Lasting Influence of Superlative Volunteers

by:

Joe Patti

Late last week, I received news that a superlative volunteer at an organization I was once employed had died. The news shocked everyone given that she was only in her mid-fifties. Even though I no longer work at the organization, I wanted to use the forum of my blog to do honor to her on the day of her wake to acknowledge the place she had in my life and so many others.

Beverly Dodge was not, to my knowledge, related in any way to Geraldine R. Dodge but on a local level she contributed as much to the arts in her community as the Dodge Foundation. She proved the adage about there being no small roles, only small people. Even in the most passive sense, people’s lives connected with her’s. Her family had a long history in the small town where she lived. One of the staff of my former employer lives in the house Bev grew up in. Although the general store which Bev’s parents once owned closed for a number of years after their deaths, the woman who bought it kept the Dodge name in acknowledgment of it’s history in the town.

She never married but she did have many children. For many years she hosted Japanese exchange students for a year in high school. Some of them returned to live with her when they came back to the U.S. for college. I never heard any of them call her anything but Mom. A couple even brought boyfriends back from Japan to meet Bev.

Bev was the volunteer coordinator at the local hospital and was a primary force in the community fair the hospital held every year. She had a real service orientation in her life. In addition to volunteering for Appel Farm, where I worked, she was active in her church. A couple years ago for her 50th birthday she asked that instead of buying gifts, attendees bring cash that would be donated to Heifer International, an organization that buys livestock, birds and plants to enable people to feed and support themselves.

Of course, she also volunteered for Appel Farm and was the primary hospitality entity that interacted with many groups. For small groups, I took care of hospitality needs but when it came multiple groups or larger events, she was the go to person. She was highly organized, attentive, resourceful and calm in the face of frantic or demanding artists. These are all crucial traits for a hospitality person to have. But she was also patient in the face of long periods of down time and that is something I haven’t found in a volunteer since.

There is a hurry up and wait element in some presenting situations. There is a rush to get everything set up correctly and get food set out and coffee made. Then when the artist arrives there are bus drivers to run to hotels, clothes to be pressed and ironed. But then, you wait….and wait…and wait some more. This is a sign that everything is okay in most cases. People who haven’t done this before feel like they are useless. They have been asked to come in six hours before the curtain. There was a lot to do and now, there is nothing.

But they aren’t useless. I have a lot run around to check on. Other volunteers to meet. Security people to check on. Artists and technicians whose progress I need to monitor. It is a great relief to me that I don’t have to worry about making coffee, icing down more water, running unanticipated errands. When all the little quick jobs aren’t being done, they add up. It’s isn’t just the jobs themselves, it is wiping up the loose coffee grounds, throwing away used plates and crumpled napkins to maintain a pleasant appearance in the green room. Done all at once these things take a lot of time you may not have if you are dealing with thousands of other details.

It is tough to find someone who recognizes that like Bev did and who plans to bring a book and knitting to do. She would introduce herself, quietly withdraw into a corner and then step forward when it was apparent that there was a need. If having good front of house staff is crucial to audience relations, good hospitality staff is crucial to making the performers comfortable, happy and prepared to put on a great show.

There were also occasions where she would have the artists over her house for dinner. It wasn’t terribly often. A lot of people are wary about ending up obligated to remain in the same room as a potentially overbearing fan. But there are a couple people who took a chance or heard good things who welcomed the opportunity for a home cooked meal in the middle of a lengthy tour. Those who didn’t eat at her house became her friend and engaged in lively chatter with her. Even those artists who tended to be reclusive and reserved warmed up to her –or at least what passed for warming up in the context of their normal behavior.

One of the biggest hospitality services Bev provided was during our annual outdoor music festival. Having deep roots in the area, Bev had a lot of cousins. Some of them helped us out on other events, but pretty much all of them got pulled in to the Festival. Fortunately, Bev was sweet tempered because it could have gone badly for us if we got on her bad side. As it was, there was a wedding in the family on the same day as the festival one year and we lost the half of the family that felt closer to the bride than the other half. (Though loyalty still ran high as some of them skipped out of the reception to come to the festival.) I am hoping with her death one of her trusted lieutenants will take charge of the area.

If you have ever volunteered on a music festival, you may know that it can be difficult to get one of the more prestigious assignments. In some cases, this is good because you want trusted, tested people on the crew. The problem with some places is that the crews become very insular and political in a less than constructive way. We tried to prevent this from developing through the general low key environment we cultivated and the process by which people could volunteer. Given we were trying to get 500 volunteers a day, we did depend on crew chiefs to do a lot of the recruitment, but we also introduced people we were trying to develop as future leaders so there was always new blood.

I tell you this to illustrate the trust we had in Bev when I say we never worried about this happening in the artist hospitality area. Part of it I think was due to the fact that she and many of the people she recruited were much more involved with the organization on a year round basis. Even though she was the volunteer coordinator at the hospital, she drew on very few of them. As many cousins as she had in the area, it wasn’t all family either. Many of them lived locally and I guess intuitively understood what we needed from them—and then they would go an extra mile.

I mean, I would take 12-14 artist riders and make a shopping list. We would fill up three flatbed carts at Sam’s Club and then three vehicles to get it all back to the office. Then we engaged a caterer to make food for the artists and volunteers. The amount of food Bev and her cousins brought themselves, you would think we were scheming to starve the performers. There were pots and pots of stuff they had been making for weeks. And Bev would have copies of all the riders so she could make sure to set aside any special requests specific groups had so she knew exactly what I was getting.

Other than being concerned about breaking an overloaded axle on the drive back from Sam’s Club, we never had to worry about artist hospitality on Festival day. Bev would borrow tables from the Ladies Auxiliary and get the room set up days in advance. All we had to do is pile up the food we bought, the stuff to eat it off of and provide plenty of trash bags to haul it away.

I know that there were other people who were involved in organizing the details on festival day. They know the process Bev used. They know the list of things to be done. Even though I am gone, I am still worried about what this year’s festival will bring. At the very least, there will be a lot of rechecking to make sure nothing Bev usually does has been overlooked.

In the near term, as the holidays approach, her absence will be felt keenly. Every year she would get a humongous tree for her living room and invite family and friends to decorate it. I lived half a block away so I would always go. I would also help undecorate it. There were a lot fewer people at that party. The decorating party was a tradition for many people. People would drive in from hours away and renew friendships with those they met at last year’s party.

Bev has been on my mind a number of times since I left Appel Farm. Some times it was wishing she was volunteering for me at the time. Other times it was just wondering how she was doing. Other times it was thinking that I should send some of the Japanese snacks so readily available here but not as much in South Jersey to her for the Japanese students. I have seen her a couple times since I left so I have no regrets about our partings, only about not having the opportunity to meet again.

If you are moved in some way by this story and want to help her continue her legacy, donations can be made in her name to the following organizations:

Appel Farm Arts and Music Center– (856) 358-2472
South Jersey Healthcare-Elmer Hospital– 856-363-1000
She also listed her church as a recipient, but I need to double check on the information and post it.
The Church of the Good Samaritan, Paoli, PA – Freedom and Christ Scholarship Fund (610) 644-4040

Fear Of The Fundraiser

by:

Joe Patti

Hat tip to Seth Godin who reproduced Sasha Dichter’s Manifesto in Defense of Raising Money which begins “I’m sick of apologizing for being in charge of raising money.”

It seems to me a must read for anyone who is in the position of raising money which includes pretty much everyone in an organization since theoretically everyone must be part of the organization’s narrative. As you read, don’t get side tracked with thoughts about how his cause is so much more worthy of donations than your own. There are many elements that contribute to personal and societal health.

Dichter basically feels people approach fund raising from the wrong perspective seeing it as a chore rather than an opportunity to evangelize about the change you want to effect. For me the third point he makes after asking why people are so afraid to ask for money seems the most salient.

“…wealth is associated with power, and not having wealth can feel like not having power. So going to someone who has money and saying, “You have the resources, please give some of them to me” doesn’t feel like a conversation between equals.

How about this instead: “You are incredibly good at making money. I’m incredibly good at making change. The change I want to make in the world, unfortunately, does not itself generate much money. But man oh man does it make change. It’s a hugely important change. And what I know about making this change is as good and as important as what you know about making money. So let’s divide and conquer – you keep on making money, I’ll keep on making change. And if you can lend some of your smarts to the change I’m trying to make, well that’s even better. But most of the time, we both keep on doing what we’re best at, and if we keep on working together the world will be a better place.”

One of the other points Dichter makes is that storytelling is more a skill than a talent and I think communicating the sentiment in an effective manner would take cultivated skills. There are already organizations using this approach except they are saying, you make money, you keep giving me the money and don’t pry too much about what I am doing with it.

It occurs to me that if you are approaching fund raising as evangelizing rather than as a necessary evil, you aren’t waiting for people to ask but rather reporting back before being asked. I am certainly in a better mood when I am writing to our donors about our successes than I am filling out the final report forms for a foundation. The format of the first allows you to tell people what events you perceive as progress. The format of the second forces you to try to recast your success according the the criteria by which the foundation is measuring progress. Something tends to get squeezed and lost when you try to stuff your excitement into the box provided.

Yo Mama Says Mozart For The Win!

by:

Joe Patti

Well my esteem for Stephen Colbert was nigh upon worship already due to his encyclopedic knowledge and slavish devotion to the works of J. R. R. Tolkien, but he may have gone up another notch last night. Ah, who am I kidding, the Tolkien knowledge pretty much eclipses everything else. But last evening’s show was pretty impressive since he had Yo-Yo Ma as a guest. The interview begins at about 13:30. Unfortunately, there isn’t a separate clip of the interview so you have to advance the slider. Though there is one of Yo-Yo Ma’s performance after the interview.

What’s the big deal you ask? Yo-Yo Ma is pretty much everywhere. That may be true, but is he on a show that with the audience demographics of the Colbert Report for over a third of a 21 minute program? What made the incident important in my mind was the recollection of Dana Gioia’s graduation address to Stanford University’s Class of 2007 where he noted popular culture once celebrated the achievements of public intellectuals and artists making household names of people like “Robert Frost, Carl Sandburg, Arthur Miller, Thornton Wilder, Georgia O’Keeffe, Leonard Bernstein, Leontyne Price, and Frank Lloyd Wright. Not to mention scientists and thinkers like Linus Pauling, Jonas Salk, Rachel Carson, Margaret Mead…”

He commented that the blame doesn’t flow in one direction, “Most American artists, intellectuals, and academics have lost their ability to converse with the rest of society. We have become wonderfully expert in talking to one another, but we have become almost invisible and inaudible in the general culture.”

So when I see Yo-Yo Ma on Colbert’s show joking with Colbert about the variety of ways people pronounce his name, (including Yo Mama), and referring to himself as being Joe the Cellist in some people’s eyes, I get a little optimistic about artists’ ability to converse with general audiences. I am encouraged when Colbert asks questions like, “Are the candidates addressing the concerns of Joe the Cellist” (here are their positions, by the way) and noting Yo-Yo Ma’s involvement with a variety of projects like the Silk Road Project because it raises general awareness about the importance and reach of artistic endeavors.

Whether it was intentional or not, Colbert addresses the whole issue of classical music being elitist and artists being aloof from the general public which opens the door to Yo-Yo Ma talking about the necessity for humility and collaboration. Colbert also asks if we are winning the classical music wars since the Chinese are studying Mozart and we aren’t clamoring to learn the pipa. Ma replies that it is Mozart that is the real winner. Colbert revisits the idea of classical music being elitist by asking if there are any good cello works about American themes like “pick up trucks and kicking ass” This segues into a request that Yo-Yo Ma play a song for Joe the Truck Driver. I don’t know if the piece he and his friends play is necessarily for Joe, but it also doesn’t conform to any classic music orthodoxy. In fact, I hope the look on Yo-Yo Ma’s face while his bagpiper yawps and hoots at him makes all the average and not so average Joes curious.

Attitudes won’t change overnight but increased awareness through conduits like the Colbert Report can help in the battle. Despite the self-involved bluster his television persona exhibits, Colbert has used his position to advance causes he believes in. One of his Lance Armstrong parodies resulted in a $171, 525 donation to charity.

One comment Dana Gioia made in his Stanford address that I totally forgot about until I went back to link to it, “When a successful guest appearance on the Colbert Report becomes more important than passing legislation, democracy gets scary. No wonder Hollywood considers politics “show business for ugly people.” Given all the potential fodder for comedy during this election season, I wouldn’t be surprised if the significant time devoted to Yo-Yo Ma wasn’t intended to advance an agenda and perhaps put Colbert’s influence to work for culture rather than politics for one night.

Colbert has begun to have musical guests on his show more often. Perhaps it is time to get in touch with his talent booker and send some intriguing performers his way.

Apparently I Am Going To Be To Blame In The Next Election

by:

Joe Patti

Thanks to a rift in the space-time continuum this weekend, I received this cautionary video dated November 7, 2008 from my future self. Apparently, I will be responsible for great calamity in the next election.

Perhaps it was due to my selfish belief in my own dark horse candidacy. (No embed link so you will have to visit the site. Make sure to watch until the end!)

The first video was put together by MoveOn to encourage people to vote for Obama on election day. The second one just seems to be purely for entertainment value. I don’t know what is involved with the technology but I can see all sorts of potential for the arts. With an ever increasing desire for personal, customized service, I can see this technology becoming more sophisticated and widespread.

You could have personal URLs to a webpage with a video from the point of view of driving up to your venue, picking up a ticket envelop with their name on it and then entering the theatre to see a bubble with an arrow with the words “John and Mary Smith’s seats” hovering over their actual seats.

For a capital building campaign you could have a virtual tour of the proposed facility and have the name of the donor you are courting appear on the plaque on the wall, in the program book, seat plate, brick, etc. And because the technology enables you to fill in the blanks, you can send the same pitch to hundreds of people at a time. You can probably also update wall plaques with the names of those who have already given for those who need the incentive of seeing their names among august company.

I have seen websites where you can upload photos and have faces appear in the video. As you might imagine, it doesn’t always integrate smoothly because of the way the image was cropped, the way faces are turned, etc. I’ll bet within five years someone figures out how to make it work more believably.

Voice overs on the other hand I can see being viable in a shorter time. Make a video of a man and woman who aren’t on your staff. Then record employees reading script prompts “Acme Museum welcomes….”, “…., you will notice the various benefits you can avail yourself of at Acme Museum.”

Then you can go back and have the same people read off names- John (pause) Smith (pause), James (pause) Smythe (pause). Loop the audio in with the video players, insert the names and you have a video where the people are talking personally to your patrons.

The reason I suggest using people who are not your employees is so that people aren’t confused by the actual person’s voice when they meet them in your lobby. Having employees do the prompts and the names preserves the continuity of the voices. As you acquire new patrons you can have your employees go back to the studio and record their names to be inserted. While there is probably significant expense associated with creating something like this the fact that you can record and edit so much of this on a home computer brings the cost down from where it once might have been.