So proud of my mom Susie Sexton, whose writing will be featured – for the fourth year in a row! – in the Henry Ford Centennial Library / Dearborn Public Library “Big Read” collection. This ecologically inspired edition is entitled “Tree Anthology.” (Her photo was even featured as the cover on the library’s inaugural edition, inspired by “Call of the Wild.”)
From the library publishers: Congratulations ! Thank you for submitting to the Big Read call for nature stories, poems, or essays. Your work will be included in the forthcoming tree anthology. Please check this page for updates on the book: https://lnkd.in/eYXugVe … We hope you can attend the NEA Big Read Kick-off on Saturday, March 7, 11 a.m. at The Henry Ford, Anderson Theater, 20900 Oakwood Blvd: https://lnkd.in/eTNy-KN
From The Post & Mail/BroadwayWorld: author Susie Sexton will be featured in the upcoming Henry Ford Centennial Library “Big Read” Tree Anthology. The book will be available for purchase on Amazon. Sexton’s work was published in the organization’s prior three “Big Read” collections Call of the Wild Dearborn: Animal Tales (also providing the photographic cover art), Dreaming Dreams No Mortal Ever Dared to Dream Before, and What’s In A Name? The program has been running since 2014, yielding four collections in that time, and Sexton has been included in each edition.
The Big Read is a program of the National Endowment for the Arts in partnership with Arts Midwest, designed to broaden our understanding of our world, our communities, and ourselves through the joy of sharing a good book. For a fourth time, Dearborn Public Library is one of 75 organizations nationwide that received this grant to host a Big Read program in their community. Tree Anthology focuses on nature and ecology as primary themes.
Viewed PARASITE…what do I think? I dunno? At all. But Academy Award winner? WTF? Beyond me how that happened. Gonna take me three days to forget it?
I think I kinda hated it to pieces? I’d like to feel happy now and then? Or at least englightened and hopeful? This was uneven and tricksterish and grim and odd… I see a point to it all, but I already am just bright enough to have known the point without sitting still for three hours reading dialogue stream underneath humans attempting to act out some message or other? Naughty me?
The tried and true theme of class collisions and the very worst of humanity and its general cluelessness and victimization and nuttiness and self-centeredness. Who needs to wallow in it? Bad enough on a daily level. It exists everywhere even in living rooms across the globe if people are lucky enough to have living rooms? JOKER got the message across much more provocatively and, hopefully, meaningfully and artistically? How in the world this incarnation of misery bounced onto the scene and into consciousness and got multiple film awards is totally puzzling.
Some of the stuff I have loved over a half century does not always hold up I admit…but hey, slop is slop…manipulation I resent from young film makers, and I felt manipulated? And I would have if this thing debuted years ago…and it could have…sorta? How about THE GREAT GATSBY which I do NOT adore…but it serves the purpose fine?
Hallelujah… I do not feel so nuts now that I think I hated this thing? I am usually not this critical. A movie is a movie until they go to odd extremes?
P.S. James Corden said the week after the Oscars he was enjoying listening to all the people who pretended to watch it. I thought that was cute. I forgot to share that. I damn near gave up on it early on…and later on as well? Ha!
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is a shotgun blast of pure pop riot grrl anarchy. Just the slap in the face “bro culture” has needed. And will continue to need.
Director Cathy Yan and producer/star Margot Robbie, working from a script by Christina Hodson, have crafted a beautifully forward-leaning day-glo antithesis to the retrograde sludge that was Suicide Squad(the precursor to Birds of Prey wherein Robbie’s “Harley Quinn” made her scene-stealing debut). One could even argue that Birds of Prey is a razor-barbed bookend to the exquisite existential angst of DC Entertainment’s Oscar-winning Joker.
The set up of Birds of Prey is that Harley has finally broken up for good with her boyfriend: yes, The Joker. Not Joaquin’s superior “Mistah J,” but Jared Leto’s inferior one – the tattooed, gold-toothed, overacting, “Hot Topic” fever dream one from Suicide Squad. Their breakup involves blowing up a chemical factory because, you know … comic books. As Rosie Perez’ world-weary and whimsically hard-boiled Detective Renee Montoya observes, “She [Harley] just publicly updated her relationship status.” Robbie is divine as Harley. Full of madcap poignancy, unencumbered by the cinematic fetishization she and the character suffered in Suicide Squad.
Alas, freeing herself from one hotbed of toxic masculinity just throws Harley into the deep end of a pool of abusive, egomaniacal, swaggering male bullsh*t as every thug in town now sees Harley as fair game. Leading the pack is Ewan McGregor’s sadistic Roman “Black Mask” Sionis and his sleazy, murderous, codependent wingman Mr. Zsasz (a fabulously glowering Chris Messina). McGregor literally gnaws at every splinter of scenery in one of his best performances – all fluttery hands, gritted teeth and coiled self-loathing.
Eventually the film adds a serpentine plot line about a diamond and a hidden family fortune, tied to a mafia family entirely gunned down years ago with only one “lost” survivor. Think Anastasia by way of The Jersey Shore. As Birds of Prey gathers momentum, like a pinball careening through a Rube Goldberg contraption, Harley partners up with Detective Montoya as well as a scrappy street thief Cassandra Cain (charming Ella Jay Basco), sonically superpowered club singer Black Canary (sparkling Jurnee Smollett-Bell of Roll Bounce and The Great Debaters), and socially maladjusted but utterly a$$-kicking Huntress (dynamite – as always – Mary Elizabeth Winstead of Fargo and Sky High).
There is a buoyancy to the entire film that is utterly infectious. The sheer joy these actors seem to be having playing women in command in a world out of control is a delight. I’m not one to care much for fight scenes or action sequences, but the balletic, athletic choreography on display here is Gene Kelly meets Sly Stallone, Bob Fosse meets Jackie Chan, if filmed by Vincente Minnelli. When a climactic car chase involves one of the characters on roller skates, you may be in for a treat.
The film reminded me of Drew Barrymore’s reboot of Charlie’s Angels, now 20 (!) years old. A film by women and about women, reclaiming a genre (action/superheroes) which has been far too long dominated by men (and, worse, by men of a certain stunted emotional development). Go for the hijinks, stay for the surprising depth of character development, and linger for the final scene as the women celebrate their victory over tacos and margaritas, sharing camaraderie and conversation and honest appreciation for their common humanity. Far too few films – let alone comic book epics – end on such an affirming note. Keep ‘em coming.
P.S. Spoiler alert for my animal loving friends, but Harley’s hyena “Bruce” makes it to the end of the film just fine￼. 😉
[Chorus] Got bridges to burn and places to run Yeah, this smile is a loaded gun
[Verse 1] It’s my party, my body, my business It’s my town and my crown on my hitlist It’s my world and you’re just living in it Did I, did I, did I finish? They are my girls, and it’s us who’s deciding It’s our door, did we say you’re invited? Leave your name and we’ll call if we like it If we, if we, if we like it
[Pre-Chorus] No more Mrs. Sweet and Miss Nice No more Mrs. Fuckin’ Polite Time for Mrs. Takin’ What’s Mine You don’t need him
[Chorus] Got bridges to burn and places to run Yeah, this smile is a loaded gun
[Verse 2] It’s my party, my body, my business If he tries to control me, he’s finished Won’t be crying, there’s plenty of fishes And I, and I, and I’m fishin’ You should know that you won’t find another Who will ruin your life then your brother’s Who will take what she’s owed when she wants to Did I, did I, did I stutter?
Honored to be included in fSquared Marketing’s “Top Trends for Law Firm Marketing in 2020 and Beyond.” Thanks to Lynn Foley for the invite. Looking forward to diving into the insightful contributions here from Lynn, Lloyd Pearson , Jessica Jaramillo , Darryl Cross , Trish Desilets Lilley , Derek Jones , Meghan Spradling , M. Ashraf Lakhani , Pamela Foster , Gordon Donnelly , and Bree Buchanan .
From the publication’s introduction: “The truth is that the core principles of legal marketing have not changed: client service, personal connections, lawyer-lead thought leadership, relationship building, interpreting the available information and using those insights to drive action. As Roy Sexton writes in his article: ‘The new trends in legal marketing remain the things we should have all been doing in the first place.’ … The best way to predict the future, and succeed in the present, is to understand why the fundamentals of the past worked. You’ll find plenty of ideas for how to build on that foundation in this year’s Trends.”
“Don’t throw the past away/You might need it some rainy day./Dreams can come true again/When everything old is new again“ – lyrics from the song “Everything Old is New Again” by Carole Bayer Sager and Peter Allen (performed by the latter)
Perhaps it is a function of my age as I barrel toward the mid-century mark, but the new trends in legal marketing remain the things we should have all been doing in the first place. Prior to entering the legal space in 2011, I spent over a decade in a consumer-facing industry – health care – that, like legal, sells a human “product”: in healthcare’s case, the wit and wisdom and technical proficiency of doctors and other clinicians.
Healthcare is not necessarily known for its progressive approach to messaging, branding, advertising, or sales, and, yet, I find it gobsmacking that, in legal, we still don’t speak in some very basic marketing terms that I learned on day one in healthcare: for instance, presence, reach, awareness, leads.
We don’t measure these things the way other industries have (for decades), and, too often, our KPIs still feel reactionary in nature. Checkbook accounting if you will … or laggingindicators to borrow from our Six Sigma friends. For example, we tout proposals and pitches generated, won, lost, or simply flushed down a well, or we throw every resource but the kitchen sink at collecting outstanding revenue. Yet, the ideas of audience growth, developing a following, and true lead generation still appear to be a glorious mystery to much of our industry.
Heavens, I sound like a cranky neighbor throwing rocks from his front porch. I don’t mean to sound so cantankerous. Truth is, I’m as much of the problem here as anyone else.
So, with that said, what trends do we need to embrace in 2020? Well, this won’t sound very sexy as I’m not about to push for new tech or shiny new toys. We need to embrace storytelling. We need to understand the brand narrative. What does your firm believe in? What is its commitment to community? To clients? What is your unique value proposition? And, nope, that can’t read as “great service, smart people, at a fabulous price.” Everyone is saying some version of that.
Get specific. Be real. We have amazing tools at our fingertips in this digital landscape (ok, maybe I am getting a bit tech-y) to pull back the curtains on our respective organizations and let clients – existing and prospective – see the inner workings of our firms. And polish and panache won’t seal the deal. Authenticity, relatability, immediacy, outcomes will. Grow an audience, develop a following, and measure the heck out of every touch point those people have with your marketing content and with your practitioners.
Those organizations with our business in their sights have a very clear brand narrative: Deloitte. EY. KPMG. PwC. Everyone knows who they are and what they do. Long ago, with basically the same business model as legal, these companies were able to overcome the confederacy of voices that derail and dilute most firms’ market voices. They clearly articulate value, competencies, and brand, and they run themselves as businesses, not as wobbly democracies. They realize that a cohesive brand does not detract from but rather enhances the visibility of individual practitioners and, more importantly, their ability to win business.
The firms that can borrow from that playbook, march in lockstep, and land a coherent and, I repeat, accessible brand message will ride high through what is likely to be a tumultuous path for the legal industry.
I’ll be sitting on my front porch with a pail of stones.