2000 Epica d'Or

Agency: 180 Communications, Amsterdam
Production Co.: Harry Nash Films, London
Creative Director: Larry Frey
Film Director: Frederik Bond
Copywriter: Lorenzo De Rita
Art Director: Dean Maryon
Agency Producer: Jackie Adler
Prod. Co. Producer: Helen Williams
Director of Photography: Carl Nilsson
Post Production: The Final Cut, London
Client: Adidas International
Title: "Adidas Makes You Better"(Lomu: 60'')

 

The film is a truly international production; developed for a German client by a Dutch agency with an American creative director, an Italian copywriter and an English art director and shot in New Zealand by a British production company with a Swedish director. The spot is one of a series of commercials on the theme of 'Adidas makes you better' featuring famous athletes using their sporting skills for the benefit of society to make the point that Adidas equipment not only makes you a better athlete, but also a better person. The winning film stars the New Zealand rugby player Jonah Lomu who saves a stranded fish by returning it to the sea thereby improving relations between human beings and other species. It was shot in Auckland in November '99 and aired around the world in February. It was originally intended to use a fake fish in the film but four days before the shoot it was decided that this looked ridiculous and would prevent close-ups of Lomu running with the creature cradled in his arms like a rugby ball. An assistant was sent to Fiji where he travelled by fishing boat from island to island in search of an appropriate replacement. On the day of the shoot he returned with 4 large Maori wrasse in refrigerated boxes. The one chosen for the film was 'brought to life' with the use of strings and wires and quickly returned to cold storage after each take. Despite this, the fish began to smell more and more and by the end of the 3 day shoot Lomu's hands were impregnated with the odour. Casting was done locally and most of the characters who describe Lomu's life-saving dash through town were not professional actors, including the old fisherman who wraps up the spot with the line, ' wearing Adidas makes you more caring about fish and alligators and cats and elephants, and even people .' The Epica d'Or winner was chosen from all the category winners. The Adidas film was in a final run-off against the Bic 'Daddy' spot by BDDP@TBWA, Paris, and won by 13 votes to 10.

 

2000 Photography Prize

Photographer: Geoffroy de Boismenu
Art Director: Dimitri Smilenko
Agency: Air Paris
Creative Director: Tho Van Tran
Graphic Designer: Adrien Blanchat
Advertiser: Marithé & François Girbaud (MFG)
Spring & Summer 2000 Fashions
Medi: Print (double pages)

The Marithé & François Girbaud spring/summer 2000 collection consists of top quality functional garments that can be transformed from one style or usage to another: trousers and dresses that can be worn short or long, jackets that are reversible or that can be used as a back-pack etc.

The press campaign captures this versatility. In each ad the same model appears on the left and right hand sides of the page wearing the same items of clothing in a different way. In the middle, between the two poses, de Boismenu and Smilenko have created a ghost like impression of movement to illustrate transformation and mutation.

The different shots were taken in a Paris studio at the end of 1999 and composed during 12 working days in January. De Boismenu describes the process:

"We would try everything we could on Photoshop and every other software we could find, we would then put things together and mix them without really knowing at first what the whole thing would end up looking like. Each mouse click would bring us a new surprise. Nothing was 100% calculated."

Dimitri Smilenko was actively involved in the process. "It was more like painting a picture," he comments, "the hardest thing was knowing when to stop."

Geoffroy de Boismenu is a French photographer who works out of both Paris and New York. In addition to MFG he has produced advertising campaigns for Pepsi Cola, Toyota, Diesel and others. He also works regularly for magazines such as Vogue Hommes International, Spin, Raygun, Dazed & Confused and l'Officiel. He is currently working on a personal project; five short books using five different cameras to illustrate five different stories that will be published simultaneously.

The Marithé & François Girbaud campaign won the 2000 Stone Prize against a short-list that included a campaign for Hamburg city water (by Martijn Oort for Philipp und Keuntje, Hamburg), Kookaï (by Vincent Peters for CLM/BBDO, Paris) the Frankfurter Allgemeine Zeitung (by Alfred Seiland for Scholz & Friends, Berlin) and Playstation, 'In the Blood', print winner in the Recreation & Leisure category (by Graham Fink for TBWA, London).

 

 

1999 Epica d'Or

Agency : Lowe Howard-Spink, London
Production Co.: HLA Ltd.
Director: Rob Sanders
Copywriter : Charles Inge
Art Director: Charles Inge
Producer (HLA): Helen Langridge
Producer (LH-S) Charles Crisp
Client : The Independent Newspaper
Title : "Litany"
Media : Cinema

 

Litany, according to the new Encarta World English Dictionary, is a "long and repetitious list of things such as complaints or problems". This definition sums up the commercial well. It positions The Independent as a newspaper for open-minded people who don't like being told what to do or what to think. It does this by depicting how we are constantly bombarded with instructions on things we should not do:

"Don't talk. Don't touch. Don't walk. Don't walk at night. Don't walk on the right. Don't drink. Don't think. Don't smoke. Don't do drugs. Don't do beef. Don't do junk. Don't be fat. Don't be thin. Don't chew. Don't spit. Don't swim. Don't breathe. Don't cry. Don't bleed. Don't kill. Don't experiment. Don't exist. Don't do anything. Don't fry your food. Don't fry your brain. Don't sit too close to the telly. Don't walk on the grass. Don't put your elbows on the table. Don't put your feet on the seat. Don't run with scissors and don't play with fire. Don't rebel. Don't smack. Don't touch. Don't masturbate. Don't be childish. Don't be old. Don't be ordinary. Don't be different. Don't stand out. Don't drop out..."

This text, delivered as a voice-over by the well-known British poet John Cooper-Clark, is accompanied by a rapid series of reportage images that illustrate each point.

The commercial was shot over four days on location in Liverpool using real people. The grainy black and white scenes of a car engulfed in flames, a child holding a pair of scissors, smokers, gay couples etc. are reminiscent of newsprint photography. The final shot shows a man reading the Independent while the voice-off concludes, "Don't buy...don't read".

"Litany" has already won a number of major international awards in 1999 including the Grand Prix at Cannes and Cresta. The Epica jury deliberated long and hard but finally concluded that this is, with out doubt, the European commercial of the year.

 

1999 Photography Prize

Phototgrapher: Nadav Kander
Agency: Bartle Bogle Hegarty, London
Creative Director: John Hegarty
Art Director: Ed Morris
Copywriter: James Sinclair
Typography: Levi Strauss
Product: Levi's Sta-Prest Range
Media: Press & Posters

 

The winning ads were used in the spring of 1999 to support Levi's Sta-Prest range, clothes that offer clean-lined silhouettes and a permanent crease. The crease was first developed by the company in the 1960's and is the dominant feature in this pan-European press and poster campaign.

The graphic style of the four ads mirrors the "clean and sharp" look of the product range. Nadav Kander has given his images a 3-dimensional appearance with a strategically located crease running across them. This changes the sense of the original pictures and adds a humourous and surreal dimension to each of the four executions that make up the campaign.

Head: the portrait of a young woman who has just been given a radical and dramatic hair cut. The horizontal crease across her forehead prevents the clippings from falling onto her face and into her eyes.

Rope: a young man is gagged and bound to a chair. He struggles to free himself by rubbing the rope that ties his hands together against the sharp vertical crease that runs down the left side of the image.

Dwarf: a male dwarf poses shoulder-to-shoulder beside his attractive female companion thanks to the crease that serves as a platform on which he stands.

Tattoo: a young man with his back to the camera shows off a huge dragon tattoo covering part of his torso. The crease cuts a sharp diagonal line across his back, separating clean skin from the massive tattoo.

Nadav Kander is the only photographer to have won Epica's European photography award twice, having previously taken top honours in 1996 with his work for Classic FM. He works extensively in both Europe and the United States for clients like HSagen-Dazs, Amnesty International, Absolut Vodka, Nike and Tag Heuer.

His work also forms part of the public collection at London's Victoria & Albert Museum. It has been shown at the Tate Gallery, Liverpool, the Royal Photographic Society in Bath, the National Portrait Gallery, and at the Photographer's Gallery in London. He has recently exhibited at the Peter Fetterman Gallery in Los Angeles and is currently preparing a book on his work which is to be published towards the end of next year.

1998 Epica d'Or

Agency : Paradiset DDB, Stockholm
Creative Director : Björn Rietz
Copywriter : Björn Rietz
Art Director : Malin Carlsson
Agency Producer : Helena Westin, Caroline Forsberg
Production Company : Modfilm, Stockholm
Director : Jonas Frick
Producer : Anders Gernandt
Advertiser : Thomson Holidays
Title of the Campaign : "We know the feeling"

 

Thomson, a British company, is one of the largest packaged tour operators in the world with over 30 year's experience. The Paradiset DDB campaign successfully launched Thomson onto the Swedish market in 1998. Prior to Thomson's arrival the Swedish holiday market was already well developed with two large groups sharing a virtual monopoly over the packaged tour business. Advertising in this sector almost always looked the same; blue skys, white beaches, gorgeous people with nice suntans...a total absence of positioning from an advertising standpoint. This was the opportunity that the agency exploited. After all, Thomson had provided sunshine holidays to the British for more than 30 years, and who could be more demanding than the British when it comes to escaping from their own appalling weather? This thinking is reflected in the phrase, "We know the feeling", a totally convincing line for Swedes who are accustomed to seeing low pressure zones over the British Isles almost every day in their weather reports. From a creative standpoint it resulted in press and poster headlines like: "It's probably no coincidence that a country with over 180 days of rainfall is the world champion in packaged holidays". "Why did the British colonise Fiji and the Bahamas when Iceland and Svalbard are so much closer?" "Well, we lost Hong Kong but we still have Mallorca, Rhodes, Kos.." etc. While the press advertising concentrated on establishing Thomson's credentials with long copy, the television campaign focused singlemindedly on British stereotypes talking in the rain. An old colonial gentleman scoffs at the idea that Britain doesn't have an excellent climate and cites Cornwall, Burma and India as examples. In another spot a young "English Rose" describes her fondness for grey, while in another a hard-working divorcee talks fondly about her ex-husband who now lives with his girlfriend on a beach in Hawaii. The films were shot in London in late 1987 during the Equity dispute about voice-over payments for UK commercials. The actors union was boycotting UK productions but not foreign ones, so the Swedish crew had an abundance of first-class acting talent at its disposal. All Epica category winners were candidates for the Epica d'Or. The final shortlist also included the Italian Campari commercial, Wieden & Kennedy's "Airport '98" film for Nike and TBWA London's Playstation spot, "Double Life". In the final round Thomson beat Playstation by a single vote.

 

1998 Photography Prize

Phototgrapher: Alfred Seiland
Agency: Scholz & Friends Berlin
Creative Director: Sebastian Turner
Art Director: Petra Reichenback
Advertiser: Frankfurter Allgemeine Zeitung

 

The Frankfurter Allgemeine Zeitung (F.A.Z.) is a leading German quality newspaper. The theme of the its advertising, "There's alway's a clever mind behind it," dates back to the 1950's, as does its logo; a man with his legs crossed, hidden behind the newspaper he's reading. The F.A.Z. advertising brings this claim and logo to life and makes it relevant to today's younger readers.

The winning campaign features portraits of leading public figures hidden behind the F.A.Z. in appropriate settings. For example: Wolfgang Petersen, director of "Das Boot" is shot on the Universal Studios set in Los Angeles; Joschka Fischer, leader of the Green Party, is in a Bonn greenhouse; top model Nadja Avermann is photographed among giraffes at the Berlin Zoo; trumpet player Albert Mangelsdorff is reading F.A.Z. beside the walls of Jericho and so on...

More than 30 "clever minds" have been photographed to date by the Austrian photographer Alfred Seiland who contributed to the F.A.Z. magazine before making his advertising debut for the newspaper. Alfred Seiland's original style and technical expertise make him the ideal candidate for the F.A.Z. images that deliberately seek a part-posed, part-documentary effect.

Since none of his celebrity subjects are recognisable behing the F.A.Z papers they're reading Seiland has produced a collection of portraits and other location shots that have been published as a book and can be viewed on the Internet (www.faz.de).

Alfred Seiland works for a number of important international publications and his photos form part of the permanent collections of the Museum of Modern Art in New York and the Bibliothèque Nationale in Paris. He also teaches photography at the State Academy of Fine Art in Stuttgart. Seiland can be contacted through his studio in Austria (tel: +43.38.4246.600).

The F.A.Z. campaign won the 1998 Pro Prize award in a final vote against the Yves Saint Laurent Rive Gauche ads shot by Mario Sorrenti for the French agency Wolkoff et Arnodin.

 

1997 Epica d'Or

Agency : Pirella Göttsche Lowe, Milan
Creative Director : Roberto Pizzigoni
Deputy Creative Director : Pino Rozzi
Copywriter : Pino Rozzi
Art Director : Roberto Pizzigoni
Agency Producer : Franco Cipolla
Production Company : BRW & Partners, Milan
Director : Tarsem
Production Company Producer : Federico Fasolino
Title of Film : "The Challenge" (60 seconds)
Product : Superga Shoes

 

The Superga brand has existed since 1911 and has been rejuvenated by the Pirella Göttsche Lowe television campaign that started two years ago.

Pino Rozzi, Deputy Creative Director of Pirella Göttsche Lowe, describes the thinking behind the campaign as follows:

"Superga does not need to compete with Reebok or Nike: because Superga is different, Superga has history. Superga was a shoe that was more often in the wardrobe than out, then in 1995 Superga started with a bang, a strong and ground-breaking campaign: "Superga: either you love them or you hate them". A claim that invites a definite choice. If you don't like our shoes don't wear them. You love our shoes? Here we are."

As in previous Superga commercials, "The Challenge" is shot in black and white and presents a conflict between different generations, between good and evil, between those who wear Superga shoes and those who would never dream of doing so.

The story starts outside a factory where an animal rights demonstration is in full swing. The protesters have disguised themselves with animal masks and are seeking to prevent the factory owner from leaving the premises in his limousine while the police employ brute force to keep them under control. The violence is quite graphic; cars are overturned, tear gas cannisters fly through the air, a policeman's horse collapses in the mêlée and a young man's clothes catch fire... The factory owner seems indifferent to the protest and calmly reads his newspaper while the police hold back the crowd. One protester succeeds in breaking through only to lose a Superga shoe on the bonnet of the boss's passing car. Cut to the boss having dinner at home with his family. The atmosphere is formal and tense. He bends down to retrieve an object from the floor and discovers, to his horror, that his daughter is missing one of her Superga shoes.

BRW & Partners shot the commercial in a disused factory near Milan over five days. 500 extras were used, each one individually selected by Tarsem, the director. Editing and post-production were done in Los Angeles. The final result is a piece of film that grips the audience from the opening frame without a moment of respite, aided by the Prodigy song, Firestarter, that became a hit in Italy as a result of the Superga commercial.

Superga came very close to winning the last Epica d'Or in 1996. The new commercial triumphed this year from a final selection of Epica d'Or nominations that included the Dutch Shell commercial, Blackcurrant Tango from the UK, and the Swedish campaign for the Gothenburg Post.

The Superga commercials are as controversial as the brand's endline, "love them or hate them", the Epica jury's choice is clear!

 

1997 Photography Prize

Photographer: J. K. Potter
Agency: Garbergs International, Amsterdam
Creative Director: Paul Falla
Copywriters: Dennis Zijlstra & Paul Falla
Art Directors: Remco Bos & Mark Aink
Client: Two Dogs
Title: "Dog Face"

 

Two Dogs is a drink which was invented only a few years ago by an Australian pub owner as a solution for the over-production of his neighbours' lemon plantation. He found a way to have a natural fermentation process with the lemons which results in a lemon brew, combining the taste of lemonade with a sting of alcohol.

The brand and product category became an overnight success leading to many copies that just add alcohol to lemonade and aim at a young target. In the UK the category is bombarded as "alcopops" and soon a public discussion arose on the ethics in targeting youngsters and converting them to alcohol.

Two Dogs in the Netherlands and the Garbergs agency decided to aim for a more adult target group and to stress the alcoholic component in the product instead of establishing a sweet, childish image.

The campaign resulting from this strategy presents the brand and its alcohol content in its own peculiar way. The American artist/photographer J. K. Potter was contacted to visualise the campaign that consists of four subjects each featuring a creature that is half man and half dog.

Potter, well known within the horror scene and celebrated for many covers of horror books, still favours the old-fashioned darkroom techniques of multi-printing, multiple exposure and solarisation for producing his images. Although he thinks the digital revolution is the greatest thing since instant water, he believes with his outdated techniques he better manages to capture certain moods and to evoke specific feelings. He's particularly interested in the subtleties of human facial expression and body language. With his unique way of working Potter manages to lure us into another dimension where limitations are banished, because in fantasy all is permitted.

J. K. Potter's name is now added to the prestigious list of previous Pro Prize winners that includes Don McCullen, Herb Ritts, Rineke Dijkstra, Herlinde Koelbl, Richard Avedon, Boudewijn Smit, Michael Thompson and Nadav Kander.

 

1996 Epica d'Or

Agency : Ogilvy & Mather, London
Creative Director : Patrick Collister
Copywriter : Jerry Gallaher
Art Director : Clive Yaxley
Production Company : Tony Kaye Films, London
Director : Tony Kaye
Production Company Producer : Amy Appleton
Client : Guinness Draft Beer, "Bicycle"

 

The Guinness "Bicycle" commercial, together with "Old Man" (runner-up to "Bicycle" in the Epica Alcoholic Drinks category), was released in March 1996 and marked the first new UK advertising campaign for Guinness in 8 years.

The central theme of the new campaign is summed up in the baseline, "Not Everything in Black and White Makes Sense". Each commercial presents a scenario which is not necessarily as it seems, and which is related to a quotation that appears on the screen during the ad. At the end of the commercial the viewer is forced to think again, both about the situations presented and about the product, thereby making the point that life, like Guinness, isn't just black and white.

The basic thinking behind the advertising was based on the need to challenge beer drinkers' pre-conceived notions about the brand. The debate created by the campaign, and the open-ended nature of the commercials, was designed to make Guinness drinkers take a fresh look at the product and to force non-Guinness drinkers to think again about a brand that they thought they had neatly pigeon-holed.

The winning "Bicycle" commercial features a series of situations in which women relax together and perform tasks that are normally considered to be exclusively reserved for men. We see them playing darts, shooting pool and laughing together in a pub while a couple engage in arm-wrestling. Women are seen emptying a dustbin, driving a truck, operating a pneumatic drill and emerging from a mine shaft while the song "I'm Gonna Wash that Man Right Outta my Hair" explains the total absence of men in the spot. Halfway through the black and white film the following quote appears on the screen: "A Woman Needs a Man Like a Fish Needs a Bicycle", followed by shots of a completely empty maternity ward. This apparent contradiction is resolved in the final scene showing a fish riding a bicycle, underlining the point that not everything in black and white makes sense.

Much of the spot's credibility stems from the recognition that many women actually do traditionally male work. This is reflected in the casting that presents real women in real-life situations without attempting to glamourise them, but at the same time avoiding stereotypes and any kind of sexual ambiguity.

The commercial is a faithful rendition of O & M's storyboard. It was shot in London except for the final fish sequence that was computer-generated by Digital Domain in Los Angeles. The Tony Kaye "touch" and his ability to "capture the moment" are evident throughout the film.

In addition to "Bicycle", the short-list for the 1996 Epica d'Or included the Italian Superga commercial "The Sea", Diesel's "Jesus Lives", "Cheat" for Guess Jeans and "Candle Power" for Madame Tussauds. After a process of progressive elimination, "Bicycle" achieved a clear majority vote in competition with "The Sea".

 

1996 Photography Prize

Photographer : Nadav Kander
Art Director : Brian Connolly
Agency : BST BDDP, London
Creative Director : Tom Hudson
Design Advisor : Gary Denham
Art Buyer/CSM : Carolyn McCarthy
Client : Classic FM
Title : "Power"

 

Nadav Kander is rapidly becoming one of the biggest names in European advertising photography. With increasing frequency his clean, sharp and dramatic images are enhancing the advertising of leading agencies across the continent as evidenced by his latest award-winning work for Classic FM.

Classic FM, launched in 1992, is the most listened-to national commercial radio station in the UK. John Spearman, its Chairman, was previously Chief Executive of CDP London. His strong agency credentials and BST BDDP creative input both contributed to a brief that allowed Kander's talents to flourish.

Classic FM's advertising has always ignored the conventional methods of selling radio in the print media. Instead of promoting specific programmes or using big visual references to the station's frequency, Classic FM has focused exclusively on the emotions associated with listening to classical music. The winning advertisement, art-directed by Brian Connolly, is part of the station's latest campaign which uses unusual visuals of musical instruments juxtaposed with expressive nouns to trigger emotional responses.

"Power" at first glance appears to be an oil refinery, whereas in fact Kander has produced a carefully composed photograph consisting of a French horn, a saxaphone and two clarinets. A vast selection of instruments were collected for the shoot and were painstakingly arranged and re-arranged by the photographer before satisfying his demanding eye. For "Exhilaration", a second subject in the campaign, Kander photographed a harp, but at an angle that creates the impression of a roller coaster.

Nadav Kander is 35 years old and grew up in South Africa before moving to London in 1982 and setting up on his own in 1986. His work forms part of the public collection at the Victoria and Albert Museum, London. It has also been shown at the Tate Gallery in Liverpool, the Royal Photographic Society (RPS) in Bath, the National Portrait Gallery, the Michael Hoppen Photography Gallery and the Photographer's Gallery in London.

He has won numerous awards for his work in Britain, Europe and the USA and has recently photographed campaigns for: Marlboro, Nike, Häagen Dazs, Tag Heuer, Harvey Nichols, Umbro, the International Wool Secretariat, the Spanish Tourist Board, Levi's as well as Classic FM.

Kander's name is now added to the prestigious list of previous Pro Prize winners that includes Don McCullen, Herb Ritts, Rineke Dijkstra, Herlinde Koelbl, Richard Avedon, Boudewijn Smit and Michael Thompson.

1995 Epica d'Or

Agency : Faulds Advertising, Edinburgh
Creative Directors : Andrew Lindsay / Simon Scott
Copywriter : Adrian Jeffery
Art Director : Lindsey Redding
Production Companies : Tony Kaye Films / Helen Langridge Associates
Film Directors : Jonathan Barnbrook / Graham Wood / Simon Taylor
Tv Producers : Yvonne Chalk / Helen Langridge / Tim Maguire
Client : Bbc Radio Scotland

 

1994 Epica d'Or

Agency : Wieden & Kennedy, Amsterdam
Production House : Pytka Productions
Copywriter : Bob Moore
Art Director : Warren Eakins
Film Director : Joe Pytka
Client : Nike European Headquarters, "The Wall"

 

1993 Epica d'Or

Agency : Abbott Mead Vickers BBDO - London, Great Britain
Production House : Tony Kaye Films
Creative Director : David Abbott
Copywriter : Tom Carty
Art Director : Walter Campbel
Film Director : Tony Kaye
Client : Dunlop (Tyres)

 

1992 Epica d'Or

Agency : Lowe Howard-Spink - London, Great Britain
Production House : The Paul Weiland Film Company
Creative Director : Paul Weinberger
Copywriter : Chris Herring
Art Director : John Merriman
Tv Producer : Charles Crisp
Film Director : David Garfath
Client : Reebok (Sports Shoes)

 

1991 Epica d'Or

Agency : McCann-Erickson - Milan, Italy
Creative Director : Milka Pogliani
Copywriter : Alessandro Canale
Art Director : Stefano Colombo
Photographer : Graham Ford
Client : Levi'S 501 (Jeans)

 

1990 Epica d'Or

Agency : Chanel - Paris, France
Production House : Pac
Creative Director : Jacques Helleu / F. Quentin
Art Director : Jean-Paul Goude /
Jacques Helleu
Tv Producer : Alain Bernard
Film Director : Jean-Paul Goude
Photographer : Gerard Sterin
Client : Chanel / Egoiste (Cologne)

 

1989 Epica d'Or

Agency : DMB&B - London, Great Britain
Production House : Mendoza Productions
Copywriter : Neil Pavitt
Art Director : Oliver Harrison
Tv Producer : Cydney Barker
Film Director : Oliver Harrison
Client : Royal Mail (Postal Service)

 

1988 Epica d'Or

Agency : DDB Needham Worldwide - London, Great Britain
Production House : Richard Purdum Productions
Creative Director : Tony Cox
Copywriter : Tony Cox
Art Director : Mark Reddy
Tv Producer : Angela King / Jill Thomas
Film Director : Richard Purdum
Client : Tate Gallery Liverpool

 

1987 Epica d'Or

Agency : Boase Massimi Pollitt - London, U.K.
Creative Director : John Webster
Copywriter : Frank Budgen
Art Director : John Webster
Producer : Barnaby Spurrier
Production House : Paul Weiland Film Company
Film Director : Boase Massimi Pollitt - London, U.K.
Client : The Guardian (Newspaper)