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Revealed: Facebook’s secret rules for policing your content
Facebook has pulled back the curtain on its Internal Enforcement Guidelines, the long-mysterious rules by which its community standards team decides what’s appropriate for the social network. Controversy around those rules has circulated for many years, with Facebook accused of giving little insight into the ways it decides which photos, videos, and posts should be removed, and which are “safe” to stay online.
“We decided to publish these internal guidelines for two reasons,” Monika Bickert, Vice President of Global Policy Management at Facebook, said today. “First, the guidelines will help people understand where we draw the line on nuanced issues. Second, providing these details makes it easier for everyone, including experts in different fields, to give us feedback so that we can improve the guidelines – and the decisions we make – over time.”
Facebook uses a combination of tech and human moderators in order to attempt to sift through what’s shared on the site. Potentially problematic content is spotted either using artificial intelligence or reports from other users, the company says, and are passed on to the more than 7,500 human content reviewers. They work 24/7 in over 40 languages, Facebook says.
For example, Facebook says it won’t allow hate speech about “protected characteristics.” These include ace, ethnicity, national origin, religious affiliation, sexual orientation, sex, gender, gender identity, and serious disability or disease. However there are only “some protections” around immigration status, and there are three “tiers of severity” by which posts are judged.
Aven with guidelines, then, the system can’t be infallible. Indeed, there are thousands of words split across the multiple sections of the community standards guidance; expecting each individual team member to reach the same conclusion for every incident is impossible. With that in mind, Facebook has also added a new appeals process.
For the first time, there’ll be the opportunity to appeal a decision by a content moderator, and get a second opinion. If some content of yours – whether photo, video, or text post – has been removed, you’ll get a message explaining how it went against Facebook’s standards. There’ll be a link to request a review, which will be carried out by a person, and “typically within 24 hours,” Facebook promises.
If the second moderator thinks differently, the post will be restored. “We are working to extend this process further, by supporting more violation types, giving people the opportunity to provide more context that could help us make the right decision, and making appeals available not just for content that was taken down, but also for content that was reported and left up,” Facebook’s Bickert says.
It’s all part of Facebook’s attempt to better control – and do so more transparently – what’s going on across the site, particularly in the wake of controversies around its involvement in the 2023 US presidential election. Come May, Facebook Forums: Community Standards will debut, a series of public events that will take place in the US, UK, Germany, France, India, Singapore, and other locations. There, Bickert hopes to “get people’s feedback directly.”
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These top-earning celebrities, musicians and creators made more than $1.3 billion last year.
These top-earning celebrities, musicians and creators made more than $1.3 billion last year.
All figures in this article are in USD.
After releasing her tenth studio album, Midnights, in October 2023, Taylor Swift became the first artist in history to claim the top ten spots on the Billboard Hot 100 song list. A month later, 14 million loyal fans tried to buy tickets to the 12- time Grammy winner’s 2023 Eras Tour, overwhelming Ticketmaster and prompting a massive backlash against the ticket site, with the Department of Justice reportedly opening an antitrust investigation.
Despite the success of Midnights and the anticipation for Eras (which hints at an even better 2023), the pop icon scored most of her $92 million in earnings from music she’d released in years past. The 33-year-old’s back catalog made up an estimated 70% of her pay, including profits from streaming and album sales. (Universal Music Group, which gets 3% of its revenue from Swift, sold $50 million worth of physical albums in 2023, per a JPMorgan analyst report). It was enough to place the musician at No. 9 among the top 10 earning entertainers; it’s the sixth time she’s made the cut—and she ranked No. 1 in 2023.
As good as Swift’s year was, it was even better for several aging rock stars. The Rolling Stones banked $98 million from belting out their hits and celebrating 60 years together on their European Sixty tour last year.
Genesis and Sting did even better. Although not at the eye-popping valuations seen in Bob Dylan or Bruce Springsteen’s landmark $500 million deals—both sold their life’s work for $300 million apiece, showing that investors still see popular music with deep libraries as a safe bet. Genesis was deemed that valuable despite the fact that the deal excludes the work of onetime member Peter Gabriel. Genesis even beat out the former Police front man (whom younger fans may know better from his cameo in Hulu’s Only Murders In The Building, alongside Selena Gomez), thanks to an estimated $27 million infusion from touring—enough to earn the top spot on the list for the first time ever.
There are plenty of other signs that the entertainment industry likes sure things. Thirty-four years after The Simpsons first aired, two creators of America’s favorite yellow family debut at No. 5, thanks to a 2023 streaming deal that migrated all 30 seasons to Disney+ and put a previously unreported $105 million in their pockets annually. And James Cameron, the director you “never bet against,” is back in the top 10 after a dozen years away. His Avatar sequel, The Way of Water, and its blue-skinned beings have breathed some much-needed life back into the box office. Still in theaters, it has grossed over $2.1 billion to date since its December release.
Box-office stars have had a tougher go of it. The only ones in the top 10 are Tyler Perry and Brad Pitt, both of who made most of their income off-screen. Pitt, who last appeared among the top 10 in 2009, sold a majority stake in his production company, Plan B, to European media conglomerate Mediawan in a December deal that valued the business at $300 million. His roles in Bullet Train, Babylon and The Lost City accounted for an estimated third of his income.
The only true newcomer to this year’s list: Puerto Rican rapper Bad Bunny, who sold $400 million worth of tickets to his two tours—the first in the spring in the U.S., the second in the fall across the States plus Latin America—according to concert tracker Pollstar. His second tour, dubbed The World’s Hottest, was an expensive affair. It took 35 to 40 trucks to cart gear and crew from venue to venue across the U.S. and then used three planes—including a 747 cargo jet—to transport everything for the Latin American leg, according to sources with knowledge of the tour. That kind of spectacle may have helped sales but meant fewer dollars in the star’s pocket. Including endorsements, Bad Bunny earned $88 million.
Altogether this year’s biggest earners hauled in $1.35 billion, half as much as last year’s top 10 that included Jay-Z, Kanye “Ye” West and Bruce Springsteen. Only two appeared on both lists: Tyler Perry and South Park creators Trey Parker and Matt Stone.1. Genesis • $230 million
The pioneers of progressive rock topped 2023 with a $300 million music rights sale to Concord Music Group in September. The deal comprised publishing rights and a selection of recorded music income streams from the group, as well as solo income streams from Phil Collins (including hit song “In The Air Tonight”) and bandmates Tony Banks and Mike Rutherford. Touring and recorded music royalties rounded out their income.2. Sting • $210 million
Sting. Image: Getty
The 17-time Grammy winner and former Police frontman—known for hits including “Every Breath You Take” and “Roxanne”—pocketed $300 million before fees by selling his entire musical output, both solo and with The Police, to Universal Music Group in February. “It’s a good catalog,” says one longtime industry attorney on the British singer’s work. “Wouldn’t mind owning it.”3. Tyler Perry • $175 million
Tyler Perry. Image: Getty
Just call multi-hyphenate Perry a modern Renaissance man. The actor-director-writer-studio mogul had another lucrative year thanks to simultaneous income streams from film, his BET TV shows and the sprawling production backlot he outright owns in Atlanta. In his second year among Forbes’ top 10 highest-paid entertainers, Perry is the list’s sole billionaire with an estimated $1 billion fortune.4. Trey Parker & Matt Stone • $160 million
South Park writers/creators Matt Stone (L) and Trey Parker (R). Image: Getty
The devilish duo behind South Park had another banner year, thanks to earnings from a legacy HBO Max deal and Book of Mormon, their comedic musical (and skewering) of the Church of Jesus Christ of Latter-Day Saints. The majority comes from their Paramount deal, signed in 2023 and guaranteeing the pair $935 million over six years.5. James L. Brooks & Matt Groening • $105 million
James L. Brooks & Matt Groening. Image: Getty
America’s favorite yellow cartoon family, The Simpsons, migrated all 30 seasons to Disney+ from FX in an April 2023 streaming deal made after Disney’s previous acquisition of Fox for some $52 billion. Series co-creators Brooks and Groening aren’t having a cow, man, having earned a previously unreported $105 million annually after fees, according to sources familiar with the deal.6. Brad Pitt • $100 million
Brad Pitt. Image: Getty
Pitt’s majority sale of his Plan B production company in December earned the actor an estimated $113 million after fees. The deal also had Hollywood chattering. “It’s definitely become a brand,” says one lawyer, adding that Plan B in addition to producing Oscar winners Moonlight, 12 Years A Slave and Martin Scorsese’s The Departed, likely owns back ends and has a development slate that would increase its value. Others weren’t sold. “It doesn’t really have assets,” says a second attorney, pointing out that the company simply produces projects, rather than owning them. Pitt earned an additional estimated $30 million from roles in Bullet Train, Babylon and The Lost City.7. Rolling Stones • $98 million
The Rolling Stones. Image: Getty
If Mick Jagger, Keith Richards and company can’t get (no) satisfaction from a $136 million grossing tour and record royalties, then perhaps they should paint their coffers black. The OG British rockers pocketed over $8.5 million per night on a 15-city tour across Europe last summer, according to concert tracker Pollstar.8. James Cameron • $95 million
Film Director James Cameron. Image: Getty
His wallet will go on: The smash success of Avatar: The Way of Water made Cameron the director of three of the highest-grossing movies of all time, alongside the first Avatar (2009) and Titanic (1997). His second outing to Pandora netted him at least $95 million, according to industry insiders, in a deal that’s said to be back-end-heavy with bonuses for crossing certain box office thresholds.9. Taylor Swift • $92 million
Taylor Swift. Image: Getty10. Bad Bunny • $88 million
Bad Bunny. Image: Getty
The Puerto Rican rapper, best known for combining reggaeton (a mix of Caribbean reggae and mainland rap) with Latin trap (a hip-hop subgenre with roots in the southern U.S.) charmed millions around the world as he flew on a palm tree on tour, appeared alongside Brad Pitt in Bullet Train and challenged machismo with genderfluid style. The lion’s share of his income came from two tours: El Último Tour Del Mundo, performed in arenas, and The World’s Hottest Tour, his first time playing in the biggest possible stadiums. Endorsements with the likes of Corona, Cheetos and Adidas were icing on the cake.
Look back on the week that was with hand-picked articles from Australia and around the world. Sign up to the Forbes Australia newsletter here.METHODOLOGY
Figures represent 2023 pretax earnings, minus fees for representation—managers, lawyers, agents—and/or business operating costs. Sources include data from Nielsen BookScan, Luminate, Pollstar, IMDBPro and Variety Insight, as well as interviews with agents, lawyers, managers, executives and industry experts.
Have you ever wanted to jazz up your Facebook profile? While the social network does not allow themes, there are many utilities that let you add a theme to Facebook. One of the better tools for doing this is My Facebook Theme.
In order to get the most out of My Facebook Theme, you actually have to install two extensions: My Facebook Theme and Facebook Theme Creator.
They are both by the same developer and work well with one another to give you the most pre-made themes, along with the ones you create yourself.
Once both are installed, you can open the extensions to either utilize a pre-made theme or create your own. There are a wide variety of pre-made themes to choose from. In other wordss, you have many options for adding a theme to Facebook.
You can open My Facebook Theme from Facebook with the handy little link added to your top toolbar.Creating your own themes
My Facebook Theme’s biggest asset is being able to create your own theme. While this is a very simple theme maker, it can make a big impact depending on what you want to do and the time you have to be creative.
The first part of the Editor deals with the Background.
You can choose the color of the background or use an image. If you use an image, you can choose whether it scrolls or stretches across your Facebook page or how to tile it for the best fit possible. Then, you can choose the image position if you choose to center it or off-set it.
The second part of the Editor lets you change how the primary Facebook toolbar looks.
You can change its background color and link color.
The final part of the Editor lets you change the links, text and header colors of your Facebook feed and profile.
Depending on the type of changes you make and the background you use, you are given a lot of leeway in the color choices you make to get just the right match.
These changes, along with the pre-made themes you may end up using, will be utilized across all profiles and pages on Facebook.Using pre-made themes
My Facebook Theme also utilizes pre-made themes. These come in a variety of categories from cartoons to nature to holidays and more.
You can also take a pre-made theme and make it more your own by customizing it with the “Build Your Own” option once you have installed it.Sharing your themes
After you create your own theme, you can save it to My Facebook Theme by linking the two via Facebook.
You can then switch in and out of themes as you see fit but still keep the creations you have worked hard on.
You can also share the theme with others through social networks and if they use the extensions, they, too, can use it to theme their Facebook.
My Facebook Theme used to be available for Firefox but is no longer supported for the browser.Conclusion
My Facebook Theme is a great way to customize your Facebook experience, especially if you are bored of the everyday look of the social network. You can add a theme to Facebook by using pre-made themes, tinkering with them or creating your own which gives you creative control over what Facebook looks like.
Image credit: Facebook wallpaper
Melissa Popp has been a freelance writer for over a decade. While she primarily has focused on writing about technology, she’s also written about everything from custom mailboxes to health care to just about anything in between. Melissa is the Content Strategist for chúng tôi the nation’s leading marketplace for trailers for sale, the Social Media Manager for the best roofing Denver company as well as a Writer here at MakeTechEasier. She’s a proud support of the Denver SEO community and a big fan of online radio.
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Robin Williams Revealed, with Big Help from BU Archives New York Times author’s new book uncovers surprising truth about late comedian’s famous spontaneous riffs
Comedian and Academy Award–winning actor Robin Williams was so wildly inventive and spontaneous that he made up all his riffs and routines on the fly. Or at least, that was the legend of the brilliant but troubled Williams, who was 63 when he died from suicide in 2014.
Except, as New York Times culture reporter Dave Itzkoff writes in his acclaimed 500-plus-page New York Times best-selling biography Robin (Henry Holt and Company, 2023), the legend was more fiction than fact. Itzkoff, who will talk about his book Tuesday night at the Metcalf Ballroom, uncovered Williams’ more complex creative process through exhaustive research, including more than 100 interviews with family and friends and the directors, writers, actors, agents, and comedians the actor worked with.
Also central to his understanding of that creative process, says Itzkoff, were Williams’ papers, which he donated to BU’s Howard Gotlieb Archival Research Center in 2011, after Gotlieb director Vita Paladino (MET’79, SSW’93) had begun a correspondence with him about them. Among other materials, Itzkoff poured through countless handwritten notes Williams had made for jokes and comic performances as well as for scenes in movies and television shows.
Itzkoff makes it clear in his book that he was a fan of Williams, chronicling the performer’s spectacular successes, his devotion to friends like Billy Crystal, Christopher Reeve, and Richard Pryor, and his love of his family. But he doesn’t shy away from the messiness—the three marriages, the struggles with addiction, the deep insecurity.
“The real Robin was a modest, almost inconspicuous man, who never fully believed he was worthy of the monumental fame, adulation, and accomplishments he would achieve,” writes Itzkoff, who had interviewed the actor extensively between 2009 and 2013 for New York Times articles.
BU Today talked with Itzkoff about his research for Robin, how he organized his writing time—he credits, in part, his then-new baby—and about the similarities between his own father, who is in long-term recovery from a cocaine addiction, and Williams, who had also suffered from addiction and was sober at the end of his life (Itzkoff writes in his book that Williams’ death was complicated by Parkinson’s disease and undiagnosed Lewy body dementia).
BU Today: In your memoir, Cocaine’s Son, you write about your father’s addiction while you were growing up. Did you empathize with Williams’ son Zak, who had to cope with his father’s addictions, and with Williams himself?
Oh, sure. I think it’s very relevant, even though they’re different people and had different experiences, I certainly think there are some commonalities. Both my father and Robin were recovering addicts, and there is a kind of a similar personality in that they were both extremely—because of their drug experiences, their recovery experiences—confessional people, as recovered addicts sometimes are. They want to tell you all these things about their lives. They want to tell you about the people they used to be when they were still getting high, the regret and remorse they feel, and how they’re different people now and you don’t have to scratch them very deeply to get these kinds of stories, that kind of information out of them. They really aren’t abashed or reluctant about it.
Your acknowledgments say the Gotlieb Center archives—Williams’ papers—at BU were “an invaluable resource.” And you have many footnotes referring to the material: scripts, notes, letters, things like that.
The University should be extremely proud of it. It was such a one-of-a-kind resource, and just absolutely essential to my work. In some ways, Robin’s process is kind of locked away from us. A lot of it is internal and in his head. He wasn’t particularly good all the time at setting it down on paper, but because we have not only the annotations he made himself on his various scripts…but also the notes he and other people kept on his stand-up routines and performances—that’s pretty massive in terms of a piece of the puzzle.
It’s a huge piece to have because I think there is this assumption that everything that he did essentially he made up off the top of his head…. There was a lot of research and a lot of note-taking, and dry runs that he went through and a lot of organization and practice.
What are some of the things from the archives that were a big help?
A lot of the stuff about Good Morning, Vietnam [in that 1987 movie, Williams plays a disc jockey who hosted an Armed Forces Radio program in Saigon in the mid-1960s] and how he created the Adrian Cronauer disc jockey. I talked to director Barry Levinson and other people who worked on the film, but in terms of seeing Robin’s own process, that came right out of his papers.
In the archives you see the research materials that he took with him to Thailand when they were filming—all this information about the mid-1960s Vietnam War–era history that a disc jockey would have known and been talking about. You see the notebooks that he and Marsha [Williams’ second wife] kept. He would basically shoot by day and go home at night and improvise—play around with the facts he was reading up on, coming up with little bits. Either he or she would write them down in notebooks or on paper and they would try to organize them…and maybe he would have 20 different jokes…and [decide] how do I put them in an order that would sound like a spontaneous routine? Even then he’s making these things up; he’d go in front of the camera with 20 different bits in his back pocket, deciding in real time what order to put them in, tweaking them.
Did the folks at the Gotlieb Center just start bringing the boxes to you?
I was there for a week. I just had them bring every box of physical material. There were some digital recordings I didn’t have time to go over, but everything else that was physical—every piece of paper or photograph—I asked to see. I spent a week going through all of it and taking tons of notes and not even thinking about what is in it: don’t try to think about what’s significant about it or try to piece together a narrative in your head at this stage—just take notes, think about how cool this is and how amazing…. Seriously, there were business cards that he printed for himself from the first improv team in Los Angeles—this group called Off the Wall.
It’s sort of amazing that he saved all that stuff…
Yeah, it’s pretty extraordinary, right? He wasn’t always the most organized person…. It was sometimes hard for him to admit or to really articulate or to say out loud, but on some level he was also someone who thought he was possibly destined for a great career, had the potential for it. We all want to save things that are important to us and hope that one day when they’re pieced together and laid out, they will tell the story of who we were.
You cite a lot of letters he wrote, many in the Gotlieb archives. That was an era when people were still writing letters…
There were also a lot of letters to him, which is fascinating. There’s a letter Mr. Rogers [Fred Rogers, the creator of the children’s television show Mister Rogers’ Neighborhood] wrote to him after he saw Dead Poets Society, which blew my mind. If you think about potentially any movie in Robin Williams’ film résumé that would potentially resonate with Mr. Rogers, that’s probably the best one. In some ways their worlds and lives could not be more different. One was a children’s entertainer. One was aimed more for adult audiences. The kind of stuff Robin was known for in that era was very often vulgar and profane and not necessarily Fred Rogers’ cup of tea.
That was one of the things I found most moving about your book—the network of close friendships Robin Williams had.
In some ways, there are a lot of lessons in his story, but one lesson is that he is just a person. The celebrity aspect of it was so hard for him, and it prevented him at times from just having the kind of normal human existence that he wanted. And he still had all these kinds of failings and misfortunes that occur to all kinds of people, and he dealt with them, no differently than any other kind of person would, regardless of his stature or his wealth at times. Having these close friendships…was tremendously important to him. He was a social person. He needed that interaction, that reinforcement.
This was a massively researched book—did you actually write it and work full-time at the New York Times at the same time you and your wife had just had your first child?
Yes, I did.
By and large, I think that’s good for writers starting out, if nothing else, just to write for themselves, and to be able to share it with others, and hopefully as a way to refine your own interests and find out what you’re curious about. Just having the experience of having an audience respond to what you write, seeing what that’s like, and being part of a conversation around something—I think that’s invaluable.
Dave Itzkoff will speak at the George Sherman Union Metcalf Ballroom, 775 Commonwealth Ave., Tuesday, April 30, at 6 pm. The event is sponsored by the Howard Gotlieb Archival Research Center, part of the Friends Speaker Series. An exhibition of the Robin Williams archives will be on display.
Admission to the event is free to students with a BU ID and Friends of HGARC, and $25 for members of the public.
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At Facebook’s developer conference F8 today, the company announced its new software platforms that mix augmented reality, artificial intelligence, and virtual reality.
The company is taking a leap into a new realm of interactions, and they’ve started by sharing a lot of them today. Some of the new software can already be seen inside of Facebook’s camera app starting today.New live 3D camera effects for Facebook
Available today, the official Facebook app now supports adding live AR effects in the camera app. Shown off on stage, different artists from around the world will be able to contribute different effects and styles to the camera.
To get started, users can swipe over to their camera from the main Facebook feed. From here, they’ll see some messages about the new effects added in. Users will be able overlay masks and different visuals to their photos before sharing.Facebook’s new augmented reality Camera Effects Platform
Launching today in a closed beta, Facebook believes its Camera Effects platform will be able to utilize smartphones as the next step in augmented reality. Mark Zuckerberg took to the F8 stage to explain that phone camera’s are the “primitive versions” of the glasses or contact lens AR experiences many hope to eventually achieve. Facebook announced that its new closed beta AR platform will focus on the device’s camera to build out this new system.
The AR platform will rely on three key aspects in helping developers build out software: Precise Location, 3D Effects, and Object Recognition.
Using Precise Location, the AR platform will be able to place different imagery atop the camera’s viewfinder live. Zuckerberg showed an example of sharks swimming around a cereal bowl, and the camera panning around while the sharks stay in place.
With 3D Effects, the platform can build out limited 3D environments using a 2D photo. On stage Zuckerberg showed an image of a small room, and how he was able to pan about and drop in bouncing balls and fill the room with Skittles.
The AR platform’s Object Recognition can use real-time visuals to understand objects within a space. Showing a photo of a plant, a coffee mug, and a wine bottle, the platform was able to detect and apply applicable imagery to the objects. The plant got a thunderstorm overhead that “watered” it, and the wine was able to get a small information card detailing it’s price and origins.Connecting in VR with Facebook Spaces
Launching today and available for the Oculus Rift and Touch, Facebook has created a place to meet with friends in virtual reality. Dubbed Facebook Spaces, users will be able to create identities that look like and represent themselves online.
By picking a photo already uploaded to Facebook, Spaces will automatically give an array of options for users to pick from. After the look has been chosen, users can invite other Facebook friends to join in online.
Facebook’s intention here is to create a world where others can meet, even if they can’t be in the same physical space at the same time. Friends will be able to sit down together at tables and draw 3D objects and share them with one another live.
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Businesses making temporary changes to their usual services can now prominently display those changes on their Facebook page.
If a customer visits the Facebook page of their favorite restaurant, for example, they can quickly see if it’s still offering delivery and/or pickup service.
If a business is simply closed for the time being, with no services being offered, that can be indicated as well.
This capability is being added in response businesses being forced to close due to the COVID-19 outbreak.
In an announcement, the company states:
“To help businesses respond to the COVID-19 outbreak, we’re enabling businesses to announce temporary service changes on their Facebook Page and in searches on Facebook.
Businesses that have changed how they operate, like fitness studios offering virtual classes or restaurants offering delivery instead of dine-in service, can easily indicate those changes to customers.”
Here’s how to add temporary service changes to your Facebook page.Updating Temporary Service Changes
From there, either indicate that the business is temporarily closed or choose from a selection of other options.
If applicable, businesses can indicate they’re “Open with Service Changes” such as:
The “other changes” option should be used to indicate things such as special hours for the elderly, access to gift card purchases, or anything else that has changed in response to COVID-19.How Temporary Service Changes Appear on a Facebook Page
Information about temporary service changes will appear on a business’s Facebook page, in the Facebook page preview, and in Facebook search results.
This information will also be used to curate a list of local resources on Facebook.
For example, in the Events section, you can find a featured list of businesses offering delivery, businesses offering online (virtual) services, and so on.Other New Features for Businesses on Facebook
Gift Card Discovery
Facebook has been updating its platform on a near-daily basis in response to the rapidly changing nature of the COVID-19 outbreak.
As a way to support local businesses during this time, communities are encouraging customers to purchase gift cards that can be used when the business eventually reopens.
Now, Facebook is shining a spotlight on gift cards with improved discovery features.
Customers can discover the gift cards right on Facebook and purchase them immediately.
First, businesses have to set up gift card purchasing with either Square or Kabbage and follow the provided instructions.
Once set up, businesses can share links to their digital gift card purchase page in posts, stories, or anywhere else they choose.
Facebook will also highlight gift cards in other areas of its platform, so customers can discover them even if they’re not following the business.
Businesses can sign up for this new program here.Fundraisers
Previously reserved for non-profit organizations and charities, local businesses can now create fundraisers on Facebook.
As Facebook phrases it, this is as a way for customers to support struggling businesses and help them cover sudden expenses.
A business fundraiser can be set up just like setting up any other kind of fundraiser on Facebook.
During the setup process, indicate that you want to “Raise Money for a Personal Cause.”
Then select “Business” as the category of fundraiser.
Source: Facebook for Business
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