Social Media Analytics Blog

New York Times is going “All-In” on Instagram

The interest in Instagram is certainly growing. We read in an article a while ago that the New York Times is going “All-In” on Instagram. After that we got curious about how and why one of the biggest players in the newspaper market is doing that. In the article Alexandra MacCallum, assistant managing editor for audience development at the Times, announced that the newspaper now employed staff that is responsible for cutting 15-second videos.

Instagram is a good method of mobile marketing and is a useful approach to increase customer loyalty and the customer experience from already established companies. As well as that, posting pictures frequently can keep users and customers interested in the company. Additionally, Edison Research showed in a study this year that over half of Americans aged 12 to 24 have an Instagram account, where NY Times is certainly interested in. Alexandra MacCallum showed that she understands Instagram, its purpose, and the benefit for businesses when she stated, “it is not an effort to drive traffic to the site. That is very hard on Instagram,..”. Nevertheless, Instagram might be very important for the newspaper’s future, and we want to analyse how the NY Times is active on the photo-sharing platform.

First we want to understand how many posts they did in 2015 and which channels receive the most likes, shares, and comments.

Online Appearance

After having a look at the quantitative stats, it is interesting to see in which channel followers are engaging more. After we gained that knowledge, the next analysis will try to answer why and how the interactions are higher. In the screenshot below we did not include the NY-Times Fashion-Channel because the engagement is much higher than the other channels, caused by the New York Fashion Week in this period of time.

Online Appearance


McDonald’s Growth Rate Outperforms Competition In Social Media Analysis Of “Big 5”

McDonald’s, Starbucks, Red Bull, Pepsi, and Oreo are all huge players in consumers’ everyday lives as well as in the Social Media world. For this reason, they were chosen for this analysis. By using this example we want to share the gathered data and provide insights on how big brands are acting in the social web.

First we want to look at channel-specific insights for each company, which allow us to gain a quantitative understanding of who are the strongest players are across the different Social Media channels. We are interested in creating a “Social Graph” that represents each company’s share of followers relatively to the followers of the other “Big 5” brands. The pie chart below shows the percentage of followers that each company has in relation to the total number of followers of the “big 5” across all four channels, whereby we analyzed the period from October 2014 until beginning of February 2015.

Online Appearance


Social Media Music: The Marketing Sound Of Streaming Services

Social Media Music BrandsPaying money for music? This is the question many music-lovers ask themselves when they want to hear songs from their favorite artists everywhere and every time. The popularity of CDs is far away, filling the smart phone or the MP3-Player with music is often annoying and sometimes the new favorite song is still missing on the way.
Music streaming services seem to be a good alternative to hear music nonstop and on the go.

Additionally, there’s another benefit: Records are expensive and often you don’t really like each song. Substituted you can buy single songs, but on average one dollar for a song can make you pay a proud amount of cash, depending on how many songs you buy. For streaming services you mostly pay on a monthly basis, depending on how many hours you listen to music or whether you want to have your music with you everywhere.

Social Media Music: A Successful E-Commerce Model

Music streaming services are successful. They reach a wide range of users. We’re not only talking about the internet users in general, but about the social media users who are connected – in the era of smart phones the connection stays nearly everywhere and every time, parallel working to the music streaming services.

And at this point, social media music is born. It’s not only about hearing music, it’s also about the viral power users create through song recommendations, shares and likes. When music is discovered through friends, people listen to more music and more various artists. To think one step wider, this social exploration functions like a big marketing campaign, which can increase growth and at least ROI for the artists. Facebook makes it easy and effective possible to discover music through the Open Graph functionalities: With such a truly social connection to the big music streaming services Spotify, Deezer, Rdio and others, the success of those services can be pushed on a high level. Hearing a song on Spotify appears in the newsfeed of your friends. Big win of this model: Facebook friends can recognize the name of the music service and the artist, too. So you see, consuming music has become a wide spread social activity, which balloons the success of such modern music streaming services.

Music Streaming Services Face A Strong Competition

Music streaming is a successful model for the internet, although the companies have to handle a lot of problems, e.g. the management of the licenses. Nevertheless, this market is still growing. However, the competition is strong and nearly endless, because the user can decide between millions of songs. Aspects like loading time, number of songs, quality and many others are crucial for a users constancy on one service. But if anything doesn’t work perfectly, the competitors are waiting for the user to defect to them.
How is the competition in the area of social media music? We analyzed six of the biggest and most established streaming services on Facebook, Twitter and YouTube and tried to find out whether the success of the services looks similar on the social networks or whether fans, followers and subscribers can’t make a clear decision among all those music streaming services.

Streaming Service Logo Facebook Fans Twitter Followers YouTube Subscribers
iTunes Profile Picture iTunes 30,743,838 4,921,180 -
iHeartRadio Profile Picture iheartradio 6,463,224 238,358 39,107
Pandora Profile Picture Pandora 6,002,518 189,261 7,233
Spotify Profile Picture Spotify 3,858,022 608,322 9,031
Deezer Profile Picture Deezer 2,257,619 44,406 8,837
Rdio Profile Picture Rdio 1,269,420 95,687 5,265

The first overview presents the differences of the success of the music streaming services in pure numbers. iTunes is leaving it’s competitors far behind with a huge popularity on the social networks, but it is not only a music streaming service, but also offers videos, movies, TV shows, books and podcasts. So the large numbers result from the fact, that the Facebook page of iTunes involves all those services. On Twitter, iTunes drives a single performance for iTunes music. Pandora, which established the categorization of music tracks (Music Genome Project) in 2007, has been nearly kept up by the competitors during the last years. Numbers are good, but we want to take a deeper look in the spheres of social media music.

Social Media Music: Streaming Services On Facebook


Social Media Music Brands

Click To Enlarge

We’re starting our analysis by focusing the social media music performances on Facebook. The key metrics radar is a best case instrument for social media benchmarking, so it directly shows the strengths and weaknesses of brands compared to the competition. In this case, Rdio’s biggest strength is the high fan change rate for the last three months, but there is a huge need for action in the other areas like interactions. In opposite to Rdio, iHeartRadio’s strengths are in the interaction part on Facebook, but it registers the lowest growth in this time period. On the one hand, the six music streaming services have oppositional areas on Facebook, which need improvements, but on the other hand, they also have oppositional strengths that make them succeeding on Facebook.

Social Media Music Facebook

The key metrics table gives a more detailed overview by giving total numbers for the chosen data period from 18th August to 27th October. To begin with the fan change rate, this metric is a good indicator for the interest in a product, the fan loyalty and the success of marketing campaigns. With only one published post, Rdio shows a very low level of interaction on Facebook. iHeartRadio counters with 231 posts and a large number of people talking about this service. The increase results seem to result from the iHeartRadio festival in september 2013, which created a strong viral buzz on social media. iTunes can overcome with more than the double number of people who talked about the Apple service in this time period.

Interacting with the fans on Facebook is important to reach advantages over competitors. The response rate indicates whether companies react on consumer questions and the general way of communicating with their audience. Having one more look at the table, iHeartRadio and Rdio show huge response rates, which represents a strong connection to the Facebook audience. Meanwhile Spotify isn’t even going to allow user posts on it’s Facebook page. Maybe this disconnection to the fans and the small input, Spotify gives on the performance, lead to the small fan growth and the low viral spread we recognize in the table. iTunes also doesn’t show a close fan relationship because it allows user posts indeed, but doesn’t respond to anything.

Social Media Music On Facebook

The hard competition, music streaming services have to face, also becomes visual in this table: The key interacting users are those users, who take the most action on the measured Facebook sites during the chosen time period. In this case, the most interactions can be allocated to iHeartRadio. In addition to that, some users take action on several social media music services on Facebook, for example some users posted on Pandora as well as on iHeartRadio on Facebook during the last fourteen days.

Offer The Beat, Get A Tweet: Music Streaming Services On Twitter

Social Media Music Twitter

Views change on Twitter: iTunes has regularly fed the followers with tweets in this month. Meanwhile, the followers recognized this input with a lot of mentions and makes iTunes the unchallenged leader in this category. Spotify is as little active on Twitter as on Facebook. Although Pandora often responds to follower questions, the pioneer of music categorization can’t really keep up with the competition. Deezer comes up with a high follower change rate, but with it’s low interactions, the service isn’t able to gain on the other music streaming services. Refer to the level of newsfeed on Twitter, iTunes is far away from the competition with the most own tweets and the most retweets.

Sound Meets Video: Social Media Music On YouTube

Social Media Music YouTube

Firstly, we get that iTunes has no channel on YouTube, so for the following comparison of social media music on the audiovisual network, iTunes is out.
During the period from Oct 7th to Oct 27th, Rdio registers the highest views change rate, which obviously had no effect on the subscriber change rate. Deezer’s and Pandora’s YouTube audience has grown mostly. Refer to the total numbers of videos and views, iHeartRadio leaves it’s competitors far behind. Compared to Pandora, the music streaming service of those five which was founded first (2000), which only registers 60 videos in total, the younger service iHeartRadio (founded in 2008) already counts 192 videos. But in the measured period, Pandora shows a higher views change rate and subscriber change rate than iHeartRadio.

A Strong Competition Requires A Strong Social Media Marketing

In comparison, we realized different social media music performances refer to input as well as to success. But in general, all music streaming services show presence on the largest social networks Facebook, Twitter and YouTube.
Summing up, iTunes appears as the competition leader, but with an innovative marketing like a festival, iHeartRadio can easily keep up on social media.

It seems that the popularity of music streaming services are growing with the increasing number of launches. The services reach a wide range of fans, followers and subscribers, but most of them still use the service in the free version. Maybe with an efficient, expansive social media marketing the services are able to create another appreciation for music and the way to consume it.

It is difficult to choose the right music streaming tool, because the offers and features are more or less similar on each. The only thing that counts is that you are able to hear your favorite music everywhere, for a fair price. Isn’t this a great feeling? A negative aspect will always be the fact, that you are not the song owner. It is just a stream. But even for the future, it will be hard to find an all-inclusive solution. Because music is part of culture and is worth to spend some money on.

How are you currently consuming music? And are you willing to pay for good music? Your choice! If you’re unsure at the moment, grab your ear-phone, play one of your favorite songs and sing along loudly!

And Action! A Comparison Of Social Media Cinema Performances

Social Media Cinema Less than a hundred years ago, people were afraid when they first sat in front of a big screen which showed moving pictures. But soon people were impressed by this amazing technical progress and visiting cinema became a popular activity for everyone.

Today, impressing people has turned into a difficult task for the cinema industry. Also the recent progress, turning into a three-dimensional world through special 3D-glasses, seems slowly becoming saturated.

And in the era of streaming you have two options: watching a movie on a big screen with towering sound, but paying a ticket – or to wait some weeks when the movie becomes available on media libraries on the net and then watching the movie at home.

Your choice!

The cinema’s attendance seems to decline through options like that. But is cinema really dying out or will it always keep it’s impressive power for people? We analyzed the actions, some of the  largest cinema chains worldwide take on social media.

Social Media Cinema Audience Numbers

Cinema Chain Logo Facebook Fans Twitter Followers
AMC Theatres Profile Picture AMC Theatres 4,157,774 216,074
Empire Theatres Profile Picture Empire Theatres 89,749 20,280
Regal Cinemas Profile Picture Regal Cinemas 2,232,241 99,561
Cinemark Profile Picture Cinemark 895,165 17,728
Cinemax India Profile Picture Cinemax India 57,481 4,208

Cinema Chains: Action On Facebook

Social Media Cinema Facebook

The table gives a detailed overview about the actions the big cinema chains take on Facebook and the actions of their fans as well. For a deep analysis, the table combines pure numbers (fan growth, average people talking about, a.s.o.) with rates (interaction rate and response rate). Additionally, we directly realize the differences between the five chains refer to the numbers on Facebook: AMC Theaters take the first position with a huge distance to the competitors. On the one hand, Cinemax India only registers 280 people who averagely talk about the cinema chain, but on the other hand it publishes nearly as much posts as AMC during the period of one month. So the indian chain tries to keep up with the strong competitors on Facebook.

Cinema Performing On Twitter

Social Media Cinema Twitter

The performances on Twitter are also driven actively. AMC is on top, too, and regularly feeds the more than 200,000 followers with tweets. At this point we can make an interesting discovery: The numbers of tweets make AMC the leader on Twitter, but in the measured time period, Regal Movies seems to be the real winner refer to the number of retweets. The cinema chain only tweets 167 times in the last month, but those tweets are retweeted more than 5,500 times. Probably the content Regal tweets has a higher benefit for the users than the tweets of AMC have. Another relevant metric is the follower growth. In this case, AMC registers nearly no new followers for the last four weeks, whereas Cinemax India has grown incredibly.

Social Media Cinema Twitter

Taking a look at the follower interactions on the Twitter performances, the Cinemark chain shows the highest interaction rate in the last month, but generally the chain is on the same level as Regal Cinemas. Probably the peak in september is a result of intensive promotion and positive feedback for new movies. The followers of the other cinemas don`t show s lot of interaction on the Twitter pages.

So we now know that those big players in the cinema industry actively involve social media in their marketing strategy. But do the fans and follower really have an additional benefit of those regional performances? Isn’t cinema rather a local business?

Social Media Cinema: Marketing Strategy On A Local Basis

Especially small independent cinemas have to focus on a social media strategy, but they are locally based.
But in comparison with the big players, the small cinemas can keep up well. For example AMC has also local pages on Facebook for each theatre, but they just run a regional site on Twitter. So, are the single theaters of the big players on one level with the independent theaters in regard to the social media actions?

We also analyzed the city-based performances of cinemas on the example of New York. Especially in New York you find a various spectrum of movie theaters which compete against each other, most of all against the big theaters such as AMC. But the simple key to get people’s attention is being present on social media.

Social Media Cinema

The chart compares the single theaters relating to their actions on Facebook. Whereas the small independent cinemas seem to be relatively active on Facebook refer to posts, the AMC and Regal chain stores in New York show less news feed for their fans. Furthermore, the independent cinemas Nitehawk and Cinema Arts Centre seem to be more user friendly, because they allow user posts and response to them. On a local basis, that is a good strategy for customer loyalty.

At least a view on the activities, the world’s largest cinema chain AMC gives on the single theaters in certain cities is worth it.

Social Media Cinema Facebook

 At first view, the metrics posts and response rate give information about the almost similar input, AMC gives on each platform. The presented numbers as well as a look at the single Facebook pages prove, that all theaters are pushed on the same level and that AMC publishes one content on nearly each local platform. The opposing side looks different, because the fan interactions on the Facebook pages seem to depend on the city. The theaters which take the first three positions are located in the global cities New York, San Josè and Los Angeles, so the number of fans and the number of people talking about depend on the population. Nevertheless, the interaction rate diversifies in each city and reaches the highest numbers in the smaller locations (AMC Columbus and AMC Freehold Metroplex). An indicator for this fact could be the lower offer of cinemas, which is quiet more various in e.g. New York.

Forecast: Can Cinema Survive With Social Media?

In summary it becomes obvious, that cinemas actively use social media to reach the mass, on regional as well as on local bases. Even small independent cinemas use social media, not only the big chains. It is the possibility, especially for the independent cinemas, to survive in the era of multiplex and home entertainment. In the connected digital world of today, cinemas can impress their audience with nice offers and possibilities of interaction on social media. And honestly: who wants to see movies like Pacific Rim, Avatar or The Dark Knight on a small laptop screen with gritty sound? Cinema will not die because the demand for an intensive adventure of watching will not die. And the potential audience can get reached through social media. That contains being active on social media and also analyzing the interactions.

Latest Solution: Smart Cinema

A trend which is not that widespread yet is smart cinema. It could be another way for cinemas to enthuse people to visit theaters instead of watching films online. On (smart) trailer-platforms the users collect coins for watching trailers and answering content related questions at the end of the trailers. The more coins he collects the more options the user gets to redeem his coins, e.g. movie-tickets or DVDs. The german first mover flimmer, amongst others financed by Roland Emmerich, registers 3,547 fans and 417 follower until now, but seems to be a real chance for cinema. Moviepilot is an example for a cinema blog where users give recommendations for movies. With incredible 4,461,380 fans and 6,760 follower the platform shows the importance of user-generated content in the era of web 2.0.

So finally we get a simple phrase: Making people watch the movie on cinema means getting watchable on social media means watching the interactions on social media.

What do you think about the cinema’s future? Easy to handle like that or still dying? Buy a retort popcorn, that might help answering.

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