“Information that could be useful in influencing the firm’s direction and strategy” … How Clark Hill Makes Use Of Technology To Market Itself … #lmamkt

Truly thrilled with this coverage from Law360 of our Clark Hill Law marketing and business development transformation. Every member of our incredible team and their efforts are represented in this overview. So proud to work with these talented souls who all lead with data, ingenuity, strategy, grit, inclusion, collaboration, and heart. And we’ve had a lot of fun along the way!

We discuss a lot in legal marketing circles the need to approach this work with intentionality as other industries do (no more “random acts of marketing”!) and the desire to advocate for ourselves as a substantive profession. For me, I couldn’t be prouder of how my colleagues’ efforts as outlined here align with that direction.

Original post: https://www.law360.com/pulse/articles/1494809/how-clark-hill-makes-use-of-technology-to-market-itself

How Clark Hill Makes Use Of Technology To Market Itself

By Aebra Coe

Law360 (May 19, 2022, 3:59 PM EDT) — Asana, SharePoint, Wufoo, Sprout Social, Google Docs, SQL database and PowerBI are all fairly typical technologies for law firms to use in their marketing and business development efforts, but Detroit-based Clark Hill has leveraged those ordinary technologies for some interesting uses, earning it a recent international award.

Susan Ahern, Clark Hill PLC’s chief marketing and business development officer, is the quarterback behind much of the tech-heavy marketing tactics that earned the firm Best Marketing Initiative honors at the Managing Partners’​ Forum Awards for Management Excellence in 2020.

Ahern recently spoke to Law360 Pulse, offering a look behind the scenes at the firm’s marketing and business development technology, and the platform around which the technology spins. The system has been up and running for around four years now.

Using off-the-shelf technologies like Power BI and SharePoint for data analytics and team collaboration, Ahern and her team have been able to build an online platform that allows them to track and make use of data in their decision-making around business development.

The data is input through a combination of sources. Digital collection forms are used to gather data directly from attorneys, and other data flows in from the marketing and business development team. Additionally, some streams of data, like digital reach and engagement, are automated through the firm’s other platforms.

“We have been able to implement online data collection processes for different types of data throughout the firm,” Ahern said. “Our systems then organize and store the information into different datasets, [and] our dashboards pivot on these datasets.”

Examples of the types of reports the dashboards can produce include detailed information on client feedback and check-ins, client pitches, event sponsorships and their success, attendance information on events and webinars, and data on social media marketing campaigns.

The dashboards, which are accessible through an online portal, visually illustrate through charts the activities the team engages in and the results of those activities on a wide range of the firm’s marketing and business development operations, according to Ahern. They run and update in real time.

“We have the flexibility to adjust the dashboards to communicate what is most useful,” she said. “Each dashboard is dynamic and can be filtered in multiple different ways by the user. We have been able to identify trend lines year-on-year through dashboards we’ve had up and running over a number of years.”

When it comes to event sponsorships, for example, individual partners and the business development team can see who has requested sponsorships, whether they were granted, and where that money went in terms of industry, client or geography. There’s also data on how much revenue was generated by the attorney making the request.

Since the firm implemented tracking around sponsorships, the number of requests for them has actually declined, Ahern said.

“Having that information has helped hold everyone accountable for what they requested,” she said.

When it comes to pitching clients, attorneys and business development professionals can search and sort data by the rates pitched, client, industry of the client, rate of success by office or business unit, and reasons the pitch was unsuccessful. The firm gathers somewhere between 35 and 40 pieces of information on any given pitch, Ahern said.

According to Ahern, she is often approached by legal technology providers trying to sell her platforms and services related to business development and marketing, but when she asks how they would capture, collate, organize and leverage the data the firm is currently using, the response tends to be underwhelming.

“The more I see of these technologies, the more I realize that they are limited. They are different versions of the same thing,” she said.

Earlier this year, the firm hired a data coordinator Todd Krigner. 

Ahern says she remains happy with the system the firm has created in-house, which allows her to translate data, and at times non-numerical data, into something measurable that can help direct the firm’s actions and strategy.

“What we did was look at information that could be useful in influencing the firm’s direction and strategy,” she said. “Most technology in law firms is not being used to its full potential. There are so many other creative ways it can be used to really bring the firm forward.”

–Editing by Robert Rudinger.

Hadron Colliders, Bosendorfers, The Beatles, Van Gogh, and Pearl Jam: the Spring ‘22 edition of Wabash Magazine

I always enjoy the arrival of Wabash Magazine in our mailbox. Egomaniacally, even more so when I’m mentioned in it. Let alone TWICE (!) in this Spring ‘22 issue.

First, for my Legal Marketing Association – LMA International work.

Second, for … buying a record player in pandemic. I might have misunderstood the assignment from Editor Kim Carter Johnson since everyone else wrote about Hadron Colliers, Bosendorfers, The Beatles, Van Gogh, and Pearl Jam.

Truth be told, I spent more money than I’d care to admit for (almost) front row tix for Madonna’s Rebel Heart 2015 tour stop in Detroit (worth the bucks for having met divine Aussie Glenn Nolan and his man). And then again for a complete collection of vintage Strawberry Shortcake dolls (inspired by my elementary school boo Hope Ross Dressler).

Now that I type these past two sentences, maybe it’s good I stuck with the Victrola. 😅✨

“Thought I belonged to a different tribe.” Madonna’s “Rebel Heart”

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[Image Source: Wikipedia]

It’s rather remarkable to me that in however many years I’ve been writing this blog Madonna hasn’t been my subject matter once.

She and her music and her hijinks have been a constant in my life since my awkwardly painful junior high years.

I’ve voraciously consumed every album, video, single, remix, film (heaven help me), interview, performance, and gossipy tidbit in her storied career.

I’ve ridden the crest of every ill-spirited media wave announcing her imminent cultural demise, her death spiral into irrelevancy, or her controversy-fueled self-immolation.

And, yet, to paraphrase a classic Sondheim tune, popularized by the late, great Elaine Stritch, she’s still here.

Speaking of Sondheim, it was the bizarre confluence of that Broadway vet’s musical output and the white-hot light of Madonna at the peak of her fame in the summer of 1990, working on the Disney-produced, Warren Beatty-directed comic book film Dick Tracy, that cemented my love for the self-professed “Material Girl.”

To be honest, her first two albums Madonna and Like a Virgin set my teeth on edge in their moment (possibly because they were the dog-eared soundtrack for every snooty-pants kid at Memorial Park, a “magnet school” for gifted … and rich … kids, a place where the wheels temporarily fell off my self-esteem wagon). True Blue (her third offering, not counting soundtracks and remix compilations) was a slight improvement (we also moved to another town!), perhaps due to the influence of equally combustible but super-talented Sean Penn in her artistic and personal life. With Like a Prayer, she started to pique my interest as Madonna really began to mine the formula of agnosticism, social critique, semi-feminist moxie, and soaring dance-pop melodies that ignited my nascent musical imagination.

But it was the Dick Tracy pseudo-soundtrack I’m Breathless, a forgotten corner of Madonna’s discography (save for its inescapable throbbing uber-hit “Vogue”), that made me a fan for life. I was in Japan for a summer study abroad program sponsored by the U.S. Senate/Japanese government, back when Japan was, well, China to us, threatened as we were by their economic might. The powers-that-be threw a bunch of high school kids on a plane, and, voila, world peace?

I didn’t have a lot of spending money, no internet (obviously) nor smart phones (more obviously), so the touchstone that eased any homesick heartache was an I’m Breathless cassette tape I bought from a Japanese street vendor (I think it was legal) with all the lyrics written in kanji. (In fact, I remain a little foggy on the actual words to “Hanky Panky” to this day). I burned through two Walkmen and a host of AA batteries listening to that album, never skipping a track, but absorbing it all straight through over and over.

After that, Madonna could do no wrong (by me). My self-important, superficially-socially-conscious college days were spent torturing my roommates with repeated listens to Erotica and Bedtime Stories (the campy/naughty “I’m not your b*tch; don’t hang your sh*t on me” era – take that, smart aleck-y David Letterman), and graduate school saw Madge and me mellow a bit as she took on show tunes in the Golden Globe-winning Evita and some mystical new mommy spiritual techno hoo-ha in Ray of Light.

She (and the world) discovered Sacha Baron Cohen and the acid rock/hip hop joys of ten gallon cowboy hats with Music (“Don’t Tell Me” remains a musical/videographic highlight), and, as the 20th Century devolved in the post 9/11 chaos of the “aughts,” Madonna sported a beret and sang political rants about … pilates (?) in American Life, donned a purple/pink leotard for some Confessions on the Dance Floor, suckered us in with some poptacular Hard Candy, and left me woozy from too much MDNA.

Which brings us to the latest offering from our imperious Queen of Pop: Rebel Heart. Much has been made of the disastrous (or canny?) PR debacle leading up to her 13th (!) studio album’s release (she doesn’t count I’m Breathless in that tally for some reason – BIG mistake. HUGE.). There were numerous leaks of tracks in various degrees of completion; Madonna got a little zany with the Instagram; she had a wardrobe malfunction (no, Ms. Jackson, not that kind) that involved a ridiculously long cape and an even ridiculously longer flight of stairs; and so on. Yet, here we are at the finish line, with a more-or-less completed album, filled to the brim (19 tracks on the deluxe edition and 25 on the super-deluxe!) with potential hits (and misses).

By the way, let’s not forget Madge invented strategic “wardrobe malfunction,” in a now iconic performance from the inaugural MTV Video Music Awards, when she lost a shoe or something and, consequently, started writhing around on the stage in a white wedding dress while warbling “Like a Virgin.” 

So, with this exhaustively self-indulgent preamble ended, how is the Rebel Heart album? It’s good, and it may even be classic, but like all Madonna albums, it is wildly uneven with some spectacularly transporting hooks and melodies, a healthy dose of sass, and some head smackingly cringe-worthy lyrics. What many critics now hail as a masterpiece (Erotica) was in its day (1992!) similarly received – an overlong mish-mash of dance, pop, balladry that ran the gamut from sincerely poignant to sincerely filthy to sincerely odd. Rebel Heart feels like a bookend to that now legendary compilation.

Rebel Heart‘s strongest moments (consistent with Madonna’s track record) marry heartache, petulance, and swirling disco, from the soaring, gospel-tinged first single “Living for Love” to upcoming single “Ghosttown,” a crunchy, ominous, totally dance-able ode to isolation/devotion. The album’s sillier moments work for me as well, including the anti-misogyny, reggae-lite screed “Unapologetic B*tch” to the similarly titled yet totally antithetical party anthem “B*tch, I’m Madonna” (with a great guest rhyme from most-likely-to-inherit-the-crown Nicki Minaj).

Madonna crashes the gates again of her own sexual minstrelsy with a clutch of tracks that veer from the obscene to the perverse (“Body Shop,” “Holy Water,” “Best Night,” and the funniest of the bunch “S.E.X.”). At first listen to these, I wanted to jump out of my skin as there is minimal effort for metaphor but maximal effort for shock and awe. Yet, as I gave them a second listen (still not liking them much), I realized that Madonna’s tongue was firmly in cheek (sounds kinda like one of her lyrics, actually), so these four may grow on me … like a fungus.

Gone are any aspirations to play in the bass-thumping pop sandbox of the Lady Gagas or Katy Perrys of the world (though I think those critiques have been greatly overstated) as Madonna happily reintroduces ballads to her repertoire, standouts being the shimmering “Messiah” (where religion becomes a clever proxy for humanistic self-actualization), caustic “HeartBreakCity” (I do love when Madonna gives two-timing, preening dudes a dressing down), and the capstone strum-and-drang of title track “Rebel Heart.”

It is this last number (inexplicably only available on the deluxe edition) that makes the entire nearly 90 minute running time worth the journey. With this ditty, Madonna offers arguably her most revelatory (and witty) lyrics – Madonna the songwriter is often overshadowed by Madonna the showman, but this track wraps the thesis of Rebel Heart (the album) with a heart-rending bow:

I lived my life like a masochist
Hearing my father say: “Told you so, told you so”
“Why can’t you be like the other girls?”
I said: “Oh no, that’s not me and I don’t think that it’ll ever be”

Thought I belonged to a different tribe
Walking alone
Never satisfied, satisfied
Tried to fit in but it wasn’t me,
I said: “Oh no, I want more, that’s not what I’m looking for”

 

And you’ve succeeded, Ms. Ciccone. Keep up the fine work, Madonna – looking forward to keeping you as the primary soundtrack to my ever-evolving life …
____________________________

Reel Roy Reviews 2

Reel Roy Reviews 2

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.