Israel and Turkey

Just got back from my trip to Jerusalem, Tel Aviv, and Istanbul as part of SOM’s mandatory International Experience for first-years. The journey combined sightseeing with business meetings during the work week, during which representatives from various companies, nonprofits, and government agencies presented to us about their work and the environment in which they operate. The trip was primarily focused on healthcare, but we had a number of meetings covering other subjects as well. Highlights for me included MSR, a not-for-profit simulation research center that’s had an enormous impact in reforming medical training procedures in Israel; a meeting with a start-up producing healthcare IT solutions along with the company’s primary venture capital funder; a “Palestine Day” focusing entirely on the less-often heard side of the Israel/Palestine conflict; and presentations on Turkey’s healthcare system and political relations with the US and its neighbors. Some pictures below for your pleasure…

Market in Old City Jerusalem

Shopping mall in Tel Aviv

Skyscrapers in Istanbul

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Thoughts on Effective Philanthropy: Part IV – Funding Activity, Not Individuals

To view the rest of this series, click here.

For years, artists have complained about the National Endowment for the Arts’s 1996 decision, under pressure from Congress, to eliminate individual artist fellowships (except for literature). Nevertheless, it seems that a number of local and private arts agencies and foundations have instituted programs in the past 25 years that support artists in their work directly. Many of the more high-profile of these, including the MacArthur “Genius” grants, the United States Artists fellowships, and prizes such as Columbia’s William Schuman Award, essentially function as general operating support grants for individuals, with no particular deliverables expectation and a closed selection process that operates via nomination.

In the previous segment of this series, I argued that giving more grants to smaller organizations helps to diversify the risk of giving to any one organization while broadening the effect of the money distributed. There’s another factor to consider as well. Because the bulk of foundation and government resources goes to organizations that boast not only the largest artistic budgets but also the greatest market share, there’s a steep stratification within the artist community between elements that are subsidized by outside funding and thus pay “professional” rates for artists’ services, and elements that exist outside of that infrastructure that rely on largely volunteer or far-below-minimum-wage labor in order to get by. Essentially, what this means is that some artists are able to live reasonable or even comfortable lives making art for a living, while other artists of equivalent ability get bupkus. There is little resembling an artistic “middle class” whose members receive remuneration for their services that is respectable, yet not out of proportion with the direct economic value that they generate.

Funding artists directly has the potential to exacerbate this problem. First of all, the growth of artistic stature is spiral in nature: the more citations, awards, and high-profile work you already have, the more you are likely to receive in the future. That momentum makes an artist more visible to funding organizations whose expertise is more usually characterized by a broad understanding of the field rather than an encyclopedic knowledge of thousands of people working in relative obscurity. As a result, awards that fund artists directly, particularly those that do not function via an open call process, tend to go toward individuals who are already doing better, both reputationally and financially, than their peers. In the worst case, it increases the stratification already present in the field on a basis that has more to do with hearsay than intrinsic artistic merit.

I don’t think it’s incumbent upon foundations to judge artistic merit. There are plenty of other people in this world who are perfectly capable of doing that, and arguably more qualified: curators, journalists, other artists, audience members themselves. Where foundations can add value instead is in setting up and supporting systems by which artistic activity is generated in their communities.

How might this be accomplished? The first place I would look is what I would call nexuses for art. Where is art shown, produced, performed, bought, sold, consumed, marketed, supported? It’s not just the museums and the concert halls. It’s the dive bars, the galleries, the coffee shops, the off-off-Broadway theaters, the bookstores, the record stores, the radio stations, and the occasional entities that serve as all of these things and more. Finding a way to get money to these organizations is tricky because many of them are set up as for-profit entities. Yet, from the artists’ perspective, many of these tiny businesses fulfill just as important a function as the city’s performing arts center or marquee theater company, despite being labors of love for their proprietors that often operate completely outside of the support structures that exist to make art available to a wider public.

The artists, in some ways, are only the end product of this multifaceted ecology of organizations. A company that receives no donations, yet values artistic mission over profit, is a company in a precarious position, completely exposed to market pressures. Any time one of these organizations fails, untold numbers of artists (not to mention audiences and communities) are negatively affected. My electric chamber ensemble, Capital M, had the honor of playing one of the last shows ever at the legendary experimental music venue Tonic. The ten-year-old for-profit club, which two years earlier had raised more than $100,000 from fans and angel donors to avert another financial crisis, was only the latest in a string of music venues to close or relocate in the face of enormous pressure from the New York City real estate market. Its demise inspired Take It to the Bridge to organize a protest outside the venue and gather signatures demanding that the city provide musicians with an equivalent replacement. In my opinion, support of these kinds of organizations is an oft-overlooked but critically important way to bolster the livelihood of a varied and active artistic community in a local area, with all the attendant benefits that such activity provides.

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First semester

I finished my first semester at the Yale School of Management this week. Seems like an appropriate time to reflect on everything that’s happened since I rooted up my life six months ago to come here. The first lesson is that I rather like being back in school again. For better or worse, the academic schedule is much less demanding on one’s time and stamina than being in the “real world.” Thing is, it didn’t really seem that way until I got to take off for my parents’ house in the middle of a weekday for a nearly month-long break. Until then, I gotta be honest, it was kind of intense. The program here, while still somewhat in “beta” mode, has a lot of promise in my opinion. I never thought I would be interested in things like managerial accounting or the UK market for premium showers, but the concepts we learn can really be applied to pretty much anything. And just when I was starting to get jaded about my schoolwork this semester, we get this fantastic case on the Competitor exam about the One Laptop Per Child program and its ongoing, and often uncomfortable, relationship with Intel. For one glorious morning, everybody in my class, bankers and tree-huggers alike, had to write about the challenges of a mission-oriented nonprofit competing for the same market with a major multinational corporation—using as primary sources news articles that were less than three weeks old. Now that is awesome!

That wasn’t the first time this fall that I have found myself fascinated by a business school case that was rooted in the nonprofit world. For the Deloitte-sponsored Net Impact Case Competition in November, a raucous all-night affair that bookended intensive work around the case with a party at the graduate center bar, we analyzed a (real) profit-generating initiative by a (real) charity for autistic adults and children in the local area. The case, which was published by SOM’s Program on Social Enterprise, was a big hit among the competition participants. I’m looking forward to Sharon Oster’s Strategic Management of Nonprofit Organizations course in the spring where we’ll be doing a lot more of this kind of stuff. The only downside is that it meets Mondays and Wednesdays at 8:15am—for the entire semester. Alas, five and a half years of post-college maturation has not made me any more of a morning person.

The second half of SOM’s Organizational Perspectives series completes my courseload in the first spring session. In addition to Oster’s course, I’ll be taking Employee, State & Society, Operations, and Innovator. That all seems far away right now, though. For the moment, I’m home with the family and looking forward to my trip to Israel and Turkey as part of my International Experience next month.

Thanks to all of you who have been reading the blog thus far, and I hope to keep entertaining you in the new year. If you ever have any feedback for me, please feel free to leave a comment or email! Take care and happy holidays, everyone.

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Transparency

There’s a long article in yesterday’s Wall Street Journal (see? I’m catching up) about philanthropy and public charities, repeating the oft-heard complaint that it’s hard to know how and where to give when there’s so little information out there about the effectiveness of the programs and organizations being funded. Says author Sally Beatty:

These debates obscure the bigger problem: There is no system for measuring and reporting charity results. Simply put, “most charities that seek to be charitable could easily pass almost any test for simple charitable status and still not be very effective in their charitable efforts,” said Eugene Steuerle, a senior fellow at the Urban Institute, in a series of papers he released this summer.

A number of philanthropy leaders are starting to address the need for greater accountability. In a series of independent proposals, they’re trying to set up voluntary standards for charities to follow in assessing their operations and results. The proposals are still in the planning stage, but they offer a good snapshot of the concerns more nonprofits should address.

The article goes on to mention four stakeholders (individual foundations and service organizations catering to foundations) trying to develop a universal standard for effectiveness measurement.

I wish them luck. As SOM Professor Garry Brewer talked about during his ORGEFF presentation last month on environmental organizations serving Yellowstone National Park, the more that grantmakers can work together to create (and adhere to) common standards, the more efficient the reporting process will be and the more money can go towards the mission. However, I do wonder where the arts fit into all of this. I am wary of any universal system that claims to measure the value of arts organizations to society, since so much of what they do is not easily captured on paper. I’m not saying it’s impossible, just that I’m not sure we’re collectively smart enough yet to figure it out.

The WSJ article also advocates for more transparency in charitable activities:

Too many charities fail to make information about their accomplishments, struggles, boards and executive staff easily available online. As a first step, charities should offer detailed financial and management information on their Web sites. Easy access to such information is crucial for helping donors form reasoned opinions about a charity’s mission, effectiveness and leadership.

This comes the week that the Chronicle of Philanthropy shines a spotlight on GiveWell, a newcomer to the foundation scene founded by 26-year-old Harvard grad and former hedge fund pro Holden Karnofsky (who, incidentally, was a panelist for the Yale SOM Philanthropy Conference). Holden’s a bit of a firebrand, as the article acknowledges toward the bottom, but he has created a remarkable organization that blows just about any other foundation’s claim to transparency out of the water. On GiveWell’s website, you can find not only information about grantees and their activities, but the reasoning process that led to the funding of some grantees and not others, detailed evaluations of claims made in the grant proposals, actual documents provided by applicants, and even internal correspondence dealing with issues such as setting the staffs’ own salaries.

What I like about this model is that it takes the responsibility for disclosure out of the hands of the nonprofits. Organizations can ask for their application materials to remain confidential if they like, but of course they look better if they can share them with the world. More importantly, though, the transparency on the part of applicants is more than matched by transparency on the part of the funding organization. Articles like the WSJ’s seem to take almost a punitive view of nonprofits, making them put all the cards on the table so that we can weed out the bad, bad organizations that are wasting good rich people’s money. GiveWell, by contrast, gives prominent recommendations to organizations that impress them and more or less ignores the rest without making unsupported judgments about them.

The Chronicle also did a chat with Holden today as well. If this isn’t a clash of generations I don’t know what is! Do read it, it’s very entertaining. I especially appreciated this exchange:

Question from Coach Adam, Race wioth Purpose:
There is little free market competition in the not for profit sector; large organizations focus primarily on defending their donor bases and acquiring new donors rather than working together to solve issues that arguably multiple organizations claim to be committed to solving. (A notable exception could be Robin Hood because of the direct support of its board.) How can we expect to be successful (as defined by having a measurable impact) when so many organizations are working in silos and concerned about another organization taking their donors?

Holden Karnofsky:
I think the nonprofit community legitimately has good people in it – morally better people than other communities. I think we’re capable of going beyond myopia about our own paychecks, and pursuing our missions instead of bottom lines (as we’re supposed to, legally). For some reason that isn’t happening now when it comes to sharing information, but I think it can, and if it does, people will stop asking how nonprofits can be more like for-profits and start openly wishing that for-profits had as much openness, honesty, and sharing of information as nonprofits.

Nice.

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Ford Foundation Hires Toomey

According to the Future of Music Coalition newsletter, FMC founder Jenny Toomey has been hired as the next Program Officer for Media and Cultural Policy at the Ford Foundation. After making her name as a recording artist and independent label manager, Toomey founded the Future of Music Coalition in 2000 with Kristin Thomson (who is taking over as interim Executive Director). I’ve been impressed with FMC for a while now, and their 2005 Policy Summit (which I attended for free on a musician’s scholarship and wrote a short article about for NewMusicBox) was a lot of fun and extraordinarily interesting. Good job by Ford for snapping her up.

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Wrap-up: SOM Philanthropy Conference (Part II)

Democratization panelThe first half of this wrap-up is available here.

Following the Funder/Grantee Relationships panel, I attended another discussion focusing on the democratization of philanthropy (i.e., bringing more and more types of donors to the funding table). The panelists were Diane Airker and Angel Fernandez-Chavero from the Community Foundation of Greater New Haven, Eugene Miller from the Center on Philanthropy and Civil Society at the CUNY Graduate Center, Richard Porth from the Hartford Foundation for Public Giving, and Tim Walter from the Association of Small Foundations. Cheryl Casciani from the Baltimore Community Foundation moderated. I didn’t take as detailed notes for this one, so I will just pass along a few memorable tidbits that caught my attention.

  • Cheryl Casciani: “It’s impossible to know what it means to give until you’ve worked to get.” I couldn’t agree more. Sure, impossible might be an overstatement, but it definitely helps to have had that perspective. And all the more so when the project you’ve raised funds for is your own, rather than someone else’s.
  • Tim Walter’s Association of Small Foundations is an interesting group. Representing 3100 small-staffed or unstaffed foundations with average giving of $1 million, these groups often act more like individual donors than the behemoths like Gates, Ford, etc. Interestingly, Walter characterized small foundations as somehow more “philanthropic” than larger ones, I guess because they rely more on volunteer time than paid professional staff. Not sure I buy that, mostly because non-professional givers seem more likely to distribute funds in ways that risk getting grantee organizations “off mission”–i.e., by making large, highly restricted grants for very specific projects of personal interest to the donor. This came up a bit in discussion, but Walter warned against alienating donors with educational efforts that come off as condescending or arrogant. Better to inspire them and present it as an opportunity to lead through their actions.
  • Someone said that organizations are not engaged so much in fundraising as “friendraising.” Classic.
  • Apparently, all foundation giving represents only 0.2% of the annual GDP. This seems surprising considering the fact that nonprofits employ a tenth of the nation’s workforce. I would like to know what proportion of the GDP is accounted for by individual donations, government grants, endowment income, and revenue earned by nonprofits for profit-making ventures. (It’s also important to note that the foundations themselves would be included in that workforce figure above.)

Charles BestFollowing this second panel, we broke for lunch and listened to the keynote speech by Charles Best, CEO of DonorsChoose and a 1998 graduate of Yale College. Looking like the California surf had dropped him on our doorstep, Best gave an engaging presentation about his organization and the creative ways it has interacted with donors and corporations alike. DonorsChoose acts as something of a clearinghouse for small-dollar classroom projects in public schools across America, kind of like a more focused version of what Fractured Atlas does as fiscal sponsor for fledgling arts organizations. The projects are submitted by teachers and vetted by the organization. Apparently the best part is the personalized thank-yous you receive at the end. What’s more, you can buy gift certificates for your favorite budding philanthropist. All in all, an interesting model that bears further study.

The final event I attended was the Trends in Corporate Giving panel with Joseph Gianni from Bank of America, Greg Johnson from the Sports Philanthropy Project, Celina Miranda from the Bank of New York Mellon, and William Shutkin from the Innovation Network for Communities. Jack Meyers from Yale SOM moderated. This panel was perhaps the most wide-ranging of the three I attended, as much of it featured highly philosophical debate about the very nature of corporate responsibility to society. Shutkin, in particular, advocated a very specific vision of his in which private philanthropy in some sense would no longer become necessary because corporations became committed to social responsibility in their day-to-day operations. After all, corporate giving accounts for 31% of all foundation giving, which if the statistic from the previous panel is true means that it makes up less than one-tenth of one percent of the annual GDP. By working social responsibility into the fabric of major for-profit operations, a scale perhaps can be achieved that would be unattainable otherwise. This point of view was echoed by a questioner who opined that it would be better if corporations sought to avoid causing problems in the first place rather than trying to “fix” them after the fact through their philanthropic arms. Some aspects of this vision are already entering the marketplace on a small scale: for-benefit corporations with hybrid/integrated solutions that use markets for social ends–the so-called “double bottom line” approach. Shutkin also mentioned “mission investing,” the process of nonprofits using their own endowments as a means to funnel resources to socially responsible ventures. The discussion was fascinating, but difficult to grapple with fully in the time available.

Since this blog is ostensibly about the arts, I’ll quickly mention that Bank of New York Mellon delivers substantial support to the arts in NYC, although not so much (as yet) in Boston, where Celina Miranda is based. Miranda had an interesting perspective as someone who came to corporate philanthropy from social work. It seems like an appropriate track, frankly.

Overall, the Philanthropy Conference was excellent and I’m glad to be able to report on it here. Here’s hoping it’s an SOM tradition that persists for many more years.

Thanks to Jeff Levi for the use of his photos from the conference.

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Wrap-up: SOM Philanthropy Conference (Part I)

On November 16, 2007, I had the pleasure of attending the 3rd Annual Yale School of Management Philanthropy Conference, an ambitious event that included a total of seven panels, three guest speakers, and multiple receptions. The all-volunteer student organizing team did a great job, and I was glad to be involved as the coordinator of one of the panels. The event kicked off with a presentation from Courtney Bourns, director of programs at Grantmakers for Effective Organizations. Courtney’s talk was excellent, and I was surprised and pleased that much of it resonated with opinions I’ve expressed on this blog and elsewhere. Her main theme was that foundations are most effective when they listen to the organizations they are funding–that is, when they allow the organizations on the ground to be the experts. I see foundations–especially those funding the arts–as being fundamentally in an enabling role, not a controlling one. Overwhelmingly, nonprofits have been clamoring for more general operating support (GOS), more multiyear support, and less restriction on how the money can be used. The first and third of these go hand in hand–general operating, for the non-insiders reading this, basically means the same thing as unrestricted. In practice, most “general operating” grants go to pay for boring things like utility bills and salaries for the development staff, since a nonprofit’s programs are usually paid for by grants that have been awarded for those projects specifically. However, it doesn’t have to be this way–if more foundations were willing to provide GOS, then some of that money could be used to support programs. This would be a wonderful thing for nonprofits because it would allow them to allocate program budgets more flexibly, accommodating actual present-day realities instead of being constrained by projections that may have been made years earlier or under different leadership. The multiyear support is important for the following reason: if you fund an organization year in and year out, but you make them reapply each time, what do you think that does to their development costs? That’s right, they go up. The more time that organization has to spend cultivating, applying for, and reporting on your grant, the more your investment is getting sucked up by overhead. As much as I love them, I’m pretty sure that the mission of most nonprofits is not to provide job opportunities for fundraising professionals. So, the more unnecessary steps the funders can remove from the process, the more efficient their grantmaking will be.

Next up was the panel that I organized, entitled “Funder/Grantee Relationships.” We were joined by five panelists: Kim Healey from the NewAlliance Bank Foundation, Barbara Strauss from Clifford Beers Clinic, Sarah Fabish and Lillian Cruz from the Community Foundation of Greater New Haven, and Deb Stewart from the Consultation Center. Beth Daponte, who teaches the Program Evaluation class at SOM, served admirably as moderator. The conversation built upon the themes of Courtney Bourns’s talk, exploring the balance between grantmakers’ and grantseekers’ needs in program evaluation. One issue Healey mentioned was that, as a corporate funder, multiyear grants did not make sense for NewAlliance because the foundation could not necessarily predict its budget from year to year. Nevertheless, the representatives from both funding organizations acknowledged the difficulties an overly complicated evaluation system could produce, for funder as well as grantee (it does no one any good to have stacks of unread reports taking up space in the office). For her part, Barbara Strauss of Clifford Beers said that the evaluation process had improved discipline enormously at her organization. CFGNH adopted a new evaluation system last fall incorporating several levels and methods. Some of the innovations, as I understood them, include asking grantees to evaluate the impact of a grant two to three years afterwards, instead of directly following the period of support; commissioning formal studies evaluating groups of organizations for the purpose of knowledge sharing; and hiring an outside firm to document a grant’s impact while it’s happening. Sarah Fabish added that CFGNH’s evaluation process includes a site visit, an important component that helps identify great projects that may not have looked so good on paper.

While there are many positives to evaluation, Prof. Daponte encouraged the panelists to comment on the pitfalls as well. The main issue mentioned, as before, was capacity. Ms. Cruz allowed that funders are often not so good at determining the cost of a new requirement in their process, and often that cost is paid for by the grantee. Ms. Strauss revealed that her organization simply does not apply to grant opportunities if it knows that the organizational strain will not be worth the potential benefits. (This was also something that I encountered at my last job.) The bottom line, as Deb Stewart put it, is that funders need to decide how they want the staff at the grantee organizations to spend their time. It may not always be possible to have systems that are both appropriate to the scale of the organization and truly state-of-the-art.

Ultimately, the panelists agreed, these tensions and opportunities are best explored in the context of a close and candid funder/grantee relationship. Funders need to be clear about their goals and expectations, while grantees need to feel empowered to speak up when a requirement may be causing more harm than good. When both conditions are achieved, the potential for an optimal solution is enormously increased.

I’ll post part II of the wrap-up, covering the remainder of the conference, in a few days.

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Mid-semester break

Happy Turkey day, all. I’m home in Maine with my folks getting ready to gobble up some tasty food. In the next couple of weeks, I hope to post a few more installments in the “Thoughts on Philanthropy” series, as well as a wrap-up of the Yale SOM Philanthropy Conference that took place last Friday, November 16. In the meantime, I’m enjoying my new set of classes, even if they are kicking my ass somewhat – I never in my life thought I would ever be so interested in the mechanics of discounted cash flows and buying on margin. I do have one piece of good news to report, which is that I’ve been selected as the Class of 2009 representative for SOM’s Loan Forgiveness Program, which reimburses students who enter the public sector following graduation for up to 100% of their need-based loan obligations. This program is pretty much the reason that I’m in business school at the moment; I had thought about it for several years but wasn’t willing to take on the financial burden of a student budget tailored for people going into investment banking and consulting. I’m very proud to be attending an institution that makes such a public and substantial commitment to the nonprofit sector and its students who are interested in using their talents to make the world a better place.

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Thoughts on Effective Philanthropy: Part III – (Dis-)Economies of Scale in the Arts

Note: This is the third of a multipart series on the arts and philanthropy. I hope these ideas are of interest and welcome suggestions and feedback. To view the rest of this series, click here.

When we left off last time, I was advocating for funding agencies to adopt a spirit of experimentation in their philanthropic strategies for the arts. However, I haven’t yet talked explicitly about an idea that goes hand-in-hand with that strategy: diversifying grants across many different (and often smaller) organizations, instead of concentrating them in a few very large ones.

It’s not that I don’t think large arts organizations do good work, or that they don’t deserve to be supported. What I’m going to argue instead is that there is a tendency among many institutional givers to direct their resources toward organizations that have well-developed support infrastructure, long histories, and vast budgets, and in a lot of ways it’s a tendency that doesn’t make much sense (or at the very least, could use some balance).

For one thing, those well-developed support infrastructures don’t come cheap. Consider the case of Carnegie Hall, which due to union constraints (the subject of a current strike over on Broadway) routinely pays its top stagehands north of $300,000 a year. The astronomical salaries that symphony orchestra conductors make (up to $2.5 million annually; and that’s not counting guest conducting gigs with other ensembles) are being paid for by someone, after all. If those kinds of numbers seem a little insane to you, well, you’re not the only one. This is one of the dirty little secrets of the arts—very few people seem to be aware that their local orchestra conductor might be making bank on par with their favorite NFL players. And yet this information is all publicly available on government forms thanks to the incomparable Guidestar. (pdfs; registration required)

An important thing to note is that the forces driving these compensation figures into the stratosphere cannot be described as “nonprofit” in any meaningful way. The labor unions, for example, are not particularly interested in giving Carnegie Hall some sort of break because of their IRS status. From their perspective, this is the top gig in town and they should be remunerated accordingly. Similarly, the conductors and soloists extracting huge appearance fees from the major orchestras are being represented by for-profit management agencies such as IMG and Columbia Artists. Another large expense for many arts organizations is the rent for their office buildings that ultimately winds up in the hands of property-owning for-profit corporations. Foundations that are truly interested in “effectiveness” should ensure they are aware of the extent to which their charitable dollars may ultimately be making rich people richer.

Those are only perhaps the most egregious examples of money ending up where it may not be doing the most public good. The administrative overhead costs of maintaining such a budget can get quite high as well. The more money that needs to be raised for the organization to maintain a certain level of operation, the more fundraising staff need to be hired to support that activity. And, of course, since fundraising professionals know damn well that their services are in demand, they know to ask for a substantial salary from an organization that clearly has the resources to give them what they want. Which they then have to figure out how to pay for by raising yet more money. Do you see how this can become an upward spiraling process?

In contrast, small arts organizations are extraordinarily frugal with their resources, precisely because they have no resources to speak of. It’s frankly amazing to me what largely unheralded art galleries, musical ensembles, theater companies, dance troupes, and performance art collectives are able accomplish with essentially nothing but passion on their side. A $5,000 contribution that would barely get you into the sixth-highest donor category at Carnegie might radically transform the livelihood of an organization like this. Suddenly, they might be able to buy some time in the recording studio, or hire an accompanist for rehearsals, or redo that floor in the lobby, or even (gasp) PAY their artists! All of which previously had seemed inconceivable because of the poverty that these organizations grapple with. Foundations concerned with “impact” should remember that it’s far easier to have a measurable effect on an organization’s effectiveness when the amount of money provided is not dwarfed by the organization’s budget.

The best part of giving more money to smaller organizations is that it actually reduces the risk for the funding agency by diversifying its portfolio. Think about it like this: if you were investing stock in each of these companies instead of grant dollars, your broker would call you crazy to divide a million dollars among four of them rather than forty, or better yet four hundred. Sure, some of them will fail, but think about the missed opportunities with the ones that succeed. To only fund the largest organizations would be akin to confining one’s endowment investments to the blue chips on the NYSE while completely ignoring emerging markets.

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Not Dead Yet.

C4, the choral collective devoted to living composers that I founded in November 2005 and “facilitated” until this past June, is having its first concert since I abandoned them for New Haven. The program focuses on old pieces or composers reimagined for the 21st century. The action starts tonight at 8pm at St. Joseph’s Church at 404 East 87th Street in NYC. I’ll be there…

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