#i had a translation project in spring and we had to write a ~500 word

[sunriseverse]

doing translation will unlock something in you because you’ll realise how there are dozens, hundreds even, of subtly different ways to translate things, and all of them are correct, and all of them are different by implication, and you can never choose the “right” one because there will always be something lost in translation, and the best you can do is strive to close that gap. anyway this is about my blog title because i saw a gifset where someone translated it differently than i would and it’s making me chew drywall.

[blschaos3000-blog]

Its 7:00 pm hot/humid

Welcome to “8 Questions with…….”

I was recently sent a new film called “To The New Girl” of which I loved and I think its one of the best films of the year.  After watching it for the fourth time,I knew I wanted to interview EVERYONE involved in the film but also knew that wouldn’t be practical. So I went with the top two of my wish list and was lucky enough to land this interview with the playwright who wrote the play and later on the film,Sam Macher.  Yes,I know my title says “Samantha” but the lady likes to go by Sam. Sam is one of the most multitasking artists I have met yet….writer,playwright,teacher and producer. She does this while also working in the professional world (as long as there isn’t a pandemic going on). I really wanted to know how her play has become such a powerful film and so I went slightly wild with my questions. Sam is the type of artist that you find yourself saying “8 Questions?? To hell with that….I got waaaaay more then 8 Questions to ask”. I hope you all enjoy this interview and getting to know the voice behind one of the best films of the year in “To The New Girl” as I ask playwright Sam Macher her 8 Questions…..

Please introduce yourself and tell us about your current project

I’m Sam Macher, the writer/producer of “To the New Girl”, an independent feature film from New Girl Pictures and Dragon Hunter Productions. I’m a playwright by training, producer by necessity, and storyteller by birth.

 How have you been doing during this pandemic? Have you found it challenging to remain creative or has it been easy?

The pandemic has presented as many challenges as it has opportunities in a lot of ways. On the one hand, I was laid off from my stable day job, but on the other, I had more time and energy to dedicate to helping get this film project (and others) off the ground. All in all, I feel lucky to be safe and healthy, and though this hasn’t been the most creative time for me, I’m still able to work on projects I love with people I love.

 What was it like growing up in your house as a child? Were your parents artistic and how did they encourage you to be creative?

I would say both of my parents are incredibly creative and imaginative in their own ways, so the nice thing about being their child is that there were no limits to what they thought I could do. My dad is a first generation American and built his own transportation/logistics business in our garage (it’s now been around for 30 years this fall!). My mom has worked her way from office manager to VP at a national non-profit and now works at a architecture firm, in part because she has an incredible passion for design. I think they both come from a “follow your passion- you’ll either figure it out or you’ll change direction” mindset.    A lot of folks I’ve met during my career had well-meaning relatives that told them to pursue more traditionally lucrative fields of study and warned them away from unstable careers in the arts, but thankfully I never worried too much about that. For me, as the first one in my immediate family to go to college, their perspective was that so long as I got my education, everything else would work out. They turned out to be right. I learned the skills I needed to run my creative career like a business by producing my own work and this eventually translated into working at small non-profits then small businesses, and eventually even Fortune 500 companies. Once they got past my weird job history and somewhat irrelevant degrees, hiring managers saw my creativity as an asset and not a liability. I will say though that I got (and still get) a lot of benefit of the doubt along the way. Attending the right schools and having the right connections has undoubtedly helped me succeed. I don’t say this to undermine my talent or work ethic, but to highlight that lots of talented folks work hard and unfairly don’t even get in the door in creative or corporate spaces.

 When did you start writing and what type of writing did you do? How important was reading to you growing up and who were your favorite writers growing up?

  I started writing at a pretty young age. I think the first story I wrote was when I was six or seven. Thankfully, my mom kept all of my “early work”, and it’s funny to me that even then, it was surprisingly dialogue heavy. I also used to write TV shows for my friends and I to perform on the playground and spent countless hours making movies on the family camera.   I read a lot as a kid and some of my favorite books were the Anne of Green Gables series. I think I read them/watched the Canadian miniseries dozens of times. I also loved RL Stine and all the Goosebumps and Fear Street books. I adored Steven King. I still can’t get enough ghost stories. One of these days I’ll finally get around to writing something spooky!

You attended and graduated from the University of Virginia,what was your college experience like? How much  did your creative writing blossom while you were in school?

   College was… weird. I wasn’t a great student, but I loved my spiritual writing and playwriting classes and probably took 6 of them during those 4 years. Even though my academics were a little subpar, I learned a ton. I learned how to write in a workshop, give and accept feedback, and self-produce my plays, which was completely invaluable. The training I got in the UVA playwriting program (headed by Doug Grissom) was a huge part of how ready I was for my MFA at Hollins (led by Todd Ristau). While I was at Hollins, I already had the toolkit to be a good collaborator, but they helped mold me into a good writer. So many of the opportunities I’ve had over the years have come from the reputation I established at Hollins and the classmates and instructors that believed in me enough to produce my work.    To this day, I still have a strong relationship with both programs. UVA brings me back as a guest artist about once a year, and I’ve even gotten to be a guest lecturer as well. The Hollins New Works Initiative still functions as a production office for my films, allowing me to fundraise through their 501c3 infrastructure. Not all schools take this kind of risk on their alums. I’m grateful that my schools do.

 What drew you to live theater and how did you get your start as a playwright?  How is writing a play different from screenwriting?

Ah! I have always desperately wanted to be an actor, but alas, this is not a gift I possess. I don’t know what to do with my hands when I’m on stage. I can’t remember lines to save my life. My reactions as a person are wildly exaggerated, and so on stage they somehow look even more ridiculous! But, I figured if I couldn’t be on stage, I could certainly still be near it.   I’ll tell you a quick story: My senior year of high school, we were supposed to have a spring musical. Then, our drama teacher left to go work at another school, then the person who took over the program resigned mid-year and the musical was cancelled. I was furious. Though I am a fairly crappy actor, I’m a pretty good singer (and am really enthusiastic) and thought for SURE this was going to be the year I was going to be in the play! So I did what I thought anyone would do, and wrote the spring musical with a role for me in it! It was funny because I wound up being so busy with rewrites and eventually producing, that I had to recast myself in the show, direct it, and then wound up producing the other student-written one-acts that we needed to couple with my play to make it a full evening of theater. The whole point was to be IN the play! But once I saw how awesome my classmates were, I really couldn’t envision it any other way. From there on out, I stuck to what I did best. Lurked backstage like the Phantom of the Opera, and lived vicariously through the folks in the spotlight.    The second part of question is a little harder for me to answer. Aside from this project, most of my film work is documentary and movement pieces, so I don’t really write for the screen in a traditional way. Generally though, when I have written more straightforward screenplays, it’s a lot more “Show” and a lot less “Tell”. You think a lot more about what can be communicated with the character’s actions, their facial expressions, their moods, rather than what they’re saying. The classic axiom is “When you write a play, the audience should be able to know what’s going on just by listening to it. When you write a film, the audience should be able to know what’s going on even just by looking at it.” I try to just do that.

How did you get the inspiration for “To The New Girl”? How hard was it to take your words from paper to a live stage?

I went through a divorce in my early 20’s after a brief marriage, so the play itself is very loosely inspired by that emotional journey (not the factual one), but also by the women in my life who’d been through divorces as well. The stories I heard were both sad, and heartening. In their own way, they were telling young me that things would be hard, but you’ll get through it. I think I was trying to find a way to capture the essence of their advice to me to share with others, and wound up twisting it on it’s head a bit to tell the story we have now. 

Have you ever done spoken word yourself and what drew you to basing your play on this format? 

  I have incredible respect for those who tell their stories this way, and also it seems, they have made an obvious (if not intentional) impact on the way I tell mine, but I’ve never performed spoken word poetry.   I think the reason this way of storytelling appealed to me when I first started writing TTNG is that when you don’t have other characters to play off of, or a clear setting, it’s the voice of the character itself that tells you a lot about who they are. Is this character a fast talker? Does this person take long, deliberate pauses? Does this person invite you in, ask you to sit, and then tell you their life story? What do the answers to these questions tell you about how they live their lives outside of this play? When you bake in the pauses and emphasis, I think an actor gets a lot to chew on (or ignore, which is also fine). I think the acknowledgement that how and when we speak is almost as important as what we say, is something that spoken word poets and I have in common.  How did you find your “voices” for “Girl”? How many original actresses made the transition to the film? 

   The original production at SkyPilot Theater Company in Los Angeles was developed in close collaboration with their actors and the original director Jeanette Farr-Harkins. I went to auditions, heard the women in the company read their monologues, and as I heard them speak, I started to see my characters realized. A lot of those speech patterns you see in the play evolved from imagining specific actresses in these roles. How they talk and how they move in a helped ground these characters while I was writing.   Only one actress came from the original SkyPilot cast to the film- Samantha Carro. She played Elyssa in the original production. But Kelly Goodman is an actor from the original company, so when we were casting the role of Miriam, she came to mind really quickly.  What were you feeling during Opening Night? What emotions were you feeling listening to your words?

I wrote this play so long ago (I think I was 24, so about 10 years ago at this point), so whenever I see this show, it’s a little like hearing people read your diary from that age. It’s surreal, but also incredibly cool. It’s nerve-wracking, but I also have enough distance from it to be able to evaluate the work for what it is today. I also feel incredibly proud that this play has had a decade of performances, and humbled/lucky that my collaborators have chosen to take it to this distance.

      How did the idea of making “To The New Girl” from the stage to screen make you feel?

As an artist, in general, I’m very “let’s throw stuff at a wall and see what sticks” so I was on board from the get go. I also trust Laura Hunter Drago, our producer, with my very life so I knew for sure she was the person to trust with this project.    I want to note that I was a little skeptical about there being widespread excitement for this project (sometimes I get in my own head about “why would anyone want to see my plays?”), but once the Kickstarter campaign was funded, I knew we’d have the support we needed to get it done. Laura never doubted it though. It’s amazing to have a producer with so much confidence in herself and confidence about the work. Did I mention I love her?

Did you have to make any adjustments in your play to fit the film?

Thankfully, not really. Since it’s such a simple script and setting (and it was workshopped pretty thoroughly), there weren’t a ton of edits needed to the final version of the screenplay.  You are also a  working professional,how do you balance your work life with your creative one?

I don’t 😊 It’s always kind of feast or famine either way. There are some times when I have the chance to throw myself into my writing and really go for it, and other times I have to hunker down and work so I can eventually support the writing. I think other writers definitely have more discipline in this way. I admire them greatly. 

Where do you find the time to write and what is your process like?

   At the moment, even in the pandemic with the layoff, I’m not writing a ton, but I am reviewing and revising work that I did in the past and making updates. I’m also seeing which projects I should be pushing for the next phase of production and which ones need to go to the back burner for a little longer. What I’ve found over the course of my career is that things that I worked on in the past have a way of becoming relevant again with time. TTNG is a lot like that- though I wrote it over ten years ago at this point, it has a new life and audience with the film. All that’s old is new again!    When I am in writer mode though, it’s a little like a faucet. I’ll sit down over the course of a few days, get the whole ugly story, warts & all, out of my brain in a few sittings. This, of course, comes after months of thinking about the characters, hearing how they talk in my mind, and wondering what is it about this time in these characters lives that makes this part of their story interesting? Why am I dropping in on them now? Why would the audience want to see this?    For example: With TTNG, I think we’re dealing with an emotionally charged moment for these women. They have something to say, they’re going to say it, and we (as a stand in for the woman they can’t say anything to) are going to hear it. We become a part of their journey- that’s why we’re here. After the inital brain dump,I honestly spend the next few months workshopping,rewriting,etc until I have something I can share with theater companies/filmmakers that I’ve worked that might be excited about it. Sometimes my collaborators love it! Sometimes they really don’t,or it’s not a fit for their audience. From there,I make a decision about next steps.Do I keep tweaking it or do I put it on the shelf for another time?

   What do you enjoy about teaching theater? Do you feel live theater still has a viable voice in the face of all the streaming channels we have now? 

There’s nothing I don’t enjoy about teaching theater, especially with younger students. It’s always a joy to share what you love with people, and watch them do it on their own in their own way. |  One of my favorite classes I ever taught was with a group called Determined to Succeed in Los Angeles. They paired me and my friends Nikki Adkins (an amazing children’s playwright), Elizabeth Dragga (founder of the non profit Book Truck), Jac Sanchez (a wonderful children’s librarian) and Jaime Robledo (an accomplished LA Theater Director and Writer) with local middle school students, and together we helped them write, produce, direct and star in their own plays. The kids were already so awesome, but it was fun to see them blossom over the summers into actors, writers, and directors. I hope that even if it didn’t instill a lifelong love of theater, that it taught them to be confident in their writing, proud of their stories, confident public speakers, and most importantly generous collaborators. Theater teaches all of that.

How can live theater connect with new generations?

In the example with the middle schoolers, I think we saw a lot of intergenerational give & take. We taught them how to tell their stories in a new way and helped them start to understand why the stories we tell are important. On our end, we learned a lot about what’s important to middle school students- what makes them laugh, what makes them sad, what makes them hopeful, and were able to drop any preconceived notions we had about “kids that age”. They consistently demonstrated heart and maturity beyond what I would have thought possible from 12 year olds (shows what I know), and gave us an opportunity to think about all we had in common, even being more than decade older.   (On a personal note, I also learned what YOLO means, which was great. I have used this term now unironically for long past it’s cultural expiration date to the eyerolling of everyone I know under the age of 25.)    Live theater, particularly new plays, provides a platform for those who don’t always have the most power in the room (like kids) to tell the people who do (like grownups) about their lives. It elevates and validates the stories being told. A production that does this successfully says to its creators and collaborators “This show/film was absolutely worth the time we invested, the money we invested into making it happen, and we also believe it’s worth the time and money our audience is investing as well.” It says to the audience “We trust you enough to know what to do once you’ve heard these truths” (This holds up for comedies as well as dramas, I think).    This is why live theater is so important. Not to say that every show you’re going to see will be transcendent (I know I’ve written some real stinkers) but again, at its best, you’re in the moment with those characters and their lives and their joys and sorrows. They become a thread in the tapestry of your understanding and empathy toward other people. You can’t replace that in-person connection. This is why it’s invaluable not only to have live theater but to have live theater that represents and values diverse voices and stories, and now more than ever elevates those who are underrepresented in the canon. 

What do you like doing when you’re not at work or writing? Do you have hobbies,causes,activities you like to do?

In the pandemic I’ve become a pretty enthusiastic gardener! I’m also enjoying cooking with the plants that come out of said garden. I also work as a volunteer activities coordinator (at least I did in the before times) for a local organization called ECHO that provides day support for medically disabled community members. Otherwise, I like hanging out with my husband, Bryce, and my dogs, Bridget & Neptune.  What will be your next project?

I’m currently in post-production on a documentary film chronicling the stories of Black equestrians in the county where I grew up with my friend and producer Nola Gruneisen. It’s called “You Should Be In Here, Too” and we’re scheduled to complete it hopefully next year!  The cheetah and I are flying over to watch you launch your latest play but we are a day early and now you are stuck playing tour guide,what are we doing?

Wow! I’ll have to find some Cheetah Friendly places 😊

   My perfect day in the hometown area: Start by seeing a matinee at the Angelika Mosaic Movie Theater in Merrifield, VA. They have the best popcorn in town and a fabulous film festival- The Northern Virginia International Film & Music Festival.  

Then we’d want to talk about what we just saw, so I’d suggest the Lake Anne Brew House in Reston. It’s a great place to have a beer while looking at a Lake. Perfect for post-movie conversation, and they have a patio, so totally cheetah-friendly. And then grab a substantial bite to eat at Ariake Sushi down the street. 

The next day, you should definitely take a drive out to Middleburg, VA (where Laura and I met, and most of my new film was shot) and visit The Upper Crust bakery for a Cow Puddle cookie. From there, you’ll enjoy the rolling hill drive toward the Shenandoah National Park. Stop at the Apple House for donuts near the entrance to the park. You won’t regret it.

    I like to thank Sam  (and Christa!!!) for taking the time to sit and talk with us about her new film,live theater and life in general. I can’t wait for “TTNG�� to drop because I really believe its going to change and reshape a lot of people’s lives…..both from the creative side and also from the audience side. The fim will be drop this month on Amazon Prime so you’ll have plenty of chances to see it.

I like to thank you,the reader,for reading and supporting this interview. Feel

8 Questions with……….playwright Samantha Macher Its 7:00 pm hot/humid Welcome to "8 Questions with......." I was recently sent a new film called "

[hballou]

Nonprofit Fundraising in our COVID-19 World with Martin Leifeld

Nonprofit Fundraising in our COVID-19 World with Martin Leifeld

Martin Leifeld, author, coach, consultant, and public speaker directed the raising of over $500 million dollars during his 24 years of fundraising leadership in the St. Louis region. Martin authored the book, FIVE MINUTES FOR FUNDRAISING - A Collection of Expert Advice from Gifted Fundraisers. MartinLeifeld.com provides nearly 125 video presentations about leadership and fundraising matters.

Martin served as vice chancellor for university advancement at UMSL for 10 years. He led a dramatic increase in fundraising, averaging $26.4 million per year. University Advancement had 140 employees and a $16 million budget focusing upon alumni engagement, community relations, fundraising, marketing and communication, university events, and St. Louis Public Radio.

Previously, Martin was associate vice president for university development at Saint Louis University and director of development for the Diocese of Belleville, Ill.

Martin was named the 2018 Outstanding Fundraising Executive by the AFP St. Louis Regional Chapter. Martin was selected as the 2020 Millard S. Cohen Lifetime Achievement Award from St. Louis Public Radio (KWMU).

  Read the Interview

Hugh Ballou: Greetings. This is Hugh Ballou. Welcome to The Nonprofit Exchange. Every week, we have a guest who has knowledge and wisdom, and experience in a topic. They have been there and done it, and they have some things to share with you. You’re sitting in the seat as clergy, nonprofit leader, or board chair. Maybe you’re a business person thinking about launching a nonprofit. This series is here to help you think out of the box, think of some new paradigms, and learn from some people who are experienced.

Today, my guest is from St. Louis, Missouri. He is the author of this book, Five Minutes for Fundraising: A Collection of Expert Advice from Gifted Fundraisers. Martin Leifeld, welcome. Would you tell people a little bit about yourself, and why is it that you do what you do?

Martin Leifeld: First of all, it’s an honor to be on your program today, and I appreciate your audience. I hope I can be helpful.

I’ve been in various leadership roles for around 45 years. 25 years of those were in small and larger universities. 25 years, although they didn’t overlap exactly with the universities, I have been involved in fundraising. About two years ago, I retired after 10 years as vice chancellor for advancement at the University of Missouri, St. Louis, which is our local urban land grant university here in St. Louis. I had a wonderful run there.

Long story short, here in the St. Louis region, which is where I spent my 25 years of fundraising, over $500 million raised, that’s a lot of money for St. Louis. It’s not about the dollars raised; it’s about the involvement, the lives changed, and the impact because of the dollars raised. Two years ago, I retired. It wasn’t my timing, to be honest with you. I had health issues. My handle in the last couple of years has been author, coach, consultant, and speaker. A little bit of everything. I think you know what I mean. I have a website, MartinLeifeld.com. There are over 120 videos there on fundraising and leadership. You were kind enough to point out the book. I have been doing podcasts, a couple dozen of them, and regular postings, particularly on LinkedIn.

I am trying to give back. This is all about trying to give back to a profession that has been such a blessing for me, so good for me in so many respects. Certainly developed professional skills. I have grown as a person by doing this extraordinary work of fundraising.

Hugh: We have in the audience two fundraisers who are CFRE. They’re here because they heard about you. We’ll let them ask questions later.

Martin: I’m beginning to sweat, Hugh.

Hugh: They’re very nice people.

Martin: I hope so.

Hugh: I had a funding professional last month. He said he reads a fundraising book a week. My area is transformational leadership and the conductor. The best leaders I worked with in corporate or nonprofits are the people who are always working on themselves. The famous speaker Jim Rohn always said, “Work on yourself harder than you work on your business.” I wrote that down and have been working on it ever since. 73, and still working.

Martin: I’m impressed by somebody who would read a book weekly. There is a chapter in the book called, “The Three C’s of Fundraising.” The first is competence. If you want to be involved in fundraising, being somebody of impact who makes a difference, you have to develop competency. There are two ways to do that.

One is lifelong learning. You are a student of the game, of the practice. That can include certifications and the like. You mentioned CFRE, which makes me nervous. You go to webinars like this, podcasts, so on and so forth, to remain educated and current in the field. But book-learning alone doesn’t make you an impactful person in the work of philanthropy. You have to add to that experience. In any profession, if you’re working diligently and are learning, being humble as you work your way through successes and failures, you should acquire the kind of experience that makes that study you do come to life and be most virtuous. That’s just competence.

You have to have confidence. Confidence is not bravado. It’s not fake it until you make it. Real confidence grows alongside the development of competence.

But to get to your point, the third C is character. What donors want is someone who is competent. They want to recognize a competent professional who is doing their work with excellence and to have that quiet confidence that comes over the course of time. But what they are really looking for is people with outstanding character, people who are virtuous and trustworthy, people who you might say they know they can do business with. They can shake hands and make something happen.

If you don’t have all three operating, I don’t think you can be a master in any profession.

Hugh: Absolutely. I have earmarked a few things. I want to talk to you about the correlation between leadership and fundraising. Did you just sit down and say, “I want to write a book?” What was the inspiration, and how did you connect with the people in there, who are all experienced fundraising professionals?

Martin: You might find this story curious. Since I turned 30, every consecutive decade since, on the 9th, the 29th, the 39th, etc., I would use that year very deliberately to reflect on my life up to that point, trying to look at success and failure, places for improvement. To look at the next 10 years and try to project what I can do to have an impact. I should say every decade, I got more intense about this, too.

Six years ago, when I was 59, I was really working through that year. I decided in that spring to take 100 days and really drill down about the future. Every day in my journal, Day 1/100, Day 15/100, I began my journal. Journaling is part of my morning ritual. Seeking ahead, you might say. Believe it or not, around day 72/73/75, I have what I call a small I, inspiration. The inspiration, as I referred, was to give back to the profession. I wanted to start there.

I thought, Well, I had done so much mentoring and coaching and fundraising with staff and volunteers. I was very good at doing something briefly. Somebody asked a question, as you can tell, I can go on for five minutes. Five minutes, I can give a good answer that would be appreciated. Maybe I could do some brief videos. Then I thought, Well, not everyone wants to watch a video, let alone look at me for a few minutes. People prefer to read. Let me do both.

So the genesis of the book logistically was transcribing my first year and a half of videos on these very subjects. Hugh, you may know this, and your audience may also. Seven minutes of video, especially the speed at which I talk, only translates to a few pages. I got into this and thought, I am not going to have a book. The other part of this was I never tried to give a comprehensive answer about something. It was more stuff I noodled about, experimented with, discovered that I thought was helpful.

That is what prompted me to go out and recruit 26 others to join me as collaborators in this. It was a fun experience because maybe 60% of them I knew, some very well, but the others I went out and recruited based on word of mouth and reference. I had to establish a relationship with them, like a donor, and ask them for their assistance. I found overwhelming willingness to be supportive.

Hugh: Wow. 26 of them here, all by name. Each chapter says, “Collaboration.” Speak a little bit about how collaboration works for you, and how it manifested itself in the book. It’s interesting how you have each section with dots and italics to stand apart, where there is a dialogue.

Martin: What I was trying to do was say something about the particular subjects, insight and angle. I had come to realize through experience and effort and training. Then I wanted to enrich it. I tried to find people. I called them collaborators. In other words, I wanted to start with what I had to say about a particular subject and ask them to add to it. Nobody really directly contradicted me as a collaborator. But they collaborated in the sense that they took the content seriously and enhanced it with their own reflections. Many of them added stories that put the flesh on the bones of the point of the chapter. It was interesting. If I had asked people to write it, they wouldn’t have written it because they were too busy. I had somebody help me interview them. We came to it in different ways based on the needs and availability and interest of my collaborators. I tried to collaborate logistically and practically in order to have them help, but they were generous about their time.

The thing about this word “collaboration” is the goal is a joint thing we do together. The goal is to bring the best of more than one person to bear in order to, as you talk about with synergy with your organization, to get that synergistic gain, to get that exponential gain that you can’t get with just yourself necessarily. Even if you have the authority with CFRE.

Hugh: People introduce me sometimes as Hugh Ballou, an expert in leadership. I say, “I’m Hugh Ballou, a serious student of leadership.”

Martin: Hear, hear.

Hugh: The title of this episode is, “Fundraising in COVID-19.” And the post-COVID-19 world. There are some consistent things and some new thoughts. That chapter with leadership, the Three C’s, your collaborator said, “ABC: Authenticity, belief, and confidence.” You and I were talking before about how fundraising is terrifying for a lot of us. I don’t want to go. It’s like when I was a teenager calling a girl for a date. I didn’t want to get turned down, so I stood by the phone and sweat. Is that like people wanting to make a money call? What is it about trying to raise money that is so fearful?

Martin: I don’t know. It’s all about fear. It’s the fear of the unknown. It’s the fear of being rejected. The fear of fumbling your way through it. The fear of someone being rude to you. If you will be embarrassed in front of them or embarrass them. It’s something new. I haven’t done it before. For those in religious work, it’s unseemly. I shouldn’t have to do that kind of thing as a pastor. Leave that to someone else to do. There is a lot of things.

When I first got into major gift fundraising, in the St. Louis area, I would criss-cross southern Illinois, a larger rural area, sometimes driving an hour or an hour and a half to see someone. Talk about sweating bullets. I would rehearse half the trip, “Hugh, would you and Mary consider a gift for the education of poor elementary kids, a gift of $10,000? You could even pay that over three years.” I would say that over and over again because I couldn’t trust myself. When I first began to do it, and I fumbled, it was a long drive back, knowing I hadn’t done what I set out to do. I began to rehearse very seriously. Once I got in the home or the office, who knows what might happen? It might be something I couldn’t predict. All I had to do was say, “Hugh and Mary,” and out would come the rest because I had rehearsed it. For those of you being called upon to raise money, practice makes perfect. You can do it.

But let me shift into something more serious. Fundraising is a privilege. Fundraising is the most honorable of work. Fundraising is a spiritual work. Fundraising is actually a vocation. I came to this once I was talking to a very wise woman about fundraising and the struggles. She said, ‘Martin, you’re in a helping profession.” A helping profession? I had never thought of it that way. I thought, Especially now, physicians, nurses, first responders, educators, oh my gosh, the young families. Two of my kids are educating kids at home. They have a manifold of appreciation of what it takes to be an educator now that they are trying to do that in their living rooms and around the kitchen table.

But I hadn’t thought of my profession of being something that was actually about helping. That’s what it is. What we do as fundraisers are facilitators in effect. I like to refer to myself as a facilitator of philanthropy. What we do is on behalf of worthy causes. In effect, what we want to do is come alongside, almost put our arm around someone’s shoulder, and say, “Look, there is an opportunity that makes sense to you as I have gotten to know you, and through which you can demonstrate great impact on this world. Here is the idea. Would you consider it?” That kind of work is very powerful and honorable work.

I have had the privilege, as many of your audience have had, of interacting with some people of extraordinary success, Fortune 25 executives. I have had some of those people say to me, “Martin, I could never do that job. That is too hard a job.” Some of them knew it first-hand because they were chairmen of nonprofits or board members. They were called upon to go out and do it. They knew first-hand what I was doing full-time. They respected it. We underestimate the value, the contribution we are making in this work.

Hugh: Wow. That’s a paradigm shift. Somewhere, and it may be in this chapter, “Five Generous Fundraisers,” before we talk more about donors, let’s consider you as the fundraiser. Somewhere, you talk about the impact it has on donors to actually donate. There is a point of philanthropy that releases something in you to make that donation, to see something happen. Talk about that. That is an inspiration that we don’t think about, the impact that it has on the donor.

Martin: First of all, it’s all about the donor. What we tend to do is focus on ourselves. In one sense, we should because we want to be professional and effective and do the job with excellence. We also want to represent our organizations with integrity, as effectively as we can. It’s all about the donor. What we’re into is a business of building lifelong relationships, not just after a transaction. We want to build and support the relationship that the donor has with the organization for their lifetime hopefully. In that relationship-building process, there are opportunities for financial exchange. What this is about is not a transaction although writing a check or giving away stock or a document with a commitment is part of it. But what it’s really about is helping people to influence the world for the better, and to demonstrate their values and what matters most to them.

In that process of a donor taking their eyes off of themselves and looking outward, looking at, “Okay, I have been fortunate enough to have accrued these assets,” rather than being preoccupied with how I could take care of myself, I am going to give it to others or to the world to improve it. As they do that, they become greater people. Biochemically, by the way, we change. Enzymes are released. One person called it the family bonding enzyme. I used to notice that somebody would make a big gift to one of my organizations and suddenly they would be everywhere. They would be at every event, bringing friends and colleagues, talking about the organization with great enthusiasm. What’s this all about? By their making a serious commitment, a gift of greater significance, there was something that happened within their entire being. A wise man, as you know, once said, “It’s better to give than to receive.” There is something we receive as an internal, spiritual, reward by giving of ourselves generously. One of the ways we give ourselves generously, certainly in this contemporary age, is with financial resources in addition to our time and talents.

Hugh: That’s so good. The other thing I earmarked is you wrote this chapter about the donor development cycle. There is a transaction, and there are those who never ask for the sale. I have been there many times. One higher net worth person asked me, “You didn’t ask for the sale.” It was my first conversation to get acquainted. But he was a businessman, “What do you want?” Another one, I am packing up to leave after I told him about what I was doing. He said, “Don’t you want a check?” Then he wrote me a check and handed one to me a lot bigger than I thought. That was about relationships.

But this cycle, you go through steps, identification, qualification, and more. Talk about the process. There is a transaction, but there is a lot more to this process.

Martin: The bottom line is this is about a relationship. In the course of a relationship, you go through seasons. In this particular cycle that we use in our fundraising business, you identify. Then qualify, which means are these people of capacity? Are these people who have an interest or potential interest in what we represent?

Then we cultivate, which is about building a relationship and involving them in the organization. That can include charitable giving, but not a gift of greater significance. As we get to know them, we are able to think about, Okay, given what they are interested in, how does that align with what we are about as an organization? What dimensions of our organization would be something that would make sense to them, that they would desire to support?

Then we have the conversation about asking. Some people are proponents of never asking for money. They just listen their way to a gift. I have always believed to have conversations about money, about scale, about impact, about size. That might be, with this amount, you can do this and that. Provide some options. But I always want to be working with numbers. People want to know what we would like them to do. My experience has been perhaps more often the opposite of yours. If I don’t ask, I get something smaller than what I had hoped for. I have always been one to say, “Let’s talk about money.” It’s a part of life. It’s how we carry on in this world. Most people want to get to the bottom line, “How much do you want?” They can say yes, no, maybe so. They want to make that happen, but they can’t make that happen now, or they will have to think more creatively about it. They can’t write a check.

I have always taught our people the 80/20 rule. Listen 80% of the time. COVID-19 has brought us to a hard stop here in some respects, but when you think about the frenetic pace of life that has only gotten faster and faster during our adult years, it has reached the point of sheer lunacy. Was anyone listening to anybody? One of the reasons we are such a divided nation is we completely lost the ability to listen, and listen with respect. What I found in fundraising, and I think many professionals in other fields would say the same thing, if you want success in your life, in your business, in your endeavors, you listen. It wouldn’t be that I would listen 100% of the time. But what I found is people desperately wanted to be heard. They wanted to be listened to attentively, appreciatively, and respectfully. Honestly, when I think about to what extent I was a great fundraiser in my career, it’s because of the power of listening. I have to ask for money, too. But listening puts us in that best position to understand.

What I would do is retain, record, and retrieve. Three R’s. Retain. Somebody had something to say during the course of the conversation. I was listening closely and thinking, That’s important.

Record. I would get in the car, call my assistant, and tell them, “Start taking notes.” Or I’d get back to the office and start typing at my computer. I would record all the various things I thought would be insightful and helpful, not just for me, but for anyone in my organization who would have reason to engage with those people.

This is all about preparation. When I would prepare for my next visit, I would retrieve. The thing is in work like this, we are in front of different wonderful people each day. If a month has passed, there is no guarantee I would remember what someone said was important to them a month ago. One way I would respect them is I would retain, record, and retrieve, so that when I would return to them, I could say, “Hugh, so how’s Mary Alice doing? You were talking about her facing that surgery.” Or, “Hugh, how’s that billy goat dog of yours doing? You were worried about this.” Or, “Hugh, you said you were going to be marrying off your son Charlie. How’d it go?” People know I am representing the organization, but they love the fact that I listened to them as people. I cared about them as people. Do you think when it came to talking about a gift eventually, that put me in a better position to be taken seriously? Without question.

It seems like, Geez, this is common sense, isn’t it? We have lost a lot of common sense.

Hugh: The problem with common sense is it’s not very common.

*Sponsored by EZCard*

Let’s pivot. You talked about some brilliant reframing of some old scripts we tell ourselves that minimize ourselves. I am guilty as anybody else, maybe more. That’s not my job. I teach leadership.

We have been in an era of lockdown. We are going back to work in Virginia. Churches are a sort of meeting with very limited engagement. No children. No singing. There is a new paradigm of how the exercise classes are in the parking lot with rain all week. People are getting paychecks from unemployment. What if that money runs out? Then what? We are facing some new challenges. How does that impact fundraising going forward?

Martin: If you look back to the great recession, some sectors did better than other sectors in terms of fundraising. In the great recession, I had just come to the University of Missouri to take a campaign that was already underway public. I was there a month, and the economic sky fell. The world was thrown in the craziness. It doesn’t exactly line up with our situation today, but there are some similarities certainly. Long story short, we decided to go ahead with our campaign. In my first year there, we raised 54% more than any other year in the history of that institution. When I hear someone say, “Boy, we can’t ask for money now. People don’t have it,” I immediately say, “That’s not necessarily true.”

One thing I would say is this: If somebody is philanthropic, and they have less money, are they less philanthropic? I don’t think so. Philanthropy is a part of a value system. Let me ask you this about the organization you represent. Has its value proposition changed because of this pandemic? No, it hasn’t. Now, if you are a food bank, there might be more urgency, immediacy. Crises bring out people’s desire to try to do something for others, whether it’s by cutting a check or by cheering on the streets for the first responders and nurses. People want to be supportive. One way they are supportive is certainly with their philanthropic support.

Hugh: Love it. Would you like to have some questions from our audience?

Martin: As long as they’re all soft balls.

Hugh: No guarantees. There’s Jeffrey Fulgham from Richmond, Virginia. He is a CFRE and has done many good things. Used to be in Lynchburg, but moved just a couple hours away. Do you have a particular observation or question for our guest today?

Jeffrey Fulgham: I don’t really have a question, but I love what I’m hearing, Martin. The first thing when I came on (I missed the very beginning) is the part you were talking about studying, and that’s only part of the equation. You can glean all this information, but if you started moving through your presentation, you were talking about relationships, which has always been the meat of this business. It’s never more important than it is right now of letting folks know we care about them, and you hit that nail right on the head. That’s what I have been preaching to my clients and associates: how important it is to stay connected to people and let them know that this relationship is a personal relationship before a financial relationship.

I really liked what you said about character because I think that’s the core of what we’re doing. It’s the core of leadership. If you don’t have the character, you probably shouldn’t be a fundraiser or in leadership either.

The other thing that you mentioned about evaluating, that was so good. I didn’t start doing it early enough. I wish I had done it the way you did it. The last five years, I have taken the month of December, or January because we are so darn busy in December that we don’t have the time. I did a post-mortem on the year and on my life. How could I be better? This is great stuff. I’m glad I connected today.

Martin: Jeffrey, pleased to meet you, and thanks for your great comments. I’m glad I’m in the ballpark with mine. One of the things, in fact, I just did a podcast on this, writing a chapter on someone’s book on morning rituals. Every morning, as part of my morning ritual, I have one page in my personal/professional planner (I call it that), and I review what matters most about my life. That is a way for me to get locked and loaded for the day, in order to go forth and have the greatest impact possible, as a professional, but as a person. What am I all about as a person? Being able to define that, have it clarified, reviewing it every day has been amazingly powerful.

One other thing I would say around the word “authenticity” is people want to be authentic, and they want authentic people in front of them. We don’t have to be perfect in our work, but we want to be respectful, thoughtful, and do it the best way we can. Fundraisers come in all shapes, sizes, and abilities, and they understand that. But they don’t want a fake, a snake salesman. They want a human being that they can respect and look up to. That’s what they want from us.

Jeffrey: I definitely agree with that. That authenticity and character and genuineness, people would ask me about having these relationships with people. I said, “You have to be in a genuine relationship. You can’t have a relationship where you want someone to think that it’s about the fact that you like them and want to be in a relationship, but it’s really about the money, so you are clocking it so that it looks genuine. It might work for a little while, but it won’t work for you forever. If you really want to have successful fundraising, it’s about long-term relationships with people.” I’m fortunate that I am connected to people who I am three or four organizations removed from now. I still have relationships with them, and I still talk to them, especially right now with everything going on. Staying in touch. That’s the fun part of this business. It’s the most fun.

Martin: The relationships is the most gratifying part of the deal. It’s not about the dollars raised although that’s great, too, because it can accomplish great things. In our business, we get to meet the most wonderful people. Phenomenal people. When I think about my own personal and professional development, a lot of it was profoundly stimulated by the people I have gotten to spend time with in this work of fundraising.

Hugh: And I have gotten to spend time with Jeffrey and Bob Hopkins. Bob, you’ve been quietly listening. Do you have a question or comment for our guest today?

Bob Hopkins: I’m in my backyard outside. Didn’t know I had any airwaves back here. Beautiful day in Dallas by the way. I am loving listening to you. After 40 years of doing this kind of thing, you think you know it all. While I might say I do, it’s so much fun to remember some of the key aspects of the fundraising process. When you first started talking, I thought, Why doesn’t he talk about listening? Sure enough, 15 minutes later, you talked about listening. I am so grateful for that conversation. I teach speech, and I’m teaching people how to talk. But there is a chapter in my book called “Listening.” I spend about five minutes on listening because I don’t think people need to know anything about it, and I am so wrong. As you said, the 80/20 thing is so true. I have so many great stories of when I didn’t listen, and you know what? I didn’t get the gift. Or when I listened and waited and patiently took my time about receiving, that I got about six times more money than I would have gotten had I asked earlier when the person wasn’t ready.

Martin: It’s such a great comment. Pleased to meet you. We talk about this in a lot of fields, the blending of art and science. As I said, developing competency is about education and experience. Maybe that’s the better way. This is a work you learn on the job; it’s on the job training. As we stick with it, it saddens me when I think about the turnover in the profession. If something is willing to stick with it and keep at it, as you all know, the satisfaction is phenomenal to be in this work. To become competent at it over time is immensely gratifying. Beautiful horse by the way, Bob.

Hugh: That’s not his current one. He has one he is really proud of. That’s his passion. One day, I was having lunch with him in Dallas, and he went off on this horse thing when I asked him about his passion.

The principle is 80/20. 80% of your results are produced by 20% of your people. 80% of your inventory only produces 20% of your profits, but 20% produces 80% of your profits. It goes with donors; it’s a repeated principle. When I wrote my first book, Moving Spirits, Building Lives, it’s about church musicians and transformational leaders. That is when I moved into leadership. It took me 40 years to write this and 30 days to put it on paper when I was leaving the profession. I determined in that book the Ballou 10/90 principle. As a music director, 10% of my job was music; 90% made that possible. I am thinking as far as a professional fundraiser, the 10% is what people see, but 90% is under the iceberg. 90% is relationship, staying in touch, that allows that 10% to happen. There is a lot that happens that is invisible to most people, but that is where the hard lifting is.

Let’s hit real hard on this. We still have money in the economy. The fed printed more digital currency. Money didn’t go away. Some people are struggling to make ends meet, but some companies are doing really well. Google had a record-breaking quarter. Grocery stores are slammed. There are some ministries that are challenged. Some restaurants are out of business. There is still money out there and people who want to make a difference. What is the change of mindset for addressing the new normal here?

Martin: In some ways, the mindset hasn’t changed. In other words, we have an organization worthy of support that is doing important work in this world. We are engaging with people who want to make a difference with their lives and resources to the extent that they can. They may have taken a hit financially, so they may not be able to do something right now. They may have to structure it differently. Back in the great recession, we mentioned we raised 54% more than any other prior year in the institution’s history, that wasn’t people writing a bunch of huge checks. People were writing smaller checks, making pledges over longer periods of time, putting gifts in their estates, and so on. Bundle it all together, and it would be a number that was not insignificant for them, but they couldn’t do it. Even today, a year ago, someone might give you a large number with checks over a couple of years. Now, they still want to give you that number, but it will be put together in a different kind of package.

What we need to do is be sensitive to people. We are all talking the same talk here. We have to put the concern for the people first. There are relationships. If we treat them that way, whether they can make a gift now or later, we are building the relationship for the long term. We are doing our job with the relationship by putting them and their concerns first. We all have stories and connections, a degree or two away from us, of people who have been profoundly impacted by this. We should know it firsthand, and be sensitive as we engage with others.

To raise major gifts, it’s typically a face-to-face, labor-intensive business. Up until very recently, there hasn’t been any face-to-face work. Difficult to have a talk with a donor ten feet apart. Tools like Zoom, even my sister who just turned 80 years old knows how to use Zoom. We can all use Zoom. People welcome Zoom calls or the equivalent. They desire that human interaction. If we get on a call like this, we just have a conversation, and we listen to them, that’s powerful.

Hugh: whoever thought of this term “social distancing,” it’s physical distancing. We are still social. Anti-social distancing. This book is chock-full of stuff that is not rocket science. It’s a solid experience when people have been there and done it. Stuff that most of us don’t know. You have been around and done this for years; you’ve practiced this. I’m a musician. We rehearse. You have rehearsed a lot. What I am so appreciative of is you put it in a book to share with people. Why should people have this book? Where can they get it?

Martin: Why they should get it is it’s a way of staying current in the work. If you are a beginner, it’s an insightful introduction to the work. It’s getting 27 seasoned professionals’ input, not just one’s. I call it Five Minutes for Fundraisingbecause each chapter is about a five-minute read. They are stand-alone chapters. You don’t have to read it in consecutively. You can go to what resonates or what you need right now.

In terms of the book, if you want an autographed one, 15% off, no shipping and handling, go to MartinLeifeld.com and order it there. You can get it on Amazon as well. Like any book, it’s available on multiple channels.

Hugh: It’s not an expensive book.

*Sponsored by EZCard* *Message about a Youth Philanthropy Conference on 6/27*

This has been a very helpful interview. Lots of good sound bites. What do you want to leave people with today? What is a challenge or thought as we go into the unknown?

Martin: Every day we are going into the unknown. That was six months ago, too. It’s new every morning, as it says in the Book of Lamentations, for those of you who look at the Bible. What we’re after is helping people become greater through philanthropy. We’re doing that through putting them first, respecting who they are, helping them to demonstrate their value system to the world. Hopefully, by working with our organization as part of their way of doing so. We are privileged. It’s honorable work. It’s worth people devoting their lives to.

Not to highlight myself, but this is powerful. When I retired two years ago, they had a party for me, which was very nice. A number of the donors were there who I had worked with for years. Unbeknownst to me, they had a video. If you go to YouTube, it’s there. This couple who were the first alumni in this young university to reach a $5 million-level gift of cumulative giving was on the video. This is what they said, and I think it pulls it together and certainly represents so much my gratitude for the work of philanthropy in my life. They said, “By teaching us about giving, Martin, you have given us a great gift. Our philanthropic involvement with the university has enhanced our lives on many levels. We owe that to you. Martin, because of your professionalism, expertise, and friendship, you made something that is truly enjoyable even more rewarding. You showed us the way to contribute in a meaningful manner, and this resulted in our receiving so much in return.”

Hugh: What a great summary.

Martin: Isn’t that amazing? That’s what it’s about.

Hugh: It is amazing. You have touched people’s lives on both ends of the spectrum. Martin, thank you for sharing your wisdom and time with us today.

Martin: Thank you.

Check out this episode!

[douchebagbrainwaves]

WHAT NO ONE UNDERSTANDS ABOUT WAY

Small organizations can develop new ideas faster than large ones, and no particular connection between them. Technology will increasingly make it possible to relive our experiences. S i; return s;; This falls short of Leonardo, for example. What happened? Sealing off this force has a double advantage. We didn't draw any conclusions. Intriguingly, there are sometimes multiple answers.1 And so Google doesn't have to advertise. To make something users love, and that's what they're going to buy, just to make sure they're ok guys. Now they have none that stand out.

If you're writing for yourself you have different priorities. Every futon sofa in Cambridge seemed to have the same fat white book lying open on it. Arguably a market is such a form of 7, though there doesn't seem to be: that in the coming century is a huge increase in productivity.2 All you need to have any particular expertise to have opinions about it. If you try this trick, you'll probably be struck by how different it feels when your computer is disconnected from the Internet.3 In 1970 you were still supposed to get jobs, as if it were. It's why the best abstract painting still falls short of the spec because it only works for integers. Between about 500 and 1000, life was not very good in Europe. I notice that I tend to conclude with a few vague questions and then drift off to get a really big bubble: you need a San Francisco?4

One got extra credit for motives having to do something you'd like to do but can't. The only kind of software you can build without studying users is the sort for which you are the typical user. I have to pause when I lose my train of thought, and some trains of thought just peter out. The fact that the best startup ideas seem at first like bad ideas. So if you want to be in the best position to conquer the rest of Lisp out of it. You can use the cram schools to show you where most of the money in VC funds comes from their endowments. So suppose Lisp does represent a kind of intellectual archaelogy that does not need to be able to generate revenues.

This can only happen in a very limited way in a list of n things is a dishonest format: when you use it to write software that will sell your hardware, you have to do to keep working anyway, and about fifteen minutes of reading a night. Venture investments are usually described in terms of that number. Far from it. Another way to figure out for yourself what's good. 7, though there doesn't seem to be unusually smart, and C is a pretty low-level one. More like the first step is to realize there's a problem. Indeed, they're bad in a particular way: they tend to write it first for whatever computer they personally use.5 N; public int call int i s s i; return s;; This falls short of the spec because it only works for integers.

And the culture she defined was one of the most pointless of all the parts, as ITA presumably does, you can have a fruitful discussion about a topic only if it doesn't engage the identities of any of the other guy's talk would be like drinking from a firehose. My final test may be the sort of people, to start software startups. Writing eval required inventing a notation representing Lisp functions as Lisp data, and such a notation was devised for the purposes of the paper with no thought that it would be useful if I explained what a nerd was. In startups, the big winners. Arguing two sides of a case may be a necessary evil in a legal dispute, but it's an everyday thing in Lisp.6 Garbage-collection. I talked to a number of VCs, but eventually we ended up financing our startup entirely with angel money.7 With the bizarre consequence that high school students now had to write about it. If an acquirer thinks you're going to start a company now, you may find you no longer have such a burning desire to be an advantage as an economy gets more liquid, just as low notes travel through walls better than high ones. Imagine if we were visited by aliens.

And yet, financially at least, a thesis was a position one took and the dissertation was the argument by which one defended it. Microsoft's original plan was to make money? It's not what people learn in classes at MIT and Stanford that has made technology companies spring up around them. Hard as this was to believe in the mid-1980s, nerd was still an insult. For the essayist this translates to: flow interesting. So the products that start as cheap, simple options tend to gradually grow more powerful till, like water rising in a room, they squash the high-end products against the ceiling. I decided not to, because that's where smart people meet.

Really?8 I got was $12. If you leave a project for a few months, it can take a very long time. She was even uncomfortable at our wedding, because the time it takes to write a universal Lisp function and show that it is a good thing too, or a lot of people.9 In Lisp, functions are a data type just like integers or strings. Investors looked at Yahoo's earnings and said to themselves, here is proof that Internet companies can make money. So your site has to say Wait! Not surprisingly, Gosling is right.10 Of our current concept of an organization work differently from the rest. It seems a fine plan to start students off with the list of n things protects the writer from his own stupidity in much the same way it protects the reader. And he could help them because he was one of the most valuable sort of fact you can get asymptotically close to the center of attention. It might be hard to translate that into another language, it will be an effort to drag yourself out.

Notes

None at all. If you want to wait for the first type, and their houses are transformed by developers into McMansions and sold to VPs of Bus Dev. Trevor Blackwell, who had to find it was more rebellion which can happen in any other field, and made more that year from stock options, of course finding words this way that makes it easier to say they were that smart they'd already be programming in Lisp, though it be in the U.

If there's an Indian grocery store near you, they may introduce startups they like the word I meant. Philosophy is like starting out in the definition of property is driven mostly by people trying to tell someone that I know for sure which these are, but they hate hypertension.

But those too are acceptable or at least should make the argument a little more fat, and spend hours arguing over irrelevant things. See Greenspun's Tenth Rule.

That's why the Apple I used thresholds of.

But it can have a three letter word.

For example, if you're a loser or possibly a winner, they mean. Later we added two more modules, an image generator and the editor written in C and C, the more educated ones. Prose lets you be more linear if all bugs are found quickly. I spent some time trying to make money from the DMV.

If PR didn't work out.

Which in turn forces Digg to respond with extreme countermeasures. Different kinds of menial work early in the production of high school is rounding error compared to what you learn via users anyway. This is why we can't figure out yet whether you'll succeed.

Even in Confucius's time it still seems to have to do as some European countries have done all they could then tell themselves that they were going back to the Pall Mall Gazette.

But people like them—people who have money to spend on trade goods to make money for other people think, but it is. And if they become so common that their explicit goal don't usually do a scatterplot with benevolence on the cover story of Business Week, 31 Jan 2005.

Thanks to Rich Draves, Robert Morris, and Lisa Randall for reading a previous draft.