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⪦ሬ The magazine for mind, money & personalities

Deutsche Bank Wealth Management

04 – 2016

The magazine for mind, money & personalities

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04 – 2016

LEONARDO DICAPRIO

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W E R T E I N T E R N AT I O N A L I S T D A S G L O B A L E M A G A Z I N D E S D E U T S C H E B A N K W E A LT H M A N A G E M E N T.

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I. DEUTSCHE BANK WEALTH MANAGEMENT

I. DEUTSCHE BANK WEALTH MANAGEMENT

Das Wealth Management betreut die vermögendsten Kunden weltweit. Diese Ultra High Net Worth Individuals verfügen meist über mehr als 30 Millionen Dollar und werden persönlich von einem der 6000 Mitarbeiter an 120 Standorten in 40 Ländern betreut. Regionale Schwerpunkte liegen dabei auf Asien (China, Japan, Singapur), Europa

Wealth Management serves the wealthiest customers worldwide. These ultra high net worth individuals usually own more than 30 million dollars and are advised personally by one of the 6,000 employees at 120 locations in 40 countries. Separate emphases focus on Asia (China, Japan, Singapore), Europe (Switzerland, Italy, England), the Middle East

(Schweiz, Italien, England), Naher Osten (Saudi Arabien) und USA.

(Saudi Arabia) and USA.

II. MAGAZIN

II. MAGAZINE

Das internationale WERTE-Magazin erscheint in drei Sprachen – deutsch, englisch und italienisch –, in einer Gesamtauflage von 20 000 Exemplaren und steht unter dem Motto »think global – act local«. Es transportiert Werte und Ziele von Bank und Kunden, indem es außergewöhnliche Menschen und ihre außergewöhnlichen Leistungen, Ideen und Innovationen vorstellt.

The international magazine WERTE appears in three languages – German, English and Italian -, in a print run of 20,000 copies, and is dedicated to the mission “think global – act local”. The magazine communicates the values and aspirations of the bank and its clients. It portrays extraordinary men and women and their extraordinary achievements, ideas and innovations.

WERTE ist dabei von herausragender journalistischer Qualität. Design, Haptik und Foto-Opulenz stehen für Eleganz und klassische Moderne. Die Themen werden exklusiv produziert. Ein Highlight ist der achtseitige Titelklapper, der von einem Menschen erzählt, der die Welt mit seinen Ideen und Visionen positiv verändern kann.

The magazine is of superior quality. Design, dimensions, tactile experience and pho-tographic opulence suggest elegance and modern spirit. All topics are produced exclusively. One highlight is the eight-page cover text that tells of one person, who may change the world for the better through ideas and visions.

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Leonardo DiCaprio uses his popularity in the battle against hunger, war, and climate change.

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creasingly more compelling in their roles and shine in every respect When, as a child, you grow up not with posters of Disney characters in the heavens of idolization, only come along in his guild once in a hanging above your bed, but instead a reproduction of Hieronymus blue moon. Cary Grant was one such individual, along with HumBosch’s “The Garden of Earthly Delights”, which depicts life in the phrey Bogart and Robert de Niro. Good men, even if they played bad Garden of Eden in all its glory as well as its perdition and the abyss guys. Good men, even if they had been bad guys in real life. But being of hell, then it tends to stick in your memory. Furthermore, when a do-gooder was never a prerequisite for hero worship. you have a gift for keeping your family entertained and Besides intelligence, DiCaprio’s secret also lies in amamused with your perky manner, then there are really bition and solidity – perhaps the ultimate consequence only two options open to you in the future: You either of growing up in modest circumstances in Los Angeles, become a conservationist or an actor. Or both. Leonarwhen the poverty, prostitution, and drug dealing that do DiCaprio decided at a very early age to be both – surround you in the neighborhood both toughen you up and at a particularly high level. Pretty much the whole of humanity knows that he is and scare you at the same time. Or when the German one of Hollywood’s greats at the age of almost 42. And grandmother, once a mineworker in the Cologne region, now he knows it as well. That’s because on February 28 treats you no differently to the other grandchildren, this year, the never-ending story of DiCaprio missing even though you already have one foot firmly in the out on the Oscar yet again finally came to an end and door of the dream factory. And it is well documented the man who was denied the trophy for so long finally that this was his one real aim ever since he appeared in got to take it home with him. It was long overdue – and his first television commercials at the age of 14. He took everybody knew it, even his colleagues in the Dolby the dream factory by storm without having to scrabble Theater in Los Angeles that evening who gave him a around for success for years, peppered it with quality standing ovation usually reserved for recipients of the work, and never bowed down to it. He ruthlessly cast off Academy Award for Lifetime Achievement. It was Dihis mantle as “panty dropper” after “Titanic” and turned Caprio’s sixth nomination in 22 years; he received his toward more masculine roles: soldier, undercover agent, first atLeo justnar 19 years of age. There has never been so slaveholder – not easy in Hollywood, where people are muchissympathy a nominee: People all over the world intent on pigeonholing actors. “Leonardo DiCaprio a man doforDiC apr were betting, pro-Leonardo wants to secure his place in film history,” wrote the wit h two io satires were posted on social media,He and there were Swiss magazine “Weltwoche” a few years ago, “not be a faces.rumors among his fans that is one Ho the Academy Award ofjury only overlooked him for so pin-up in girl’s bedrooms.” llywood long because Above all else – now that he has turned 40, more ’s gre to spur him on to deliver a top actors it wanted ate performance. to st have worked anyway. than settled down, and has the film world’s biggest accogenuin .ItHeseems is In “The Revenant” DiCaprio portrays a trapper’s relade in the bag – he wishes to be seen as an environmene env also a in South Dakota around ironsurvival ist battle lentless talist. As a person who compares his life to a lottery win who for me 1800 –toa tour is decom force ofntaemotions. It is a film that seals and wants to give something back out of common delclim mit the coming boyish and exceptional actor, cency. To this end, he uses almost all of his rare public and endofateage prooftheated Actor and environwho perhaps lacks tec appearances to make no bones about the fact that he is tionrugged presence of a Chris mentalist Leonardo war in ing Hemsworth or hun theger grounded fatherliness of a Tom serious about environmentalism and conservation. His DiCaprio – as a star in the has thatandlittle bit more.Whatever that “The Revenant” and on Hanks, yet overall Oscar acceptance speech was no exception. “Let us not is a glo wo rld. He may be. If charisma were a formula, it would be possible the cover of the Green take this planet for granted,” he told the auditorium, “I bal her to calculate it. But individuals like him, who become indo not take tonight for granted.” Issue of “Vanity Fair”. o.

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It wasn’t just the Hieronymus Bosch in his bedroom that motivated him to head in the direction of environmental activism, but also an encounter with the politician, environmentalist, and Nobel Prize-winner Al Gore in 1998 at the White House. Shortly afterwards, DiCaprio, just 24 years old at the time, founded the Leonardo DiCaprio Foundation. A great deal has happened since then; he has invested around 45 million dollars in 70 projects in 40 countries and has tirelessly campaigned for his cause. He is committed to protecting the Siberian tiger, the wolves in Oregon, and the rhinos in Tanzania. He also wishes to protect the world’s oceans and provide clean drinking water. To do this, DiCaprio, who doesn’t live in the media like some other celebrities, is really going out of his way. Does anyone remember when he appeared on the cover of the Green Issue of “Vanity Fair” in 2007? He was pictured amid Icelandic glaciers and alongside the long since deceased polar bear Knut from Berlin Zoo. In order to remain well informed, DiCaprio is brought up to date with the latest research by environmental scientists in private tutorials and also keeps a silent reminder of his commitment at his private bungalow in LA: a huge fossil collection. He has, as “The Guardian” reported this year, “become a fixture at events focused on global challenges.” He marched through the streets of Manhattan with 400,000 demonstrators on the People’s Climate March, is the official UN Messenger of Peace, and he delivered a blistering speech at the Climate Summit in 2014. In 2016 he flew to Davos, where he was presented with the Crystal Award by the World Economic Forum. He invests in sustainable companies and is always working on various documentary films that testify to the sell-out of nature and the effects of meat consumption and have names such as “The 11th Hour” or “Cowspiracy.” He has expressed his concerns to the Pope and has secured the film rights to the story of the VW emissions scandal. He has bought the island known as Blackadore Caye off the coast of Belize, where he wishes to build an eco-resort by 2018. The list just goes on and on. He should be proud of himself.Yet he often also comes across to friends and acquaintances as contrite and pessimistic; the activist DiCaprio is not a ray of sunshine in every respect. “He is a perfectionist,” says acting colleague Mark Ruffalo, who works with his friend Leo on the Solutions Project, where celebrities and scientists get together to move America in the direction of renewable energy. Yet he also gets into scrapes. Not every environmental mission is a walk in the park for him; the DiCaprio entourage cannot always eliminate every difficulty. During a flight to a World Wildlife Fund event in St. Petersburg, for instance, his plane burst into flames after hitting a flock of geese. It had to make and emergency landing. On another occasion, he was filming a documentary about coral reefs in the Galapagos Islands when his tank suddenly ran out of oxygen underwater. Fortunately his acting colleague and friend Ed Norton was with him in the water and saved his life. Other colleagues and other organizations also do a great deal for the climate, but because he is so popular, nobody is as influential as DiCaprio. Veterans of the environmental movement affirm time and again how helpful he is to the cause. “When he says something, people listen,” says researcher Enric Sala from “National Geographic”, who has worked with DiCaprio. It may all be calculated – the work of a good advisor – but even if that were the case, he is actually doing something. He doesn’t do the rounds with gossip and tittle-tattle, but instead uses his good name

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It wasn’t just the Hieronymus Bosch in his bedroom that motivated him to head in the direction of environmental activism, but also an encounter with the politician, environmentalist, and Nobel Prize-winner Al Gore in 1998 at the White House. Shortly afterwards, DiCaprio, just 24 years old at the time, founded the Leonardo DiCaprio Foundation. A great deal has happened since then; he has invested around 45 million dollars in 70 projects in 40 countries and has tirelessly campaigned for his cause. He is committed to protecting the Siberian tiger, the wolves in Oregon, and the rhinos in Tanzania. He also wishes to protect the world’s oceans and provide clean drinking water. To do this, DiCaprio, who doesn’t live in the media like some other celebrities, is really going out of his way. Does anyone remember when he appeared on the cover of the Green Issue of “Vanity Fair” in 2007? He was pictured amid Icelandic glaciers and alongside the long since deceased polar bear Knut from Berlin Zoo. In order to remain well informed, DiCaprio is brought up to date with the latest research by environmental scientists in private tutorials and also keeps a silent reminder of his commitment at his private bungalow in LA: a huge fossil collection. He has, as “The Guardian” reported this year, “become a fixture at events focused on global challenges.” He marched through the streets of Manhattan with 400,000 demonstrators on the People’s Climate March, is the official UN Messenger of Peace, and he delivered a blistering speech at the Climate Summit in 2014. In 2016 he flew to Davos, where he was presented with the Crystal Award by the World Economic Forum. He invests in sustainable companies and is always working on various documentary films that testify to the sell-out of nature and the effects of meat consumption and have names such as “The 11th Hour” or “Cowspiracy.” He has expressed his concerns to the Pope and has secured the film rights to the story of the VW emissions scandal. He has bought the island known as Blackadore Caye off the coast of Belize, where he wishes to build an eco-resort by 2018. The list just goes on and on. He should be proud of himself.Yet he often also comes across to friends and acquaintances as contrite and pessimistic; the activist DiCaprio is not a ray of sunshine in every respect. “He is a perfectionist,” says acting colleague Mark Ruffalo, who works with his friend Leo on the Solutions Project, where celebrities and scientists get together to move America in the direction of renewable energy. Yet he also gets into scrapes. Not every environmental mission is a walk in the park for him; the DiCaprio entourage cannot always eliminate every difficulty. During a flight to a World Wildlife Fund event in St. Petersburg, for instance, his plane burst into flames after hitting a flock of geese. It had to make and emergency landing. On another occasion, he was filming a documentary about coral reefs in the Galapagos Islands when his tank suddenly ran out of oxygen underwater. Fortunately his acting colleague and friend Ed Norton was with him in the water and saved his life. Other colleagues and other organizations also do a great deal for the climate, but because he is so popular, nobody is as influential as DiCaprio. Veterans of the environmental movement affirm time and again how helpful he is to the cause. “When he says something, people listen,” says researcher Enric Sala from “National Geographic”, who has worked with DiCaprio. It may all be calculated – the work of a good advisor – but even if that were the case, he is actually doing something. He doesn’t do the rounds with gossip and tittle-tattle, but instead uses his good name

creasingly more compelling in their roles and shine in every respect When, as a child, you grow up not with posters of Disney characters in the heavens of idolization, only come along in his guild once in a hanging above your bed, but instead a reproduction of Hieronymus blue moon. Cary Grant was one such individual, along with HumBosch’s “The Garden of Earthly Delights”, which depicts life in the phrey Bogart and Robert de Niro. Good men, even if they played bad Garden of Eden in all its glory as well as its perdition and the abyss guys. Good men, even if they had been bad guys in real life. But being of hell, then it tends to stick in your memory. Furthermore, when a do-gooder was never a prerequisite for hero worship. you have a gift for keeping your family entertained and Besides intelligence, DiCaprio’s secret also lies in amamused with your perky manner, then there are really bition and solidity – perhaps the ultimate consequence only two options open to you in the future: You either of growing up in modest circumstances in Los Angeles, become a conservationist or an actor. Or both. Leonarwhen the poverty, prostitution, and drug dealing that do DiCaprio decided at a very early age to be both – surround you in the neighborhood both toughen you up and at a particularly high level. and scare you at the same time. Or when the German Pretty much the whole of humanity knows that he is grandmother, once a mineworker in the Cologne region, one of Hollywood’s greats at the age of almost 42. And treats you no differently to the other grandchildren, now he knows it as well. That’s because on February 28 even though you already have one foot firmly in the this year, the never-ending story of DiCaprio missing door of the dream factory. And it is well documented out on the Oscar yet again finally came to an end and that this was his one real aim ever since he appeared in the man who was denied the trophy for so long finally his first television commercials at the age of 14. He took got to take it home with him. It was long overdue – and the dream factory by storm without having to scrabble everybody knew it, even his colleagues in the Dolby around for success for years, peppered it with quality Theater in Los Angeles that evening who gave him a work, and never bowed down to it. He ruthlessly cast off standing ovation usually reserved for recipients of the his mantle as “panty dropper” after “Titanic” and turned Academy Award for Lifetime Achievement. It was Ditoward more masculine roles: soldier, undercover agent, Caprio’s sixth nomination in 22 years; he received his slaveholder – not easy in Hollywood, where people are first at just 19 years of age. There has never been so intent on pigeonholing actors. “Leonardo DiCaprio much sympathy for a nominee: People all over the world wants to secure his place in film history,” wrote the were betting, pro-Leonardo satires were posted on soSwiss magazine “Weltwoche” a few years ago, “not be a cial media, and there were rumors among his fans that pin-up in girl’s bedrooms.” the Academy Award jury only overlooked him for so Above all else – now that he has turned 40, more long because it wanted to spur him on to deliver a top than settled down, and has the film world’s biggest accoperformance. It seems to have worked anyway. lade in the bag – he wishes to be seen as an environmenIn “The Revenant” DiCaprio portrays a trapper’s retalist. As a person who compares his life to a lottery win lentless battle for survival in South Dakota around and wants to give something back out of common de1800 – a tour de force of emotions. It is a film that seals cency. To this end, he uses almost all of his rare public the coming of age of a boyish and exceptional actor, Actor and environappearances to make no bones about the fact that he is who perhaps lacks the rugged presence of a Chris mentalist Leonardo serious about environmentalism and conservation. His Hemsworth or the grounded fatherliness of a Tom DiCaprio – as a star in Oscar acceptance speech was no exception. “Let us not Hanks, yet overall has that little bit more.Whatever that “The Revenant” and on take this planet for granted,” he told the auditorium, “I may be. If charisma were a formula, it would be possible the cover of the Green do not take tonight for granted.” to calculate it. But individuals like him, who become inIssue of “Vanity Fair”.

Leonardo DiCaprio uses his popularity in the battle against hunger, war, and climate change.

Leonardo DiCaprio at the pinnacle of his career: In February 2016 he received the Oscar for his role in “The Revenant”. Photo below: The actor with his mother Irmelin Indenbirken.

to generate clicks and quotes with sensible messages. And that is not easy to do when many journalists are only interested in prying into his private life, whether while partying at the Coachella Valley Music and Arts Festival in California, taking a vacation on the yacht of billionaire Vladimir Doronin, or taking a stroll with his current model girlfriend. “Mr. Environment”, as they call him in Hollywood, likes to counter yellow press questions by listing endangered species. And other than that? He has never claimed to be a saint. And, of course, Hollywood is an artificial habitat, where the reasons for getting involved in good causes are not necessarily being expressed ever louder. Accordingly, it is only right when sections of the media that are critical of him continue to work out his ecological footprint, which is, of course, rather bad. Leonardo DiCaprio owns too many houses around the world for it to be otherwise; he also enjoys the odd piece of meat, although he is officially a vegetarian. And he travels too often by helicopter or private jet to events where he then talks about how resources are being wasted, about the greed of the political class, and the hardship of the underprivileged. But does this make him a hybrid, like his Lexus? And must every admonisher also refrain from doing absolutely everything? Even for someone like him, the policy of little steps should apply. And the solar collectors on his bungalow in Malibu should also be taken into consideration, as should the bike that he often uses, or his electric cars, the Tesla and the Fisker Karma. Even his stake in the Formula E racing team Venturi somehow rounds off the picture, or his e-cigarettes, whose vapor exudes the scent of maple syrup. Anyone who has ever met DiCaprio rhapsodizes about the eloquence and verve with which he sells environmental protection. An actor, yes, but also a human being who has no reason to hoodwink people when it comes to climate protection. Credibility is clearly a major part of his charismatic formula. It appears to be as follows: DiCaprio is striving to leave some kind of legacy. It may look very similar to that of Paul Newman, who he revered and whose charity he seeks to emulate. Newman did a great deal for children suffering from cancer as well as young people suffering from the effects of drug use and he dedicated his life to campaigning for nuclear disarmament. “The Revenant” is also about man’s relationship with nature; it is about the eradication of other races, the plundering of nature. And by some kind of coincidence, the film not only crowned an acting career, but also served as a torch for DiCaprio’s cause. It became proof that climate change “is not hysteria, but a fact,” as he succinctly put it at the UN Climate Summit in New York. The year 2015, in which “The Revenant” was released in movie theaters, was not only the hottest on record; the entire film crew had to travel to the southernmost tip on the planet to find snow for the film shoot.

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“The Wolf of Wall Street”

2013

Photos: Kevin Winter/Getty Images; Kevork Djansezian/Getty Images; picture-alliance / dpa; imago/United Archives; Getty Images; Moviestore Collection/face to face; Face to Face (2); Interfoto/NG Collection

Continued on foldout at back of magazine Photos: Timothy A. Clar y/AFP/Getty Images (2); Interfoto / NG Collection; Vanity Fair

Photos: Kevin Winter/Getty Images; Kevork Djansezian/Getty Images; picture-alliance / dpa; imago/United Archives; Getty Images; Moviestore Collection/face to face; Face to Face (2); Interfoto/NG Collection

08.09.16 16:29

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818 mm

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Eight pages of cover text present the Global Hero.

Titel_

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W E R T E / ME D IADAT E N 2 0 1 7

W E R T E / MEDI A K I T 2017

THINK GLOBAL

THINK GLOBAL

Jede Ausgabe steht unter einem Oberbegriff, im ersten Heft war es »Kreativität«. Der Begriff spiegelt sich in Thinkpieces wieder, etwa in einem Essay des Pixar-Gründers Ed Catmull oder im Porträt des italienischen Mode-Unternehmers Brunello Cucinelli.

Each volume focusses on one main topic; the first volume was dedicated to »creativity«. The topic is mirrored in editorial pieces like the essay by Pixar‘s founder Ed Catmull or the portrait of the Italian fashion modiste Brunello Cucinelli.

ACT LOCAL

ACT LOCAL

Das Magazin verbindet Menschen und Ideen von lokaler und globaler Bedeutung. Das sind z. B. der britische Politiker Zac Goldsmith und der chinesische Lenovo-Gründer Yang Yuanqing. Für »Act Local« stehen Manufakturen (z. B. Boodles, Sprüngli) und regionale Trends mit globalem Potzenzial (SlowFood, Craft Beer etc.).

The magazine connects people and ideas of local and global importance. The British politician Zac Goldsmith and the Chinese founder of Lenovo, Yang Yuanqinq, for instance. The notion “Act Local” is showcased in craft businesses (e.g. Boodles, Sprüngli) and regional trends with global potential (Slow Food, craft beer, etc.).

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III. VERLAG

III. PUBLISHER

Für Konzeption und Inhalt des deutschen und des internationalen Magazins WERTE zeichnet BEHNKEN & PRINZ verantwortlich. Der Verlag ist auf hochwertige Bücher und Kundenmagazine mit maßgeschneidertem Content spezialisiert.

BEHNKEN & PRINZ are responsible for concept and content of the magazine. The Hamburg firm specializes in premium books and magazines.

Wolfgang Behnken ist einer der meist ausgezeichneten Art Direktoren Deutschlands, er war über zehn Jahre in der Chefredaktion des »Stern« für die Optik verantwortlich. Leonard Prinz ist Journalist, arbeitete als Autor für SPIEGEL TV und in leitender Position bei verschiedenen Magazinen. Behnken und Prinz sind die Chefredakteure von WERTE. Das WERTE-Magazin ist wiederholt mit dem Best of Corporate Publishing Award und dem German Design Award ausgezeichnet worden. Mehr Informationen über den Verlag finden Sie unter www.behnkenprinz.com.

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Wolfgang Behnken is one of Germany’s most distinguished art directors; for more than ten years he was responsible for the lay-out of the weekly magazine »stern«. Leonard Prinz is a journalist; he has worked for »SPIEGEL TV« and has held leading positions with several magazines. Behnken and Prinz are editors-in-chief of WERTE. WERTE garnered the Best of Corporate Publishing Award and was also awarded the German Design Award. Additional information about BEHNKEN & PRINZ may be found at www.behnkenprinz.com

IV. VERTRIEB

IV. DISTRIBUTION

Das neue WERTE-Magazin erscheint zweimal im Jahr, in einer Auflage von je 20 000 Exemplaren und in drei Sprachen. 4 000 Hefte gehen in die USA, 7500 u. a. nach Frankreich, Spanien und Russland, 2100 nach Italien, 3500 in die Schweiz, 3500 nach Asien. WERTE erreicht die vermögenden Kunden des Wealth Management ohne Streuverlust direkt in deren privatem Umfeld.

WERTE appears twice annually, in a print run of 20,000 and in three languages. 4,000 copies are shipped to the US, 7,500 to France, Spain and Russia, among others, 2,100 to Italy, 3,500 to Switzerland and 3,500 are sent to Asia. The magazine reaches the monied clients of Wealth Management within their personal sphere directly and without waste circulation.

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V. TECHNISCHE DATEN

V. SPECIFICATIONS

Produktteil:

Achtseitiger Titelbogen

Component:

Eight-page Magazine Cover

Format:

21 x 28 cm, Umschlag offen 80 x 28 cm (ohne Rücken)

Dimensions:

21 x 28 cm, open 80 cm x 28 cm (without back)

Umfang:

8 Seiten

Volume:

8 pages

Druck:

4/4-farbig Euroskala

Print:

4/4 color Euroscale

Material:

Bilderdruck matt, LumiSilk 350 g/m²

Jacket Material:

Photo Print matte 350 gsm

Verarbeitung:

Fadengebunden, Silberheißfolienprägung

Processing:

Glue to the cover at the spine

Produktteil:

Inhalt Kundenmagazin

Component:

Content Corporate Magazine

Auflage:

20 000 Ex.

Print Run:

20,000

Format:

21 x 28 cm, Umschlag, offen 42,6 x 28 cm

Dimensions:

21 x 28 cm, jacket, open 42.6 cm x 28 cm

Format + Beschnittzugabe von 3 mm:

21,6 x 28,6 cm, Umschlag, offen 43,2 x 28,6 cm

Dimensions + trim of 3 mm:

21.6 x 28.6 cm, jacket, open 43.2 cm x 28.6 cm

Umfang:

64 Seiten gesamt

Volume:

64 pages total

Druck:

4/4-farbig Euroskala, vollflächig DispSchutzlack; Bogenoffset

Print:

Material:

Vorsatz: Bilderdruck matt, LumiSilk 135 g/qm Inhalt: Bilderdruck matt, LumiSilk 135 g/qm

4/4-tone Euroscale + full surface protective finish, sheetfed offset printing

Material:

Buchblock fadengeheftet, breit überklebt in 4-fach gerillten Umschlag eingehängt, dreiseitig beschnitten

Cover: photo print matte 300 gsm Content: photo print matte 135 gsm

Finishing:

Stitch-bind signature, laminated broadly, inserted into 4-scored cover, trimmed on three sides

Endverarbeitung:

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W E R T E / MEDI A K I T 2017

VI. MEDIADATEN

VI. MEDIA KIT

Termine: Ausgabe

Erscheinung

Anzeigenschluss

Druckunterlagenschluss

Dates: Issue

WERTE No. 15

20. 03. 2017

20. 02. 2017

28. 02. 2017

WERTE No. 16

15. 11. 2017

20. 10. 2017

27. 10. 2017

Anzeigenformate: 1/1 Seite (210 mm breit, 280 mm hoch)* 2/1 Seite (420 mm breit, 280 mm hoch)*

Advertisement Deadline

Copy Deadline

WERTE No. 15

20. 03. 2017

20. 02. 2017

28. 02. 2017

WERTE No. 16

15. 11. 2017

20. 10. 2017

27. 10. 2017

Euro 9.000,-**

Advertisement Dimensions: 1/1 Page (210 mm wide, 280 mm high)*

Euro 9,000,-**

Euro 18.000,-**

2/1 Page (420 mm wide, 280 mm high)*

Euro 18,000,-**

* 1/1 Seite zzgl. 1 mm Bundversatz; 2/1 Seite zzgl. umlaufend 3 mm Beschnittzugabe **zzgl. gesetzlicher Mehrwertsteuer. Der Anzeigentarif ist rabattfähig.

* 1/1 page plus 1 mm section off-set; 2/1 page plus 3 mm bleed difference ** plus applicable statutory Value Added Tax. The advertising rates are discountable.

Rabatte: ab 2 Seiten: 3 %

Discounts: From 2 pages: 3 %

ab 3 Seiten: 5 %

ab 6 Seiten: 10 %

from 3 pages: 5 %

from 6 pages: 10 %

Laufzeit: Jahresabschluss = 2 Ausgaben; auch in Kombination mit WERTE Deutschland buchbar.

Term: Annual Account = 2 issues, may be booked in combination with WERTE Germany.

Ansprechpartner Anzeigenvermarktung:

Contact advertisement acquisition:

Life! Verlag GmbH & Co. KG Gasstraße 18, D-22761 Hamburg www.lifeverlag.de

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Date of Issue

Tom Melzer, Anzeigenleitung +49 (0)6102-2023885 [email protected]

Life! Verlag GmbH & Co. KG Gasstraße 18, D-22761 Hamburg www.lifeverlag.de

Tom Melzer, Advertising Manager +49 (0)6102-2023885 [email protected]

Lieferung der Anzeigendaten unter der Angabe »Werte + Ausgabe« an:

Supply advertisement data marked »Werte + Issue« to:

Einsatz Creative Production GmbH & Co. KG, Pinnasberg Dock 47 D-20359 Hamburg, Tel.: +49 (0)40-37665674, [email protected]

Einsatz Creative Production GmbH & Co. KG, Pinnasberg Dock 47 D-20359 Hamburg, +49 (0)40 37665-674, [email protected]

Verlag:

Publisher:

BEHNKEN & PRINZ GmbH & Co. KG, Hohe Bleichen 24, D-20354 Hamburg +49 (0)40-35016660, Fax: +49 (0)40-35016688 [email protected], www.behnkenprinz.com

BEHNKEN & PRINZ GmbH & Co. KG, Hohe Bleichen 24, D-20354 Hamburg Tel.: +49 (0)40-35016660, Fax: +49 (0)40-35016688 [email protected], www.behnkenprinz.com

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AGB Allgemeine Geschäftsbedingungen für Aufträge über Anzeigen, Beilagen oder technische Sonderausführungen in den von Behnken & Prinz (nachfolgend Verlag genannt) vermarkteten Druckerzeugnissen. 1. GELTUNG Der Verlag erbringt seine Leistungen im Zusammenhang mit Anzeigenaufträgen und Aufträgen über die Veröffentlichung von Beilagen, Beiheftern, Beiklebern etc. sowie sonstiger technischer Sonderausführungen des Kunden ausschließlich auf der Grundlage dieser Allgemeinen Geschäftsbedingungen. Die Allgemeinen Geschäftsbedingungen regeln die Vertragsbeziehungen zwischen dem Verlag und dem Kunden. Von diesen Allgemeinen Geschäftsbedin­ gungen abweichende oder ihnen widersprechende Allgemeinen Geschäftsbedingungen oder sonstige Vertragsbedingungen des Kunden sind für den Verlag nicht verbindlich, es sei denn der Verlag hätte dies ausdrücklich schriftlich bestätigt. Im Übrigen haben Vorrang vor diesenAllgemeinen Geschäftsbedingungen nur zwischen dem Verlag und dem Kunden individuell ausgehandelte und schriftlich fixierte Vereinbarungen. 2. VERTRAGSGEGENSTAND Gegenstand der mit dem Kunden auf Basis dieser Allgemeinen Geschäftsbedingungen geschlossenen Verträge sind die Veröffentlichung einer oder mehrerer Anzeigen oder die Beifügung von sonstigen Werbemitteln, insbesondere von Beilagen, Beiheftern, Beiklebern, Print-Promotion oder Warenproben sowie von sonstigen technischen Sonderausführungen eines Werbungtreibenden oder sonstigen Inserenten in einer oder mehreren Druckschrift(en) des Verlages zum Zwecke der Vervielfältigung und Verbreitung. 3. ZUSTANDEKOMMEN DES VERTRAGES Der Vertrag zwischen dem Verlag und dem Kunden kommt erst zustande, wenn der Kunde in Schrift- oder Textform eine Auftragsbestätigung des Verlages er­ halten hat. 4. LEISTUNGSUMFANG (1) Der Umfang sowie die genaue Beschreibung der von dem Verlag zu erbringenden Leistungen ergibt sich aus der dem Kunden vom Verlag in Schrift- oder Textform übersandten Auftragsbestätigung oder dem Angebot des Verlages. (2) In der Regel schuldet der Verlag bei Abdruck einer Anzeige die für die belegte Druckschrift übliche durchschnittliche Druckqualität im Rahmen der durch die Qualität der Druckunterlagen gegebenen Möglich­ keiten sowie die Verbreitung der Anzeige in der entsprechenden Druckschrift. Weitergehende Leis­ tungen werden vom Verlag nur erbracht, wenn dies zwischen den Parteien gesondert vereinbart wurde. Eine vom Kunden gewünschte, bestimmte Farbqualität kann nur erbracht werden, wenn mit den Druck­ vorlagen für Farbanzeigen auf Papier ein Farb-Proof vom Kunden geliefert wird. Ohne Farb-Proof, insbesondere bei ausschließlich digitaler Übermittlung der Druckvorlagen, sind Farbabweichungen unver­ meidbar. Wurden keine Abdruckgrößen zwischen den Parteien vereinbart, so wird die nach Art der Anzeige übliche tatsächliche Abdruckhöhe der Berechnung zugrunde gelegt und vorgenommen. Der Verlag ist, soweit dies nicht zwischen den Parteien ausdrücklich vereinbart wurde, nicht verpflichtet eine bestimmte Rubrizierung oder Platzierung vorzunehmen. (3) Textteil-Anzeigen sind Anzeigen, die mit min­ destens drei Seiten an den Text und nicht an andere Anzeigen angrenzen. (4) Der Verlag ist nicht verpflichtet Probeabzüge zu liefern. Sollten an den Kunden Probeabzüge geliefert werden, obliegt die rechtzeitige fristgemäße Rücksendung und ordnungsgemäße, fehlerfreie Korrektur dem Kunden. Der Verlag berücksichtigt alle Fehlerkorrekturen, 12 die ihm innerhalb der bei Übersendung

des Probeabzugs an den Kunden gesetzten Frist mitgeteilt werden. Sendet der Kunde innerhalb der gesetzten nicht E zurück, WFrist E R Tden E /Probeabzug ME D IADAT N 2 0 wird 1 7 die Anzeige entsprechend dem Probeabzug abgedruckt. Durch Rücksendung des Korrekturabzugs genehmigt der Kunde Form und Inhalt der Anzeige (Imprimatur). (5) Der Verlag liefert mit der Rechnung nur auf ausdrücklichen Wunsch des Kunden einen Anzeigenbeleg. Je nach Art und Umfang des Anzeigenauftrags werden Anzeigenausschnitte, Belegseiten oder vollständige Belegnummern geliefert. Kann ein Beleg nicht mehr beschafft werden, so tritt an seine Stelle eine rechtsverbindliche Bescheinigung des Verlages. (6) Druckunterlagen werden nur auf ausdrückliche Anforderung des Kunden zurückgesandt. Die Pflicht zur Aufbewahrung der Druckvorlagen durch den Verlag endet drei Monate nach Erscheinen der Anzeige oder Verbreitung des vom Kunden gelieferten Werbemittels (Beilagen etc.). (7) Der Kunde ist verantwortlich für den Inhalt und die rechtliche Zulässigkeit der gelieferten Text- und Bildvorlagen. Der Verlag ist nicht verpflichtet, die Druckunterlagen auf Vollständigkeit und Richtigkeit zu überprüfen. Der Verlag ist gegenüber dem Kunden nicht verpflichtet, Anzeigen, Beilagen und sonstige vom Kunden gelieferte Werbemittel auf ihre Rechtmäßigkeit und auf eine etwaige Verletzung von Rechten Dritter zu prüfen. (8) Anzeigen, die aufgrund ihrer redaktionellen Gestaltung nicht als Anzeige erkennbar sind, werden als solche vom Verlag mit dem Wort „Anzeige“ deutlich kenntlich gemacht. (9) Der Verlag behält sich vor, den Abschluss von Verträgen gemäß Ziffer 2. dieser Allgemeinen Ge­ schäftsbedingungen – auch einzelne Abrufe im Rahmen eines Abschlusses – wegen des Inhalts, der Herkunft oder der technischen Form nach einheit­ lichen, sachlich gerechtfertigten Grundsätzen des Verlages abzulehnen, insbesondere wenn deren Inhalt oder Gestaltung gegen Gesetze oder behördliche Bestimmungen verstößt oder deren Veröffentlichung für den Verlag aus anderen Gründen unzumutbar ist, zum Beispiel wegen eines Verstoßes gegen die verlegerische Grundhaltung, wegen der Erschöpfung des Anzeigenraums oder mangels technischer Reali­ sierbarkeit. Dies gilt auch für Aufträge, die bei Ver­ tretern aufgegeben werden. Keine Anzeige darf sich mit Produkten befassen, die für Kinder gesundheits­ schädlich oder deren charakterlicher Entwicklung möglicherweise abträglich sind, so z.B. Tabakerzeug­ nisse, alkoholische Getränke, Glücksspiele usw. Beilagenaufträge sind für den Verlag erst nach Vorlage eines Musters der Beilage und deren Billigung durch den Verlag sowie Übersendung einer Auftragsbestäti­ gung bindend. Beilagen, die durch Format oder Aufmachung beim Leser den Eindruck eines Be­ standteils der Zeitung oder Zeitschrift des Verlages erwecken oder Fremdanzeigen enthalten, werden nicht angenommen. Die Ablehnung eines Auftrages wird dem Auftraggeber unverzüglich mitgeteilt. (10) Anzeigen sind im Zweifel zur Veröffentlichung innerhalb eines Jahres nach Vertragsabschluss abzu­ rufen. Ist im Rahmen eines Abschlusses das Recht zum Abruf einzelner Anzeigen eingeräumt, so ist der Auftrag innerhalb eines Jahres seit Erscheinen der ersten Anzeige durch den Abruf der restlichen Anzei­ gen von Seiten des Kunden abzuwickeln, sofern die erste Anzeige innerhalb der in Satz 1 genannten Frist abgerufen und veröffentlicht wird. Nach Ablauf dieser Fristen wird der Verlag von seiner Leistungspflicht befreit, der Kunde bleibt jedoch zur Entrichtung der vereinbarten Gegenleistung verpflichtet. Bei Abschlüs­ sen ist der Auftraggeber berechtigt, innerhalb der vereinbarten bzw. der in Satz 2 genannten Frist auch über die im Auftrag genannte Anzeigenmenge hinaus weitere Anzeigen abzurufen. (11) Der Verlag ist nicht verpflichtet, von dem Kunden nach Vertragsschluss geäußerte, von der Auftragsbes­ tätigung abweichende Änderungsverlangen durchzu­ führen. Hierzu bedarf es einer gesonderten schrift­ lichen Vereinbarung sowie der Übernahme der zu­­­­sätzlich entstehenden Kosten durch den Kunden.

5. MITWIRKUNGSPFLICHTEN DES KUNDEN (1) Der Kunde ist verpflichtet, den Verlag bei der Erfüllung seiner vertraglichen Verpflichtungen in jeder Form zu unterstützen, insbesondere ist der Kunde verantwortlich für die rechtzeitige Lieferung des Anzeigentextes sowie einwandfreier, den Vorgaben des Verlages entsprechender Druckunterlagen sowie Beilagen und sonstiger zur Erfüllung des Auftrages erforderlicher Werbemittel und Unterlagen. Wurde über den Zeitpunkt der Lieferung der Unterlagen zwischen dem Verlag und dem Kunden keine beson­ dere Vereinbarung getroffen, ist der in den Media­ unterlagen genannte Anzeigenschlusstermin maßgeb­ lich. Für offensichtlich ungeeignete oder beschädigte Druckunterlagen fordert der Verlag unverzüglich Ersatz an. (2) Sollten dem Kunden von dem Verlag vereinbarungs­ gemäß Probeabzüge übersandt werden, ist der Kunde verpflichtet, diese innerhalb der vom Verlag gesetzten Frist zu korrigieren oder zu genehmigen und frei­ zugeben und sie in der vereinbarten Form fristgemäß an den Verlag zurückzusenden. (3) Aufträge für Anzeigen und Fremdbeilagen, die erklärtermaßen ausschließlich in bestimmten Num­ mern, bestimmten Ausgaben oder an bestimmten Plätzen der Druckschrift veröffentlicht und platziert werden sollen, müssen so rechtzeitig beim Verlag eingehen, dass dem Auftraggeber noch vor Anzeigen­ schluss mitgeteilt werden kann, wenn der Auftrag auf diese Weise nicht auszuführen ist. (4) Der Kunde ist verpflichtet, digital übermittelte Druckunterlagen frei von so genannten Computer­ viren, Würmern und sonstigen Schadensquellen zu liefern. Er ist insbesondere verpflichtet, zu diesem Zweck handelsübliche Schutzprogramme einzusetzen, die jeweils dem neuesten Stand der Technik zu entsprechen haben. Entdeckt der Verlag auf einer ihm übermittelten Datei Schadensquellen der vorbezeich­ neten Art, wird der Verlag zur Schadensbegrenzung (insbesondere zur Vermeidung des Übergreifens der Schadensquelle auf die EDV-Anlage des Verlages) die Daten löschen, ohne dass dies den Kunden berechtigt, Schadensersatzansprüche geltend zu machen. Der Verlag behält sich vor, den Kunden auf Schadensersatz in Anspruch zu nehmen, wenn dem Verlag durch solche von dem Kunden infiltrierte Schadensquellen Schäden entstanden sind. (5) Der Kunde ist verpflichtet, das von ihm gelieferte Bild- und Textmaterial auf Vollständigkeit, Richtigkeit und Rechtmäßigkeit zu überprüfen. Sollte der Verlag von Dritten wegen der Rechtswidrigkeit des von dem Kunden gelieferten Text- und Bildmaterials für eine Anzeige oder der von dem Kunden zur Beifügung in den Druckschriften des Verlages gelieferten Werbe­ mittel auf Unterlassung, Schadensersatz oder in sonstiger Weise in Anspruch genommen werden und hat der Verlag, seine Erfüllungsgehilfen oder ge­ setzlichen Vertreter dies nicht durch eine Pflicht­ verletzung zu vertreten, wird der Kunde den Verlag von allen Ansprüchen Dritter freistellen und dem Verlag den diesem entstandenen Schaden einschließ­ lich der Kosten seiner Rechtsverteidigung (Anwalts­ kosten, Gerichtskosten, Sachverständigenkosten, Zeu­ gengelder etc.) erstatten. Der Verlag ist berechtigt, diesbezüglich einen angemessenen Vorschuss zu ver­ langen. Der Verlag wird den Kunden unverzüglich von einer Inanspruchnahme oder Abmahnung durch einen Dritten in Kenntnis setzen und die Vorge­ hensweise mit dem Kunden abstimmen. Sollte eine Einigungsbereitschaft des Kunden über ein gemein­ sames Vorgehen aus Gründen der Eilbedürftigkeit, mangels der Einigungsbereitschaft des Kunden oder aus sonstigen Gründen nicht möglich sein, ist der Verlag berechtigt, sich gegen die Ansprüche des Dritten allein zu verteidigen und etwaige Ansprüche anzuerkennen. (6) Werbungsmittler und Werbeagenturen sind verpflichtet, sich in ihren Angeboten, Verträgen und Abrechnungen mit Werbungtreibenden an die Preis­ liste des Verlages zu halten. Die vom Verlag gewährte Mittlungsvergütung darf an ihre Auftraggeber weder ganz noch teilweise weitergegeben werden.

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