Objective: To publicize Swiss Life/Rentenanstalt's new Managed Portfolio investment product and to test the acceptance of various key messages.Swiss Life/Rentenanstalt Advertising media: Full banner, advertisements in business, financial and weekly press, selective use of posters (B12), mailings. Deployment: May 30 to June 17.
Client: Rentenanstalt/ Swiss Life. Agency: Fametrain Switzerland dot-com.

Goal: Increase visitor frequency, online bookings and sales.TUI advertising media: full banner, button, keyword, ads, window dressing, flyer, website. Deployment: Since May 28 until
June 17.
Client: Tui.

The current ADCE President Barbro Ohlson on this year's awardsSwede Barbro Ohlson studied at the renowned Saint Martins College of Art & Design in London. Among other things, she created a new CI for the English National Opera for CDT Design Consultants. In 1992, she founded her own company, which works for clients in England and Scandinavia. Today, Barbro Ohlson lives in Stockholm and is Head of Graphic Design at the Swedish television company TV4.Barbro Ohlson, are you satisfied with this year's jury?
Barbro Ohlson: Very much so! As a Scandinavian, I'm also delighted that the Norwegian creative clubs are back after an absence.
Did you find the judging process stressful?
Ohlson: As ADCE President, my main task was to intervene in the event of disagreements. Since there were none, I limited myself to welcoming the various juries. There were almost no debates this year, but of course I couldn't be on every jury at all times.
There was no criticism of the procedure and the chosen winners?
Ohlson: Of course, some people are more satisfied than others, that's normal. There is also criticism about the disparity between the countries. But all in all, the ADCE judging is a straightforward process, as the works have already received awards in advance.
What do you think of the Grand Prix-winning campaign that only won silver nationally?
Ohlson: I saw the campaign for the first time at the D&AD awards ceremony and was very impressed. However, I noticed at the British awards that monumental works are very well received in England. For example, the Millennium Wheel or other grandiose installations.
Is it not a contradiction that the ADCE Grand Prix campaign only won silver nationally?
Ohlson: No gold was awarded in the corresponding category, and she also won gold at the British TV Awards.
Do advertisements have a chance of winning the Grand Prix? Films and interactive media are simply more exciting.
Ohlson: I still believe that print, outdoor and the design category also have a chance. At the end of the day, it's still the idea that counts, not the budget.
Do you have any favorites among the participating countries?
Ohlson: The British are always doing good advertising. But I've also noticed excellent work from Norway and Holland. A Grand Prix is certainly not a minor matter. Just as important, however, is the opportunity to show the award-winning work from different countries in one place and thus gain an overview of European advertising. And that is the unique thing about the ADCE judging. Interview: Beat Fritsch

McCann-Erickson, Geneva, introduces Microsoft's latest edition of OfficeThe starting position is obvious, but the goal is challenging: Microsoft wants to further expand its supremacy with the new Office XP software package. But how? With a monopolistic market share of 90 percent and more or less satisfied users of previous versions, a new edition will not lead to a purchase decision any time soon. On the one hand, home or office users feel well served by the '95, '97 or 2000 releases, but on the other hand, they are already so familiar with the programs that a new version will only cause upheaval. Moreover, hardly anyone allows their own workflow to be paralyzed by more sophisticated tools and features, so it was the task of the Geneva-based McCann-Erickson strategists to convince PC users of the opposite. Their solution does not rely on the well-worn mannerisms of IT advertising, but plays with the brand of the new software generation in a way that is unusual in the industry: it launches XP - new German for experience - with witty emotional solutions to emotional everyday problems. page 10

Cornelia Harder, Managing Director Publicis, Lausanne "Cannes is the world championship" Markus Ruf, freelance concept designer "Twelve nominations, three awards"
Cornelia Harder,
Managing Director Publicis, Lausanne
International spot?
Cornelia Harder: "Foxsports. com" (extreme sports).
Favorite Swiss spots?
Harder: "Screenwiper"-Hakle, "Charlotte" (Eschenmoser).
Favorite Swiss print?
Harder: Médecins sans Frontières, "Belly-button", Panasonic.
Expected results Switzerland?
Harder: Twelve shortlist nominations, three awards.
Personal experience?
Harder: When I won the Golden Lion for Lovely for the milk.
In Cannes, you win above all when...
Harder: ...you have a good idea and a courageous customer.
"Cannes is the world championship"

Markus Ruf, freelance concept designer
Which international spot has to win?
Markus Ruf: "Bear" for John West salmon. A bear has caught a salmon by the river. A man comes along, fearlessly fights the bear, wins thanks to a kick to the bear's most sensitive part and takes the fresh salmon away from him. Resolution: "We at John West will do anything to make sure you have fresh salmon."
What are your Swiss favorites?
Reputation: The Hakle "windshield wiper" commercial because it demonstrates the effect of dry and wet toilet paper fart-dry with a really amazing idea. What's more, every jury member has used the product before. Of course, I'm also keeping my fingers crossed for the ImmoWinner spot "Nasty Neighbor".
Which Swiss print contributions do you think have a real chance?
Ruf: Only those who have implemented an amazing idea in a radically simple way. Maybe one or two for Kuoni, Suva or Hakle. I think it's good that there are fewer and fewer awards in the category "We'll quickly create a Cannes ad for a pizzeria, a hemp shop or a pubic hairdresser".
What does the Cannes competition mean to you?
Ruf: Cannes is the world championship. There's no need for many other juries.
What is your best personal experience in Cannes so far?
Ruf: At least the funniest: when a German visitor to the print exhibition last year said that Wyler Werbung employed 100 people because we had three campaigns on the shortlist.
Your personal resolution this year?
Reputation: None. I won't be able to go on the popular training trip to the Côte d'Azur this year due to the agency build-up.
In Cannes, you win above all when...
Ruf: A few years ago, a Cannes returnee once preached that we should start from the premise that the target group has only a very limited command of our language and has just immigrated to Switzerland from another culture. Then less emphasis would be placed on superficial stylistic devices and more on finding true ideas. And would also have a better chance in Cannes.
neither print nor movie lions:

that was Cannes 2000
Having already been
Before no Press & Poster Award had found its way to Switzerland, the Helvetians also went to Switzerland without a lion in 2000.
Home.
Six works made it onto the shortlist: Beldoro's "Nose Pierced" and "Das Magazin" for Tamedia, both by Ruedi Wyler Werbung, Zurich; Zelo Leg's "Hairstylist" by Honegger von Matt, Zurich, and Sportplausch Widers' "Prince Charles" by Publicis, Zurich. Also on the shortlist were Suva's "The Gear" by McCann-Erickson, Zurich, and the ICRC campaign "Stop landmines" by McCann-Erickson, Geneva.
In the film category, in which the "Whassup?" commercial featuring normal people drinking Budweiser won the Grand Prix last year, three films made it onto the shortlist out of 120 Swiss entries: "Polizeikontrolle" for Alcoholics Anonymous by McCann-Erickson, Zurich (produced by Pumpkin Film, Zurich), as well as Seiler DDB, Basel, with the stop-Aids commercial "Knopf" (Wirz + Fraefel) and Advico Young & Rubicam with the film "Car" (Outsider, London).
Weber Hodel Schmid, on the other hand, won a Media Lion for their "Snapshots" from Graubünden, and Futurecom won a Cyber Lion for their screensaver "Peeping Tom".

In addition, Klaus-Peter Mager, former head of Farner PR's Freiburg office, is the new PR manager for IKEA Switzerland.
Roland Mägerle has been appointed the new head of the Sport Live editorial team at SF DRS. He replaces Rico Dettling, who moved to the SF DRS editorial board at the end of May.
Marianne Erdin, editor-in-chief of the women's magazine «Lipstick» at SF DRS, is leaving the broadcaster at the end of October. She had taken up her position on
He took office on May 1 of this year.
Starting July 1, Marcel Koch will be serving customers in Central Switzerland and the Basel and Bern metropolitan areas for Seriplakat AG in the areas of posters and large-scale advertising materials.
Effective October 1, Mark Stucki will become the new Information Officer for the Parliamentary Services, replacing Alessandro Delprete.
In addition to its new offices, the Rotor agency has also welcomed two new employees. Sarah Meili is in charge of project management, and Dave Dudler handles graphic design.
Starting in June, the U.S. Internet market research firm Forrester Research will have an office in Zurich. Christian Lipski will head the Zurich office.
Effective August 1, Annette Zunzer will become the spokesperson for the Federal Department of Justice and Military Affairs (EJPD). The
A 30-year-old editor at the Swiss News Agency is replacing Nicolas Betticher.
Heinz Egli, who previously served as party secretary of the SVP in the canton of Bern, has taken a position at Mediapolis AG in the communications department, effective June 1.

Matthias Freuler, CD Wirz Werbung "First-class training course" Mark Stahel, CD Lowe Lintas GGKMatthias Freuler, CD Wirz WerbungBest opportunities internationally?
Matthias Freuler: The commercial series for Fox Sports with the fictitious, absolutely stupid sports that are commented on by deadly serious TV reporters.
Favorite Swiss spots?
Freuler: Certainly Hakle-"Scheibenwischer", then Winner.ch and "Charlotte", Eschenmoser.
Opportunities for Swiss print?
Freuler: No clear favorite, but some very serious contenders.
How much success is appropriate for Switzerland?
Freuler: In the print sector, I'm expecting around three nominations, and a maximum of five for the commercials. Of course, it would be nice if one or two nominations turned into an award.
When did Switzerland become a province?
Freuler: At the latest when we are neck-and-neck with the Austrians in not winning awards, we would definitely have to be described as an advertising province. We will inevitably always lag behind the big players, but the most important thing is that the gap doesn't get any bigger.
Personal significance of Cannes?
Freuler: Cannes has always been the most important competition for commercials. Winning bronze, silver or gold in this tough competition is the highest accolade. But Cannes has now also conquered a top position in the print sector. Even if you were only to see the print works in Cannes, the trip there would already be worthwhile.
Your best experience?
Freuler: Winning the Gold Lion for Lovely playing soccer, personally presented by John Hegarty.
In Cannes you win above all if... Freuler: ...firstly you have an excellent idea, secondly you stage it perfectly, thirdly you can count on a good lobby and fourthly you have a little bit of luck.
"First-class further training course"

Mark Stahel, CD Lowe Lintas GGK
Best international spot?
Mark Stahel: The continuation of the Budweiser commercial series "Wassup?".
Swiss with opportunities?
Stahel: The Hakle "windshield wiper" commercial. Everyone on the jury will get their hands wet. If it doesn't win anything, you can call me Martin Spillmann.
How many awards and shortlist nominations are appropriate for Switzerland?
Stahel: Ten percent of Swiss entries. Although we can be proud if we make it to just over one percent.
create.
When did Switzerland become a province?
Stahel: Sorry, but if you look at the global advertising market, it's clear that Switzerland is at best a small, but very small province in the German-speaking world.
What does Cannes mean to you?
Stahel: First-class training course.
Best experience?
Stahel: When we won a bronze Lion for our client Cash.
Personal resolution this year?
Stahel: Talking to Frank Bodin and other good colleagues about something other than advertising from time to time.
In Cannes, you win above all when...
Stahel: ...you have good work in the race. An extraordinary idea that is understood internationally.
Switzerland already top 20 in quantitative terms

At the 48th festival on the Côte d'Azur, the jury has to judge 19,000 entries from 81 countries. The agencies from Switzerland alone sent a total of 305 entries into the race for the coveted Lions. These submissions are divided into the four categories Film with 74, Press & Poster 205, Cyber Lion 13 and Media with 13 entries. This means that the record number of entries from last year was not matched. "But less can also be more," says Jean-Claude Bruhin, Division Manager Marketing at RMB Switzerland, as the chances of winning are "a question of quality and not quantity". Nevertheless, Switzerland's entries are among the top 20 of all participating countries. The festival runs from June 18 to 23.
The complete lists of Swiss contributions can be downloaded from www.werbewoche.ch/cannes.

Two new supplements for the business magazine Cash have passed through the project stage - one on the subject of investments, the other on lifestyle (WW 19/01), but only the investor magazine will be realized. According to Cash editor-in-chief Fred David, the new monthly supplement with the working title Cash Plus will be published for the first time in late fall or early 2002 at the latest. The plan is for a four-color magazine format with 64 pages. The philosophy: Cash Plus and the weekly Invest section on pink paper should complement each other. "We will give the pink pages an even stronger profile as a stock market and shares section. The new magazine, on the other hand, will focus more on other longer-term investments: Funds, life insurance, tax issues, etc.," explains David.The most important argument that had spoken against a lifestyle magazine was that "Cash has become too broad in its range of topics over the past four years. However, our core competence is business topics. We want to raise the profile of this again," says David. A lifestyle magazine would be the wrong signal for this. Nevertheless, the lifestyle sector is not completely dead for Cash. Selected topics will find their place in the irregular fifth issue, but not under the title Lifestyle. (dse)

Last weekend, the opening of the 49th Venice Biennale was the feature topic of the press. The Swiss press also reported extensively and prominently on the biennial showcase of contemporary art. However, anyone who wanted to read about it in the Italian daily newspaper La Repubblica, which is not shy about its cultural reporting, looked into the void, at least during the 3-day vernissage period. Not even on Sunday was it possible to read about the opening ceremony on Saturday, although numerous members of the Italian government had their say at the event. But just those who have nothing more to say ... Be that as it may, the organizers of the Biennale ensured with a clever move that on Sunday nevertheless the front page advertised the international art exhibition. How? By cheekily placing an ad on it that contained all the necessary information, including the Internet address. And as we know, some readers can't distinguish between the advertising and editorial sections. Chandra Kurt
Column

Head line judge
by Martin Lanz
80 percent of people read only the headline of an ad. If they don't understand it, eight hundred thousand of one million francs have been misappropriated. Copywriting is therefore a very responsible task. My friend Markus Ruf quotes this headline in his latest column: "Many companies gain the experience they would have needed to buy the right computer on the wrong computer they bought." Capito? Short? Quick to understand? What the heck! We copywriters agree: mega.
Or what do you think of this one from WHS? It belongs to the brilliant series of daily ads, and it's still pretty young: "Is Maradona's only career now as a linesman?" I assume that the joke in this text was understood by less than one percent. But certainly by Christoph Daum. (But who is that?) After all, you have to know something about football and a lot about cocaine.
What is to be thought of texts that a small minority finds brilliant and a large majority does not understand? The question must be answered by who pays for these works. Obviously, there are always language sponsors who finance the fun of the job for us writers. So in the future, we could write headlines that have nothing to do with the product. For example: "Cats would buy whisky." As a footnote, the client might note. *This ad for Red Label was powered by Whiskas.
Pretty drunk, huh? Maybe by now you've understood the title of this column. You then belong to the very large majority. But who wants to belong there! And that's why I find my headline so giga slim that I'd love to sell it to Unilever. For Linea. Instead of the stingy WerbeWoche. For a hundred francs.
[email protected]
Martin Lanz is a freelance copywriter and
Head of the Creative Academy Zurich.
Language Observer

You or you (I): You can say you to me
In the beginning, everyone was addressed by grunt. It was only in the course of history that social differences were also reflected in the form of address. It is said to have been Caesar who taught people politeness. After his victory over Pompey, he wanted to be addressed by Her: in the plural. The reason was obvious. He united the power, which had previously been distributed among several, to himself alone.
The earliest German record of Ihrzen dates from 865, when Otfried von Weissenburg addressed Bishop Solomon of Constance with this so-called pluralis reverentiae. The polite form subsequently became so clearly established that the linguist Johann Christoph Adelung wrote around 1800: "Du is only still used 1. against God, 2. in poetry, 3. in the language of close confidentiality, and 4. in the tone of lofty dominion and deep contempt."
Even "yours" was soon no longer distinguished enough. It was increasingly replaced by Sie. In 1799, a German in Graubünden was offended by the fact that "the strangers of nobility are received with great hospitality, but they have to put up with being addressed as she. This also happened to Emperor Alexander of Russia on a visit to the Rhine Falls in 1814, to whom the skipper, as he tried to stand up in the swaying barge, called out: "Hocked abe, Majeschtät!"
As late as 1830, children addressed their parents as Sie. In the second half of the 19th century, unions adopted the Du as an expression of fraternity. Beginning in 1968, it spread like wildfire from student-troubled universities and established itself as the standard in private interactions. It tore down barriers between people - and erected new ones: Anyone who was on a first-name basis was now considered an outsider. Whereas the "you" had previously been regarded as a polite way of showing respect, it now marked social distance: You - that was the class enemy, while the "you" stood for solidarity and cohesion.
Some companies took advantage of this and anchored the "you" bindingly in their corporate language. Not all employees agreed: Just recently, a department head went to court because he didn't want to be forcibly ducked after his company was taken over by an "unconventional company headquartered in Sweden" (court transcript). However, the court found that the use of the first name did "not constitute a humiliation or degradation of the person" because "all employees including the bosses" were on first name terms. (Handelsblatt, July 29, 1998)
The situation is different on public transport: In Germany, anyone who uses profanity toward a policeman can expect a fine of up to 1,200 marks. In Switzerland, this is not seen so closely. Police spokesman Bruno Kistler: "People who go on patrol in District 4 are almost always called by their first name. You can't take that personally." After all, sixty percent of all TV commercials on Swiss television now use the first person form.
Beat Gloor, www.textcontrol.ch

Measurement of advertising media performance adopted at the end of 1998 by the DMMV, GWA, VDZ, BDZV and VPRT associations as a binding measure.Online-ABCAd-Impression
In contrast to page impressions, the number of visual contacts with an advertising medium itself is measured, not with the page carrying the advertisement.
Ad request size for measuring advertising media performance. Frequency with which an advertising banner or the page with the advertising banner is loaded and viewed by a user. Comparable to net reach in traditional advertising. See also ad impression, ad request.
Ad serverServer that stores and manages banners or other advertising material from advertising customers. An ad server transforms the banners to a website booked by the customer, creates evaluations and statistics on advertising efficiency. See also Banner Server.
Ad-TechGerman company that operates a high-performance ad serving center in Frankfurt. Provide particularly high bandwidths for data transmission.
www.adtech.de
Advertorials "Content" is placed in such a way that it is not recognizable to the user as advertising at first glance.
Ad viewNumber of visual contacts with an advertising object, e.g. banner. A rather outdated term in the discussion about general metrics for advertising media contact. See ad impression, ad request.

The French-American media group Vivendi Universal is selling its stake in the advertising network Havas Advertising. Vivendi will receive 453 million euros for its 9.9 percent stake in the company.News Vivendi sells Havas stake
The resulting capital gain of 113 million euros will be used for the acquisition of the US publishing house Houghton Mifflin. Some of the Havas shares were sold to institutional investors, the rest (around one percent) to Havas itself.
RTL 2 scales back "Big Diet "The German private channel RTL 2 has to significantly scale back its reality show "Big Diet". From June 25, only four instead of seven editions will be broadcast per week. The market share in the advertising-relevant target group of 14 to 49-year-olds was only 5 percent instead of the expected 15 percent. RTL 2 marketer IP Deutschland will also reduce the price of a 30-second commercial by up to 73 percent.
Lindt & Sprüngli selects Modem MediaSwiss chocolate company Lindt & Sprüngli (L&S) has selected Toronto-based Modem Media as its global Internet agency and strategic partner for e-commerce. "We are an international company and Modem Media is the ideal multinational Internet partner to guide us through the global launch of our e-commerce initiative," said Philippe de Korodi, International E-Commerce Manager of L&S.
Sony advertised with false reviewsThe Hollywood studio Sony Picture Entertainment has had its productions praised by a fictitious film critic for years. Quotes from a David Manning of the daily newspaper The Ridgefield Press were used in the advertising for its films. When reporters from Newsweek called The Ridgefield Press and asked to speak to Manning, the hoax was exposed: The newspaper, which doesn't even publish its own movie reviews, was completely unaware of the name.

The April result is worse than in March and similar to April 2000After the slump in March, gross advertising expenditure did not recover in April. The overall result is even almost CHF 20 million below that of the previous month. Compared to April a year ago, the overall result is slightly better, rising by 0.4 percent or CHF 1.3 million.The poster companies reported positive results with an increase of 21.2 percent (CHF 6.3 million) compared to April 2000. The Internet also reported double-digit growth (plus 18.9 percent or 294,000 francs). TV is up 10.1 percent or CHF 6.1 million on the previous year, consumer magazines are up 5 percent or CHF 3.2 million, and radio stations are up 2.5 percent (CHF 256,000) on the previous year.
Newspapers have already suffered their third loss in a row this year, and the declines are more pronounced each time, with a drop of 8.6% or CHF 14 million in April. Cinema also lost ground (down 11.6 percent or CHF 0.6 million), teletext was down 4.2 percent (CHF 66,000) and specialist magazines were down 3.5 percent (CHF 0.74 million).
Accumulated over the first four months, gross advertising expenditure stagnated at an increase of 0.3 percent or CHF 3.4 million. Markus Knöpfli
Gross advertising expenditure by media

April 2000/2001 in comparison
in 1000 Fr. / 2000 in 1000 Fr. / 2001 +/- in %
Daily newspapers 154040 140755 -8.6
Publ'journals 62839 66012 5.0
Trade journals 21237 20497 -3.5
TV 59432 65424 10.1
Radio 10107 10363 2.5
Cinema 5217 4613 -11.6
Teletext 1576 1510 -4.2
Poster 29627 35908 21.2
Internet banner 1552 1846 18.9
Total 345627 346928 0.4
Source: Media Focus