The trouble with social media – Dispatches’ Celebs, Brands and Fake Fans

Alan Carr tweet about Dispatches - @AlanCarr

Tayler CresswellChannel 4’s Dispatches programme last night focused on social media, celebrity endorsement the problem of ‘click farms’, which promise to generate thousands of fake fans for a fee. 

Dispatches’ Celebs, Brands and Fake Fans will inevitably lead to questions about the veracity of social media posts, of the integrity of celebrities and brands on Twitter, Facebook and YouTube, and of the value of social media data and insights.

The programme focuses on “click farms” – which, for a fee, are fraudulently used to boost follower and Like numbers on Twitter and Facebook and views on YouTube for example. It also looked into the thorny issue of paid celebrity endorsements for products and brands.

However, what was not made clear in the programme was how widespread this practice might be. They highlighted some questionable practices, but I’d argue that, sadly, there are cowboys in every industry, and people out there who fall for their spiel without getting proper advice.

The social media industry has grown up considerably over the past 3-4 years for two main reasons:

  • Data and insights coming from genuine fans and customers through social media, the instant feedback on a programme or product, can be incredibly valuable. Add thousands of fake fans to your Facebook page or Twitter following and you render your data worthless.
  • Paid for tweets can create an unwelcome backlash – many fans will object to being advertised to on social media platforms unless it’s done sensitively and openly.

 

The reaction on Twitter was interesting with many wondering what all the fuss was about – surely this happens in every industry? – and others were shocked at the revelations. My worry is that many will tar everyone working in social media with the same brush.

And to be honest, I was most sorry for the poor sods in Bangladesh earning a pittance by spending hours in windowless rooms creating fake likes and follows.

Here’s some best practice advice…

ADVERTISING AND SPONSORSHIP 

There have been plenty of high profile cases of paid sponsorship deals that have fallen foul of advertising codes, but many cases seem to be down to ignorance rather than any deliberate attempt to mislead. It’s always best to be open and honest – if you’re getting paid to advertise something simply add the hashtag #ad or #spon to your tweet.

The Internet Advertising Bureau has some useful guidance on the use of social media and paid promotion their website. It should be mandatory reading for agencies, celebrities, brands… If you’re not sure about something, get advice before you post.

There’s a real grey area around freebies and tweeting about them, and I’m not sure that the Coronation Street actors or Russell Kane, both mentioned in the programme, broke any rules. They all denied being paid for tweets.

Conversely, we have found that the practice also leads to false accusations of advertising when celebrities talk about brands in passing.

 

In short: be up front about what the deal is. People don’t mind advertising if they know what it is – and if it isn’t the sole purpose of an account!

A NUMBERS GAME?

When it comes to fake fans, we think that there is a huge problem with buying Facebook Likes, Twitter follows or YouTube views and subscribers. Whilst the numbers might look impressive, they have little worth bar fooling some into thinking that you’re a “big player”. There’s more to be said for slowly building a following of genuine fans.

Social media data can be valuable – you can get instant feedback from fans, viewers, listeners. You can see what kind of people are attracted to your programme or brand.

As David Ellis from analytics agency Station 10 told me, “There’s a risk of accepting data from social media sites at face value. The vital point is to establish links to actual sales or legitimate behaviour from social media, and fortunately most brands will have other data sources against which to validate social performance.”

When it comes to interrogating data, he offered the following pointers:

  • Look out for increased volumes in social activity over short periods against a benchmark, particularly from otherwise obscure international markets.
  •  Create a segment or view to focus on traffic that comes from your core or home markets.
  •  Match these patterns against web site traffic, to see if this correlates.

 

THE LONG GAME

There are no real quick wins when it comes to social media. We advise our clients to see the long game . Engagement is all important, and you can’t have any kind of meaningful relationship with a fake “fan”.

Instagram-ing (or InstaGlam-ing) my way into the world of Couture

David Downton's Instagram account

Connor Beesley“You should come with me” were the words of David Downton, fashion illustrator extraordinaire, when the proposal for him to join Instagram during couture week in Paris was suggested. If you’re still scratching your head, you’ll have seen his illustrations on the pages of Vanity Fair and Vogue and on bags at M&S. David is also Artist in Residence at Claridge’s Hotel. I would argue that is perhaps the best job in the world.

It’s one of those proposals that seemed so far-fetched that it could never really happen but, before I knew it, I was on the Eurostar to Paris, crashing into the world of couture (quite literally, I had not one invitation to my name) at the same speed as the train that got me there.

The world of couture could easily be seen as old-fashioned and outdated, with an inability to move forward. Yet, there was an air of newness at this year’s Autumn/Winter presentations. The first heel to hit the catwalk couldn’t have screamed “I’m back!” any louder than that of Naomi Campbell, marking her return to the Versace runway after a 15 year break (I should note, that’s almost as long as I’ve been on the planet).

A narrative of new continued with Christian Lacroix’s homage to Elsa Schiaparelli, marking the highly anticipated re-launch of her eponymous couture house. Then there was Karl Lagerfeld’s view to a new world, observed as the backdrop of a destroyed theatre at Chanel. As the biggest running couture house, Lagerfeld’s vision appeared to recognise the need to constantly move forward – to remain ‘new’ in a craft that easily can fall into being outdated.

Apart from the clothes, the experience was also very new to me. It was a world that I had always immersed myself into fully through external means, but somewhere I had never entered in reality. But it wasn’t all about me. I was there to start David Downton’s Instagram account (coincidentally, another new beginning).

The world of fashion and Instagram have such a strong relationship due to the complete reliance on imagery over words and you only need to look at Burberry (arguably the front runner in terms of a fashion house using social media) and their 874,000 followers to get a feel for the huge amounts of traction that Instagram can create. This power is only reinforced by the response to their images, with an image of their Regent Street store gaining almost 30,000 likes and another of it-girl Cara Delevingne soaring to over 45,000 likes. They’re not alone, however. From Selfridges to Topshop and Versace to couturier Elie Saab, Instagram encompasses the whole spectrum of the fashion industry. Thus, David’s work makes for a perfect fit into an already thriving world of fashion social media, filling a gap that joins his skilled craft with a fast-paced medium.

Pairing together David’s visual language and the importance of images on Instagram made for an exciting partnership; yet, it became apparent that Instagram has become a fickle game of likes where, regardless of the image, there are users who will like David’s images unconditionally. It then leads to question, does Instagram become a social network where it is not about what you like but who you like?

Analysis aside, it was great to see the reaction to David’s images on Instagram. Although some of the best reactions (in terms of likes gained) came from a video of David sketching at the Elie Saab show or his illustration of the Christian Lacroix for Elsa Schiaparelli presentation (see above), it was encouraging to see a more emotional connection through a picture of some scrunched-up drawings – titled ‘Bad day’ – with one follower admitting it was “encouraging to know that even you have bad days”.

In many ways, David’s account allows his followers to see into his life outside of his work, something that is rarely seen. One thing that does become clear after peeking into David’s world is the way in which there is a seamless movement from the charm of his work to the charm of the man himself.

Considering this is only a snapshot into the world of David Downton – a mere season in his 17-year run of couture shows (and that’s 2 seasons per year) – there’s certainly more to see, albeit past or present.

David Downton, artist and fashion illustratorDavid Downton adds: “Never an early adopter, I finally embraced Instagram thanks to Liberty842, who provided the perfect help mate in the form of Connor Beesely. Mr Beeseley’s tact, quiet humour and pin point thinking can’t be over praised. How long before I’m asking him for a reference?”

Follow David Downton on Instagram
Find out more about David and his work on DavidDownton.com

Post written by Connor Beesley, Editor at Liberty842

Twitter’s “social tsunami” – banter builds audiences

Tweetalong-socialtsunami

Tayler CresswellOnline, conversation, debate and comment about The Archers reaches a peak on Sunday mornings when many join the regular tweetalong as the show’s omnibus is aired.

Listeners share their thoughts and feelings – good, bad and indifferent – about the characters and storylines on Twitter and offer an amusing, often irreverent, take on events in the fictional village of Ambridge where the show is set.

I spotted this tweet yesterday from a new listener to BBC Radio 4’s The Archers. If you’ve noticed #TheArchers trending on Twitter most Sunday mornings, you might not be too surprised.

The tweetalong, as it’s affectionately called, started in 2009-10 when two listeners, @JaneSoup and @LucyLyons, would tweet their amusing and sometimes sweary commentary to the omnibus. They picked up a following and it certainly got people talking. Today it centres around the hashtag #thearchers, and tweetalongers follow tweets about the programme and join the conversation with fellow listeners. They demonstrate a pretty sophisticated use of Twitter, with many using tools like Tweetdeck to exclude the hashtag to avoid spoilers until they’re ready to listen and chat.

Of course, the official account for the show, @BBCTheArchers, joins the regular tweetalong around broadcasts, answering queries and adding an extra layer to the listening experience. But it’s the listeners who really make the difference, not only giving valuable and timely feedback about the programme, but enticing others to join in the fun and become regular Archers listeners.

Twitter - The Archers conversation

 

 

 

Read more listener discussions on The Archers blog

Find out about the world’s longest running soap opera, The Archers

Soundbites from the Broadcast Commissioning & Funding Forum

Cohen CF Forum

Tayler CresswellI suspect we were the only social media practice to attend the Broadcast Commissioning and Funding Forum on Tuesday at BAFTA – which was surprising given the amount of time given over to the digital environment and its effect on traditional “linear” TV.

There was an impressive speaker line up from the big broadcasters: the top Televison boys at the Beeb (Danny Cohen), ITV (Peter Fincham), Sky (Stuart Murphy) and C5 (Ben Frow) – Murphy and Frow in particular gave highly entertaining accounts of what they do at their respective broadcasters.

Interesting to hear Danny Cohen say that “we’re fighting for screen time rather than TV audience time” in a nod to the multiplatform world.

And All3Media‘s Gary Woolf said that they are having to think about apps earlier and earlier in the development cycle. It may have been the calibre of the speakers, but we came away with the feeling that broadcasters and producers are trying to move towards a more integrated approach to multiplatform content. Less of a ‘bolt-on’ mentality – *hopeful face*.

Rachel Ball from YouTube gave a highly informative speech about how YouTube is working to encourage more content owners to use their platform “to make money” (through Content ID tagging and advertising). However, the big take out was that it’s unlikely that YouTube will continue to fund channels after the last round of funding which was aimed at proving YouTube “was a place for sustainable businesses” rather than a long term strategy.

Ball said that YouTube offers production companies “a chance to work in a retail environment… business to consumer”. Using Content ID, companies can track their own content and if others appropriate it, they can either block it, or collect data and ad revenue against it.

She spoke of the core YouTube audience as “Generation C… curation, creation, community and connection” and went on to say that “80% of millenials are members of Generation C”.
For production companies, Ball said that clips had found new life on YouTube and were particularly successful for chat shows, citing Ellen in the US as an example. Ellen’s YouTube channel has 5.9m subscribers and has been highly successful in using clips from the TV show to engage with audiences online.

Giving an on-the-ground account of creating content for YouTube was a panel of speakers: Zoe Collins from Fresh One (they’re behind Jamie Oliver’s FoodTube channel); Darren Devitt from the awesomely successful Machinima; Selma Turajlic from Little Dot Studios  and Derren Lawford from youth engagement agency, Livity.

In creating content for YouTube, they agreed that the process was unlike traditional broadcasting. Collins said it was a “swift process” that had to strip back “fluffiness”. There’s no time for fancy title sequences or recaps – your audience is easily distracted by other content. It was, she said, “the audience’s channel” – they’re going to tell you very quickly what they think and “you need to tell them that you’re responding”.

On audience feedback, Machinima’s Darren Devitt said that they particularly monitor what’s said in the first two days of the video going up, and then again on day 24.
Whilst most said that YouTube wasn’t yet providing a real return on investment through advertising on the channel, sponsorship deals and product tie-ins seem to be filling the gap.
An interesting aside was discovering how many of the YouTube talent – “bedroom producers” – already have agents.

There was also a panel discussion about defining new audience relationships. They talked about the “rise of participation TV” and the all-important data that’s available at a fairly granular level from online platforms.

Zeebox’s Anthony Rose said that today’s “bunch of smart tech kids thinking up stuff around someone else’s show” was something that wouldn’t last. Ashley Mackenzie from rights management company Base 79 added that YouTube is a “performance based industry” as opposed to Television which was “brand-based”.

They spoke about marketing being “clip by clip” and Rose spoke about the power of ads synced to the second screen in line with what was being shown on broadcast TV.

There were some nice examples of better brand engagement, notably Ogilvy’s Ford tie-in for The Endless Winter and Chanel 4/Sainbury’s What’s Cooking.

All in all a really interesting day – though we would have liked to see more women speakers at these kind of events. Three out of 17 isn’t good enough.

A Twitter opportunity missed: The Women’s Football Show

The women's football show

Tayler CresswellIt was great to see women’s football get its own show on BBC Two last night. The Women’s Football Show was a well produced, interesting programme and, looking at the Twitter comments, it was clearly filling a need.

There was plenty of chat on the show about Twitter and the women’s league’s Twitter ambassadors. Surprising then to find that @BBCSport practically ignored its airing – they retweeted a link to iPlayer the  next day. It would be great to have a hashtag for all the conversation around the show.

Despite all that, it’s a great start. Here’s a quick look at the conversation on Twitter last night… #moreplease

Blood, beauty and the Borgias

Sarah Dunant - Blood & Beauty

I’m excited to be working with Sarah Dunant to promote her new book, Blood & Beauty which was published on 2 May. It’s a thrilling prospect to delve into the Renaissance and the lives of the notorious Borgia family.

We’ve set up a new Twitter account @BorgiaBlood to give people an insight into the lives of the Borgias as well as the background to writing the book and the research that went into it. It’s fascinating stuff. Watch this space for more news!

 

Social TV: the next 12 months

Liberty842 in New York City

Daisy Cresswell

Yesterday I attended Social TV: The next 12 months hosted by Digitas. (You guessed it, I’m in New York attending events at Social Media Week.)

Panelists included Digitas Social Media exec Jordan Bitterman, Bravo TV Exec Lisa Hsia, Greg Rivera from Xbox and Lost Remote writer Natan Edelsburg .

Host Jordon Bitterman kicked off the session with the question “What is social TV?” – my favourite response being “A million square foot living room… with everyone watching TV in it”. Throughout the seminar, each panelist highlighted interesting examples of where they had experimented using social media to amplify TV content and grow audience interest. Lisa spotlighted Bravo’s Top Chef: Last Chance Kitchen where they had online only exclusive episodes and voting to allow the audience to save contestants, while Greg Rivera showed how they had made a Toyota advert a two way experience.

On the subject of commercial investment, Lisa Hsia commented that the Bravo shows that have the most active social media following are the least lucrative when it comes to sponsorship. Her reason for this, she said was because both the fans’ comments and content may not be “sponsor friendly”.

This was rather depressing to hear as for those of us who deliver social media services to TV clients, the trickle-down effect of this lack of investment (or interpreted value) means that we will continue to fight for ever-tightened budgets.

The panelists all agreed that Neilson’s forthcoming Twitter rating will be one of the most important developments for the future of social TV. Natan Edelsburg predicted global TV launches with global sponsors, as a way of combating illegal downloads. He also said that community managers will become editors (as Liberty842’s already are!), as they will be expected to deliver the very best quality content, to stay ahead of the game. Music to my ears!

Lisa wished “in her ideal world” that the future of mobile be aligned with a realistic commercial model ­– but for now, however, TV execs still struggle to execute mobile applications due to lack of people and money to keep them updated. She said with so many second screen apps, it raises the question of where to focus investment.

The title of this event suggested we were going to be enlightened with the answers to burning questions around methods, new technology, viewer behavior and commercial value of social TV. The reality is that no one had the answers but that we are still experimenting, feeling the way towards a more proven social TV future.

The great news is that with experimentation, we learn and have fun in the process. We have our work to do.

By Daisy, 21 February 2013

@MrSelfridge – Retail Week’s campaign of the week

Just two weeks into our project for Selfridges, @MrSelfridge has been deemed Retail Week’s campaign of the week. Needless to say we’re chuffed to bits!

We’ve stepped into the glorious shoes of the ghost of Harry Gordon Selfridge on Twitter – all to coincide with the ITV programme, Mr Selfridge. We’re working closely with ad agency, 18 Feet and Rising as well as Selfridges.

The Retail Week article ends with a quote from Red Ant CEO Dan Mortimer who praises @MrSelfridge and his ability to “extend the brand personality from the store to the TV screen and onto social channels… @MrSelfridge works because it has an engaging, vivid tone of voice and focuses on conversation with followers.”

@MrSelfridge tweet

For all your fashion needs, follow @MrSelfridge for the most eloquent advice.

@MrSelfridge tweet