Which cultural event did you visit last and why this one in particular?Muse & Musse Barbara Hartmann
Barbara Hartmann: A sunrise worthy of a film.
What are you reading right now and why?
Hartmann: "Ashtray Gymnastics" by Max Goldt, short and quirky.
Which CD do you currently prefer to listen to?
Hartmann: Depending, from "Moloko" to "Bullitt".
Which movie would you most like to see again and why?
Hartmann: "Delicatessen" by Jeunet et Caro, deep black humor, wonderful.
What TV show did you fall asleep during the other night?
Hartmann: With the first film of the evening program, with the following one I woke up again in the middle of it, this resulted in a somewhat strange, completely new kind of film.
What is your latest discovery on the Internet?
Hartmann: www.britart.com
Love is...?
Hartmann: Indescribable.

Ringier sees a good future for MEXMartin Kall, Head of Magazines at Ringier, comments on the sale of MEXIt is unusual for Ringier to announce a sale and not provide information after the sale has taken place.
Martin Kall: We carried out a market analysis with MEX employees and presented the results to the Group management together with the sales proposal. We owed this group an open answer about the decision. It should also be easier to sell now. Everyone has heard from the media that we want to sell.
Is it so difficult to find a buyer for MEX?
Kall: It has to be a flexible small entrepreneur who has a foothold in the youth market. If we find that person, he will have a lot of fun with MEX. I am optimistic.
If you are already using our editorial section for advertising, please place a commercial for MEX here.
Kall: (laughs) No, I don't want to go that far, otherwise your editorial content would be overloaded with advertising. That would damage the image of WerbeWoche.
Ringier only wants to sell the magazine, but not the associated website www.mextown.ch. Doesn't that make sense?
Kall: Mextown is doing very well. But if someone interested in the magazine is also interested in the website, we will of course look into it - if the price is right.
Cashual also flopped in 1998. Why didn't Ringier have a very lucky hand that year?
Kall: 1998 was also the year in which we launched GesundheitSprechstunde. It's a wonderful title that now has 500,000 readers. If I hit the bull's eye every time out of three shots, I'm also satisfied. Incidentally, in the magazine markets of Germany or France, the proportion of titles that are launched and discontinued is much higher than in Switzerland. It's also part of the publishing business to take risks. But you also have to have the courage to say when something hasn't worked out. Interview: Markus Knöpfli

MSN, Yahoo & Co. want to market their platforms more strongly in Switzerland than beforeBy Clemens Hörler Hotmail, GMX or Yahoo are among the most used websites in Switzerland. Nevertheless, they have not been used too intensively as platforms for Swiss online advertising so far. However, many global Internet giants have now started to market their sites in Switzerland more intensively.
On international dotcom sites, too, advertising banners can be used to target Internet users in a specific country or a clearly defined region. This is made possible by an automated analysis of the data left behind by visitors to a website, for example the IP number they used to dial into the Internet. Other websites operate geotargeting on the basis of user profiles that consumers have created themselves and which also provide information about their place of residence. This is the case with Hotmail, for example.
A survey of Swiss marketers shows that geotargeting is also an issue in Switzerland. However, in terms of traffic, international websites have so far been rather neglected in Switzerland. This is despite the fact that Yahoo, Hotmail and Altavista are among the most frequently used websites.
According to MA Comis 2000, MSN Hotmail has a narrow user base of 258,000 in German-speaking Switzerland. MSN Switzerland has 480000 active users from all over Switzerland. Yahoo also has an impressive user community: Philippe Guillanton, Director of Operations at Yahoo Europe, estimates the number of Yahoo users in Switzerland at 400000 to 700000 people based on log file evaluations.
There are two reasons why only a gentle Swiss advertising breeze has been blowing on these sites so far.
Some of the big sites have not been marketed with full force yet. In addition, many Swiss companies preferred to place their banner ads on Swiss sites.
"Until recently, many advertisers were not even aware that geotargeting was possible. They simply thought that a Swiss product also had to be advertised on a Swiss website," explains Gianni Abner, who is responsible for Internet media planning at B, G, Media "Internet" in Zurich.
Urs Wolfensberger, Managing Director of Real Media Switzerland, which has also marketed Yahoo up to now, also believes that it would probably be easier to market Yahoo.ch than Yahoo.com or Yahoo.de in Switzerland.
And Peter Strassmann, Managing Director of ActiveAgent Switzerland, notes: "Many advertising customers also tend to use products online that they already know from the offline world." The best examples of this are the websites of media companies, which have already proven to be reliable advertising partners in the print sector.
The market research institute Forrester Research has shown for Germany that some media sites are not even among the top 50 in terms of page impressions, but are in the top 10 in terms of advertising revenues.
According to Abner, however, there is now a discernible trend toward the international platforms: "Many customers are realizing that you also have to develop a lot of advertising pressure in a short time for certain campaigns on the Internet. Based on the traffic figures, not very many Swiss sites come into question for this."
Increasing pressure from global players on Swiss websites
It's not just advertisers who are increasingly discovering the global Internet platforms, they are also discovering Switzerland. U.S. players in particular, who had pounced on the U.K., Germany and France when they entered the European market, also want to plow smaller markets more intensively in the future: Microsoft, for example, wants to boost marketing of the MSN offering, which also includes Hotmail, according to Roger Moser, Business Manager of MSN Switzerland.
Unlike most other international players, MSN launched a Swiss platform (www.msn.ch) as early as 1998. For marketing, MSN counts on Real Media, Active Agent and Ad Pepper, but also on its own sales staff.
Altavista also wants to launch its own Swiss website before the end of the year. Then, in addition to the international marketing partner DoubleClick, Swiss marketers will also get a chance. Without its own Swiss website for the time being, Yahoo wants to push marketing in Switzerland and is establishing a branch office in Zurich for this purpose, which will start operations at the end of the year. According to Wolfensberger, Real Media will also continue to market Yahoo in Switzerland.
The intensified marketing efforts of the global Internet giants in Switzerland, but also the growing awareness among advertisers that it is also possible to target Swiss consumers on websites of global players, will probably intensify the competition for online advertising francs.
As a result, the main sufferers could be medium-sized websites that neither enable precise targeting nor can keep up with the very big portals in terms of traffic. This primarily affects so-called horizontal platforms of the 2nd tier.

The future of electronic media was also discussed at the Edi AwardsBy Andreas Panzeri What does the script of the future look like for the new TV program "Fusion of Film, Internet and Television"? And does this development even have the potential to become a hit with the public? Answers to these questions were sought in a panel discussion with a prominent cast at the Edi Award ceremony.
"Tomorrow will be like today. Things don't change that quickly." That was Joseph Weizenbaum's provocative opening statement. The computer pioneer and guru from the Massachusetts Institute of Technology (MIT), Cambridge, was the guest of honor at the discussion led by WerbeWoche author Wolfgang J. Koschnick.
Of course, his prominent panelists were unable to turn the wheel of time forward into the future with binding promises of profit. But it was still enough for a few crumbs of entertaining prophecy. "The television of the future will look different. But many people will continue to use it with a remote control," said Jürg Wildberger from TV3.
Referring to his big brother at Tamedia, he explained: "As a producer, I will no longer be able to finance new programs via free TV alone in the future. I have to look for a majority of new channels."
In the evening, the consumer wants to sit passively in front of the box
"Every mass medium is 90 percent junk. And that will remain the case. For me, that's a law of nature." Weizenbaum would also not feel particularly encouraged to watch more TV by a "Big Brother" format in all conceivable variations.
Florenz Schaffner, Head of Communications at SF DRS, took a pragmatic view: "Users will hardly be interested in the technical means by which communication is achieved." Above all, he believes in the allure of content.
Neither the Internet nor a TV screen could evoke nearly as much glamor as a scene in the cinema, Schaffner continued. The original media would continue to exist alongside the craziest internet developments. Both Schaffner and Wildberger agree that many normal receptors who spend their evenings in front of the TV are no longer interested in interactive television if they have already had to be constantly active at work.
Christian Vaterlaus, Coordination Manager for www.skim.com, assumes that in future, enlightened people will watch a program "when they feel like it" and no longer when it suits the program director. The code word for the "abolition of prime time" operation is "broadband".
A TV company without prime time must of course develop completely new forms of advertising. Gunter Guzielski, Technical Managing Director of Fantastic Corporation (Germany), believes there will be a shift towards more product placement, as advertising integrated into a scene cannot be amputated in the future with technical sub-ties like conventional commercial breaks.
For computer pioneer Weizenbaum, it is clear that storage capacity will continue to increase in a revolutionary way in the future. For him, video recorders that record five channels simultaneously non-stop for a whole day, for example, would be possible. In the evening, you can then delete what you think you can do without at the touch of a button.
Towards the end, everyone agreed that people might still have a secret longing for a traditionally structured daily routine the day after tomorrow. Even if the "Tagesschau" can be watched on SF2 at a different time today, most viewers still tune in at the usual hour. Real fans roll out of bed for a Formula 1 race from Japan, even at the most ungodly hours of the morning.
Only some viewers will therefore be keen on information on demand. The majority will want to continue to enjoy the collective event. In any case, the discussion at this podium has not yet been time-shifted to the Internet. The summary of the panel discussion was at least transcribed from an analog tape.

In 2001, Swiss television will increasingly rely on in-house productions.Fax SF DRS relies on in-house productions
The information offering on SF 1 at midday is expanded: The "Tagesschau" is joined by the "MittagsMagazin" with regional background reports and the advice show "Trend. On SF 2, Frank Baumann gets a new game show: "Doppelmoppel.ch" is a modern "Monday Painter" in which two teams draw and guess terms on the computer for a week. On SF 1, "Risiko" will be replaced by "Eiger, Mönch & Kunz" and "Schlag auf Schlager" by "Hit auf Hit" in February. More details at www.sfdrs.ch/programm_2001
BS: Free newspapers pay for stands Providers of free newspapers in Basel must also pay fees for the installation of newspaper stands with immediate effect. The government council closed a legal loophole in the ordinance to the Allmendgebührengesetz on Tuesday. In the future this costs 300 francs per square meter and year. In addition, the administration is considering the introduction of uniform newspaper stands for all free newspapers.
Edelweiss changes editor-in-chief Marie-France Vigor is the new editor-in-chief of the lifestyle magazine Edelweiss in western Switzerland. The 45-year-old journalist replaces Ludivine Ribeiro with immediate effect. The separation from Ribeiro took place "in mutual agreement", announced Ringier. The new editor-in-chief has many years of experience with French magazines.
"Cinderella" to be discontinued After 53 editions, the beauty show "Cinderella" on TV3 will be discontinued at the end of December. Although the show with host Nubya was able to increase its average audience from 75500 to 80900 viewers. But it apparently fell short of the expectations raised by the success of "Big Brother" at TV 3. The slot occupied by "Cinderella" will be taken by a second edition of the "Millionaire Show.

The "Edi" is not the successor to the "Ogi", but the personified prize for the best Swiss commissioned and advertising films, awarded by the Swiss Film and Video Producers. by Beat Fritsch With the patronage of the Federal Department of Home Affairs (FDHA), the higher magisterial consecrations were also conferred.
Nonetheless, the Saturday edition of the Kaufzeitung Blick documented an unusually elitist understanding of culture, at least as far as the side note on the Edi was concerned - penned by Lilith Frey, partner of Ringier pundit and pamphleteer Frank A. Meyer. The author felt called upon - in ignorance of the facts, of course - to treat the Edi award as a "blatant advertising event".
How did this come about? At the same time as the film event, a reading by Alice Schwarzer, the poster child of outdated frontal feminism, took place in Zurich's Schiffbauhalle. According to Blick culture campaigner Frey, the Schwarzer audience had to make do with the side entrance of the Schauspielhaus-Dépendance in the dark and past parked cars. The author vented her anger about the commissioned filmmakers by fearing further developments of this kind, so that the Schauspielhaus, which "...has put on the international cultural mantle, is ultimately just a provincial multi-purpose hall".
In addition to the Schauspielhaus directorate, the patrons of the FDHA, a department that not only promotes film and culture, but also women, must have enjoyed the Blick article.
The Edi event, which used to be part of the Locarno Film Festival, took place for the first time this year as an independent event in Zurich. A number of ideas were therefore devised. The event started with a panel discussion and lunch, so that the shortlisted films could be viewed with a well-filled stomach. The award ceremony and trophy presentation rounded off the whole event. And last but not least, over food and drink, there was plenty of time to practice Werber's and Filmer's favorite discipline, the mutual exchange of ideas, commonly known as Werberklatsch.
The public response to the event was consistently positive. Ernst Wirz was also more or less satisfied. Although he did not receive a prize, he was well represented on the shortlist. This was due to the fact that it was not just a purely promotional judging, but that other criteria also came into play.
The ADC's Powerwomen have their work cut out for them. They are already gearing up for the big rush of entries that will soon turn the ADC office back into the annual judging battlefield. Due to the changed procedure, 25,000 juror votes will now have to be recorded on the PC, as opposed to the previous 1,200. ADC Managing Director Helen Müller immediately introduced Silvia Stillhard, her new specialist for the extra work to be done.
There was also news from Catherine Stroppel, who was present with her friend Garda Alexander. She has founded her own company and offers web design and internet support at Atelier 10012 (pronounced ten-zero-twelve). And this Friday, artist Garda Alexander is holding the vernissage of her latest light objects in Ueli Wehrli's Mönchhof Gallery.
They had a great chat at Tarzis Bono and Leo's Gerteis table. There, the group philosophized about golf and other handicaps. Or at the bar corner with the people from Blood Sweat & Tears, where producer Fredy Messmer and assistant Sebahat Derdiyok (the melodious surname is synonymous with "carefree") provided the atmosphere.
The following day, the 100th anniversary of the Allgemeine Plakatgesellschaft (APG) was a more sedate and civilized affair. The company, led by Christian Kauter, invited guests to the "Baur au Lac" in Zurich, where not only important figures from the advertising world, but also a Federal Councillor, among other magistrates, found their way. The highlight of the evening was the appearance of Kaspar Villiger, who gave a humorous speech entitled "Condensation and truth".
Kenneth Angst, Deputy Editor-in-Chief of the NZZ, had a happy reunion with the Federal Councillor. He had spent four years in Bern as Villiger's advisor and took the opportunity to introduce his former boss to his wife Nicole-Cécile Weber. "Have you noticed that your husband is not an easy man?" said the magistrate to the NZZ cadre's wife.
Another highlight - in addition to the fine food and sophisticated ambience, of course - was Jakob Schönenberger's staged journey through the poster art of the last hundred years. Images of posters from bygone times were projected beyond the neighboring Schanzengraben onto two oversized screens and a wall of spray mist. The performance caused a reverent hush in the outer wing of the noble hostel.
And it was not only with its series of events, which took place in various cities throughout the year, and of course the concluding gala in Zurich, that APG showed its generosity. As a thank you, every visitor received a serigraph by the artist Celestino Piatti as a parting gift.
We would like to make a belated correction to the shortlist, which was brought to our attention by Peter Kümmerli, head of the Beobachter publishing house, who unfortunately renamed Andreas Z'Graggen Medard Meier on our homepage and made him editor-in-chief of Bilanz again, as he had once been. We apologize to all those affected and thank reader Peter Kümmerli. Well observed!
Beat Fritsch smiles at a bon mot from Federal Councillor Kaspar Villiger. As Figura shows, the APG anniversary was a very cultivated occasion.

When and where advertisers usually celebrate or jury films is determined at the various events of the scene. Do you already have something to report? Pick up the phone (01 296 97 98) or hit the keys ([email protected]). Event tips and further shortlist images are available online at www.werbe woche.ch/shortlist

It’s been clear for quite some time—not just since the success of the hospital drama «Emergency Room»—that Americans have a special relationship with medicine and related topics. They are also by far the most prolific developers of medications for every conceivable treatment. This two-page spread, found in the New York Times Magazine, is clearly aimed at the roughly ten million Americans who suffer from social anxiety and offers them the definitive solution that will free them from all their chains. It’s called Paxil. However, since every coin has two sides, the ad also immediately lists the drawbacks of this mood-boosting pill. For example, it can cause a dry mouth, loss of appetite, sexual side effects in both men and women (long live the imagination), or drowsiness. Fortunately, the copy also reveals that most Paxil users don’t give up the medication despite these «bonus» effects. That’s understandable—after all, it was the Americans who invented the motto “The show must go on.” And not just when it comes to Hollywood. Chandra Kurt
Language Observer: Kitsch! (I)
»Kitsch is when you can't help but cry, for example…« – »Don't tell me—you cried during !« – »I cried during , too.« – »Tolstoy would have been offended by that.« – »Oh, come on, Tolstoy isn’t kitsch, even if I cried, and it’s still kitsch, even if you didn’t cry.« – »Come on, you just cry faster than I do…”
Kitsch is hard to define—and that’s probably why it’s so easily used as an insult. Crying alone isn’t enough of a criterion. When we criticize texts, images, or music, we suddenly find ourselves lacking standards after forming an initial, subjective judgment.
«Kitsch» comes from the old dialect word "kitschen," which means something like "to mix" or "to smear together." It also carries connotations of "kitten" (to glue together). A lighter shaped like a Venetian gondola is kitschy because its function (producing a flame) has been glued together with the shape of a boat. When it “snows” on the little nativity scene inside a ballpoint pen, three things are kitschily combined: Christmas, snow, and the ballpoint pen. If it also says “I love Tobago” on it, the pen is even more kitschy.
Vilém Flusser’s model of the cultural cycle provides one criterion for kitsch: Human beings are primarily engaged in transforming nature into culture (an animal hide becomes a shoe). Through use (consumption), cultural goods break down into waste, which eventually reverts to nature.
Recycling runs counter to this process: waste does not become nature, but rather culture once again. This is precisely the function of kitsch: the reintegration of waste into culture. Instead of letting folk music rest in peace, for example (since, with few exceptions, these peoples no longer exist), costumed city slickers perform over-the-top versions of old tunes.
Is kitsch perhaps so appealing because it turns back time? The past becomes the present again. That’s nice (nostalgia) and convenient: we don’t have to learn anything new. Beat Gloor, www.textcontrol.ch
Column: Kedi Is Dead
By Martin Lanz
I was in prison. I visited a murderer. I asked him if he’d tell me his story. He told it to me. His story. And he cried. So I took him in my arms. I cried with him. I asked him if I could be his friend. Because behind the headlines, I found a human being. A terrible, tragic, sad figure. Worthy of your love and mine.
My friend Murat gave me a little kitten. I named it Kedi. Because “Kedi” means “cat” in Turkish. Kedi was hit by a car. I rushed over to my friend Murat’s place. And we cried together for a long, long time. He cried in Turkish. I cried in Bernese German. And I learned that Turkish tears are just like Swiss tears. Just like the tears of my friend, the murderer.
When there was a war in his country, Assan came to me. He was afraid for his family. He cried. And so did I. He cried in Albanian. I cried in Bernese German. Then we shook hands. He gave me his Albanian-soaked hand. I gave him my Swiss-soaked hand.
"Get rid of them!" you say. "Are we supposed to feed them, too?" you ask. "I've got nothing against them. But enough is enough," you say. "Scum is scum, and we're us," you believe. "Fucking dealers. Fucking whores. Fucking Yugos.".
If you see one—one of those scumbags. If you run into one. One of those sluts. Then don’t hesitate. Swing for a solid punch. A handshake. And ask for a story. His story. Her story. And look at the tears on that face. And add your own. As a target audience, they’re useless to us advertisers. They have no money. But they have stories. Listen. Make them your story. And tell it to our dear friends on the far right. They have tears, too. And Kedi is alive. Purring. Do you see? Do you hear?

The Swiss super cow is currently doing probably the best advertising worldwide for non-alcoholic drinksBy Bruno Amstutz After a few hapless years, Switzerland was finally able to pick up a London International Advertising Award on November 13. Once again, Lovely proved to be the best Swiss ambassador. Six other Swiss entries made it to the final.
Every year, the prestigious London International Advertising Awards (LIAA) set new records for entries: 17799 entries from 77 countries were submitted this year, 573 more than last year. However, seven fewer countries took part.
Once again, the competition turned into a home game for the Anglo-Saxon agency world. Awards were announced in a total of 175 categories, 42 of which were not awarded.
The LIAA jurors reserve the right to withhold awards for individual categories if, in their opinion, no submitted work meets the necessary requirements. Of the 133 awards handed out, 24 remained in the UK, with 39 winners coming from the USA. The remaining 75 countries vied for the remaining 70 awards.
German-speaking advertisers have caught up. Last year, only six awards found their way to Germany, with Switzerland and Austria coming away empty-handed. The new millennium brought Germany ten awards, two of them in the Interactive Media category. The only Swiss award once again goes to the dairy cow Lovely.
Lovely is once again the figurehead of Switzerland
The rhinoceros motif was successful in the Print - non-alcoholic beverages category. The fact that Lovely is not only fighting against pachyderms in Switzerland, but also with legal problems, did not impress the judges.
The cow that frightened the chess grandmasters also reached a final place in the TV/Cinema - Dairy Products category, underlining its position as a figurehead of Swiss advertising.
Beer ideas are very popular at the LIAA
Advico Young & Rubicam booked another final place with the spots for Kuoni, the remaining finalists in the TV/Cinema category were cR Seiler DDB, Basel (Stop Aids), McCann-Erickson, Zurich (Alcoholics Anonymous), and Publicis, Zurich (Mambo Friendship Store).
McCann-Erickson, Geneva, received two places on the finalist list in the print category as a reward for their anti-landmine campaign. Finally, Futurecom Interactive AG took the only Swiss finalist place in the interactive media category with its work for Swissair Freeflight.
Among the Anglo-Saxon agencies, DDB Chicago proved to be the big winner of the competition: with its beer ideas for Budweiser and Bud Light, the agency took the Grand Prizes in the TV/Cinema and Radio categories. After the "Whassup" spots for Budweiser had already bagged a Golden Lion in Cannes, they cemented their status as one of the most important campaigns of the year with the LIAA Grand Prize.

Renzo Selmi is committed to greater acoustic quality in advertisingBy Bruno Amstutz The Selmi recording studio is regarded in the advertising industry as a guarantee for high-quality radio commercials. However, the acoustic workshop also produces a wide range of original compositions and aims to raise the sound quality of TV commercials to a higher level.
Renzo Selmi and Christoph Grunder, owners of Selmi Tonstudio, are advocates of good sound. As is well known, sound makes the music, even in radio and TV advertising. The numerous awards they have won show that they have often hit the right note: the studio has received 38 awards from ADC Switzerland and two from ADC Germany, as well as 10 Golden Ear awards, 3 Clio Awards and 2 golden ITVA awards.
However, according to Renzo Selmi, the sound quality in Swiss advertising is not at its best; sometimes he feels like he is in an acoustic third world country in Switzerland. For Selmi, 60 percent of the impact of TV commercials in particular lies in the soundtrack, which conveys the emotions and reinforces and influences the expression of the images. Despite this, the sound engineer identifies a major acoustic deficit in Swiss commercial productions.
Even expensive commercials are often dubbed cheaply
"The soundtrack is often the weakest link in the production chain," complains Selmi, "sometimes less money is spent on it than on the catering for a major film production." In his opinion, the carelessness of the acoustics also leads to a carelessness with which viewers consume many commercials.
When the protagonists on the screen are speaking ten meters away, it sounds like a crime to Selmi when he hears that the speakers in the studio are sitting twenty centimetres in front of the microphone. When he dubs commercials, he has his voice actors recite their lines in the garden in the snow and rain if necessary.
Productions in the USA have also heightened the studio managers' awareness of the quality of original compositions. "In the USA, sound carries more weight," says Selmi, "and it's easier to find professional musicians who do their job to a high standard without false pretenses." He and his team also know where to find such people in Switzerland.
When orchestral music is required, an orchestra plays for Selmi, not a synthesizer. From Ländler to Michael Jackson soundalikes, the sound specialists offer a wide range of original compositions.
There is plenty to do, but Selmi does not want to expand. In addition to the owners, a sound engineer and a secretary are employed and freelancers are brought in as required. "We want to stay at the forefront of technology," explains Selmi, "but not grow. Size kills creativity."

AY&R encourages Zurich's population to think about xenophobiaThe city of Zurich is setting an example for its foreigners with an advertising campaign. This is in line with a report on its integration policy adopted last year. "In addition to concrete measures to solve problems, we also need to improve the atmosphere in the xenophobic climate, which is mainly fueled by the SVP," says Brigit Wehrli, Director of the Department of Urban Development, explaining the campaign. The campaign, consisting of posters, advertisements, TV and cinema spots, was designed by Advico Young & Rubicam (AY&R) and is based on the slogan "Only a cosmopolitan city is a cosmopolitan city".
"If you want to be a cosmopolitan city and treat Switzerland with a certain arrogance, the residents must also behave like citizens of a cosmopolitan city," says Wehrli.
"We were looking for a way to get as many people as possible, who we might never reach, to think," says copywriter Jürg Brechbühl. For example, we tried to confront certain focus groups with the topic of xenophobia in places where they like to hang out. A subject with the headline "Imagine if only Zurich people played at the ZSC Lions", for example, is placed on a mobile poster site in front of the Hallenstadion. "The posters are not intended to be advertising, which is why they almost look like manuscripts," says Art Director Valentina Herrmann.
The commercials show integration that has already taken place: In both films, the viewer hears a socially apparently integrated person talking about himself in dialect, while the picture shows a constant shot. This sequence lasts 13 seconds. Only when the speaker comes into the picture at the end of the film does it become clear that these are people of color from Zurich: namely flight attendant Mary Wamaitha from Kenya and 15-year-old ZSC-GC junior Richard Schuppisser from Jamaica. Ernst Weber

NatraTaste profits as image freeloader and provocateurBy Thérèse Balduzzi Two provocative commercials for the artificial sweetener NatraTaste in America make fun of the advertising for a more expensive competitor product. Through their self-made style, they give the impression that the product is cheaper because it does without glamorous advertising.
The "Spokesmodel" commercial makes fun of ads featuring supermodels: at first, all that can be seen is a pretty pair of long female legs strutting along the beach. But it soon becomes clear that the blonde, who is first photographed in a bikini with flippers, then with a ball, and finally with a cowboy hat and a horse, is a Barbie doll being pushed around by a hand in the sandbox.
The background consists of a composite puzzle. An off-screen voice explains, "We don't spend a lot of money on supermodels, so you don't have to spend a lot of money on NatraTaste." In the "Blimp" spot, a hand drives a toy blimp suspended by strings, which are the advertising blimps ubiquitous in New York, around against the backdrop of a sports stadium. Similar to before, the voiceover explains, "We don't spend a lot of money on blimps, so you don't have to spend a lot on NatraTaste." The spots are followed by the tagline, "The same sweetener as Equal at a sweeter price."
Advertising side hustlerand around the clock
NatraTaste takes a side swipe at its more expensive competitors, suggesting that consumers are helping to fund expensive model advertising with the price difference. Equal is a protected trademark of the company Nutrasweet. NatraTaste is a registered trademark of the manufacturer Stadt Corporation.
The spots were designed by the New York agency Pedone & Partners. The low-budget quality of the make embodies the down-to-earth character of the cheaper competitor product and was created for the target group of women aged 18 to 49. The spots will run from morning to night on all network stations. In addition, NatraTaste will also sponsor the Chase Women's Tennis Championship, which will be held at Madison Square Garden in November.
Earlier commercials for NatraTaste compared buying the competing product, Equal, instead of NatraTaste to a series of absurd situations. "It's a good opportunity to go on the attack," says Tom Cook, CD of Pedone & Partners. NatraTaste has the image of a brash brand that doesn't shy away from confrontation, he says. It also enjoys
of a loyal clientele. What remains unmentioned, however, is the fact that such side-swipes subliminally benefit from the competitor's expensively built image.

Wirz wraps zucchinis in sausage paper for the fast food brand TibitsTibits is the name of a new restaurant concept that is set to become a fast food chain for vegetarians. The creators are tapping into a market niche. Tibits is the place to go if you have an appetite for fresh, organically grown vegetables, enjoy eating in a restaurant with products from its own development, whose purchasing takes product ethics into account and avoids genetically modified ingredients as much as possible. The restaurant-bar-takeaway, which opens its doors on December 5 on Zurich's Seefeldstrasse, is run by vegetarian pope Rolf Hiltl. Page 10