ICYMI … yesterday, incoming 2024 Legal Marketing Association – LMA International President Kevin Iredell and I as well as Interim CEO Ashley Stenger held our annual meeting via zoom in the form of remarks and Q&A, following the release of our 2023/24 overview “Fireside Chat” video via YouTube.
Wonderfully, that YouTube video has had over 550 views so far and is still available to watch here.
As for yesterday’s follow on Q&A and updates, you can view that by registering here (membership required). That will trigger a link to be sent to your inbox that you can follow for viewing.
Next year, Kevin plans to bring back a longstanding tradition of our annual meeting being held at our annual conference. I know we will all be “all in” for that!
Thank you, James Stickford, R.J. King, and DBusiness Magazine, for the lovely coverage here. Grateful for everything you do for our Southeast Michigan business community. You do such a lovely job helping all of us feel seen and appreciated! READ HERE.
EXCERPT: Roy Sexton, director of marketing at the Detroit-based law firm Clark Hill Law and 2023 International President of the Legal Marketing Association – LMA International, was named to the 2023 INvolve People Outstanding 100 LGBTQ+ Executives Role Model list.
The Outstanding LGBTQ+ Role Model Lists are supported by YouTube and showcase LGBTQ+ business leaders and allies for breaking down barriers and creating more inclusive workplaces across the world.
INvolve is a consultancy and global network that works toward diversity and inclusion in business. Through the delivery of advisory solutions, awareness workshops, and talent development programs, INvolve drives cultural change and creates inclusive workplaces where all individuals can succeed. They publish annual role model lists recognizing and celebrating business leaders and future leaders who are breaking down barriers at work and inspiring the next generation of diverse talent.
Sexton is the 2023 international president of the 4,000-member Legal Marketing Association (LMA) and has been a leadership member since 2021. He also serves on the governance board committee of Mosaic Youth Theatre of Detroit and was marketing chair for Ronald McDonald House Charities Ann Arbor’s board.
Thank you, Authority Magazine / Medium, for the opportunity to be interviewed about legal marketing and what drives me to do what I do. And much appreciation to Tanner Friedman’s Joel Epstein for his hard work on this piece, his facilitation, and his steadfast support.
“Create a focus group together of people inside your organization, both people who’ve been there a long time and people who are relatively new arrivals and then a group of clients, ones who’ve been with you a long time and ones who are relatively new. If you can afford to, hire an outside firm to conduct your brand research. If you cannot afford that, proceed internally.”
As a part of our series about “Brand Makeovers” we had the pleasure to interviewRoy Sexton.
Roy Sexton leads Clark Hill’s marketing, branding, and communications efforts and is the President, International Legal Marketing Association. He has nearly 20 years of experience in marketing, communications, business development, and strategic planning.
Thank you so much for doing this with us! Before we dig in, our readers would love to “get to know you” a bit more. Can you tell us a story about what brought you to this specific career path?
My entry into marketing was serendipitous. It started while working in turnaround planning, management consulting and doing similar work for a healthcare system. When I completed my MBA, my boss at the time asked me to take over the hospital system’s marketing efforts. I protested mentioning that I’d taken only one marketing class during my MBA studies. The boss insisted. “You’re service oriented. You think about the needs of the organization and what our overall goals are,” she said.
Thus began a path to marketing. I’d studied English and Theater as an undergraduate and was interested in storytelling and delivering the narrative. I moved on from the healthcare sector taking a job at a law firm, and that’s when it really clicked, and I hit my marketing stride. I enjoy working with attorneys, helping them find their respective voices as part of larger message positioning for leaders in particular legal sectors.
Can you share a story about the funniest marketing or branding mistake you made when you were first starting? Can you tell us what you learned from that?
As the sole marketing practitioner at a law firm resources were slim. At that time, it wasn’t readily apparent what photos in Google images were public domain … and which weren’t! Foolishly, I decided to jazz up a post for the firm’s website with a stop sign image I’d found. Bad idea! Alas, the firm received a cease-and-desist order with a demand for minimal financial restitution. The firm assigned one of its attorneys to resolve this situation, one who had heard of Google images but didn’t know how to find it. It was a delicate process that took a lot more time and care to resolve because the attorney kept typing “Google images” into Google and wondering why the stop sign didn’t appear. And snapped, “I’ll ask the questions,” when I kept trying to explain. I learned a lot that day. Nothing teaches you like a stupid mistake!
Are you able to identify, here it is, the tipping point in your career when you started to see success? Did you start doing anything different? Is there a takeaway lesson that others can learn from that?
I’m evolving as my career unfolds. About 15 years ago, I worked with an executive coach on the personal and professional challenges (I) was facing. At that time, I was over eager, trying to do all the work and was convinced that people didn’t want to work with a gay man. I assumed doing everything perfectly would be my ticket to acceptance.
My coach told me, “Everybody knows your orientation. Everybody likes you. Why are you still trying so hard? Why don’t you slow down?” It took another couple of years, but I realized it was OK to pick the moments where I was going to focus my energy. I am going through another phase now. At 50, I’m president of the International Legal Marketing Association and working for a large law firm. I’m being more reflective and letting things evolve before jumping in with solutions. I’m letting colleagues come to their own resolutions around things in the team. Unlike the Oscar awarded movie, I don’t need to be, Everything, Everywhere, All At Once, anymore. I’m learning to step back, be a coach, be a consigliere, and not drive myself into the ground trying to be all things to all people.
Are you working on any exciting new projects now? How do you think that will help people?
My group is currently working on our data capture, flow, and pipeline. This is crucial in our digital age. Normally you would want to address what the marketing data looks like and how it is being used first, but we knew five years ago when I joined the firm that we needed to work on branding and developing a cohesive message, given the growth and maturation of the firm. We need to invest in proper CRM, but not just CRM for CRMs sake. I want to define a pipeline experience for our attorneys geared toward clients and prospects. I believe it will be transformational and provide a good line of sight on our client experience. It’s about converting the experience of how people engage with marketing. We’ll be able to measure more effectively the impact of marketing and business development. We’re prioritizing the time attorneys are spending, by creating a formulary with the goal of eliminating occasional random acts of marketing that may or may not actually impact things.
What advice would you give to other marketers to thrive and avoid burnout?
You don’t need to put your life on hold, so exercise and take care of your health. Know when to turn things off and be done for the day. Step away and enjoy your family. This is important for your mental health. You’ll be a better professional with your organization if you walk away from it sometimes and rest. I learned this recently from executive coach Axelle Flemming and it resonates with me, “If you live in the past, that’s where your depression is going to come in. If you live too far into the future, it’s just going to be anxiety all the time.” You have to live in the moment you’re in.
There are times when I don’t need to respond to everything immediately. Usually others will respond, and they’ll figure out the issue. Then I can either affirm or offer a solution. Don’t try to be the hero every time. Nobody wants that anyway. Just be a colleague and help people through things.
In a nutshell, how would you define the difference between brand marketing and product marketing or advertising? Can you explain?
I specialize in marketing legal firms, first and foremost focusing on brand awareness and industry sector presence. Unlike, say, steel or oil businesses, law firms do not think of themselves as commodities. They provide a service. Before I can get to product marketing, which, in our case, would be an individual attorney or a particular service being offered, people need to know who we are and why we matter. Brand awareness. And that’s not just achieved by slapping your logo on anything standing. Law firms won’t admit that they are a commodity. They are. Everyone’s well-educated and proud of their work. They don’t want to think about themselves like a commodity. Who would? You need to stand out — your value proposition clearly, repeatedly articulated. It’s a service, especially on the corporate side. If you jump too quickly to the individual, you lose the lift of the entire organization because many companies are like, “Let me partner with a law firm that can satiate a lot of my different needs and I can work with a team of people that can understand holistically my challenges. I don’t just want one individual.” Media relations and social media are very useful tools for labeling your brand and identifying values that you live up to.
Can you explain why it’s important to invest resources and energy into building a brand in addition to the general marketing and advertising efforts?
Because I don’t think you know what you’re advertising until you work on the brand. I think that’s what too many people do. They’re dealing with internal pressure to be viable in the marketplace. You have to have your story straight, what are we telling people? If you do not take a strict approach your messages can be fragmented and difficult for the external world to understand. And the world is not breathlessly waiting on what your company has to say, so you must make it matter to them.
Start with a clear brand identity, message, and it isn’t just logo and look and feel, although that’s part of it. Some people are visually oriented, some are linguistically oriented, some are sonically oriented. Consistency is key. Disney does a good job of this. You always know something’s Disney related because it’s got a common look and feel. It’s in the DNA. But then there are divergences within that that can satisfy different needs and interests. Start with who you are before you start advertising. Otherwise, you might as well light your money on fire in the parking lot.
What are a few reasons why a company would consider rebranding?
I think you need to evaluate your brand every three or four years. You don’t need to redo it all, but much like the decor in your home, you have got to ask, “Does this still speak to us? Is it limiting us? Has the market environment changed?”
You might not need to rebrand, but you might need to tweak the brand you have. That’s going to keep your brand going a lot longer too. If you get regular oil changes in your car, it’s going to last longer than if you just wait until the engine blows up. But then I think at that five, six-year mark, you have to take a more distanced look and say, “Is this brand still us?”
Chances are it is, especially in a law firm; it’s not going to change that dramatically. But if you’ve grown considerably, if you’ve dropped off some services you used to do and don’t do anymore, if there’s been a dramatic change in the composition of your attorney complement, those might be triggering points for a rebrand.
For my firm, the branding we had when I arrived needed a refresh. The firm has grown significantly into other geographic markets through multiple combinations. So, it was the right and necessary time to refresh the brand and make it coherent across our growing firm. We also needed to raise a new flag that everyone saw as their own, so they’d leave behind brand identities from the past that still felt like a comfortable old shoe. Sometimes, it’s the psychology of the people especially in a law firm. If they like the brand, they’re going to fly the flag on your behalf. If they don’t, they’re going to use their old names and their old pens.
I think if your culture’s fragmented, if it’s been around too long, or if you’re getting feedback also from your customers that they feel like things are stale, listen to that and fix it, but take the time to do it right. This cannot be done on a whim or instantaneously. Take your time, consider the marketplace and your position in it before making any decisions. You’ve got to work behind the scenes with all the different stakeholders and get them excited about the new brand and have them feel like they’re part of it and then unveil what it looks like. The fact of the matter is, 70% of the people who make the biggest decisions inside your organization will have already seen the brand before it’s broadly unveiled. But you’ve built that consensus so they’re all excited to have it go into the world.
Are there any downsides of rebranding? Are there companies that you would advise against doing a brand makeover? If so, why?
Yes, there can be downsides to rebranding. Here’s an example, not legal: two well-known entities in the same line industry merged. They tossed their names and came up with a new name that means nothing to anyone. That says to me, they did it for internal political reasons without considering their external market at all. You might have needed to rebrand, but first take stock of the things that still have resonance and if that causes political turmoil inside your organization, so what? Deal with that. Don’t go to market with something because you’re keeping the internal important people happy.
You might end up damaging relationships with clients and the customers you are pursuing. I don’t think there’s ever a bad time to consider and look at your brand. If your brand has cultural cache and it means something to people, and its shorthand now, don’t change it to please internal stakeholders. But if you feel like it’s holding people back in your organization and creating market confusion because you’ve let your brand just, by the game of telephone, evolve, take a moment of intentionality and say, what is this and why are we doing it? Also, don’t change things just because you feel bored with them. This is a principle of communication, especially internal communications. Don’t just change things willy-nilly because you’re getting tired of it. That’s not a reason to change a brand. Maybe it’s a reason to buy a new pair of shoes or repaint a room in your home. It’s not a reason to change your brand.
Can you share five strategies that a company can do to upgrade and re-energize their brand and image? Please tell us a story or an example of each.
First, create a focus group together of people inside your organization, both people who’ve been there a long time and people who are relatively new arrivals and then a group of clients, ones who’ve been with you a long time and ones who are relatively new. If you can afford to, hire an outside firm to conduct your brand research. If you cannot afford that, proceed internally.
Show them the brand as it currently exists and have them react. Let it be fresh and you might be surprised by what people tell you, so I’d start there. You can ask what is working for you and what you would change. For the internal audience, ask if this is reflective of who you are in your identity and the work? For example, part of a brand needs to be the retention of talent and the acquisition of new talent. The brand plays both sides of client acquisition and talent acquisition. Before you start playing with fonts and colors and go to the fun stuff, do the planning exercise. Listen and learn. Find out what the observations are and try to go in there without any predispositions. Have an intentional engaged process of internal stakeholders and clients to find out what words they associate with you. “What is the value? Why hire us? Why work here?” This creates engagement and will inform on assumptions. You may be surprised by the feedback. Once you get alignment you can go forward, but I still wouldn’t jump to font, color and look and feel.
Second, informed by this focus group feedback, look at the language you are currently using: is there a disconnect between what people are viewing, thinking and believing and how you are writing about yourselves? If you have somebody that’s a strong writer on your team, let them take the lead. Chances are people have been feeling and thinking already about the language being used. Do an inventory of the language you’re using and say, we don’t have enough of this, or it isn’t accurate or reflective now. Once you’ve done your external view, looked at the language and the voice of who you are, then you can turn to brand look and feel.
The third step, which is where everyone wants to go first, is do we need to change the way we look and feel?
Is it time for a new logo or is your logo still a viable reflection of who you are now? It’s a great opportunity to freshen things up and get people excited. It’s also incredibly difficult to get it right. If it isn’t broken, don’t fix it. If your logo hasn’t been touched for 20 years and your company has grown with a lot of new colleagues, clients, and/or customers who don’t identify with the present look and feel, you have an opportunity to get people excited, create community, and refresh the logo to give people a sense of inclusion.
People never get excited about the words, but they do get excited about a new website and a new color scheme and a new logo and whatever. So, there’s a bit of theater to that. But think strategically. It’s expensive. You have to change all of your collateral and every sign across the land. It’s easier to change the words than the marks. It takes an investment to adjust everything, and it all must be 100% accurate. And you must have buy-in from the powers that be. You don’t want to get stuck with a logo everybody hates and wants changed again in two years. This would create even more market confusion.
Fourth, communicating the planned changes is essential to having internal buy-in and the way it’s rolled out into the marketplace is key. I’m a firm believer in the power of video, particularly in professional services. I don’t think people are using it enough, and I think they’re afraid of it, and I think they cheap out on it. For us, we needed a sexy, interesting way to provide vibrancy to the brand. We had developed a sophisticated, sleek European looking brand. This was a great pivot for us. It’s very different. It was going to get people’s attention, but we didn’t have any way of really communicating that to anybody, and we didn’t have any way of making it feel alive. Especially coming out of the pandemic, people were craving human connection.
We orchestrated the brand video and subsequent videos where the voices of all those people we talked to about our branding were included on camera. No one wants to hear the marketing guy talking about why our firm is important. Clients don’t want to hear from a third party. They’re hiring lawyers. They want to be comfortable with those people and know they’re part of a larger team that’s smart and approachable. And that’s why we landed on visual storytelling. Is anyone going to pick up a phone and hire a lawyer because they saw a great video? No, but are they going to then explore your website and read your articles and pay a little closer attention to you because they watched that video. Yes, that worked for us. I would offer that as a step and it’s an investment, but you can do a pretty decent video in the Midwest for $16,000 to $20,000.
You don’t need to do hundreds of them, do one good one and cut it a lot of different ways. Create smaller segments for social media and think like a campaign. We all have short attention spans, which brings me to the fifth point. Don’t treat social media as some extra. It’s all part of a multi-pronged strategy. We still have this generational divide in organizations, but don’t just dump content on your website. You need a good syndication strategy with your content because we’ve gotten to the point, we can almost eliminate some of the intermediaries and I can make sure people see my content without having to depend on anybody else to get it in front of them. But then the crucial part of that is social media and people are always like, “Oh, that’s for the kids, or that’s people looking for jobs, or why are we putting any time and energy into that?” Because it’s low cost. It’s where people consume content. It has shaped the outcome of presidential elections now repeatedly. It has a power to it that for some reason those in the starched white shirts are like, “Oh, just social media. Can I take you for a round of golf?” People have gotten less business/social. They don’t want to take time away from their families anymore. They want to consume content when they want to and how they want to. You create the video, you create the media, you create the alerts, you can then make sure they get out on those channels and grow your audience because a lot of the old ways of marketing might not be available to you anymore. Additionally, you need a good media relations strategy.
We don’t yet have Customer Relations Management technology, so we have to find other ways to continue to expand our presence and awareness. But it also allows us to get very targeted very quickly in the larger guise of that brand launch. My point is you can’t just build it and they will come. It’s important to create the spokes that bring people back to that new brand and make it alive for them. The video content can humanize your firm, and then you’re still selling your new brand year two, year three, year four. Just because you launched it once doesn’t mean that’s the end of it. You should keep putting that in front of people and social media is a great way to do that.
In your opinion, what is an example of a company that does a fantastic job doing a brand makeover? What specifically impresses you? What can one do to replicate that?
I’m an entertainment junkie and remember reading, Disney felt they had a gap in the boys’ category in the early 2000s. Most of us don’t have the budgets that a Disney has, but it fascinates me the way they can acquire something that has had its own identity for decades and minutes later, with the wave of Mickey’s magic wand “Oh yeah, Marvel’s Disney.” Marvel was Marvel. Disney found ways to integrate Marvel’s superheroes into their existing machinery without losing any prior identity. Disney assimilates beautifully and mass markets licensed products to capitalize on their merchandise streams. People who love Marvel for what Marvel was, are not left in the cold because they left a comic company alone but expanded its visibility a billion fold.
They did the same thing with Star Wars. That fascinates me. I think any industry or company can take their cue from that. We’re seeing a lot of companies grow through acquisition. Oftentimes a holistic group is now part of a larger organization. An announcement is made, and then no one takes the time to onboard or assimilate the acquired staff. The work actually begins when the deal is closed, and you need to spend a year or two acknowledging and enforcing what makes these new people special, enhancing your overall brand.
And when you combine or acquire, make sure you find ways to retain and integrate. Work hard to make sure new additions are not pulling against the new management arrangement with their old organizational ways. Emphasize that they’re getting the benefits now of a larger distribution network and gaining visibility that they didn’t have before, but don’t lose what made them unique. Why did you want them? There must have been a reason you acquired those people that came with the deal.
When you’re doing that onboarding and acquiring, it can’t just be marketing’s role to say, “Hey, are we onboarding these folks well? Are we integrating them into the organization? Do they understand the value they now have? Are we mining what they do well and not tying their hands and making them frustrated so they leave that?” It has to be a coordinated function. That’s where the replication comes in. Be transparent with the people who are now part of that and say, here’s our timeline. Here’s what we’re going to do. It’ll work well when you monitor the process, debrief, document it and then repeat that process with each new part of your organization. Then get your larger operational administrative team on board to say, “You guys all have pieces.” Getting buy in from all of the internal constituents is key to success. Put a timeline together and meet regularly as a collective, IT, finance, office operations and HR and lay out the pieces of the brand work. Everybody has some skin in the game and a vested interest in the new organizational structure and the outward facing marks and language being employed.
You are a person of great influence. If you could inspire a movement that would bring the most amount of good to the most amount of people, what would that be?
If I could wave a wand and get everybody to stop a certain activity, it would be this and I think everyone would benefit from it. Stop managing people for style. It can be politicians, it can be corporate entities, it can be your religious institution, it can be your family. How somebody dresses, who they love, what they eat, how they spend their free time is irrelevant to the work at hand. Limiting people only makes them uncomfortable.
Can you please give us your favorite life lesson quote? Can you share how that was relevant to your life?
I’m grateful that my late Mom told me this when I was five years old and I will keep that in my mind until I die, “You don’t have to play with people if they don’t play with your toys in the way you’d like them to.. You can always say no if people aren’t playing well with you.” This was in the context of a neighbor kid breaking a hand-me-down Barbie Jeep I’d received from my cousin! But I think the life lesson applies still. The other thing my mom always said was, “Tell people what they mean to you in the moment when it will mean something to them.” That continues to serve me well and how I honor her memory every day.
Thank you so much for these excellent insights! We wish you continued success in your work.
Roy Sexton, Director of Marketing at Clark Hill and 2023 International President of the Legal Marketing Association, has been named to the INvolve Outstanding 100 LGBTQ+ Executives Role Model List for 2023. Other honorees include Julia Hoggett, CEO, LSE plc and Head of Equities, Capital Markets at LSEG; Jen Carter, Global Head of Technology at Google; Avon Neo, Head of Global Markets Sales to Private Banks Asia at Nomura Singapore Limited; Adam Moysey, Chief Financial Officer at NBCUniversal Studio Group; Caroline Farberger, Chair, Board Executive in Financial Services, Investor, G7 Advisor at Caroline Farberger AB; and David Furnish, CEO/Chair of Rocket Entertainment Group/Elton John AIDS Foundation.
The Outstanding LGBTQ+ Role Model Lists supported by YouTube showcase LGBTQ+ business leaders and allies who are breaking down barriers and creating more inclusive workplaces across the world. They aim to represent the wide range of impactful and innovative work being done for inclusion across different countries, organizations and sectors, and celebrate the diverse range of inspiring individuals who have made it their personal mission to make a difference.
In their recognition, INVolve wrote, “Roy Sexton is the Director of Marketing at Clark Hill PLC. He has actively contributed to the firm’s PRIDE affinity group in terms of messaging and content creation. He has helped align the firm’s marketing efforts to support educational content, both within and outside the firm, via video messaging, social media, Q&As, panel discussions, outside speakers. Last year, their marketing campaign – including their values, diversity and inclusion messaging – was named 2022 Best Marketing Campaign from the London-based Managing Partners’ Forum for a professional services organization. Roy is the 2023 international president of the 4,000-member Legal Marketing Association (LMA) and has been a leadership member since 2021. He also serves on the governance board committee of Mosaic Youth Theatre of Detroit and was marketing chair for Ronald McDonald House Charities Ann Arbor’s board.”
INvolve is a consultancy and global network driving diversity and inclusion in business. Through the delivery of advisory solutions, awareness workshops, talent development programs, INvolve drives cultural change and create inclusive workplaces where all individuals can succeed. They publish annual role model lists recognizing and celebrating business leaders and future leaders who are breaking down barriers at work and inspiring the next generation of diverse talent.
About the recognition, Sexton observed, “Long ago and far away, I would have only dreamed to be acknowledged in this way … for who I am and what I’ve attempted to do in this life. I still feel a bit like that sheltered only child growing up in a small town in Indiana, reading comic books and pretending I was Han Solo in the backyard. So it’s nice to feel seen and hopefully model just a bit for others like me that we have value in this universe. In my 25+ year career, I’m incredibly grateful for this community, for my family and friends and colleagues, and, most of all, for my husband. They’ve all supported me as my authentic self and given me the grace and encouragement – and the wings – to help others.”
Saline’s Roy Sexton, the Director of Marketing at Clark Hill Law, has been recognized on the INvolve – The Inclusion People Outstanding LGBTQ+ Executives Role Model List for 2023.
The acknowledgment comes as a result of his contributions to the firm’s PRIDE affinity group, particularly in messaging and content creation. Sexton’s efforts have been integral in shaping the firm’s marketing strategies to embrace educational content through various channels such as video messages, social media, and panel discussions.
“Long ago and far away, I would have only dreamed to be acknowledged in this way … for who I am and what I’ve attempted to do in this life,” says Roy. “I still feel a bit like that sheltered only child growing up in a small town in Indiana, reading comic books and pretending I was Han Solo in the backyard. So, it’s nice to feel seen and hopefully model just a bit for others like me that we have value in this universe.”
Last year, Clark Hill’s marketing campaign, which Sexton played a key role in developing, received the 2022 Best Marketing Campaign award from the Managing Partners’ Forum in London, celebrating professional services organizations. The campaign was noted for its focus on values, diversity, and inclusion.
“I’ve been a Michigander now for nearly 25 years, and I’m incredibly grateful for this community, for my family and friends and colleagues, and, most of all, for my husband,” adds Roy. “They’ve all supported me as my authentic self and given me the grace and encouragement – and the wings – to help others.”
In addition to his role at Clark Hill, Sexton is serving as the 2023 international president of the Legal Marketing Association (LMA), which has a membership of 4,000. He has been part of the LMA leadership since 2021. Furthermore, he contributes to the arts and charity sectors, holding positions on the governance board committee of Mosaic Youth Theatre of Detroit and the marketing chair for the Ronald McDonald House Charities Ann Arbor.
Thank you, Gary Mitchell and Answering Legal! I really love the conversation we were able to have here about authenticity, brand (professional and personal), law firm positioning, random acts of #singing, sartorial splendor, community involvement, and #dogs on #linkedin. Love you, brother!
Episode 10 of The LawBiz Podcast™ With Gary Mitchell is now available!
Roy Sexton, the 2023 Legal Marketing Association International President and Director of Marketing at Clark Hill Law, joins the show to discuss creating the type of culture your clients are interested in, how lawyers should go about connecting with people and much more!
Shout outs to Legal Marketing Association – LMA International, Clark Hill Law, Mosaic Youth Theatre of Detroit, Ronald McDonald House Charities Ann Arbor, Jay Harrington, John Mola, Gabby Confer, Lori Mola Compagner, Adopt A Pet of Fenton, Michigan, Dale Ross, Megan McKeon, Susan Ahern, Athena Dion.
Deeply honored to be included in this international list of 2023 Top 100 LGBTQ+ Executives. Alongside David Furnish no less (!) and so many incredible, accomplished professional leaders and role models. (I always knew I was two degrees from Elton John!) Thank you, INvolve People, for naming me among these wonderful souls. And thank you to NewsPRos’ Jaime Baum and my Clark Hill colleague Leslie Smithson for their support and facilitation here.
Long ago and far away, I would have only dreamed to be acknowledged in this way … for who I am and what I’ve attempted to do in this life. I still feel a bit like that sheltered only child growing up in a small town in Indiana, reading comic books and pretending I was Han Solo in the backyard. So it’s nice to feel seen and hopefully model just a bit for others like me that we have value in this universe.
“Roy Sexton is the Director of Marketing at Clark Hill PLC. He has actively contributed to the firm’s PRIDE affinity group in terms of messaging and content creation. He has helped align the firm’s marketing efforts to support educational content, both within and outside the firm, via video messaging, social media, Q&As, panel discussions, outside speakers. Last year, their marketing campaign – including their values, diversity and inclusion messaging – was named 2022 Best Marketing Campaign from the London-based Managing Partners’ Forum for a professional services organization. Roy is the 2023 international president of the 4,000-member Legal Marketing Association – LMA International (LMA) and has been a leadership member since 2021. He also serves on the governance board committee of Mosaic Youth Theatre of Detroit and was marketing chair for Ronald McDonald House Charities Ann Arbor’s board.”
About the recognition: “The Outstanding LGBTQ+ Role Model Lists supported by YouTube showcase LGBTQ+ business leaders and allies who are breaking down barriers and creating more inclusive workplaces across the world. They aim to represent the wide range of impactful and innovative work being done for inclusion across different countries, organizations and sectors, and celebrate the diverse range of inspiring individuals who have made it their personal mission to make a difference.”
About the organization: “INvolve is a consultancy and global network driving diversity and inclusion in business. Through the delivery of advisory solutions, awareness workshops, talent development programmes, INvolve drives cultural change and create inclusive workplaces where all individuals can succeed. They publish annual role model lists recognising and celebrating business leaders and future leaders who are breaking down barriers at work and inspiring the next generation of diverse talent.”
One could argue, looking at the themes and box office performance of this year’s would-be summer blockbusters that actually we are in the “summer of our discontent.” Of course, I’m intentionally missing the point of this famous speech which observes that, in peace, those who’ve found power in the chaos of war long to return to those ugly moments that made them successful. Or maybe I’m not missing the point after all.
Much like The Flash (and as I understand a number of other big box office swings this summer), Indiana Jones and the Dial of Destiny is not simply a nostalgic cash grab, but a film focused on the corrosive nature of time and of nostalgia itself. Blessedly, there are no “multiverses” to be navigated here, but we do see time travel used as a metaphor, a rather effective one, for the regrettable state of our present world. Central to the conceit of the film: how some seek the golden glow of remembered peace and adventure as a balm; how others seek a return to darker, even more chaotic moments as their salve for the inexorable passage of time; and how some (Indy) try to deny any of it ever happened at all.
As directed by James Mangold (who swam in similar “past is prologue” waters withLogan), Dial of Destiny is a loving, if overlong, capstone on the storied careers of both Indiana Jones and Harrison Ford. It’s quite impossible at this point to separate the two. Yes, Ford has crafted similarly iconic hero figures in other silver screen franchises, but Indy (at least to this lay-viewer) has always dovetailed spectacularly with Ford’s apparent “curmudgeon with a heart of gold” real life persona.
The film would have benefited from about 2.5 fewer car/horse/boat/motorcycle/train chases. It’s a lot. And for a film ostensibly about the emotional collateral damage of a long life (mostly) well lived, it’s a bit hard to accept so much wanton destruction of personal property and commuters’ sojourns for sheer entertainment value.
Much like The Flash, the film truly shines in its quieter character-driven moments. Fleabag’s Phoebe Waller-Bridge (making quite a name for herself in the action genre) is a welcome addition. Her winsome brand of cynical, pleading snark as Indy’s ne’er-do-well goddaughter is a nice juxtaposition to Ford’s rock-ribbed “not this again” comic exasperation. They play very well off one another, although a few too many lines get lost in, yes, all the car/horse/boat/motorcycle/train chases.
Mads Mikkelsen adds another notch on his (shiny black leather) belt of playing icy Teutonic baddies. This time a full-on Nazi. (I do hope America remembers we don’t like Nazis.) Mikkelsen plays all the grace notes of sly sociopolitical critique in the early moments of the film when he “seems” to be a reformed Nazi helping America win its much-vaunted space race. (The film is set in 1969.) Given that such things actually did (and do) happen in America, it’s a pointedly clever reminder that the great U.S. of A. is not above reproach in its opportunism and global empire building.
We quickly find out he ain’t reformed. They never are. (Remember that, America, at the voting booth, mmkay?) His hope is to find two parts of an ancient dial, crafted by ancient mathemagician Archimedes, that will allow him to, yes, time travel and help MAGAfy World War II. More or less. “Yesterday belongs to us, Mr. Jones,” Mikkelsen hisses at one point. Kander and Ebb wept.
And thus kicks off a 2.5 hour rollercoaster ride (remember the cars, horses, boats, motorcycles, trains?) for multiple parties to find the dial and avert/create disaster (but mostly it’s just Indy vs. the Nazis).
Along the way, we meet friends old and new from prior entries in the series. Much like Mangold did so effectively with Logan, we watch a man (Indy) come to grips (arguably peace) with the tumultuous threads of his life, the disappointment of looking back on it all and realizing all he has to show is a (literal) retirement clock, ultimately warily acknowledging he wouldn’t change one bit of it, even if he could.
Admittedly, watching one’s childhood screen idol wrestling with the emotional and physical storm of aging is haunting, mixed as it is with my own awareness of how quickly time travels. I sat there, gazing at the screen at fifty years old, with the same awe I had when I was nine soaking up Raiders of the Lost Ark for the first time, thinking, “Wait, is Han Solo allowed to be in another movie!?” Indeed, he was and is little Roy … and we have been all the better for it.
Ah, summer. The time we all look forward to all year long … until it’s actually here. We get to be outside. We get to do back-breaking yard-work. We get to enjoy the sun. We get to sweat through our dress clothes every day at work. We get to escape our troubles watching one blockbuster movie after another in the soothingly air-conditioned multiplex. We get to pay through the nose to be bombarded by an unyielding series of overblown, unwatchable chase scenes as latex-clad superheroes and blaster-wielding space-farers (most of them now owned in whole or in part by Disney) battle for the hearts and minds of John Q. Public.
[Image Source: Wikipedia]
Here we are, 2018. We’ve already witnessed Marvel’s Avengers storm cinemas, and I’m still a bit shell-shocked by what I did (and didn’t) see. Now, we steel ourselves for the one-two punch of Deadpool 2 (produced by 20th Century Fox in affiliation with Marvel Entertainment … though as Wall Street tells us Fox is soon to be owned outright by Marvel/Disney) and Solo: A Star Wars Story (released by Disney’s LucasFilm studio, less than six months after The Last Jedi underwhelmed some and thrilled a few more). I was prepared for the worst, and I was pleasantly surprised by both.
I thought the original Deadpoolwas a breath of fresh (raunchy) air, a genius bit of commerce that simultaneously lampooned the superhero genre (in the broadest Tex Avery-style possible) while laughing its red-and-black-ski-masked head all the way to the bank. I feared Deadpool 2 would be a stultifying, self-indulgent, self-satisfied, bloated, and unnecessary money-grab. The brainchild of producer and star Ryan Reynolds, Deadpool 2 welcomes a new director David Leitch (Atomic Blonde, John Wick) and a new raison d’etre. After burning the cape-and-cowl zeitgeist to the ground with the first flick, this latest chapter imbues our titular anti-hero with a compelling backstory and a heartbreaking new frenemy (Josh Brolin’s superb-I-won’t-break-character-for-any-bit-of-tomfoolery “Cable”) … while still frying our retinas and shaming us for any adoration we may still hold for these kind of films. And, yeah, admittedly it’s still kind of an unnecessary and bloated money-grab.
[Image Source: Wikipedia]
Nonetheless, I had a ball. I would have loved to have had 30 minutes of my life back from its lengthy run-time, but I had a ball.
(What happened to the fine art of the perfectly paced 90 minute or 1 hour 45 minute movie? Have filmmakers forgotten the time-tested strategy of “leaving the audience wanting more”? Asking for a friend …)
[Image Source: Wikipedia]
Similarly, I was wary that Solo: A Star Wars Story, with its troubled production history, would be a bust. LEGO Movie and 22 Jump Streethelmers Phil Lord and Christopher Miller had filmed nearly 90% of the movie when they were unceremoniously booted in the 11th hour and replaced with Ron Howard. Further, there is much hand-wringing this weekend in the House of Mouse that the latest Star Wars installment only broke $100 million domestic. Boo hoo.
Well, Solo is pretty damn fun and utterly heartfelt and overall a delight … and also would greatly benefit from having a tighter running time.
[Image Source: Wikipedia]
I’ll be blasphemous for a moment (I can’t wait for the comments). I actually like Alden Ehrenreich’s take on the title role. Solo details the “origin story” of this legendary character first portrayed by Harrison Ford, detailing Solo’s misspent youth meeting cute with Chewbacca, Lando Calrissian (Donald Glover, running rings around Billy Dee Williams), and, um, the Millennium Falcon. I thought Ford was gangbusters as Indiana Jones, but his Han Solo was occasionally too aloof, too smug for the “scruffy nerf-herder” he actually was purported to be. Ehrenreich brings a refreshing “little boy lost” quality to the role, not dissimilar to Chris Pine’s blessed de-Shatnerizing of the iconic role of Captain Kirk in the recent Star Trek reboot. My two cents. Let the hateration commence.
[Image Source: Wikipedia]
Both Deadpool 2 and Solo are glorified heist movies, employing the “building the perfect team to complete the perfect job” conceit as an excuse to explore what it means to be a family. The best heist flicks (Channing Tatum’s Logan Lucky a great recent example) present us a collection of colorful, misdirected ne’er-do-wells who discover a higher reason for being – the fellowship of man – on their way to doing something truly despicable. Deadpool even offers us the poetic bon mot “family is not an ‘f’-word” as our favorite mutant mercenary loses his true love (a luminous Morena Bacarin) and fills his broken heart with a collection of wackadoodle buddies (the aforementioned Brolin as “Cable,” Stefan Kapičić as a comically CGI’d “Colossus,” Zazie Beetz as a dynamite take-no-prisoners “Domino,” and Leslie Uggams as Deadpool’s cantankerous roommate “Blind Al”).
[Image Source: Wikipedia]
Likewise, Solo is populated with a rogues’ gallery of character players. Woody Harrelson, Thandie Newton, Phoebe Waller-Bridge (her feisty, feminist, rabble-rousing ‘droid L3-37 deserves her own outing ASAP), Paul Bettany, Jon Favreau, Joonas Suotamo, and aforementioned Donald Glover all turn in standout moments in an otherwise overstuffed enterprise. Emilia Clarke is particularly impactful as Han Solo’s hometown love Qi’ra, resisting “femme fatale” cliches and presenting a conflict-ridden soul who will persevere by golly, despite a galaxy-full of misogynistic roadblocks. (I also must note that the train-robbing scene in Solo is one of the crispest staged action sequences in the Star Wars series in quite a while.)
Neither film is perfect, nor does either need to be. We have become a film-going culture that consumes its heroes in episodic narrative gulps – as if Charles Dickens had written in less prosaic terms about people who wore tight pants and could bend steel with their bare hands. Wait, he didn’t?
Deadpool 2 and Solo are way-stations in their respective decades-long cinematic franchises: X-Men and Star Wars. The fact that both offer a bit of humanistic allegory – some nutrition along with their empty popcorn calories – is quite remarkable and welcome.The fact that they will both sell truckloads of overpriced action figures and smirkingly ironic t-shirts is a given. Welcome to 21st century America.
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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.
It’s December again. And in the new merchandise-mad, money-hungry cycle that Lucasfilm’s corporate parent Disney has established, it’s new Star Wars movie time too. May is now Marvel’s month, and that makes me a little sad. Summer was Star Wars season when I was a kid, so I equate that long-stretch of warm weather as the period you escaped the rigid confines of public school and caught up with Luke, Leia, Han, Lando, Darth, and friends, reenacting big screen adventures in the backyard or poolside. Unless we all plan to ride Tauntauns across Hoth’s frozen tundra (#nerdjoke), ain’t too much role play happening in the backyard this holiday season.
The latest entry in the series is being dubbed a standalone “Star Wars story” in that it is not tied into any particular trilogy of films. Rogue One fleshes out a throwaway reference in the original 1977 film (now known as A New Hope), explicating how the plans for the original “Death Star” make their way from Imperial architects to the shiny dome of one bee-booping droid R2-D2.
It’s a clever (and wisely capitalistic) conceit, and, for the most part, the film satisfies the inquisitive fifth-grader in us all, acting out a scenario many may have tried to imagine 30-some years ago using piles of Kenner action figures.
Director Gareth Edwards (Godzilla) and screenwriters Chris Weitz and Tony Gilroy have concocted a blockbuster that is one part The Guns of Navarone with a sprinkling of Saving Private Ryan and one part The Wizard of Oz with a dollop of Little Orphan Annie, blended with a whole heaping helping of deep geek references to the infrastructure and mythology of the original Star Wars films – heavier on the 70s/80s entries, but not entirely neglecting the better parts of thee 90s/00s flicks. Rogue One is a darker journey (in a-not-terribly-shocking SPOILER alert, let’s just say things don’t end particularly well for the new characters), exploring the bowels of the Star Wars universe and setting up the oppressively fascistic milieu of A New Hope, The Empire Strikes Back, and Return of the Jedi. I mean the Rebel Alliance has to rebel against something, right?
Much has been made in the news (well, FoxNews … ironic, since Fox used to own the franchise) about the filmmakers’ social media critique of President-elect Donald Trump and of their allusions to the frightening similarities between the fantasy world concocted by George Lucas and the hateful xenophobic power-grabbing of our real-world politicians. Let it be said that there is nothing in this film that satirizes directly the shenanigans of this past fall as we head toward January’s inauguration. How could there be? The film was shot in 2015, with a mountain of special effects to achieve in post-production until now. However, in these fraught days of dubiously motivated cabinet appointees, tumultuous international relations, heartbreaking Middle East conflict, and cyber-attacks of an unprecedented (NOT “unpresidented”) scale, I found it difficult to enjoy the escapist “fun” of a band of scruffy rebels fighting unscrupulous bureaucrats, planet-hopping at a dizzying pace, engaging in bloody street battles across crowded and dusty marketplaces, and hacking into monolithic computer systems to release state secrets. But maybe that’s just me.
Rogue One is entertaining and gives us longtime fans a lot of intriguing backstory upon which to chew for months to come. I fear that the casual viewer will find it too talky and somber by half, waiting for the trademark space dogfights to kick in. And they do – the last 45 minutes are a doozy. For us Star Wars nuts, the “palace intrigue” will be a hoot, albeit a bleak hoot, with effective reappearances by Darth Vader (voiced again by James Earl Jones) and Grand Moff Tarkin (creepily CGI-reincarnated Peter Cushing, looking like a refugee from The Polar Express).
The series newcomers blend in well, if not leaving any lasting impressions. Felicity Jones, so good in The Theory of Everything, is haunting if a bit dour throughout as protagonist Jyn Erso. She is yet another in the long line of Star Wars orphans, abandoned by parents more invested in political statements than child-rearing; consequently, she has a reason to be rather glum. Like The Force Awakens‘ Rey (Daisy Ridley), she is a welcome addition to a series that hasn’t always celebrated strong, independent, adventuring women. Her father Galen Erso (a soulful Mads Mikkelsen) is the chief designer of the much-vaunted Death Star, and his change of heart puts both him and his family at great peril when he flees the project, hiding out as a moisture farmer on some forgotten planet. (The Roy of 30+ years ago would have been able to remember all of the planets named/visited in Rogue One. Present-day Roy? No clue. Nor do I care.) The Empire, led by Orson Krennic (a rather forgettable Ben Mendelsohn in a stiff, starchy, heavily-creased white cape that implies there are neither fashion designers nor irons in space) tracks Galen down and drags him back to work, leaving Jyn effectively orphaned for a really long time.
Eventually, the nascent Rebel Alliance seek the adult Jyn out. Jyn is now a felon, living the Lucasfilm equivalent of Orange is the New Black after being raised by cyborg Saw Gerrera (Forest Whitaker in his typical scene-killing-ham mode). You see, the Rebels want Jyn to help them find her pa, get the plans for whatever the Empire is cooking up (“That’s no moon!”), and save the day. Along the way, Jyn meets cute with Cassian Andor (a pleasant but uncharismatic Diego Luna) and his comically nihilistic robot buddy K-2S0 (voiced delightfully by Alan Tudyk, proving that he is always the MVP of any movie in which he – or his pipes – appear). The trio collect a band of good-hearted and refreshingly diverse misfits (actors Donnie Yen, Riz Ahmed, Jiang Wen – all turning in credible, nuanced character turns) on their way to the inevitable denouement, setting up neatly the opening sequence of A New Hope.
Rogue One is stingier with the whimsy than other Star Wars films. The humor is sardonic, not Saturday Matinee side-splitting. As the Death Star baddies use their new toy for target practice, noble Cassian scans the incoming cloud of debris and destruction and mutters, “There’s a problem on the horizon. … There is no horizon.” It gets a laugh, but not a hearty one. Perhaps, we in the audience are just a bit too worried about our own horizon these days to find the humor any more.
Maybe I will go play with my old Kenner toys in the backyard, frostbite be damned. I need the escape.
“It’s not a problem if you don’t look up.” – Jyn Erso (Felicity Jones) when asked how can she live in a world where Imperial flags oppressively dominate the landscape
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[Image Source: Wikipedia]
Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.
I wasn’t sure what to think of the proposition of watching the Grand Rapids Symphony performing the soundtrack to J.J. Abram’s 2009 Star Trek reboot live while the film played on a screen above. The idea sounded intriguing, but it also sounded like it had the potential for a nerd-centric train wreck. (Star Trek: Live in Concert was the October 17 installment in the Grand Rapids Symphony’s Symphonicboom Series at DeVos Performance Hall.)
DeVos Performance Hall … or the U.S.S. Enterprise?
Conservative, yuppified Grand Rapids is one of those places that, in my head, is the antithesis of anything a Ann Arbor liberal like me would, could or should enjoy (totally closed-minded of me … I get it).
Yet, when you’re there, it’s all gleaming spires, clean streets, pleasant people (saw a LOT of “Ready for Hillary” and “Feel the Bern” buttons and bumper stickers, so I suspect my prejudices about the region are all kinds of wrong), and well-curated on-street art installations. It’s actually a very nice town.
And the joy of watching a woman dressed in full Klingon regalia sitting right beside a snooty, Eileen Fisher-garbed symphony patron pleased every ounce of my soul.
Chris Pine at James T. Kirk
The performance itself was an amazing experience. For anyone who loves movies and music and appreciates the alchemic power when those two worlds collide, this presentation style is pretty epic and completely moving.
The Grand Rapids Symphony exhibited a precision and a coherence akin to the finest symphony orchestras (not that I’ve heard that many, but these guys are on point). In fact, I rapidly forgot there was even an orchestra on stage (strange praise, I realize), as their fine work blended so seamlessly with the images and dialogue being projected on the screen. Likely, this kind of production is the closest any of us will come to watching an orchestra actually record the soundtrack for a blockbuster film.
Star Trek‘s director J.J. Abrams, much like his inspirations George Lucas and Steven Spielberg and their legendary cinematic partnership with John Williams, has hitched his directorial star to a singular composer: Michael Giacchino. Smart fellow. Giacchino’s fusion of jazz-style sketches and orchestral bombast is as distinctive as it is compelling, an approach that lovingly augments and accentuates Abrams’ reverence for all the Gen X sci fi classics.
Zachary Quinto as Spock … Winona Ryder as his mom?
I had always had an appreciation for Giacchino’s work (The Incredibles soundtrack is a particular favorite), but, hearing his Star Trek score performed live, I was able to grasp more of its thematic nuance and playful fun (lots of great homages to the classic Star Trek Theme and other incidental cues).
With the benefit of a live orchestra, there were colors and light between the notes that one fails to appreciate seeing the film in its original state. The copious talent of this symphony, guest-conducted by Constantine Kitsopoulus, coupled with their evident respect and delight for Giacchino’s sprightly work, made for a transporting experience.
(No, I’m not going to make a stupid “Beam me up, Scotty” teleporter joke here. Nope. Though I will admit that the performance left me quite “energized” … see what I did there?)
Eric Bana as Nero
Oh, and the movie itself? That ain’t bad either.
It’s been quite a while since I revisited this particular Star Trek installment, and, much like when I caught The Wizard of Oz again on the big screen at the Michigan Theatre a few years ago, I had an entirely different appreciation.
Not unlike that 1939 classic, this film stands on its own, not just as fantasy, but also as a really funny, super-clever, swashbuckling comedy. Abrams and his exceptional cast appropriately genuflect before their source material but aren’t afraid to work in some winking criticism of the franchise’s cornier, paste-board legacy.
Chris Pine (Kirk), Zachary Quinto (Spock), and Karl Urban (Bones) channel the hammier tics of their forebears, while bringing a rich inner life that their respective characters never enjoyed until this point. One part Marx Brothers, one part Royal Shakespeare Company, one part Buster Crabbe’s Flash Gordon. And it works beautifully.
Watching the film again and enjoying Abrams’ kicky reinvention of these campy icons, I am now even more intrigued to see what he does with this December’s Star Wars: The Force Awakens re-launch.
In fact, I was struck by how his Star Trek is a delightfully shameless swipe of Star Wars: A New Hope: a galactic madman (Darth Vader or Nero?) roaming the galaxy, astride a planet-destroying machine (Death Star or Narada?), while a rogues’ gallery of rebellious do-gooders – sparky farm boy (Luke Skywalker or James T. Kirk?), smart-mouthed neo-feminist (Princess Leia or Uhura?), coolly logical mentor (Obi-Wan Kenobi or Spock?), long-in-the-tooth scalawag (Han Solo or Bones McCoy?) – and their various comic sidekicks assemble to destroy the Big Bad and save the day.
Throw in a veryStar Trek time travel conundrum, – that has the side benefit of literally rebooting an infinitely marketable, utterly toyetic franchise – and you have a super-sized sci fi Star Wars-ish blockbuster. My comparison may be stretched a bit, and the Star Trek vs. Star Wars people will have all kinds of minutiae upon which they’ll feel the need to correct me, but I think I’m on to something. 🙂
J.J. Abrams’ take on the socially conscious Star Trek mythos is much more Buck Rogers-esque escape than Communist Manifesto-commentary. And that may be why I enjoy it so much, so his version of Star Wars has my curiosity piqued indeed.
Thanks to Lori Rundall for her thoughtful wedding gift of the tickets to see this provocative meld of cinema and live music. If you get a chance to take in such a show, I highly recommend it, regardless the film or the composer or the venue!
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Drawing of yours truly as a superhero by Lee Gaddis of Gaddis Gaming
Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital)In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.