In addition, the new head of Corporate Communications at Unique (Zurich Airport AG) is Jörn Wagenbach. He will take up his position in early October.
The Delegates' Assembly of the Swiss Association for Visual Communication (Viscom) has elected Peter Edelmann as the new president to succeed Rolf Balsiger.
Cédric Hinderberger, director of Publimedia Geneva, is taking over the new Research and Marketing department at TSR, the French-Swiss television network.
Since mid-June, Silke Kellner has served as B2C Marketing Manager at Seven One Media Switzerland, where she is responsible for Swiss audience marketing for the TV channels Pro 7, Sat 1, and Kabel 1, as well as user marketing for their associated web platforms.
Effective July 1, Daniel Brüngger will take over as CEO of WBO OgilvyOne. CEO and founder Guido Wietlisbach will focus in the future on chairing the board of directors and corporate development. Barbara Dürst will become the new head of consulting. In addition, Andi Greinacher will join the direct marketing agency as Creative Director and a member of the executive board.
According to a resolution passed at the general meeting, the Board of Directors of the Swiss News Agency AG now has only seven members instead of 20. The new Board of Directors now consists of Fritz Latscha (Basler Zeitung), Chairman; Kenneth Angst (NZZ); Thomas Bornhauser (Neue Luzerner Zeitung); Hans Heinrich Coninx (Tamedia); Jacques Demont (Edipresse), Gérard Tschopp (Radio Suisse Romande), and Albert Noth (St.-Paulus-Druckerei).

40 creative minds race through Switzerland at a roaring 230 kilometers per hourThe Kambly Bisquit has been sugar-coating the look of a locomotive for almost five years. The SF-DRS locomotive is also an eye-catcher for a trailer. The dairy cow at the head of a train proves that strong bones can pull even more than 20 passenger carriages. And the advertising locomotive, with 40 creative minds draped around the 8296 hp of a Re460, is to advertise on its own behalf for six months from 12 July. "Actually, I was only supposed to organize an event for SBB to make the advertising opportunities on its locomotives even better known," recalls Béatrice Trachsel from the Bern-based agency Eventicum. Then she had an idea: why not use the intended target audience of this event as evidence of the propagated effect?
"Soon you'll be recognizable everywhere, at least near train stations," joked Rolf Hubacher, SBB Market Manager for External Advertising, as he welcomed 40 advertisers to the shoot at SBB's main workshop in Zurich last week.
High contact numbers from the human and animal kingdoms
Anyone who wanted to could have their image captured on a negative for later processing as a rolling testimonial. Positively cropped and blown up on a special film from 3M, these advertisers will soon be riding back and forth between St.Gallen, Geneva and Brienz on 84 tons of steel power. Scotchprint is the name of the weather- and tear-resistant image carrier, provided free of charge by the manufacturer. Normally, the production of the advertising medium on rails costs between 60,000 and 100,000 francs. In addition, there are CHF 240000 "switching costs" per year on the otherwise CHF 8.5 million advertising medium.
The SBB also provides information on the number of contacts the advertising locomotive achieves every day with 700,000 rail passengers and random passers-by from the human and animal kingdoms in the open countryside.
SBB is basically "open to any kind of advertising" on its locomotives, except for the usual restrictions on sex, drugs and politics. All subjects must first be given the open signal for free travel by a commission. Andreas Panzeri

Frankfurter Allgemeine Zeitung (FAZ) has terminated the contract with its advertising agency Scholz & Friends, Berlin, prematurely.NewsFAZ says goodbye to S&F
Despite the multi-award-winning image campaign ("There's always a clever mind behind it"), rumors of a crisis in the relationship between agency and client had been circulating for some time. The FAZ now wants to concentrate primarily on the launch of the new FAZ am Sonntag. According to insider reports, the Hamburg agency KNSK has won the launch account.
Sat 1 now with seven one mediaThe TV channel Sat 1 has not renewed its marketing contract with RMB Austria (formerly Cinecom Austria). Seven One Media has been managing Sat 1's Austrian advertising window since July 1. SevenOne Media was created as an in-house marketer in the merger of Sat 1 and Pro 7. The change is not expected to have any impact on the situation in Switzerland, where Sat 1 is also under contract with RMB and Seven One Media has a branch in Küsnacht.
JWT continues to wash for organics The advertising agency J. Walter Thompson (JWT) has successfully defended the European account of the shampoo brand Organics. JWT won the pitch against Lowe Lintas. Organics manufacturer Lever Fabergé is planning a relaunch of the brand to counter competition from Pantène from Procter & Gamble. Organics has a European budget of around 38 million Swiss francs and is managed in Switzerland by JWT+H+F.
CIA wins canon European budget The camera and printer manufacturer Canon has consolidated its European budget for media planning and buying with the agency CIA. CIA won the pitch against Carat, OMD and Universal McCann. The budget previously distributed among national agencies amounts to over 60 million francs. CIA was already responsible for the Italian market. In Switzerland, Canon was handled by Universal McCann.

The music magazine ZeroZine is aimed at rock-loving young peopleBruno Amstutz Not all kids are into techno. With the renaissance of rock music in the last five years, bands are once again filling stadiums and charts with hard guitar riffs that make the walls shake. For their fans, the music magazine ZeroZine provides background reports, interviews and concert dates.
The magazine was launched last year as a joint project between the Zurich rock club Abart and the Wohrt music press agency, a collective of freelance music journalists. Because rock concerts and parties are once again enjoying commercial success, a gap in the Swiss music press landscape has also become apparent: rock music is living a shadowy existence in Swiss publications, while German magazines such as Visions have completely neglected the Swiss concert scene.
"Rock has once again become a mouthpiece for young people and no longer has much to do with the image of cowboy boots and tight jeans," say Christian Gremelmayr and Oliver Zemp, managing directors of the Abart Music Club. Their venue attracts a young crowd between the ages of 16 and 30 who are more into snowboarding than AC/DC.
ZeroZine is currently published four times a year with 48 pages. The print run of 20000 copies is distributed free of charge with a distribution concept that has the advantage of low wastage. Around 6,000 copies are sent by direct mail to an address base that the Abart Music Club has built up over the last few years from visitor addresses. 10,000 magazines are distributed throughout German-speaking Switzerland by Flyer Service and are available in trendy clubs, record stores and bars. The remaining 4000 copies are distributed directly at relevant concerts.
Editorial expertise and independence are guaranteed by the Wohrt music press agency, which includes renowned music journalists such as Nick Joyce and Markus Ganz, who also write for the Tages-Anzeiger and NZZ. Silvano Cerutti is responsible for editorial management.

Deutsche Telekom is sponsoring the restoration of the Brandenburg Gate in Berlin with approximately 10 million marks and, in return, is permitted to advertise on the German national monument. «That’s fine,» says Reinhard Müller of the Foundation for the Preservation of Historical Monuments, which is responsible for the restoration of the Brandenburg Gate. «A sponsor simply wants to showcase itself—especially in such a prominent location.» The Brandenburg Gate in Berlin brings people together: The scenes from the fall of the Wall, when people from East and West Germany embraced each other beneath the gate, remain unforgettable. Since then, it has been regarded as the symbol of German unity. However, black deposits and cracks in the porous sandstone have dimmed its luster, which is why the structure now needs to be restored.For several months now, the «Gate of Unity» has been repurposed as the «Telekom Gate» and shrouded in tarps featuring an image of the national monument. «Never alone again. T-Online» is written in letters impossible to miss beneath the quadriga. For the next year and a half, tourists from all over the world will see the advertising message in their snapshots; by then at the latest, the «Telekom Gate» will finally become the Brandenburg Gate once again. When will Syngenta’s seed advertisement appear on the Rütli? Werner Catrina
Column

Baby Calls Lanz
From Anna Esposito
It seems there really is such a thing as a linear path to success. Paved with rock-hard selection and seamless personal branding. When elite creatives take on elite projects, elite campaigns can’t be far behind. That’s what I’m told in the June 24 issue of the SonntagsZeitung: all wrapped up in sterile PR packaging, including a planned baby freeze.
No “ambition detector” stopped me from getting pregnant twelve years ago. In the middle of my career, I decided to puree vegetables and, as a sandbox observer, to understand the principles of war and peace. And in the process, I discovered that my advertising ideas are still in high demand. I believe that logical thinking about success and irrational driving forces balance each other out.
There’s a real thrill in creating original campaigns at the right agency with big budgets. At the same time, facing life and its twists and turns challenges you to rise above yourself. That’s why I advocate for a personal zigzag course and for career paths with twists and turns. Even then, the chances of success are good.
Through a fateful series of coincidences, I have been the chairwoman of the board of directors of an advertising agency and corporation founded with friends for a full year now. And I would like to make the following points clear to our clients: 1. Creative campaigns are 90 percent about perseverance. Having children is no obstacle to this. 2. Even in the event of a spontaneous pregnancy on my part, we will continue to deliver the highest quality. 3. All new clients looking for agencies that offer top-tier service plus the energy to handle the workload that comes with it are warmly welcome here. If any of our clients have children: We specialize in creative, goal-oriented, and time-efficient work.
[email protected]
Anna Esposito is a copywriter/
Co-owner of Brot und Spiele, Zurich
Language Observer

Bloodshirts, Sweatshops, Tearshoes
Until recently, corporations were content with a 100 percent markup on the factory price. Today, it’s closer to 400 percent—and in Nike’s case, sometimes as high as 2,000 percent. Pressure is being applied from both ends: Prices are rising, and production costs must fall.
The money saved goes toward brand building: advertising campaigns, flagship stores, theme parks, cultural events, brand academies… People no longer want products—they want brands; not objects—they want identity; not things—they want meaning. Tommy Hilfiger buys clothes, puts his logo on them, and resells them. It’s hard to explain why this works and why Tommy-clones walk the streets like living billboards. Prestige? A substitute religion? Spiritual homelessness?
«There is no longer any value in things,» says Phil Knight, CEO of Nike. «Value is added only through research, innovation, and marketing.» We have moved beyond the age of materialism. Brands have found their soul. Now they are freeing themselves from their bodies: from the factories that produce them.
For companies like Adidas or Reebok, manufacturing is now nothing more than a tedious, secondary task. That’s why they outsource manufacturing to «independent manufacturers» in Indonesia, China, Mexico, Vietnam, or the Philippines, thereby also ridding themselves of the burdensome responsibility for the workers: No one there is employed by Levi’s or Esprit.
The production zones are becoming increasingly isolated. Cavite, for example, is located on Philippine territory, but the police and city government have no access—the zone is under the jurisdiction of the Ministry of Trade. The factories are built on the cheap; raw materials are imported tax-free, and exports of finished products are also tax-free for the first few years. If conditions elsewhere become more favorable (or taxes become due), the factories pack up and are rebuilt elsewhere. In Guatemala, they’re therefore also called “swallows”—because they can fly away. Governments fear this. Operators fear that other zones might be cheaper. Workers are afraid of losing their jobs. And brand-name companies place their orders.
The use of fences to cordon off the zones not only prevents the mob from looting the products—it also, and above all, shields the surrounding area from what is happening inside the zone. In countries with a socialist tradition, this form of capitalist economic tourism—which doesn’t even involve investment—is difficult to explain to the people. While these zones suffer from all the disadvantages of an industrial city (crime, pollution, migration), they offer no advantages—not even tax revenue.
Old Navy, Calvin Klein, Adidas, Wal-Mart, Kathie Lee, Ralph Lauren, Liz Claiborne, Guess? Sweatshops will soon be the only place in the world where you won’t see any logos. That’s because the brand-name companies would rather have nothing to do with these zones: With hourly wages ranging from 15 to 30 cents. With unpaid overtime and 24-hour shifts when needed. With a ban on unions. With restrooms open only twice a day for a quarter of an hour, forcing workers to often urinate in bottles under their desks. That talking is forbidden. That there are no social benefits because the zone pockets them. That the dormitories, with their white lines marking sleeping spots, look like parking lots. That Carmelita died at work, even though she said she couldn’t go on anymore.
That's the downside of sneakers: The people who make them aren't worth the logo.
Beat Gloor, www.textcontrol.ch
Naomi Klein: No Logo! C. Bertelsmann, Riemann Verlag series, ISBN 3-570-50018-7, Fr. 44.50

Ringier has taken over the Winterthur printing plant (DW) and the prepress company ColorServ from the Basler Mediengruppe (BMG) as of July 1, 2001.Ringier will continue to operate the company under the previous management for a good two years. After that, print jobs will be carried out on the new web offset presses in Zofingen that were ordered two years ago.Ringier will not invest in Winterthur, according to Group spokesman Fridolin Luchsinger. The 380 jobs will be cut and 100 employees can continue to work in Zofingen. BMG will pay around CHF 10 million for cases of social hardship and early retirement. In return, the trade unions will refrain from strike action.
According to Luchsinger, Ringier's main aim in buying and closing DW is to reduce overcapacity in the Swiss printing sector. "It will also give us more printing orders," he said. DW prints sections of the Times, Newsweek and Economist, among others, and has an annual turnover of around 70 million Swiss francs. BMG wants to concentrate on its core business - the publication of print titles - but also needs the money to invest in its Basel printing plant and in the loss-making Weltwoche, as BMG CEO Beat Meyer confirmed. (mk)

Gruner + Jahr USA launches a women's magazine for TV star Rosie O'DonnellBy Thérèse BalduzziInspired by the success of O, The Oprah Magazine by America's most successful talk show host, Oprah Winfrey, Gruner + Jahr USA is following up with Rosie magazine. It is named after the talk show host Rosie O'Donnell. Alongside Martha Stewart Living, this is the third women's magazine by a TV personality.
O, The Oprah Magazine, which was launched last year, became profitable within a year and has a circulation of 2.1 million copies - which is nothing short of a miracle for a consumer magazine. As a result, O was named both "Magazine of the Year" and "Launch of the Year" by Advertising Age magazine. O is a joint venture between the publishing house Hearst and Oprah Winfrey's own company Harpo Entertainment. This success story certainly played a major role in Gruner + Jahr USA's decision to relaunch its outdated women's magazine McCall's as Rosie.
The dead live longer thanks to a new name
McCall's was one of the most important women's fashion magazines in America in the 1950s and 1960s and looks back on a history of over a hundred years: at the end of the 19th century, the tailor James McCall immigrated from Scotland and shortly after opening his studio in America, he published a fashion brochure that quickly developed into McCall's magazine.
After various changes of editor, McCall's reached its heyday in the mid-sixties and sold 8.5 million copies. In recent years, however, it has steadily lost readers and advertising, until last year its circulation fell to half that of the 1960s.
Rosie O'Donnell's show "Rosie" takes place at ten in the morning, while Oprah's show is at four in the afternoon. While Oprah has become the unofficial guru of self-help culture, the overweight O'Donnell presents herself as down-to-earth, direct and allows herself some rather sharp jokes.
In contrast to the esoterically inclined Oprah, she has the image of a friend who is forgiven for speaking her mind openly because she is honest and has a big heart. In addition to her humorous demeanor, O'Donnell is also known for her passion for social causes, such as the adoption of children.
This mix is also to be reflected in the content of the magazine, which is now being launched with a circulation of 3.5 million copies. For example, the first issue featured a story about Uma Thurman's involvement in a toy and clothing exchange for poor children, in which the actress was photographed without make-up.
While Martha Stewart Living publishes a calendar showing when to plant which flowers and which festivals to prepare for, Rosie publishes a parody of such a calendar. One entry is called Learning to pronounce Ratatouille. Rosie's audience is younger, educated women. Although it is a risk to tie a magazine so closely to a personality, the pattern seems to be catching on.

Why brands without an acoustic identity are only half personalitiesBy Ernst WeberSing what you can't say: Brand melos, or brand acoustics, convey the basic sentiment of a brand through acoustic stimuli. Although Swiss advertising has recognized the potential influence of the auditory component, it is far from being a virtuoso master of this underestimated discipline.
Auditory signs do not flatter the eye like advertising photography, nor the mind like written advertising copy, but they create and shape the feeling that the consumer has towards a brand. Music and sound are just as established tools of advertising as the written word, still and moving images: Over 90 percent of television and cinema films contain music; radio advertising can only be perceived by ear; and acoustic stimuli are also used in telephone queues, on the Internet and at the POS.
"Of all media, music has the most diverse, lasting and profound emotional impact. It is therefore regarded by the advertising industry as an important emotional means of communication...", is how Berlin composer Klaus Wüsthoff describes the role of sound in advertising.
In the music the
Passions with yourself
It is in the nature of sound, both natural and artificially produced, that it consists 100 percent of communicative power. Sounds are communicative in themselves, they want to be heard and interpreted: We reflexively associate the squeal of tires with danger, for example. Sounds that we cannot identify arouse our curiosity or worry us.
Regardless of the content of a statement, we infer the mental state of a person speaking from the sound of a voice. A composition does not only give us information about the harmonic need that guided the composer. We are able to emotionally decipher the communicative energy of a melody without any intellectual effort: The sound of a piece of music puts the listener in a different emotional state.
The language of music is universally understandable. "In music," says Nietzsche, "the passions dance with themselves." It is the world language par excellence, which can communicate with all skin colors in a thousand timbres and which cannot be contained in its effectiveness by linguistic, spiritual or religious boundaries. Music transcends the highest spirit and goes deeper than the most intimate contemplation.
The auditory component
only plays third fiddle
It goes without saying that communication utilizes this powerful effect of the auditory. On the other hand, it is very surprising that it is degraded to the inferior subordinate of words and images as the supreme medium for evoking and conveying emotions. The use of music, vocals, the spoken word, sounds and noises is generally left largely to chance, as often not enough time and money is made available for the development of an advertising film score.
Billy Wirz, for example, owner of Crazy Tunes Soundstudio, is used to the fact that the music is only commissioned at the end of the whole process. "Having a week is already half an eternity. Usually there are two or three days left," says the sound master from Stäfa.
Compared to the written word and images, the use of audio is often under-reflected and is favored by various circumstances: The ADC, for example, recognizes groundbreaking advertising every year, but refrains from explicitly including advertising film music in the assessment.
The budget for music is often cut in the wrong place
The promotion of creative implementation that he strives for therefore only extends to the rational and visual area. Strategists, CDs, copywriters, ADs and graphic designers devote all their knowledge, skills and a lot of work to the verbal and visual extraction of a communication core, but they are hardly ever assisted by someone who is equally capable of the auditory representation of this core through appropriate training.
This probably has to do with the fact that music is a subject that practically everyone knows a little about, but almost no one really knows. Besides, you can't discuss sounds like you can technical details. Music is less tangible than a picture cut. You either like it or you dislike it.
The acoustic component of communication is already neglected in education. In the curricula of communication schools, creative schools and design schools, the topic of sound design only appears in passing. Furthermore, the subordinate role played by brand acoustics is evident from the fact that although there are numerous graphic design associations, there are no interest groups to promote awareness of communication sound design or the equality of sound in communication.
Advertising research, which has only been intensively studying music since the mid-1970s, does not offer any help either. Relatively few empirical studies have produced contradictory results. Haley, Richardson and Baldwin, for example, found in 1984 that a change in the recipient's attitude as a result of the music obviously depends decisively on whether it supports the message in terms of content and form; Aakar and Bruzzone proved in 1985 that advertising is perceived as less disturbing if it is based on familiar music. In 1986 and 1989, Alpert and Alpert came to the conclusion that happy music creates happier moods, but sad music creates higher purchase intentions. However, other surveys prove the opposite. "It's not uncommon to simply add a 'muesli' tune that a client personally likes, even if the tune is not necessarily the right application for the theme of the commercial," says Renzo Selmi, owner of the Zurich recording studio of the same name.
In addition, the budget calculated for the composition of a tune usually varies between a modest 2500 and 7500 francs. Amounts of this magnitude are not enough to arrange and orchestrate a track and record it with good musicians. That's why a lot of music is produced electronically in the studio on a synthesizer or in the conventional way: with a little bass, piano, guitar and drums.
It's the TV placements that put the butter on the bread. The fee paid by Suisa to the creator of an advertising film score is just under three percent of the advertising budget. Insiders know: As a result of Suisa's control, music has lost the luster of an interesting Swiss franc item that used to allow the agency or film producer to pocket a few extra percent through so-called buyouts. Today, if you estimated the music at CHF 50,000 for a film budget of CHF 400,000, everyone would wave goodbye. It would be better to hire another cameraman for this money, cast more expensive actors in the roles and commission the catering company to serve luxury sandwiches on the set.
The brand logo should be part of the corporate identity
Only in rare exceptional cases is the auditory component of communication strategically integrated into communication in the sense of a constant brand predicate. The necessity of equalizing the three components can already be seen in some of the terms used by marketing and borrowed from anthropological terminology, such as brand personality or product identity.
It is only possible to speak of a brand personality or brand identity if one first assumes a brand soul in which the characteristics of a brand are predisposed. The brand soul is the source from which the brand ego and product identity are constituted. In other words: the word represents the brand spirit, the image and layout the brand body, but the audio represents the soul of a brand: its emotional identity.
Only a poor ear for acoustic corporate identities
Although music is an integral part of communication, it cannot be overlooked that there is little awareness of brand-immanent and overall corporate sound cultures. This is in stark contrast to the USA, for example, where sound designers are often brought in as early as the conception phase.
It practically never happens that an acoustic corporate identity (ACI) or a corporate sound design is developed in parallel to the corporate design. While the visual design of large companies' communications often has to adhere to a design manual, there is only rarely an equivalent in the auditory field.
In terms of acoustic-sound presence, Swiss communication is only just beginning to play around on the keyboard of acoustic identity. Only a few specialists are striving for a basic acoustic determination of the value of a brand, for a binding company-identical acoustic idiom.
Multi-layered communication that has an overall harmonious connection is only encountered in exceptional cases. Hardly any company really pushes the auditory component with strategic consistency.
"In terms of acoustics, we are now where corporate design was in the sixties: at the beginning," says Peter Weiss, owner
of the Basel agency Corporate Sound.
A tendency towards melos is most noticeable in the advertising of some individual brands. From the early 1980s to 1998, for example, Néscafe gave itself a coherent musical identity with the South American folk song "La Collegiala", which was rich in tasteful romanticism. The song accomplished more than a proof of origin. It had earth beneath the notes, awakening the melancholy of the connoisseur who, with every sip of coffee he drank, unconsciously looked over the edge of the cup at the social contrasts surrounding this product.
In 1999, Dutch musician Ilja Gort passed on this brand melody to a new tune that still expresses the brand spirit in cinema advertising today. In a more recent TV product spot, however, the melody is largely fleeting. It merely lives on in a jingle that plays at the beginning and end of the film. In place of the melody, younger, fresher music sings the character of the product.
Orange may not be an ACI, but the mobile communications provider consistently uses its music in harmony with the values that the brand represents. "Everyone wants a catchy tune," say Billy Wirz and Renzo Selmi in unison. But he often wriggles out of the brand responsibility.
With regard to brand melos, musical logos and acoustic logos such as those of Migros and Swisscom are only relevant if they summarize the brand essence in a few tones within the framework of an acoustic identity, just as the slogan formulates the basic idea of a communication in a catchy way on the rational level and the key visual captures a primary communicative moment on the visual level.
Signet-like acoustic signs are perceived less emotionally and more through the mind. This also applies to indelible jingles, for example "Meister Proper cleans so clean that you can see yourself reflected in it", and to illustrative musical implementations such as a theatrical staging of Ravel's "Bolero" in a current alcohol prevention commercial.
On the soundtracks of the
Brand emotions
Peter Weiss understands corporate sound as "the intelligent and dynamic soundtrack of a company", which is not limited to the obvious, namely TV and radio commercials and the telephone, but considers all the ways in which a company makes an auditory appearance as part of an overall strategy.
To establish an acoustic identity, the Basel violinist and former sound engineer at Radio DRS 2 analyzes the values and nature of a company, examines whether an already established sound culture or existing sound patterns can be adopted and, if this is not the case, formulates a differentiation strategy.
For the Basel-based sound designer, an acoustic identity does not consist of "music that you cram in everywhere", but is made up of acoustic patterns that are applied to the visual world like typographic features or color codes. It is the opposite of a collection of auditory events without an overall concept.
In the words of Theodor W. Adorno, acoustic identity consists of a "harmonic perspective that draws all melodic events into itself. The dynamic conception of tonality as a whole gives the chord" - the auditory measures - "its specific weight." The acoustic mark should be a "psychological category", "a matter of inspiration", not "a moment of a dialectical process that takes place in the musical form".
The brand reveals its essence through its acoustic identity
A new acoustic logo designed by Weiss for Coop, for example, represents the main value of joie de vivre as well as the secondary values of freshness, health, convenience and dynamism. The communication of these secondary values required a transparent sound image, and transparent sounds such as
the vibraphone, the Fender Rhodes piano and bell tones.
The main value of joie de vivre, however, is realized through the musical style of jazz and a four-part minimalist melody, which is reminiscent of Miles Davis in its almost cheeky manner. This works as a very short acoustic logo as well as a longer theme. The big band style of music that Coop had previously used had been adopted insofar as jazz had been retained. There is no pop, rock or reggae version of this rough identity, says the Basel sound designer. As a further identity element, he mentions a bass line that is so distinctive that it can be played independently over time.
"Although we stay in jazz, we can cover a wide field by working with new jazz, London jazz, soft jazz and maybe even a modern big band jazz interpretation," says Peter Weiss.
The relationship between local communication and sound is characterized by an arbitrariness that runs counter to its advertising meaning and is dissonant with the frequency with which communication uses the medium of sound. The fact that acoustics play third fiddle or even fall into the orchestra pit is ultimately also due to the fact that the Swiss are not particularly emotional people by mentality.
It is possible that an annual award for the best Swiss advertising film music could turn the score sheet in favor of the deeper attention that communication pays to brand melodies.
Or to quote Friedrich Nietzsche: "Without music, life would be a mistake."

According to the Advertising Statistics Foundation, net sales grew by 8.6 percent in 2000 - print exceeded the CHF 3 billion markBy Daniel SchifferleNet advertising expenditure grew by 8.6 percent to CHF 4.720 billion last year. This fell short of the previous year's record result, which still boasted growth of over ten percent. Nevertheless, there was a steep upward trend for many types of media.
After 1999 had already been a record year, net advertising sales also rose sharply last year: They climbed by CHF 374 million to a new historic high of CHF 4.720 billion. In 1999, the increase was slightly higher at 10.2 percent or CHF 412 million.
However, last year's figure again only reflects part of the reality. Although announced, direct advertising has now not been surveyed for the fifth consecutive year. This means that an important factor in advertising expenditure remains in the dark, as the last time direct advertising was included in 1995, it accounted for around 40 percent of total Net advertising sales. Promotional articles and Internet advertising are also still not surveyed (see box).
More than half of the growth in all media surveyed, namely CHF 197 million, was attributable to the press. With a total of 3.032 billion francs in net advertising sales, this was the first time it had managed to break the three billion barrier. Although the press achieved the highest growth of all media in terms of value, it was only in the middle of the field in terms of percentage growth, which amounted to exactly seven percentage points.
The new category of financial and economic stocks took off
Among the print media, the financial and business publications stood out in particular. In line with the classification system of the Association of Swiss Advertisers (VSW), these were combined into a separate group for the first time last year and reclassified as consumer magazines. Previously, they were not reported separately as part of the trade press. Growth in financial and business publications amounted to a full 39.2 percent or CHF 29 million.
Consumer magazines as a whole improved by CHF 42 million or 12.5 percent. The trade press increased by CHF 24 million or 6.3 percent. Job advertisements were once again the strong growth engine of the print media last year. Their net sales increased by 30.5 percent or 136 million francs.
Out-of-home advertising, radio and address books performed particularly well in 2000. All four achieved growth rates of well over ten percent.
Out-of-home advertising climbed by 18.0% or CHF 90 million. After newspapers, this is the second-largest nominal increase of all media categories. Radio advertising grew by 16.2% or CHF 19 million - by far the largest increase for radio in the last five years.
With an increase of 7.1 percent or CHF 34 million, TV advertising grew significantly less than in the previous year, when it had increased by over 20 percent. However, television also passed a milestone last year: With sales of CHF 520 million, the CHF 500 million mark was exceeded for the first time.
The directories (Yellow Pages, LTV, Swisscom telephone directories) recorded enormous growth; they recorded 16.6% or CHF 22 million more advertising revenue. However, this fantastic figure should be taken with a pinch of salt, as not all of the directories involved are published and billed strictly on an annual basis.
Teletext was up 7.1% or one million francs. Trade fairs and exhibitions increased by 3.2 percent or seven million francs. However, as various trade fairs only take place every two or three years rather than once a year, this figure hardly says anything.
Cinema advertising reported sales of CHF 45 million for 2000, CHF 3 million more than in 1999. However, this result is not comparable with previous years, as the data is based on a different survey. The French cinema advertising broker Mediavision is also new to the survey. This company entered the French-speaking Swiss market in 1999 and now has a market share of around 35% (WW 10/01). As RMB and Mediavision do not yet provide compatible data, there is no comparability with the previous year.
With another excellent result for the year 2000, net advertising sales are now on a massive upward trend for the third year in succession. The question arises as to how things will continue this year. According to Mediafocus, growth in the first four months of the current year was just 0.4 percent. Forecasts differ as to whether advertising expenditure will pick up again in the second half of the year or continue to stagnate. The suspense remains.
Without direct advertising,

Internet and promotional articles
The reason for the recent absence of direct and Internet advertising as well as promotional articles, all three of which had been announced for 2001 (WW 27/00): insufficient transparency because the relevant data was not available from all providers.
Although talks are underway with the Association of Direct Marketers, says advertising statistics project manager Rolf Blum, it was not enough to obtain all the necessary basic data this year either.
According to the announcement, the data for the web advertising was to be provided by the management consultancy firm PriceWaterhouseCoopers. However, according to Blum, doubts have arisen as to whether the figures are correct, which is why they have been dispensed with. At present, it is difficult to obtain representative figures for the Internet sector, which is still not transparent enough.
Net advertising sales in Switzerland

(excluding production costs) in CHF million
1995 1996 1997 1998 1999 2000 Difference
Press 99/00 in %
- Newspapers incl. free newspapers 1962 1850 1850 1926 2118 2250 6.2
- Consumer magazines 251 264 229 243 337 1 379 12.5
- Trade press 356 357 365 397 380 1 404 6.3
Total press 2569 2471 2444 2566 2835 3032 7.0
Television (incl. sponsorship) 339 343 370 402 486 520 7.1
Radio (incl. sponsorship) 100 106 107 114 120 139 16.2
Cinema 34 37 39 40 42 452) --
Teletext 13 13 13 13 14 13 14 7.1
Outdoor advertising 446 448 447 468 502 592 18.0
Address books 121 121 121 118 128 150 16.6
Trade fairs and exhibitions 215 196 207 218 220 227 3.2
Total values collected 3837 3735 3747 3940 4346 4720 8.6
Promotional items 105 99 104 113 121 3)
Direct advertising 2696 3) 3) 3) 3) 3) 3)
Total-Total 6638
1) Not comparable with previous year, as individual titles were regrouped
2) Not comparable with previous year due to different basis of data collection
3) not collected
Net advertising sales 2000:

Shares of the individual media types
Total sales 2000: 4720 million Swiss francs
Source: Swiss Advertising Statistics Foundation. Advertising expenditure Switzerland

Guido Giacchino has been CFO at Lowe Lintas GGK Head of the Week since the beginning of June "There will be a second Wirz at the
Talstrasse" /
One thing is certain: Guido Giacchino definitely doesn't fit the stereotype of a "should-have" accountant. On the contrary. He makes accountant jokes, can hardly sit still and makes no secret of his poor memory for figures. The 49-year-old sees himself as a fast, unconventional agency financier, a service provider at a service company. "Someone who just sits back and counts millions has no place in this industry". A CFO must understand the finances as well as the advertising and the people behind it and have an open ear for every concern.
He should know; after all, his in-depth agency expertise catapulted him to the management of Lowe Linta's GGK. "However, the path there was no walk in the park," recalls Giacchino: he first came into contact with big numbers around 30 years ago at Fides Treuhandgesellschaft, which looked after the mandate of J. Walter Thompson. He later switched to the agency to manage their finances. This turned into ten long years in which Giacchino built up client and financial controlling as CFO and also indulged in all the vices of a cliché advertiser. "It was a time of Sturm und Drang," says Giacchino looking back.
This golden era came to an end at the same time as the takeover of JWT by WPP. Guido Giacchino ventured a new start at Wirz. He remained loyal to the company for a total of 13 years. "Until changes became apparent that would have led to me being centralized away from the agency and team." A development that Giacchino would not have wanted to accept under any circumstances. At Lowe Lintas GGK, he, one of the "war veterans of the industry", has his finger on the pulse of the profession again and can contribute his "flair", his experience and his knowledge.
Nevertheless, it was not easy for him to leave Wirz. "It's not a culture shock, but it's a huge adjustment for me," admits Giacchino. To adjust to the new circumstances, the family man went into hiding for a month in his house in Oberwenigen; it wasn't a vacation, but rather a gulag. Among other things, the gifted handyman and gardener built a garden shed, completely transformed the flora and almost lost half a finger in the process.
Motivated, Giacchino is now on the Lowe Lintas GGK front line, where he is currently careful not to annoy his colleagues by pointing the finger at Wirz. "I definitely don't want to turn Lowe Lintas GGK into a second Wirz on Talstrasse. Everything is still open, and that's a good thing." Carole Koch

The New Economy newspaper in French-speaking Switzerland lacked advertisersThe New Economy crisis has claimed another print victim: after just eight issues, the French-speaking Swiss Futur(e)s by L'Agefi publisher Alain Fabarez has ceased publication. In just two months, the third print product on the subject of the new economy has already pulled the plug: first SwissOnline's customer magazine Netlife pulled the plug, followed shortly afterwards by Internet Standard (WW 22/01) and now Futur(e)s.
The monthly magazine published by the L'Agefi publishing group was launched in October last year full of optimism, even though the downturn in the new economy was already well advanced. Futur(e)s had a unique concept for Switzerland: the business magazine was produced in two different versions for both the Swiss and French markets. The editorial team was spread across two locations - Paris and Lausanne. With around twenty employees, the French unit was more highly staffed than the western Swiss editorial team, which employed eight people. But even this two-country concept did not survive its baptism of fire.
Alain Fabarez is still hoping for a buyer
Alain Fabarez, head of the L'Agefi publishing group, cites the same reasons for the discontinuation that had also dealt Netlife and Internet Standard an early death blow: the slump in the New Economy advertising market and the rapidly growing general skepticism about the New Economy, which had been highly praised just a year ago.
Despite the extremely difficult environment, Fabarez does not want to bury his magazine for good just yet. He is currently on the lookout for another publisher who could take over the magazine. However, in view of the poor market situation in the new economy, this is likely to be difficult.
According to the publishing group L'Agefi, the launch of Futur(e)s cost it around four million francs. This put pressure on last year's profit, which fell from 1.82 to 0.88 million francs compared to 1999. Daniel Schifferle

Swiss broadcasters are not blinded by the euphoria over accelerating data transmissionBy Clemens HörlerPoor internet connections and an uncertain legal situation regarding streaming: the starting situation for radio stations on the web was certainly not ideal. But now people are dreaming of the broadband age, but only a little.
The websites of Swiss radio stations (www.cx.unibe.ch/imw /liradio-ch.htm) are certainly not among the Internet wonders. This is no surprise: the current infrastructure of Internet users has not allowed radio stations to play to their greatest strengths for a long time. And logically, this does not lie in text and images, but in audio.
However, a considerable proportion of internet users now have sufficiently good connections and the appropriate hardware and software to listen to radio via the web. Most Swiss radio stations have taken this into account: live streaming via the web is now part of their standard offering.
Nevertheless, the proportion of those who listen via the internet is still negligible compared to the remaining listeners. At home in particular, it makes little sense to listen to the radio via the web if the online and offline offerings are the same and the stereo system is next to the PC. "It's mainly people at work and regular listeners who are outside the broadcasting area who use our web radio," explains André Moesch, Editorial Director of Radio Basilisk in Basel.
For listeners in the broadcasting area, the majority of the existing web offerings are primarily to be understood as an accompanying and secondary medium to radio. Here, listeners find an alternative channel to the program guide or the telephone (for example, to take part in request concerts). Only a few radio stations exploit the special features of the Internet, for example through audio archives, e-commerce offerings or even personalizable programmes.
Some stations such as Radio Basilisk, Radio 32, Radio Zürisee, Radio Aktuell and Radio DRS have already set up archives. These offer clear added value to the program over the airwaves. After all, anyone who has missed something in the live broadcast can still listen to the program in question on the web.
Some radio stations only offer this service for their own productions, as the storage of music is not yet legally regulated. The few radio stations that also offer music for listening on the web are
in a legal gray area. However, discussions with the Swiss Society for the Rights of Authors of Musical Works (www.suisa.ch) are currently underway.
Personalization is still in its infancy
Personalization options are even less widespread in Switzerland than audio archives. The first approaches can be found at Radio DRS. Visitors can set up their own start page and customize the selection of radio broadcasts from the five DRS stations as well as news and online discussions according to their personal preferences.
However, Mein.drs.ch does not offer a real world of experience like many American web radio stations and has not yet been optimally implemented. "We are at the first stage of personalization," admits Charles Liebherr, Head of drs.online.
Whether personalizable radios will ever become a killer application is debatable: "There are always limits to interactivity because people are lazy," says Giuseppe Scaglione, Delegate of the Board of Directors of Radio 105. Scaglione is convinced that one of the strengths of radio is that it surprises and does not have to be pre-programmed. For many private radio stations, such an offer is not worthwhile for other reasons. As individual stations, they have too few in-house productions for personalization to make sense.
Web soup is still being cooked on a low flame
Radios therefore prefer to hold back a little with their web presences. Scaglione: "We definitely don't want to lose huge amounts of money on the web, and the competition obviously doesn't want that either." For Scaglione, who is still fighting for an FM frequency for Radio 105, the web is not yet a viable means of arming himself with the same length of spit as the competition, and certainly not a replacement for FM.
Peter Scheurer, Managing Director of Radio 32, which operates one of the broadest web offerings among Swiss radio stations, also wants to keep the costs for the website as low as possible: "With a sophisticated content management system, we manage to keep our website up to date with 40 percent of our staff."
The Internet will probably only become a real issue for most radio stations once the number of broadband connections has increased significantly. Radio operators could then also become sought-after content suppliers for portals that have so far been primarily text-based. Mobile portals may also soon become potential customers. After all, why shouldn't people listen to music on their cell phones? Be that as it may, there is probably no way to make a fortune in this business either.
Growing visitor numbers on their own websites open up additional sources of income for radio stations in the form of advertising, for example with
E-commerce. The first tentative attempts to sell fan merchandise online are underway on numerous radio sites. Radio DRS operates a respectable online store: the radio kiosk offers audio books, clothing, videos, books and music, among other things. Admittedly, the contents of the individual music CDs presented in the store could not be more sparse.
In the music sector in particular, however, radio stations would be able to persuade many of their online listeners to make spontaneous purchases. Visitors to www.radioaktuell.ch can already make use of such an offer and order the CD with the song currently being played with just a few clicks. Radio Aktuell is cooperating with the online store CeDe.ch for this purpose. Other providers such as Radio 32 are also already planning to become more involved in the
e-commerce. Scheurer: "After all, this is also interesting for the music industry."
In order for such transactions to be worthwhile for the radio stations, the web offers would have to be used more than before. Until then, spontaneous ordering via SMS is an alternative to e-commerce via the website. 13 private radio stations are also taking part in the MobileSound m-commerce project launched last year. MobileSound enables radio listeners to enquire about the title of a piece of music being played and order it via SMS. According to Peter Scheurer, Radio 32 processes around 100 requests per day via MobileSound. The order rate is around eight percent.
Internet stereo system

In order to make web radio more user-friendly, various companies are developing stereo systems that are operated like hi-fi systems but are connected directly to the Internet. Such devices from HP and Compaq are due to be launched on the market in a few months' time.