontation
But how is this message to be translated into an image? After all, the connection between brassieres and the military regime is not obvious. So how do you attract attention? With images that make you look away. With images that hurt. That's exactly the point. Advertising doesn't just have to be eye-catching. It also has to polarize if it wants to be not just right, but really good.
Now, at the latest, it becomes clear why there is so little really good advertising in Switzerland; so little advertising that sticks: Our entire culture, not just the political one, is geared toward consensus, not polarization. Polarization means creating opponents, not just friends. To polarize, you have to violate rules, cross boundaries, break taboos.
Just as car manufacturer Fiat did about 15 years ago with an advertising campaign for the Panda. The advertising agency proposed a campaign for Germany under the slogan "Fiat Panda - the great car" that ironized rather than idealized the angular minimalist car. In all market research, this campaign came out on top in terms of rejection: hardly anyone could relate to the campaign, and only a very few thought it was great. There were almost no undecideds. Other Panda campaigns did much better in the same test, achieving approval ratings of around 50 percent with 25 percent undecided.
Fortunately, the marketing director at the time from
Fiat Germany a courageous person. He said to himself: better a campaign that 10 percent applaud than one that 75 percent don't think is bad. He decided on the polarizing campaign, which subsequently became one of the most successful in German advertising history. And not just in terms of Art Directors Club awards.
Does standing out also justify all means?
So back to our advertiser, who is to develop a campaign for, or rather against, Triumph corsetry. He is looking for strong images with which he can dramatize the message. So maybe he's thinking of photoshopping a brassiere onto the military dictator and depicting him. Would certainly be an eye-catcher - but probably somewhat detract from the seriousness of the message.
He might go on to consider visualizing the military regime as drops of blood on a pristine white brassiere - but discards the idea because the red dots on the bra look like an innocuous Dalmatian design in red instead of black. Not dramatic enough. He therefore perhaps considers showing one of the victims of the military dictatorship and making the reference to Triumph in the text - but remembers in time that Benetton took this ploy to excess. And also that Benetton was not particularly successful commercially with pictures of blood-soaked T-shirts from Bosnia or of AIDS victims.
At some point, the impressively simple idea and chain of association comes up: military dictatorship equals barbed wire; ergo, bras that are created in a military dictatorship are to be equated with barbed wire. So a bra made of barbed wire. A strong image. But: a barbed wire bra on a red Triumph velvet pillow doesn't hurt, looks more like an object by Meret Oppenheim. For the barbed wire bra to hurt, it has to be worn. Not by a Burmese woman, but by a Swiss woman. And it has to be worn the way a Swiss woman normally wears bras: on her bare skin.
That the outcry of indignation did not come from Burma or from Triumph, nor from the Swiss public, but from (feminist) sides of the nonprofit organizations: This, however, should give pause for thought. For - this is what an advertiser means who has nothing, but nothing at all, to do with the blatantly offensive ad: Effective advertising and political correctness are opposites and difficult to reconcile.
Which of course leads me to the question: RightCan I depict a bare bosom if I want to advertise against bras from Burma? I may. Because there is an obvious and causal connection between the bared bosom and the message "Don't buy Triumph underwear, because with every Triumph brassiere you support a military dictatorship!". Am I allowed to show a dead Aids patient, am I allowed to show a blood-smeared
Picture T-shirt with bullet holes if I want to sell Benetton sweaters? I must not. Because the connection is firstly constructed, secondly impious and thirdly cynical.
Advertising is the art of well-dosed provocation
But why didn't the anti-racism, equality and other advocates cry out just as loudly at the Benetton ad as they did at the stone of contention discussed here? In-depth reflection on this brings to light a heretical thought: could it be that there is a difference between commercial and - let's say - idealistic advertising? Surely not.
There may be higher and lower motives for advertising. There may be ethically and morally more or less valuable products or concerns. But all are equal before the Lord - before the newspaper reader and before the radio listener. The rules of advertising apply to all. No matter whether the advertisement is financed from a bulging marketing coffers or from sparsely flowing donations. On the contrary, the less money there is, the more effective the advertising must be. A nonprofit organization that has almost no money has to work twice as hard.
Every advertising campaign has to be effective. It must cause a stir. And it has to be prepared to cause outrage among equality, anti-racism and other committees: Doing right by everyone is an art that no one can master.
If you create an ad that is approved in unison, all the alarm sirens should go off. The ad may be right. But certainly not really good. But therein lies the difference. Good advertising is the art of provocation. The question is: Can you provoke without discriminating? My experience tells me: you can't, or you can only do it to a very limited extent and less and less. Nonprofit organizations have to live with that. And with this insight, they should advertise, polarize and provoke in the future.
*Christian Rintelen is a concept developer and copywriter in Zurich. He formulated his thoughts at a meeting of nonprofit organizations on stimulus images in advertising.

Nonprofit advertiser Lorenz Spinas on the communicative power of moralityLeading the way in advertising for nonprofit organizations (NPOs) are the English, says Lorenz Spinas*. Their sense of humor sometimes allows for self-deprecating advertising looks. In Switzerland, too, Spinas is observing a departure from the stuffy educational work of NPOs in the spirit of the seventies.Lorenz Spinas, do you feel more comfortable in your skin today than when you were still advertising for profit-oriented companies?
Lorenz Spinas: Yes, definitely. And not because I feel like a better person, but because political and social things have always interested me more than the product world. Now I can finally deal on the job with the topics that attract me. In addition, commercial advertising is often about staging artificial worlds. In nonprofit advertising, on the other hand, authenticity is called for, and that just suits me personally better.
It sounds like a certain sense of mission is not necessarily part of the nonprofit advertiser's basic equipment.
Spinas: We see ourselves as professional communicators of ideal content that is precisely defined by the client. Even though we generally support the statements of our clients, we do not act as whisperers, but as mere service providers.
Their job is therefore ultimately to make the product character of political content recognizable and capable of gaining majority support.
Spinas: Something like that. It's true that even the most charitable association ultimately has to get its message across to women and men in a competitive opinion market. More and more smaller NPOs are now realizing that without know-how and a little courage to take communicative risks, even the most noble and necessary causes will not be heard. The idealistic enthusiasm of the seventies and eighties, when it was all about raising awareness, simply no longer generates attention. The self-image of environmental and human rights organizations is also different today. Back then, people were more activists and belonged to a movement; now, many of them see themselves as professional employees who provide services to society in a very matter-of-fact way. Our work reflects this change.
On the occasion of the declaration of Bern campaign against "sexy lingerie from Burma" one has
Your agency has been accused of sexist showmanship. Are you trying to beat conventional advertising with its own resources?
Spinas: It's not about defeating them, but about standing up to companies that misbehave socially or ecologically with a fraction of their advertising budget. As with the barbed wire bra, it can happen that you put your foot in your mouth with certain people. But I find that less of a problem than failing to achieve anything because of the noble restraint. The vast majority of responses to the ad were positive, and the media echoed as far away as England.
The question remains as to how lasting the effect of striking eye-catchers is. Do you want to shock or sensitize with such provocations?
Spinas: One does not exclude the other, on the contrary. Even political or so-
cial messages need the attention of the audience. And here, they are in direct competition with the flashy purchase requests of the economy. These are the rules of the game. Lamenting won't help; we have to accept them and master them at least as well as the conventional agencies. Apart from that, provocation is not always appropriate or necessary. Because of their serious background, political messages have more power than product advertising. It is important to exploit this power, and to do so with a wink of the eye rather than with a raised forefinger.
In other words, good NPO advertising should also be fun and not just make you feel bad. Which campaign do you consider particularly successful in this respect?
Spinas: The Pro Infirmis campaign for the acceptance of physically handicapped people is certainly a role model. The subjects are striking without somehow exploiting the otherness shown. More importantly, however, the sensitively staged disabled people come across as fun-loving and not morally sour.
Which country is currently setting the international benchmark in the nonprofit sector?
Spinas: The avant-garde here, as in the for-profit world, is clearly England. The main reason for this, apart from the legendary British sense of humor, is the incredible density of nonprofit organizations on the island. This immense competitive pressure has resulted in a professionalization of NPO communication. In addition, donations play a far more important role in society there than they do here.
What's more, British advertisers are more playful about the left-wing moral code known as political correctness than their beer-serious German-speaking colleagues.
Spinas: That's right. A good indicator of this difference in mentality is Greenpeace advertising. Compared to Germany, where sober facts are still used to educate the public in a serious, but fun-hostile way, the calls for donations or boycotts by the British rainbow campaigners seem downright frivolous, lifestylish and occasionally even self-deprecating. In terms of communication, the Swiss Greenpeace office set out for England in the nineties and is probably one of the pacemakers for Swiss NPO advertising today. Interview: Oliver Classen
*Lorenz Spinas (41), is co-owner of Spinas Gemperle, a campaign communications and fundraising agency founded in Zurich in 1999. Before that, the trained economist was a copywriter/concept developer at GGK Basel and then marketing manager at Greenpeace Switzerland for two years.

Ckdt has redesigned the Basel parish bulletin into Church TodayThe parish bulletins, the Catholic counterparts to the Kirchenboten, are also in a phase of renewal. However, they are still thinking on a smaller scale. There are still several parish bulletins from individual parishes, in some cases even where the majority of the local bulletins have merged to form cantonal or regional parish bulletins. There is no intra- or even inter-cantonal cooperation on a larger scale. In terms of layout, however, new paths are being ventured here and there, such as with the Basel parish paper, which, with 65,000 weekly copies, covers Basel, the Basel region, parts of the Fricktal and a corner of Solothurn. In 2002, the paper was renamed Kirche heute (Church Today) and given a new look. Editor Josef Bieger-Hänggi speaks of a "gentle tabloidization": the tabloid format remains, but the previous desert of letters is abandoned, larger titles are now used, shorter texts are written and color pictures can now be shown. If it had been up to him, the layout, which was designed by the Ckdt agency, could have been even bolder.
Starting in spring, the annual budget of 1.7 million Swiss francs of Kirche heute will be supplemented with advertising revenues: According to Bieger, in addition to the ecclesiastical job advertisements, a further advertisement page is to be leased - with a criteria catalog, of course. The Berner Pfarrblatt already earns 34,000 francs per year in this way.
Advertisements are also an issue on a larger scale, since the parish magazines in German-speaking Switzerland have a total circulation of 765,000 copies. "We have been aware for two years that an advertising pool would have power, but the time is not yet ripe," says Bieger-Hänggi. This is because some parish papers would not yet accept advertisements. Commercial opportunities are more likely to be offered by sporadically published dossiers that are enclosed with the parish bulletins. Markus Knöpfli