I love systems – they have helped me, my clients, and readers of my books to streamline and get seen.
And so I'm thrilled to announce my new book Social Media Tune Up!
It is my system for helping you identify and engage the correct audience and it will stop you from faffing around trying to connect with everyone.
Everyone is not important online - only the right people are.
The book then gives you an overview of how to lay a solid foundation online, which still starts with your website.
Then, it takes you through all of the social platforms - Facebook, Twitter, LinkedIn, YouTube, Instagram, and on to Newsletters.There is a specific check sheet designed for each platform that will help you hone in and focus on the parts you need to tune up.
If you're already rocking Twitter skip that section, if you've already got a Facebook strategy down cold skip that too! Focus on the areas where you struggle the most and use this book as a guide to help you and in the end you will have a much more cohesive strategy.
Why I created this book...
I come into contact with way too many brilliant people with incredible ideas or art that they wish to share with the world and they are scratching their heads wondering why others who don’t have half of their track records and expertise have what looks like an endless stream of fabulous things happening, gigs booked and people paying attention.
These people have figured out their online worlds, when handled and in your control will attract higher numbers, comments, interactions, accolades, and precious leads who will offer you what you want and all that is magic.
Are you ready to create some magic?
Really, you may be thinking… social media = magic?
Having an online presence is now non-negotiable if you want to succeed as a business, brand, an artist, or anything else. Your followers and fans now fully expect you to be present on a consistent and relevant basis.
If page one of Google is not killing it, neither are you.
It doesn’t matter if you’re brilliant, went to a top university, and you’ve published 10 books, and it doesn’t matter if you had coverage in the media in the past. One of my star clients has been on Oprah, The Today Show, in Fortune Magazine, The New York Times, The Wall Street Journal and in hundreds of other national and international publications. But, that was a little before the time when every publication was online, and now – still vital with a huge message to share with the world – she is almost invisible to Google and it costs her tremendously.
My musician clients who are frustrated because they can’t get the gigs they used to get are being told by top booking agencies, clubs and tours that they were passed over for the band that had 10,000+ likes on Facebook.
I have been told countless times by top editors and writers and journalists that they have decided to pass on my clients because“their social numbers are just not there.”
Is this fair?
No it’s not.
Is this going to keep happening?
Yes it is.
It won't keep happening if you buy my new book today.... (and it costs the same as a beer in a somewhat divy bar in NYC or 1.3 large Frappacinos)
Cyber PR 389 12th Street Brooklyn, NY 11215 USA
On view: September 27–February 4, 2017
Curated by Cecilia Brunson, Gabriela Rangel, and Susanna V. Temkin
José Leonilson Bezerra Dias (1957-1993), known as Leonilson, came of age as an artist during the 80s generation in Brazil. What he shared with this diverse artistic milieu was the so-called ‘joy of painting,’ rediscovered in the years following the end of Brazil’s dictatorship. What separated him from his contemporaries was his solitary way of working and his distinct aesthetic centered on raw emotional feelings, introspective musings, and private affairs.
This Fall, Americas Society will present Leonilson, the first U.S. solo exhibition of this key Brazilian artist. Focusing on Leonilson’s production as a mature artist, the show will feature approximately fifty paintings, drawings, and intimate embroideries made between the mid-1980s until 1993, when the artist died of AIDS. This short yet prolific period showcases the artist’s fully developed language, connecting Leonilson’s oeuvrewith contemporary art practices, Brazilian vernacular traditions, and global issues prompted by the AIDS crisis. By taking as its starting point the works produced during the last three years of his life and moving backwards into the 1980s, the exhibition maps Leonilson’s artistic journey following the reverse chronology of T.S. Eliot: “in the beginning is my end. In my end is my beginning.”
Edited by Karen Marta and Gabriela Rangel, a fully illustrated publication with newly commissioned texts is being produced in conjunction with the exhibition. The book, designed by Garrick Gott, will feature essays by the show’s curators, as well as texts by invited scholars Jenni Sorkin (University of California at Santa Barbara), Luis Enrique Pérez Oramas (writer and art historian), and Yuji Kawasima (Universidad Complutense in Madrid). It will also include a republication of Brazilian curator Lisette Lagnado’s interview with the artist, first published in the 1995 book São Tantas as Verdades (So many are the truths).
About the Artist
Born in Fortaleza in 1957, Leonilson studied at the Escola Pan-Americana de Arte and the Fundação Armando Alvares Penteado (FAAP) in São Paulo. A participant in the generation defining exhibition, Como vai você, Geração 80? (How Are You, Generation 80?), he emerged as a seminal figure of the Brazilian contemporary art world during this decade. Over the course of his career Leonilson traveled extensively throughout Europe, and his paintings, drawings, and installations were featured in solo and group shows in France, Germany, Italy, and Spain, in addition to many exhibitions held in Brazil. In 1991, the artist tested positive for HIV. This diagnosis compelled a decisive shift in his career, as Leonilson began to develop his intimate embroideries, a practice he continued until his death in 1993 at the age of 36. Artworks by Leonilson are today included in such major public and private collections as the Centre National d’Art et de Culture Georges-Pompidou; the Colección Patricia Phelps de Cisneros; the Los Angeles County Museum of Art; the Museo de Arte Contemporáneo de Barcelona; the Museu de Arte Moderna de São Paulo; The Museum of Modern Art, New York; Tate Modern, London; The Museum of Fine Arts, Houston, among others.
made possible by the generous support of Galeria de Arte Almeida e Dale, Fundación AMA, PHILLIPS, and Genomma Lab Internacional.
This project is also supported, in part, by an award from the National Endowment for the Arts, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Founded in 2004, the Brazilian Endowment for the Arts (BEA) is a 501(c)(3) non-profit foundation located in Manhattan and dedicated to the advancement of Brazilian arts and literature in the United States.
Through the work of its founders and a long list of supporters, writers, artists and staff, BEA fulfills its mission by:
– Hosting and organizing symposiums, lectures, readings, exhibitions, workshops, film festivals, musical and theatrical performances for the Brazilian community in New York and the tri-state area.
– Supporting both upcoming and established artists and intellectuals of paramount quality.
– Maintaining the Brazilian Library of New York. Presently, the Library has a catalog of over 6,000 titles in Portuguese that are available to the institution’s members and general public. It is the only library of its kind in the United States.
– Significant contemporary Brazilian art and literature is being produced outside of Brazil.
– Government support, which is plentiful for artist and writers that reside in Brazil, does not reach these expatriates.
– Expatriate Brazilian artists and writers should be able to obtain equal access to resources as their compatriots in Brazil.
The professionals and presentations endorsed by BEA, in addition to the vast collection of its Library, reflect the vitality, richness and relevance of Brazilian literature, arts and intellectual production.
– Promoting Brazilian art, literature, cultural traditions, intellectual endeavors and productions in the United States.
– Supporting writers, academics, artists, dramatists, musicians, filmmakers, both local and residing in Brazil, showing what aspects of their work portray Brazilian roots and traditions.
– Raising the general public awareness of Brazil, through programs that showcase the diversity and richness of Brazilian artistic and intellectual productions.
– Promoting exchange and establishing partnerships with artistic and educational institutions, as well as non-governmental and governmental institutions.