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. 😉
I leave you with these lyrics from one of the songs in the film, the lyrics of which I think encapsulate the flick nicely. From Birds of Prey soundtrack cut “Smile” by Maesie Peters: https://m.youtube.com/watch?v=X0exh-UHsjg
[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.
New clients can appear at any time, and once-promising prospects can disappear just as quickly. And while there’s no one-size-fits-all marketing plan, there are steps that will generate results.
The time to plan is before your business slows, according to John Reed, consultant, strategist and founder of Rain BDM.
If you don’t have a plan in place, “prepare for another lawyer to come along and eat your lunch,” he said. “Unless you are absolutely certain your clients will be clients for life, you can’t afford not to invest in business development and personal marketing activities.”
Roy Sexton, director of marketing at Clark Hill PLC, said attorneys need to build a plan instead of waiting until the roof caves in.
“Sit down with a blank page with your marketing team first, and map out a plan together,” he said. “Setting two or three top-line annual goals, and then figuring out the quarterly activity to accomplish is the best blend here.”
Mark Winter, president and founding partner of Identity, agreed, adding that marketing is a process, not an event.
“It takes discipline, commitment and continuity in execution,” he noted. “Build a five-year vision, a one-year plan, and set quarterly goals that pulse towards those longer-term objectives.”
Reed
Reed said smart attorneys and firms manage and update their plans often so they can be properly positioned when new business emerges.
“Make a date with your plan at least every month, modifying and pivoting as needed,” he said. “Don’t just keep it on your computer — print it out, mark it up, and keep it on your desk or pinned to your wall to ensure you refer to it regularly.”
Winter added that effective marketing plans are those that can scale up and down based on the attorney’s or firm’s capacity.
“There is no shortage of well-thought-out marketing plans on shelves and in drawers in firms big and small,” he said. “But it should never go dormant. We know how the pendulum can swing.”
Content is key
Key to developing your marketing plan is creating — and strategically sharing — content, which enables attorneys and firms to have a much larger, yet targeted, focus.
“Get interviewed for articles or write thought leadership and distribute that content to local media outlets, to clients directly, and on social media,” Sexton said.
However, some attorneys may find it challenging to post regularly, or even to develop their social media “voice.” When sharing content, it’s important to be mindful of exactly what message you’re sending.
“No matter what content lawyers share, they should make sure it reflects their brands — what they want to be known and valued for,” Reed stated. “Social networks give anyone a microphone to criticize, vent, or rant. Lawyers need to resist that temptation.”
When sharing content on social media, know your audience.
“The area in which we have seen professional service providers get into trouble is when they post or comment on controversial or polarizing subjects,” Winter said. “You need to weigh how important it is for you to use a public tool to share or reaffirm your personal values.”
Branding yourself
Because content plays such a large role in legal marketing, it should be tailored for different audiences, whether they read, view, or listen to it.
Sexton
“Video will become an even larger component of firm branding and attorneys’ personal marketing efforts,” Reed said. “Also, look for corporate social responsibility — lawyers and law firms giving back — to become a cornerstone of their marketing plans.”
Sexton added that demonstrating corporate responsibility and community engagement is essential for any successful campaign.
“Clients assume you’re a good lawyer, but they also want to know you’re a decent human being with whom they will have a good working relationship,” he said.
Younger attorneys may have an advantage when it comes to leveraging modern methods of connecting and communicating.
“As we continue to see the positive influence of millennials on the corporate conversation, it is increasingly important to embrace our common humanity,” Sexton said. “Regardless the platform you use to share that information, the basics of good storytelling and marketing still apply.”
Winter said firms should pay attention.
“The challenge and opportunity will be for the older lawyers running the firms to listen, lean in and let their younger counterparts integrate new tools into older firms,” Winter said. “If you do, you will see great results. If you don’t, you will not only get passed by, you may lose your young superstars to firms that will.”
Social media savvy
Social media, be it LinkedIn, Facebook, Twitter, or Instagram, is an important part of every attorney’s marketing toolkit.
While each platform has its selling points, too often, they aren’t being used to their full potential.
“LinkedIn is the best platform for lawyers but not for the reason that most attorneys think,” Winter said. “LinkedIn is a massive search engine, but most lawyers look at it simply as a newsfeed. If leveraged correctly, it is by far the best prospecting and referring tool available to a service professional today.”
Sexton likened social media to a “mixer that never ends,” noting that attorneys can engage with the people they want to reach. He added that social media interactions should be no different than sitting in a boardroom or hanging out on a golf course.
“Courtesy and social etiquette should always apply, regardless the venue,” he said. “For everything you promote about yourself, comment on someone else’s work, acknowledge them, or share their accomplishments. You’ll be surprised how far that will get you.”
Authenticity
Marketing and business development are like any other skills: they may come naturally to some but are dreaded by others.
Winter
The best approach, Sexton said, is the simple one: Be authentic.
“Don’t try to be all things to all people,” he said. “Too many attorneys make the mistake of thinking their bio has to represent any possible task they could take on. At worst, it gives the impression you will say or do anything to land a client. People don’t respond well to that.”
Perhaps the best way to present your authentic self to potential clients is through relationship building.
“Building relationships with prospective clients, referral sources, and other influencers should always be at the top of a lawyer’s business development activities,” Reed said. “Fostering connections is still the best way to become top-of-mind with those who may hire or refer you.”
Winter agreed, adding that while he uses a blend of old-school and new technologies with his clients, he keeps this simple adage in mind: People hire and do business with people they like.
“No ad or marketing tool can replace the ability to connect at a personal level,” he noted. “Nothing beats building and maintaining strong relationships with decision-makers, connectors and influencers.”
If you would like to comment on this story, email Kelly Caplan at kcaplan@mi.lawyersweekly.com.
Parasite. Saw it. Liked it fine. Not sure how those who found Joker “dark and disturbing” don’t see that both films are two sides of one coin. Both movies offer a sobering continuation of ONE timely theme: deep-seated disparity between the “haves” and the “REALLY-have-nots” yields countless flippantly delivered daily cruelties which, left unchecked, will escalate into full-on class warfare. Both movies are bruise black satires seething with heartbreak. Both films even feature a character who laughs uncontrollably at discomfort and sadness. Art as a funhouse mirror, reflecting a society increasingly fragmented.
Writer/Director Bong Joon Ho is a South Korean Hitchcock with progressive sensibilities. Previous films Snowpiercer and Okja used sci-fi and thriller tropes to address, respectively, the horrors of global warming and factory farming/animal experimentation.
Parasite leaves open the question of who and what is actually “parasitic” in today’s go-go, digitally interconnected, utterly self-absorbed world. Is it the down-on-their luck family earning pennies to fold pizza boxes, stealing WiFi for their precious cell phones from their upstairs neighbors? Is it the fact that this clan cleverly insinuates itself into the superficial, postmodern lives of a wealthy family that can’t get through a day without being swallowed by their own neuroses? Or are the true parasites the wealthy elite themselves, viewing lives of others as disposable/consumable in servitude to their “higher end” desires, whims, and needs? (And don’t even get me started on the fired housekeeper, deathly allergic to peaches, who has a few secrets of her own.)
Parasite is a clever puzzle box of a movie – plot lines never quite resolving as expected, coiling one into another, crafting a clammy sense of escalating dread (and dark comedy). In other words, an accurate portrait of life in the 21st century. As one character observes toward the film’s conclusion, “With no plan, nothing can go wrong.”
It’s a worthwhile film, and one that hasn’t left my mind in the week since I viewed it. Parasite’s cast is exquisite, the consummate ensemble with fabulous timing (comic horror this good requires it) and an empathetic approach that is beautifully immersive. The staging is divine as well, with tight, confining quarters – some elegant, some grotesque – contributing to the haunting and claustrophobic nature of the enterprise.
Parasite and Joker are companion pieces: entertaining, horrific, and essential in the cold light they shine onto man’s inhumanity to man. In fact, both are positively Dickensian. In each film, the grit and grime of hardscrabble living is visceral, palpable, convulsive. The scars such life leaves on one’s soul, particularly in the face of the shallow and callous indifference of the wealthy, is a tragic parable all of us would be wise to heed.
Thank you to The Post & Mail Newspaper – in my hometown of Columbia City, Indiana – for this lovely coverage of my Legal Marketing Association – LMA International appointment. #lmamkt
Roy Sexton, director of marketing for Clark Hill Law, has been named treasurer-elect for the International Board of the Legal Marketing Association. He assumed his new duties January 1 and will be working to support the continued growth of LMA.
Founded in 1985, LMA is the universal voice of the legal marketing profession, a forum that brings together CMOs and entry-level specialists from firms of all sizes, consultants and vendors, lawyers, marketers from other professions and marketing students to share their collective knowledge. More than 90 percent of the largest 200 U.S. law firms employ an LMA member. Members at every stage in their career development benefit from LMA participation because the association’s broad array of programs and services can be tailored to their specific needs. Visit http://www.legalmarketing.org to read more about LMA.
Sexton joined Clark Hill in October 2018. In his role there, he oversees the firm’s communication professionals, guides its communication efforts, and works to enhance brand awareness. Clark Hill has 25 offices, including one in Dublin and one in Mexico City.
“I’ve been a member of LMA since 2011 when I made the transition from healthcare to legal. It may sound clichéd, but this organization has become a professional family to me. I have benefited exponentially from my involvement and the opportunities to write, present, lead that LMA has afforded me. I’m beyond thrilled at this opportunity to contribute to the future of this great association, and I look forward to serving our members well,” Sexton noted. Sexton has served as a board member, presenter, and content expert for the Legal Marketing Association. Most recently, he served as treasurer for the association’s LMA Midwest Region Board of Directors.
Before joining Clark Hill, Sexton served as marketing director at Kerr Russell, another Detroit-based law firm. He has more than 20 years of experience in marketing, communications, business development, and strategic planning, previously holding leadership positions at Deloitte Consulting, Oakwood Healthcare (now Beaumont Health), Trott Law, and Saint Joseph Mercy Health System.
Sexton holds a bachelor’s degree from Wabash College in Indiana, a master’s degree in theater from The Ohio State University, and a Master of Business Administration from the University of Michigan. He is a graduate of Leadership Detroit and Leadership A2Y, was a governor-appointed member of the Michigan Council of Labor and Economic Growth, and was appointed to the Michigan Mortgage Lenders Association Board of Governors in 2012. He chairs the marketing committee as a board member of Ronald McDonald House Charities Ann Arbor and chairs the governance committee as a board member of Mosaic Youth Theatre of Detroit. He is a published author with two books to his credit, culled from his blog of the same name ReelRoyReviews.com. He is an active speaker, emcee, and regional actor. Most recently, he appeared as “Buddy” in Theatre Nova’s acclaimed production of Stephen Sondheim’s musical Follies, directed by Diane Hill. He received a BroadwayWorld “best actor” award for his turn as John Jasper in Ann Arbor Civic Theatre’s production of The Mystery of Edwin Drood.
Roy Sexton, director of marketing for Clark Hill, has been named treasurer-elect for the International Board of the Legal Marketing Association. He assumed his new duties January 1 and will be working to support the continued growth of LMA.
Founded in 1985, LMA is the universal voice of the legal marketing profession, a forum that brings together CMOs and entry-level specialists from firms of all sizes, consultants and vendors, lawyers, marketers from other professions and marketing students to share their collective knowledge. More than 90 percent of the largest 200 U.S. law firms employ an LMA member. Members at every stage in their career development benefit from LMA participation because the association’s broad array of programs and services can be tailored to their specific needs. Visit http://www.legalmarketing.org to read more about LMA.
Sexton joined Clark Hill in October 2018. In his role there, he oversees the firm’s communication professionals, guides its communication efforts, and works to enhance brand awareness. Clark Hill has 25 offices, including one in Dublin and one in Mexico City.
“I’ve been a member of LMA since 2011 when I made the transition from healthcare to legal. It may sound clichéd, but this organization has become a professional family to me. I have benefited exponentially from my involvement and the opportunities to write, present, lead that LMA has afforded me. I’m beyond thrilled at this opportunity to contribute to the future of this great association, and I look forward to serving our members well,” Sexton noted. Sexton has served as a board member, presenter, and content expert for the Legal Marketing Association. Most recently, he served as treasurer for the association’s Midwest Regional Board of Directors.
Before joining Clark Hill, Sexton served as marketing director at Kerr Russell, another Detroit-based law firm. He has more than 20 years of experience in marketing, communications, business development, and strategic planning, previously holding leadership positions at Deloitte Consulting, Oakwood Healthcare (now Beaumont Health), Trott Law, and St. Joseph Mercy Health System.
Sexton holds a bachelor’s degree from Wabash College in Indiana, a master’s degree in theater from The Ohio State University, and a Master of Business Administration from the University of Michigan. He is a graduate of Leadership Detroit and Leadership A2Y, was a governor-appointed member of the Michigan Council of Labor and Economic Growth, and was appointed to the Michigan Mortgage Lenders Association Board of Governors in 2012. He chairs the marketing committee as a board member of Ronald McDonald House Charities of Ann Arbor and chairs the governance committee as a board member of Mosaic Youth Theatre of Detroit. He is a published author with two books to his credit, culled from his blog of the same name ReelRoyReviews.com. He is an active speaker, emcee, and regional actor. He received a BroadwayWorld “best actor” award for his turn as John Jasper in Ann Arbor Civic Theatre’s production of “The Mystery of Edwin Drood.”
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From LMA Weekly:
Hey, hey, LMA! “Welcome Our 2020 Leaders and Volunteers … Every year, Legal Marketing Association – LMA International is honored by the commitment and dedication of hundreds of volunteers across LMA, and we couldn’t be more thrilled by the high caliber of legal marketing professionals supporting LMA in 2020. Take a moment to get to know our 2020 leaders, including the 2020 officers and directors of the LMA Board of Directors and Regional Governing Boards as well as the co-chairs for our committees, SIGs and task forces. All leaders began their terms on January 1. Thank you for sharing your time, heart and passion with LMA!” More: https://lnkd.in/eSnf4dN
“ICYMI: The Strategies+ Blogs You Read Most In 2019, Strategies+ covered a wide range of topics, from ways to advance diversity and inclusion initiatives, to considerations for improving legal marketing technology deployment, better website design and more. Missed out or just want a refresh? Here are some of the top blog posts you dove into this past year …” More: https://lnkd.in/erU3Kqg
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From Canton Chamber of Commerce:
Thank you, Thomas Paden, Canton Chamber, and Canton Community Television, for this fabulous episode of “Business Success,” covering our upcoming cabaret February 5. Denise Isenberg Staffeld, Megan Schaper, Kevin Robert Ryan, Jim Paglino, Bugs Beddow, and yours truly are all featured here: https://youtu.be/uwVBziALMlM
Do you love Ella Fitzgerald, Dean Martin, Frank Sinatra, Sammy Davis Jr, Doris Day, Tony Bennett, Lena Horne, Bobby Darin, Nat King Cole? Journey into a night club where every musical era is represented – swing, jazz, big band, lounge, Rat Pack, pop … and maybe even a few present day surprises.
Join us at the Village Theater on Wednesday, February 5th at 7 p.m. for our 3rd Annual Music Cabaret Fundraiser: “Live From the Star Light Lounge,” an event that educates, entertains, saves.
This show, under the musical direction of Kevin Ryan, director of music and liturgy at St. Thomas a’Becket, will include a live band with special guest trombonist Bugs Beddow as well as a cast of amazingly talented individuals and special appearances from some local celebs. DanceBeat will add to the fun with their unique and vibrant dance stylings. Local personality Roy Sexton, director of marketing for the law firm Clark Hill, will emcee the evening.
“We are thrilled to be returning for year three. The support from the community has been overwhelming. It’s a fantastic cause, and I’m so grateful for the incredible talent volunteering their time for this important mission. Ring a ding ding! Take a step back in time to the Rat Pack era for a fabulous evening of entertainment and compassion. Last year we raised over $20,000, so I can’t wait to see what happens this year,” noted Producer/Director Denise Staffeld, a mortgage loan officer at DFCU Financial.
Enjoy a delicious dessert and sweet treats bar, featuring Cold Stone Creamery ice cream, while trying your luck at our Prize Pull, 50/50 and more. A cash bar will be available.
All proceeds and donations from the event will benefit the American Cancer Society’s Relay For Life of Canton and Plymouth. Pre-show reception at 6 p.m.
And last, but CERTAINLY NOT least … You know you’ve made it (?!)) when your #goldenglobes #jasonmomoa #tanktop tweet is quoted by Cosmopolitan. Even funnier that high school classmate Danny Grabner was the one to point it out to me! 😂 HERE: https://lnkd.in/eGKTDec – Cosmopolitan Magazine?!
“And I Am Telling You I’m Not Going” from Dreamgirls
Thank you to my karaoke compatriots this past Friday night at Dino’s Lounge in Ferndale, Michigan, for encouraging these shenanigans: Colleen McConnell Fowler, Blaine D. Fowler, Collin Fowler, Bailey Fowler, Lauren Crocker, Michael Stets Steczkowski, Kristina Millman-Rinaldi, Dave Rinaldi, Matthew Laurinec, Jenna Miller, Danielle Zuccaro, Clarice Zuccaro, Sam Finn, Jo Epstein Finn, Bradley L Finn, Dustin Banooni, Warner Crocker, Thomasin Savaiano, and Amanda Murray. Thank you, John Mola, for cheering me on and taking these videos. 🎶❤️
Happy New Year 2020!
“Country Girl” by Luke Bryan“Don’t Rain On My Parade” from Funny Girl
We were the ONLY people in the theatre. And this was Cats’ second day showing at Columbia City’s Bones Theatre
“I retain the right to be moved by those little things nobody notices.” – Bernadette (Cate Blanchett) in Where’d You Go, Bernadette?
My favorite part of the Christmas to New Year’s gauntlet? Those empty days when the sky is gray and there are no obligations, and you can sit around in your sweatpants, shell-shocked and comatose from the holiday frenzy, vegetating in front of a movie or television screen (or both!).
“People will believe anything if you’re properly dressed.” – The Man Who Invented Christmas’ Charles Dickens (Dan Stevens), repeating advice his father John Dickens (Jonathan Pryce) taught him
Cats. O, Cats. Listen, it’s a weird effing show (read more here) that should have never been the success it was. And the lemming-like behavior that led audiences to fuel its decades long stage success is the same lemming-like behavior that is leading people to scorn the film in droves now. The film is a logical outgrowth of its goof-a$$ origins, and, by that low bar, it’s perfectly fine. Passably entertaining even. So, everyone STOP piling on because it’s fun to make fun of something you SHOULD have scorned in 1981. Too late now! Director Tom Hooper (Les Miserables) brings some inventiveness here and there, but as Rum Tum Tugger (a mush-mouthed Jason Derulo) might observe, it tends to get lost “in a horrible muddle.”
The human faces on CGI cat bodies are disconcerting (mostly in how they kind of float around and drift a bit), but I found the un-CGI’d human hands and feet even more repulsive. Rebel Wilson (Jenny Anydots) should not be allowed anywhere near a musical. Or a piano. Or karaoke. Or cockroaches. The group dance numbers should have all been cut, as pseudo-ballet is pretty but not much fun to watch in the cinema, and Hooper’s approach to filming said numbers is by turns monotonous and disorienting. Imagine Michael Bay’s Transformers singing disco-synth, day-glo show tunes.
Buried under the muck, there are decent performances yearning to break free. Ian McKellen is heartbreaking and campy as Gus the Theatre Cat. James Corden is James Corden! as Bustopher Jones (though his number has about 8 reprises too many). Judi Dench makes a really pretty Persian Cat – who knew she had the face for it? Her Old Deuteronomy has a few good zingers, and she looks really fine lounging in a wicker basket. Idris Elba (MacAvity) and Taylor Swift (Bombalurina) should take their act on the road, hitting nightclubs across the land and wearing cat-style footie pajamas. Jennifer Hudson skulks and sulks nicely as Grizabella (even if showstopper “Memory” gets thrown into an editing Cuisinart by Hooper). Surprising no one, the British dance-trained unknowns Steven McRae (Skimbleshanks the Railway Cat), Robert Fairchild (Munkustrap), and Laurie Davidson (Mr. Mistoffeles) escape with the most dignity, lending pathos to t.s. eliot’s clever wordplay and lithe movement to their feline character work.
As my mother noted, the filmmakers would have been so much better off just crafting this as an animated film, a la The Aristocats or Lady & the Tramp. But, no. That would have made sense. And, while Cats may be “forever,” it has never made one lick of sense. Meow.
“Morals don’t sell nowadays.” – Jo (Saoirse Ronan) in Little Women
Ain’t that the damn truth? And no one knows that better than the political puppet masters over at FOX News. New movie Bombshelldepicts the downfall of FOX head Roger Ailes (creepy good John Lithgow, who is no Loudest Voice in the Room‘s Russell Crowe, however). Ailes is brought low by decades of sexual misconduct, bullying, ugliness, and sheer thuggishness. Today, we’d reward that behavior by making him President of the United States.
The film is good, though lacking the depth of other treatments (namely Loudest Voice on Showtime). Go for Charlize Theron’s uncanny take on Megyn Kelly. Stay for the popcorn zip of director Jay Roach’s takedown of the hypocritical/toxic right wing media. Margot Robbie is remarkable as a production assistant torn between her ambition and her tenuous grasp on integrity. In other words, she fits right in in the FOX newsroom. Kate McKinnon is acerbic fun as Margot’s cubicle-mate, and Nicole Kidman does her best version of Nicole Kidman-as-befuddled-ice-queen as Gretchen Carlson, who first brings charges against Ailes. Some have worried that the film makes heroes of the unheroic, Kelly and Carlson and their ilk being as complicit in the rise of this Trumpian nation-state as anyone. Charles Randolph’s script doesn’t let them off the hook, in my opinion, and Roach’s swirling direction keeps the audience from feeling too much empathy for anyone.
“I’m sorry. I don’t know secular music.” – Bombshell‘s Kayla (Margot Robbie), a production assistant who mixes up images of The Eagles’ Don Henley and Glenn Frey during a FOX News broadcast
Who has two thumbs and is finally suffering from Star Wars fatigue? THIS guy. Star Wars: The Rise of Skywalker is full of sound and fury, signifying … meh. It is overlong, derivative, and convoluted, and, while director J. J. Abrams pulls far too many threads together in a reasonably satisfying way, Skywalker just isn’t very thrilling. The film feels like homework: “I’ve seen eight of these things, and watched a grab bag of spin-offs and tv shows, so I guess I have to see how this thing ends.” Thank heavens for Adam Driver (Kylo Ren) and Daisey Ridley (Rey) who deserve a much better script but do yeoman’s work making something, anything seem interesting.
I didn’t love Last Jedi, the previous film in the series, but at least I felt, in that instance, that there was a plan and a strong artistic vision. Skywalker seems like it was focus-grouped with a bunch of Orlando tourists, hopped up on churros and Red Bull, after riding Space Mountain a dozen times. Truth be told. I just didn’t care. I know these films are fairy tale nonsense, Saturday-morning serials on big budget steroids. I love that about Star Wars, but, to succeed, to truly succeed, these flicks need to be fun and rollicking and light as air, so you happily look past the broad leaps of logic and common sense. Rise of Skywalker is anything but fun or light or rollicking, so all you are left with is a plateful of plot holes … and regret.
We Star Wars fans may seem nitpicky. Perhaps these movies were best left in the murky fog of childhood remembrance, but if Jon Favreau can evoke this perfect balance of whimsy and comic book gravitas in TV’s The Mandalorian, why can’t this be accomplished on the silver screen again as well? Disney has come closest with their entries in the Star Wars Stories anthology films, notably Rogue Oneand arguably Solo. Let’s hope Disney/Lucasfilm puts a pause button on these movies for awhile, learns some tough lessons from wise Baby Yoda, and gives their film strategy a good rethink. We’ll be waiting, getting older and fatter, but still buying action figures.
“Make sure she’s married by the end. Or dead. … Girls want to see women marry. Not [be] consistent!” – Jo’s publisher (Tracey Letts) in Little Women
Yet, I don’t suffer from Little Women fatigue, and, by all rights, we should be finished with cinematic and televised depictions of this oft-told tale of the plucky March sisters, surviving and thriving in Civil War-era America. The latest iteration, written and directed with postmodern aplomb by Greta Gerwig (Lady Bird), is a marvel.
The film is exquisite – a smart, sharp update for contemporary sensibilities, without losing the familiar story beats. Unencumbered by linear chronology (the film operates as a series of flashbacks while Jo challenges the limited sensibilities of her era’s publishing industry), Gerwig reimagines Little Women to render inexorable its keys messages of agency, humanism, imagination, independence, and hope.
Among the cast, of course Saoirse Ronan is dynamite as Jo, never losing the spirit or authenticity of the era but painting a clear-eyed portrait of a human being gobsmacked by the artificial limitations society imposes on her gender. The more things change. …
Meryl Streep as Aunt March downplays that character’s sometimes arch control and sour disappointment, offering an aunt as amused as aggravated by the changing mores around her. Laura Dern is the quintessential Marmee, warm and flinty and kind. Chris Cooper is lovable and loving as the March family’s wealthy neighbor, and Timothee Chalamet puts his innate insouciance to good use as Laurie.
The revelation, though, is Florence Pugh as Amy, avoiding the pouty, flouncy pitfalls of other portrayals, turning a bright spotlight on a woman tired of being left behind, refreshingly unapologetic in the choices she (logically) makes, given the cards she’s dealt.
Much will be written about the film’s ending, which borrows a bit (knowingly?) from the Broadway musical. Where does Gerwig actually leave the March sisters? At a sun-dappled picnic, happily betrothed, teaching the young and raising their own families? Or, with Jo as a fully-realized free-agent, unburdened, accomplished, and ready to change this world for the better? Or a mix of both? This film is essential viewing, and one of the best movies this year.
“Don’t get sucked into a fight with someone who has better reason to be in it than you do.” – Megyn Kelly (Charlize Theron) in Bombshell
Outside of the cinema, we also caught some great flicks now on home video or streaming/cable. The House with a Clock in Its Walls is a welcome, wholesome throwback to the ABC Afterschool Special and Wonderful World of Disney broadcasts of yore.
Based on a series of novels from the early 70s (inspired by a gothic mansion in Marshall, Michigan), Clock stars Jack Black and Cate Blanchett at their most understated. Save for a CGI-filled denouement that gets a bit manic, the movie is a lighter-than-air soufflé of a fantasy period piece. Young Lewis (accessible, likable, kind Owen Vaccaro) is orphaned and is sent to live with his eccentric Uncle Jonathan (Black, almost unrecognizable in his quietly nuanced turn). Jonathan happens to be a warlock with a sorceress bestie (Blanchett, also nicely underplaying). Black and Blanchett seem like they stepped right off the set of 1958’s Bell, Book, and Candle – which is high praise – and I surely hope they get to make more installments in this series.
The Man Who Invented Christmasuses the inspiration behind Charles Dickens’ A Christmas Carol to inform, instruct, and inspire, thereby breathing new life into this over-adapted classic. Dickens (a wry and winsome Dan Stevens of Beauty and the Beast) is challenged to maintain his humanity in the face of a commercial machine that crushes souls and torches family ties.
His reclamation of his own voice and of his own industriousness is tied inextricably to his reconciliation of a past that haunts him and of a present that buffets him – not unlike what befalls Ebenezer Scrooge (a brilliant and twinkling Christopher Plummer). Jonathan Pryce deftly balances heartbreak, disappointment, and yearning as Dickens’ embattled father. The production, directed with a sure hand by Bharat Nalluri from a layered and literate script by Susan Coyne, is a breath of fresh air in an increasingly cliched holiday season.
Where’d You Go,Bernadette?,directed by Richard Linklater, is a beautiful film, light and poignant, a loving treatment of lost souls rediscovering their moorings and of the special challenges those with creative brains can experience in this judgmental world. Cate Blanchett as Bernadette and Kristin Wiig as her long-suffering “mean girl” neighbor both bring their A-game to the enterprise.
There is a pivotal sequence in the film wherein Bernadette’s heartbroken free-spiritedness finally runs afoul of the pragmatic realities of day-to-day living. Laurence Fishburne, as a former architectural colleague of Bernadette’s, and Judy Greer, as a therapist hired by Bernadette’s husband Elgin (the always reliable Billy Crudup), in parallel/intercut conversations with Bernadette and Elgin respectively, discuss the couple’s situation.
Fishburne and Greer’s characters share seemingly contradictory theses: Fishburne’s that Bernadette’s departure from a creative work life has atrophied her spirit and her mind and Greer’s that Bernadette has had a break from reality brought on by environmental change. In reality the truth is somewhere in between, and Emma Nelson, in a bright and affecting turn as Bernadette’s and Elgin’s daughter Bee, explicates clearly how her parents have drifted from what she once knew them to be, simultaneously appreciative of their distinctive quirks and gifts. Fishburne and Greer are both marvelous, as well, avoiding caricature or presumption, walking a fine line between compassion and bemusement.
As the film works toward its resolution, which as evidenced by the trailers includes Bernadette voyaging to Antarctica, her family finds healing, as they embrace the spark that makes Bernadette an individual while balancing the collective needs that will re-center their lives. The seemingly screwball comedy elements of the film may lead viewers to miss the important nuance here. Not dissimilarly to Joker, Where’d You Go, Bernadette? offers a sensitive and empathetic portrayal of how the intersection of emotion, intellect, and environment impacts us all.
“No one is useless in this life who lightens the burdens of another.” – The Man Who Invented Christmas’ Charles Dickens (Dan Stevens), repeating advice his father John Dickens (Jonathan Pryce) taught him
The human faces on CGI cat bodies are disconcerting (mostly in how they kind of float around and drift a bit), but I found the un-CGI’d human hands and feet even more repulsive. Rebel Wilson (Jenny Anydots) should not be allowed anywhere near a musical. Or a piano. Or karaoke. Or cockroaches. The group dance numbers should have all been cut, as pseudo-ballet is pretty but not much fun to watch in the cinema, and Hooper’s approach to filming said numbers is by turns monotonous and disorienting. Imagine Michael Bay’s 
The film is good, though lacking the depth of other treatments (namely Loudest Voice on Showtime). Go for Charlize Theron’s uncanny take on Megyn Kelly. Stay for the popcorn zip of director Jay Roach’s takedown of the hypocritical/toxic right wing media. Margot Robbie is remarkable as a production assistant torn between her ambition and her tenuous grasp on integrity. In other words, she fits right in in the FOX newsroom. Kate McKinnon is acerbic fun as Margot’s cubicle-mate, and Nicole Kidman does her best version of Nicole Kidman-as-befuddled-ice-queen as Gretchen Carlson, who first brings charges against Ailes. Some have worried that the film makes heroes of the unheroic, Kelly and Carlson and their ilk being as complicit in the rise of this Trumpian nation-state as anyone. Charles Randolph’s script doesn’t let them off the hook, in my opinion, and Roach’s swirling direction keeps the audience from feeling too much empathy for anyone.
I didn’t love 
Among the cast, of course Saoirse Ronan is dynamite as Jo, never losing the spirit or authenticity of the era but painting a clear-eyed portrait of a human being gobsmacked by the artificial limitations society imposes on her gender. The more things change. …
Outside of the cinema, we also caught some great flicks now on home video or streaming/cable. The House with a Clock in Its Walls is a welcome, wholesome throwback to the ABC Afterschool Special and Wonderful World of Disney broadcasts of yore.
His reclamation of his own voice and of his own industriousness is tied inextricably to his reconciliation of a past that haunts him and of a present that buffets him – not unlike what befalls Ebenezer Scrooge (a brilliant and twinkling Christopher Plummer). Jonathan Pryce deftly balances heartbreak, disappointment, and yearning as Dickens’ embattled father. The production, directed with a sure hand by Bharat Nalluri from a layered and literate script by Susan Coyne, is a breath of fresh air in an increasingly cliched holiday season.
As the film works toward its resolution, which as evidenced by the trailers includes Bernadette voyaging to Antarctica, her family finds healing, as they embrace the spark that makes Bernadette an individual while balancing the collective needs that will re-center their lives. The seemingly screwball comedy elements of the film may lead viewers to miss the important nuance here. Not dissimilarly to 
