[email protected] Comments Facebook Twitter Google+ The Syracuse softball team was frustrated after less than an inning.Ace pitcher Jenna Caira had been pulled by head coach Leigh Ross after four illegal pitches in the first inning of SU’s opening game of the NCAA tournament against Oklahoma a year ago. It left the Orange with a huge hole to fill.But after fighting with the umpires over identical illegal pitch calls against Caira throughout the Big East tournament a week earlier, Ross was tired of arguing.‘We just couldn’t fight that anymore,’ Ross said in a phone interview. ‘I think we all felt kind of disheartened, you know, that that was how we were going to have to play our game, without our No. 1 pitcher.’One year later, Caira has fixed the problem and is hoping to lead the Orange to a better showing than it had a season ago. Syracuse has transformed from inexperienced underdogs to battle-tested contenders going into the 2011 NCAA tournament.AdvertisementThis is placeholder textSU (44-11, 15-5 Big East) will take on Louisiana State (38-16, 19-9 SEC) in the NCAA College Station Regional at 5 p.m. Friday in College Station, Texas. The host, No. 16 seed Texas A&M (41-13, 13-5 Big 12), will face Sacred Heart (29-19, 14-6 NEC) in the other regional matchup.For Syracuse, it is the second straight year it will compete in the double-elimination tournament. The Orange was quickly eliminated after losing its first two games to No. 14 Oklahoma and Maryland in regional play last year in College Park, Md. Ross said the experience was ‘a little bit of a shell shock’ for her young team.Stephanie Watts said the team wasn’t expecting to win anything last year at the College Park Regional. The Orange was just excited to be a part of the tournament. But now with all nine starters from that team back SU knows what to expect, and last year’s experience has better prepared the team to earn its first NCAA tournament win in program history.Watts says the focus is on winning games the second time around.‘This year obviously we’re really excited, and we’re ready to actually compete rather than just be excited for just being there,’ Watts said. ‘We’re ready to win.’Before SU’s first tournament to start this season in February, Ross said the team’s goal was to advance to super regionals. To do that, the Orange has to win the regional. And the team has been preparing to face top-level competition all season.SU compiled a 10-6 record against 10 teams that are members of the 2011 NCAA tournament field. Among its opponents were No. 2 Alabama and No. 4 Florida. Though the Orange didn’t beat either Southeastern Conference power, Lisaira Daniels said it was a valuable experience.Daniels, who played at Georgia her freshman season and is currently an outfielder for Syracuse, said the SEC is a tough conference filled with great all-around teams. And Daniels said Louisiana State fits that description.But Daniels is far from intimidated by the Tigers. She points to Louisiana State’s similar RPI rankings to prove it is an even matchup. Louisiana State is No. 25 in the NCAA Women’s Softball RPI rankings. Syracuse is ranked just one spot lower at No. 26.‘They’re not too far ahead of us,’ Daniels said. ‘It’s not like we’re playing an eighth-ranked team. They’re actually right there neck-and-neck with us.’The same wasn’t true a year ago when the Orange played then-No. 16 Louisiana State twice at the Purple and Gold Challenge in Baton Rouge, La. and lost two games by a combined 15 runs.Both teams are different now, though. Ross said she isn’t worried about how SU matches up with Louisiana State. She just wants her team to continue playing with the same confidence driving its current 14-game winning streak.And that requires pitching and defense. Ross said low-scoring affairs are expected in the playoffs and blowouts are rare among a field of quality teams.Ross thinks her team has the right combination to compete. The Orange needs to play defense, score some runs and leave the rest to Caira in the circle.And after facing just four batters at the regional last year, Caira will get her chance to compete this time.‘Now that she’s corrected what (the umpires) needed her to correct,’ Ross said, ‘hopefully, we’ll have no issues with that. And we’re going in there with the attitude of, ‘Let’s beat LSU right off the bat, and let’s make some noise at regionals this time.” Published on May 18, 2011 at 12:00 pm Contact Ryne: [email protected]
Tags: Nyamityobora FCStarTimes Uganda Premier LeaguetopURA FC URA have now gone six games unbeaten since the league startedStarTimes Uganda Premier LeagueURA FC 0-0 Nyamityobora FCMandela National Stadium, NambooleFriday, 02-10-2018NAMBOOLE – URA FC were held to a goalless draw at home to Nyamityobora in the StarTimes Uganda Premier League match played on Friday afternoon.The Tax Collectors who went into the game on the back of two consecutive draws missed a late penalty to win the game as Captain Shafick Kaggimu failed to convert from 12 yards.This is the Tax Collectors fourth draw of the season and they currently remain unbeaten after six games.URA started strongly asking all the questions and had their first sight of goal when Vitalis Tabu shot wide from a free-kick.In the third minute, Peter Lwasa capitalized on 3 mistake to run through on goal but his effort was saved brilliantly by Hillary Jomi in the visitor’s goal.Nyamityobora continued to be on the back foot throughout the early exchanges and on 11 minutes, Lwasa forced the game’s first corner as his cross was turned out by Alex Komakech.The Tax Collectors continued to pin Nyamityobora back and Shafick Kaggimu unleashed a fierce shot from outside the area but Jomi touched it onto the crossbar much to the relief of the visitors.Nyamityobora started growing into the game and on 18 minutes, they had their first sniff on the URA goal as Arinaitwe blazed over from a free-kick inside 20 30 yards.Their first real chance, however, came on the half-hour mark as Akandwanawo sent in a long cross from the left but 15 failed to control it while one on one with James Alitho in the Tax Collectors’ goal and the custodian collected comfortably.At the other end, Lwasa missed again. First failing to hit the target from a header following Vitalis Tabu’s delivery from a corner and then tapping wide with the goal at his mercy after he was teed up inside the area by Kaggimu.With eight minutes of the first half to play, Tabu sent in another corner from the left and after Nyamityobora failed to clear their lines, Kaggimu could not capitalize as he dragged his effort agonizingly wide of the left-hand post.Sam Simbwa’s side who had clearly dominated the first 45 minutes had another chance to take the lead with two minutes to play but once again could not hit the target as Kaggimu blasted over from just outside the area.The rest of the half went with no proper events to write home about and referee Ali Sabira sent both sides back into the dressing rooms for the halftime break.At the start of the second half, URA continued from where they had left of in the first, dominating possession and also saw Ronald Musana blaze over from distance inside two minutes.Moments later, the first yellow card of the game was shown to Musana after he tripped Akandanwaho as the forward tried to rally his side forward during a counter attack.On 51 minutes, URA made the first substitution of the game, taking off Siraje Ssentamu and replacing him with former Tooro United midfielder Abdallah Nyanzi. Moments later the visitors also made a switch of their own as Ivan Mbowa replaced Ebong Lameck.On 53 minutes, Mathiew Odong struck from distance but his effort was comfortably saved by Jomi.The Tax Collectors looked to be tiring and Nyamityobora started to create a few chances of their own and at the hour mark, Patrick Gonahasa sent in a goal bound shot which was headed out for a corner by his name-sake, Mbowa. However, the resultant corner was fruitless.The best chance of the second half fell to 15 who pounced on Musana’s lazily headed back-pass but could not convert while under pressure from Alitho.Nyamityobora’s Derrick Kiggundu was also booked with 14 minutes to play after fouling Kaggimu outside the area.In a desperate move to try and find the winner, Simbwa replaced the tired Tabu with Robert Mukongotya.With seven minutes to play, URA were awarded a penalty after Kaggimu was brought down inside the area by make-shift right back Ibrahim Pengere. The URA skipper picked himself up and took the spot which was saved comfortably by Jomi.That was the last meaningful piece of action as the two side settled for a point in the end.The draw takes URA to 10 points while Nyamityobra have now accumulated four from their first six games.Comments
The Cape Winelands in the Western Cape has been a member of the Great Wine Capitals since 2001.(Image: Oxford University Press blog) Wines of South Africa’s (WOSA) annual generic tasting, Südafrika Weinshow in Berlin 2011. The estimated annual income wine tourism generates is an excess of R5-billion, while also being a major job creator.(Images: WOSA) Hein Koegelenberg, CEO and head winemaker of La Motte wine estate – winner of the Best of Wine Tourism 2012 (Image: Neil Pendock) MEDIA CONTACTS • Andre Morgenthal Communications manager for WOSA +27 21 883 3860 RELATED ARTICLES • SA wine consumers on the rise • SA winery scoops Chinese deal • SA’s first wine tourism exhibition • Hermanus wine route re-launched Cadine PillaySouth Africa’s wine tourism has been rated the best-developed in the world by International Wine Review, one of the world’s most influential opinion formers on wine.Wine tourism is growing fast worldwide and plays an especially important role in South Africa. The country’s reputation for making high-quality wine is centuries old, but has aged as fine as its irresistible reds.The world had largely forgotten it by the time apartheid ended some two decades ago. But since then, the industry has rapidly modernised, and South African winemakers have reacquainted themselves with the rest of the wine-loving world – and vice versa. Today, the best of South African wine is up there with the rest.Wine from the ‘dark continent’Wine from the so-called ‘dark continent’ was once considered strange by many European and American wine drinkers. Even though there are vineyards located all over Africa, including Algeria, Morocco, Zimbabwe and Kenya, it is down south in the Cape, where climactic conditions mimic those of the old wine countries like Italy, France, Germany and Spain, that the continent’s finest wines are produced.South Africa’s vineyards are mostly situated in the Western Cape near the coast. The Cape winelands stretch from the rugged mountains and multi-directional slopes of the coastal region to the open plains of the Klein Karoo where viticulture – the study of grape cultivation – takes place mainly in the idyllic riverine valleys.During their review, the publication’s editor Don Winkler and publisher Mike Potashnik visited the winelands in December 2011 to evaluate the country’s top premium and ultra-premium wines, and at the same time evaluated its wine tourism.“While the country is located far from most foreign wine lovers, it offers huge rewards to those who visit its wine country,” they wrote in their latest report.“Most wineries have excellent tasting facilities and many have superb restaurants with spectacular mountain vineyard views.”Great Wine CapitalsAndre Morgenthal, spokesperson for the Cape Town and Cape Winelands chapter of the Great Wine Capitals (GWC), is excited over the revelation.“That is high praise indeed, coming as it does on the back of the US Weather Channel recently placing the Cape winelands second after Andalucia in Spain on its annual list of the World’s Top Ten Wine Trails,” he said. The GWC – a network of the world’s leading wine-producing cities and regions dedicated to advancing the standards of wine tourism – was established in 1999 and Cape Town has been a member since 2001.Its members, in addition to Cape Town and the winelands, include Mainz-Rheinhessen (Germany), Bilbao-Rioja (Spain), Bordeaux (France), Florence (Italy), Mendoza (Argentina), Porto (Portugal), San Francisco-Napa Valley (United States) and New Zealand’s Christchurch on South Island.The network organises an international best of wine tourism competition every year, with the municipalities of Cape Town and those located in the winelands contributing to the running costs of the local competition.Last year the competition saw La Motte wine estate near Franschhoek named the South African winner of the 2012 awards at a ceremony held in Mainz, Germany, in October 2011.Hein Koegelenberg, CEO and head winemaker of La Motte, said their major focus has always been producing exceptional wines for local and international markets. He added that the award is a great inspiration following shortly after La Motte’s nomination in the top 20 of the Eat Out DSTV Food Network Restaurants Awards.The competition has grown enormously in stature in the local wine industry as the importance of wine tourism in the Western Cape’s economy increases.Morgenthal, who is also communications manager of Wines of South Africa, said not only had the number of participating wineries in the competition escalated since Cape Town was inducted into the network in 2001, but the standard of entries had also improved.“I believe it is because participants have benefited substantially from benchmarking themselves against international best practice,” he said.“The quality of facilities and services offered has improved greatly. While choosing the winners was a fairly straightforward exercise in the early years, it now requires hours of deliberation as virtually all the entries are of such a high standard that very little separates the ultimate winner from its closest competitors.”The role of wine in the economyThe attractions of the wine industry are seen as a major factor in the growth of Cape Town’s tourism industry, which has maintained its growth despite the global economic slump.“Wine tourism is a vital product offering as it helps improve the country’s competitiveness against destinations like Brazil, Australia, Kenya and Thailand,” said tourism minister Marthinus van Schalkwyk.It is estimated that wine tourism now generates annual income in excess of R5-billion (US$590-million) while also being a major job creator. The total wine exports from South Africa stood at 350 564 774 litres in 2011, with Europe as its biggest buyer overall.The sector has contributed significantly to economic growth and job creation in South Africa, having generated an estimated R4.3-billion (US$507-million) in 2009 alone.Van Schalkwyk said the wine tourism sector in South Africa will always have strong roots from which to grow even further in the international market.“I believe wine tourism can contribute in a significant way and we look forward to continued constructive engagement with the industry,” he said.Top US ratings for South African ShirazA Hartenberg Shiraz crafted exclusively for the 2011 Nedbank Cape Winemakers Guild (CWG) Auction by acclaimed winemaker Carl Schultz was rated at 90 and 91 points by two leading wine commentators at tastings of last year’s auction line in New York.As one of South Africa’s oldest shiraz-producing estates, Hartenberg enjoys a reputation for high-end quality and consistency, with a track record spanning nearly 40 years.The senior editor of the Wine Spectator, James Molesworth, awarded 91 points to the Hartenberg Shiraz CWG 2009.“This ripe, fleshy red offers linzer torte, blackberry paste and fig sauce notes, carried by enticing spice and black liquorice hints,” he said at the time. “The long, juicy finish lets the fruit drip nicely.”Steve Tanzer of the authoritative International Wine Cellar, who found the average level of quality of the 2011 auction wines higher than ever before, gave the wine a 90-point rating, describing it as “rich, creamy and sweet, with easy-going dark fruit and wild herb flavours nicely framed by harmonious acidity”.“This silky-sweet shiraz finishes with ripe, dusty, building tannins and good structure for aging,” he said.
Genre StudiesImage via The Ranger (SXSW Midnighters).We also looked at the film genres represented at SXSW. This is a little harder to break down by the numbers, but it’s just as important. If SXSW has a favorite, it looks like it’s the horror and experimental genres. This has less to do with preference, though, and more to do with SXSW offering a full block of “Midnighters” features as well as a Midnighters shorts section, which lean heavily toward experimental and traditional horror.If you look at the genres filmmakers assign to their own projects (instead of what you see in the SXSW program), you discover a decent split between multi-genre films and straight genre classics. Here’s our breakdown. (Based off of filmmaker’s terms. For split genres — i.e. Drama/Comedy — we used the filmmaker’s first term as the base, then the second as a sub-genre). Budget RangesImage via Ready Player One (not included in SXSW Budget trends)Believe it or not, many filmmakers are not too keen to share their budgets (either for production or marketing), so we won’t call out any single film’s overall budget. However, budgets are important to consider, and they’re a huge issue that many filmmakers worry about on a daily basis, so a bit of perspective and scope can be very helpful.The following is what we discovered (generally) about budgets:Narrative features: insufficient data.Narrative shorts: $2k to $60k ($20k average).Documentary features: insufficient data.Documentary shorts: $0 to $50k ($25k average).Midnight shorts: $30k average.Music videos: $25k average.Independent episodics: $50k average.Virtual cinema: $100k average.It’s also worth noting that many of these numbers can be skewed due to grants (which about one-third of the films received), while excluding equipment the filmmakers already own (especially the films shot using prosumer cameras such as 5Ds and a7Ss).Distribution PlansImage via She’s the Ticket (SXSW Independent Episodic).Perhaps the best way to understand the budget breakdown is to look at filmmakers’ distribution plans. While many of the headliners already had acquisition deals in place, the narrative and documentary features were, for the most, part all squarely in talks to finalize their post-festival distribution runs.Based on our survey, the program through which a film screened dictated ~99% of the preferred distribution plan.Features: theatrical run followed by premium streaming deal (Netflix, Amazon Prime, HBO Go, etc.).Shorts and music videos: festival run then online platform with the greatest reach (Vimeo Staff Picks, Sundance Now, NY Op-Docs, etc.)Independent episodics: cable or streaming series acquisition.Virtual cinemas: further experience opportunities.However, while distribution plans can be similar between projects, the means of securing them are quite varied. For instance, Clayton Jacobson’s Narrative Spotlight Brother’s Nest (making its world premiere at SXSW) had already found a creative way to get the film financed and distributed in Australian cinemas before production even began. This is a sign of filmmakers shifting focus from post-run traditional acquisition methods in favor of proactive marketing and distribution.DIY Tips and TricksImage via Hold to Your Best Self (SXSW Independent Episodic)As always, SXSW filmmakers did not disappoint with interesting anecdotes about DIY rigs and run-and-gun production tips. In many ways, SXSW Film embodies the upstart production aesthetic over more refined pipelines. Thunder Road is a great example of a homegrown short film-turned-Kickstarter-turned-breakout feature. But there were plenty more. Here are a few DIY takeaways from this year’s fest.Filmmaking TipsGene Graham (Director/Producer, This One’s for the Ladies) — Documentary Feature:Define your audience, know what you stand for, always have your release/film paperwork ready to go. If you think your project has commercial potential, get a good lawyer, and partner up with two or three besties that are at least at your experience level or higher.Production TipsSherren Lee (Director, “The Things You Think I’m Thinking“) — Narrative Short:Put things on wheels! The opening of our film starts with a oner that we couldn’t figure out for a long time. The space was small, and we couldn’t fit our Steadicam operator in such tight quarters without screwing up the geography of the place. Finally, our DP had the brilliant idea of putting a TV stand and TV on wheels so that a PA could pull the TV stand out just in time for the operator to sneak in there in the middle of the take.DIY EffectsEmily Hagins (Director, Hold to Your Best Self) — Independent Episodic:We used different shooting styles and tricks to convey different character perspectives in our show, and in one instance, our DP created a “star bokeh” effect to make the lights behind one of the characters appear as stars because she kind of saw herself as the ‘center of the universe.’DIY LooksFinlay Pretsell (Director, Time Trial) — Documentary Spotlight:Embrace the technological glitches that might occur, and use them to your advantage! These moments can perfectly express feeling or emotion that would be difficult to recreate. As you will see in the film, on the coldest wettest day we ever shot (7 hours in the pouring rain from Milan to San Remo in Italy), the water from the back wheel completely distorted and abstracted one of our action cameras; however, the footage looked fantastic and worked perfectly in representing how the world felt at the time.DIY RigsJames Siewert (Director of Photography, The Ranger) — Midnighters Narrative Feature.One thing we were able to do was use our Movi as a remote head: we had a dolly, crane, and cable cam that we built ourselves. We mounted the Movi at the end of them and were able to get some fairly elaborate-looking setups. Jenn (our director) had an idea that she talked to me early on about [for] pushing in on one of the characters — dollying down for a reveal and then panning back up to see him scream. It seemed like a technocrane shot at first, but we did it by mounting the Movi to the end of our crane and dolly combo.SXSW Analysis and Wrap-upOverall, SXSW Film trends show us that while production levels are continuing to climb for the more competitive programs like narrative features and shorts (as well as documentary features and shorts), films are also becoming more diverse, more DIY-friendly, and more creatively distributed. SXSW has also expanded the ways you can experience films at conferences and festivals by expanding their virtual cinema and arts programs. Notable examples include Life Underground, a hybrid art installation documentary (which you can read more about here) and Beethoven’s Fifth, a cinematic virtual reality experience (which you can read more about here).For more coverage from this year’s SXSW Conference (and conferences past), here are some more articles to check out.SXSW Discussions: 7 Tips on How to Develop a Digital DocuseriesSXSW Insights: The Future of Interactive Video TechnologySXSW Talks: The 7 Key Factors to Revamping Decades of CodeBehind the Data: The Most Popular Cameras of SXSW (2017)Innovative Production Tips from the Filmmakers of SXSW (2017) In this roundup, we present everything you need to know about the films and industry trends from the 2018 SXSW Film Festival.Cover image by hxdbzxy.The SXSW Conference has once again come and gone, and now we’re left scrambling to figure out what it all means for film fans and filmmakers. The SXSW Film Festival saw everything from big-name world premieres (Spielberg’s Ready Player One and Wes Anderson’s Isle of Dogs) to awesome up-and-coming film screenings (John Krasinski’s A Quiet Place and Augustine Frizzell’s Never Goin’ Back) to inspiring discussions (Darren Aronofsky and Barry Jenkins). It was also a refreshing look at the future, as SXSW Film bucked the recent Oscars trend by featuring women-directed films for eight of the 10 Narrative Feature nominations.For our coverage, we tried to reach out to as many filmmakers as possible from all levels of SXSW Film programming to compile stats and information on how they financed, shot, and produced their films — as well as their ideal distribution methods and nifty filmmaking tips and tricks.After looking into 50+ films, covering everything from Narrative Features to Midnighters to Independent Episodics, we’ve done our best to process the data to reveal some film trends that can benefit filmmakers at all skill levels.Winners and NotablesImage via Thunder Road (SXSW Narrative Feature)First off, let’s take a moment to recognize the festival winners and audience favorites from SXSW. For Narrative Features, special jury awards went to filmmakers Carly Stone for The New Romantic and Nijla Mu’min for Jinn (for First Feature and Writing recognitions respectively). Thunder Road, written, directed and starred by Jim Cummings, took home the Grand Jury accolade. (For more about Thunder Road’s journey from a Sundance-winning, one-take short to narrative feature, check out this interview from last year).Documentary prizes went to Hao Wu for his feature doc People’s Republic of Desire and Charlie Tyrell for his short doc winner My Dead Dad’s Porno Tapes. Carey Williams won the jury award for her narrative short “Emergency.” Santiago Menghini’s disturbingly fun Midnight Short “Milk” won its program, while Ben Strang’s Beast took home the top prize in SXSW’s Independent Episodic block. (Read more about Beast and how Strang was able to film with his camera in motion here).You can check out the full list of Jury Awards here and the Audience Awards here.Camera TrendsImage via ARRI.For filmmakers, cameras and gear are often points of contention. If you’re trying to decide which camera to use for your features, shorts, or other projects (or, simply, which one to invest in for posterity’s sake), the trends don’t look great for your pocketbook.If we focus on the Narrative Features, Narrative Shorts, Midnighters, Midnight Shorts, and Independent Episodic pilots that we looked at, the trend seems to indicate that the ARRI Alexa level was the heavy favorite. Of the roughly 25 filmmakers who responded in those categories, over half shot on ARRI Alexas, Alexa Minis, or ARRI Amigas (with the RED Dragon and Epics coming in as additional high-end digital preference).However, that’s not to say you can’t get into SXSW unless you use one of these cameras. After the drop-off among respondents of the ARRI- and RED-level cameras, the trend opened up to include a fairly dispersed mix of Panasonics, Canons (5Ds, C100s, 6Ds), Blackmagic Ursa Minis, and Sony a7Ss — and some other interesting options.
Did you know that people gave more than $7 billion online to charity last year? With Network for Good’s DonateNow service, we can help your nonprofit get your share. DonateNow is an online donation processing service for nonprofits to accept credit card gifts on the web. And with a low monthly fee of only $49.95, online fundraising is now affordable for even the smallest organization.What You Get for $49.95/month1. Money for your mission!Our customers raise an average of $29 for every $1 they pay for our services. That’s great ROI. We wish we got that in the stock market!2. A Rolls-Royce donor experience for the price of a Kia!Our services cost a fraction of the priciest, most feature-rich options out there, yet they include nearly all the same options. Now that’s a deal. And remember, cheaper services generate far less in donations because they don’t reflect your brand. Another brand’s shopping cart lacks the warm-fuzzy feeling donors should get from supporting you!We give you:YOUR BRAND FRONT AND CENTER – A giving page that looks EXACTLY like your website that you get to customize in all kinds of waysMONTHLY GIFTS – Recurring giving options for steady fiscal support to youHAPPY DONORS – Cool features for donors like donating in honor of someone or designating their gift for a specific purpose – plus you can provide thank you gifts for generous donors.CUSTOM RECEIPTS – Customized receipts that will make your supporters smileINSTANT GRATIFICATION – Instant notification when your organization gets a donationALL THE NUMBERS – Great donation tracking reports3. What IRS auditors want!If you want to keep it legal in accepting online donations, you need to file registrations for receiving donations. At present, more than forty states require nonprofits to be registered! Nonprofits that solicit donations in a given state may be required to register as a charity in that state. Network for Good is a registered charity in all requiring states! (That being said, we do recommend that you also seek professional advice for your unique situation in complying with applicable laws governing charitable appeals in the respective states.)4. Control that’s fun to exercise!We want you to call the shots. With our services, YOU choose the look and feel of your giving page. YOU decide what donation amounts to request. YOU choose the language in your thank-you receipts. We think you know your donors best, so we give you the creative control – and we make it easy for you to exercise that control. Our tools are extremely simple to use – no technology expertise required.5. A marketing and customer service A-team!Along with our services, you get marketing/fundraising tips and training that are so good, it’s like having your own agency! Our nationally renowned marketing, sales and customer service team members and guest trainers – along with our online Learning Center – ensure you’ll get the dollars flowing on DonateNow. And if you’re ever stuck on a thing, a nonprofit expert at Network for Good is just a phone call or email away. We’re here to make you a smashing success.Ready to get started? Contact Us to learn more about DonateNow
I’m starting a new feature in 2009 – website(s) of the week. This week’s have nothing to do with marketing – they have to do with urination and travel! Because I want to make your life easier not just as a marketer but also as a fellow human being. In the future, I promise to sometimes feature content relevant to marketing.This week’s winners:Check out MizPee to find the nearest clean toilet to where you are now. Ratings available – measured by little toilet paper roll icons. (I read about this in today’s Wall Street Journal.) I’ve always been too intimidated to rate anything at Zagat’s but this I could do.Check out TripIt for your next journey. When you get all your confirmations from airlines, hotels, etc., just hit forward to their email address and they assemble a nifty little itinerary for you! They’ll even tell you the weather! I learned about it from TechCrunch, natch.
The Washington Post had an article yesterday (registration may be required to read it) that made the same mistake nonprofit marketing folks often make when judging the relative value of Facebook: it simply looked at Facebook as a place you post a cause and expect the dollars to roll in. If it doesn’t do that, the Post concludes, it doesn’t work.I’ve heard fundraisers say the same thing.But there is more to the story.Be sure to read the excellent comments here and more important, read Allison Fine’s response on her blog.Bottom line: the value of Facebook is not to be calculated by dollar per donor. Allison notes:Let’s reframe: what if Causes was judged by the number of people who know about a cause who didn’t know about it before; the number of people who increase their involvement with that cause by sharing information with friends about it, organizing an event, blogging and tweeting about it, and so on; the number of people who have self-organized an event for the cause. I’m sure there are other meausres, but you get the point, what measures we use to define success will utlimately define us and while dollars in might be easy to measure it’s not alwasy the best one to use… Causes isn’t just about raising money, it’s also about raising friends and awareness, and in the long run turning loose social ties into stronger ones for a cause may be more important than one-time donations of $10 and $20 dollars right now. Our rush to judge this application effective or ineffective over a very short time period with a primary user base of very young people is off base.Facebook is one tool for interacting and engaging with a community — not a fundraising silver bullet.UPDATE: Be sure to read Beth Kanter’s post on this as well.
Download the participant handout, transcript and audio recording below Related Documents!While the economy is slowly recovering, are your fundraising appeals still in need of mouth-to-mouth resuscitation? You’ve tried creating a sense of urgency and alarm, but your message is falling on deaf ears. You’re not delivering the numbers you need to produce.Why have people stopped listening? Here’s a little secret: Donors don’t really give to a program or organization; they invest in the bigger story. In other words, donors give to issues where they feel a direct personal connection. Your work must mean something to them, or else their dollars go to a cause that does.That’s why supporters want more than clichés and platitudes about “doing good”. They need a story they can locate themselves into; and that usually requires moving beyond the classic adversity/victimization story.This archived presentation covers:Why the classic hero story creates unnecessary adversity for your cause and might be doing more harm than good in your fundraising appealsHow to break the cycle of guilting or shaming others into supporting you, and how to find a genuine attention-grabbing message that people can truly believe inWhere to look for the essential truths at the heart of your brand/mission that invites and unites, rather than drives away potential supportersAbout our speakerAs the President of Get Storied, Michael Margolis advises nonprofits, businesses, and entrepreneurs on how to get others to believe in their story. With a background in social enterprise and cultural anthropology, Michael helped launch two pioneering nonprofits before the age of 22. Michael has since worked with dozens of world-changing efforts and helped to revitalize and translate the bigger story for each of his clients. Believe Me: a Storytelling Manifesto for Change-Makers and Innovators, is a new book by Michael Margolis with fresh perspectives for anyone in the business of change. His short little manifesto introduces 15 storytelling axioms that will help you re-think how nonprofits must communicate their work, especially in this new adaptive age. Download a free excerpt at www.believemethebook.comMichael’s unique work and ideas have been featured in Fast Company, Brandweek, and Storytelling Magazine. Michael teaches Brand Storytelling at Schulich School of Business and delivers keynotes, story coaching, and learning programs around the globe. Michael believes its time for everyone to reclaim or reframe towards their bigger story. And eat more chocolate.
I just gave them money. Good job, Imagination Stage. I often get asked by arts organizations how to make a case during tough times. I think this appeal is a great example.What’s to love?1. The gratitude2. The clear demonstration this is an organization that has tightened its belt and will stretch my dollar3. The tangible sense of where the money goes4. A reminder of why we love the arts and what it does for kids5. More gratitudeDear Friend of Children and the Arts, Thanks to your commitment, we were able to ride out last season’s financial storm. The combination of your generosity, and our internal prudence and resourcefulness, enabled us to end our fiscal year on August 31st in the black and $400,000 below our original budget. Thank you!Despite our best efforts to maintain ongoing programs and operations, we still have tremendous needs. Over the past two years our funding from the Maryland State Department of Education has been cut substantially from $300,000 to $161,000—a 46% reduction.This cut in funding has a direct impact on the 15,000 Maryland students and teachers who receive free or subsidized tickets to attend Imagination Stage field-trip performances each year. This concerns us, as studies have shown that exposure to and participation in the arts results in heightened academic achievement and greater life successes for children of all backgrounds. Please consider making a generous year-end gift to Imagination Stage to ensure these opportunities continue to be available for our most under-resourced schools. Consider giving $30 for our 30 years of service, but a gift of $100, $250 or even $500 will have a significant impact. We are grateful for any amount. Please donate now by clicking here.With a gift of $100 or more, you will become a Friend of Imagination Stage and enjoy exclusive benefits, including invitations to Opening Nights, opportunities to meet the actors, private backstage tours, $20 off an Imagination Stage class, and much more!There is nothing like the excitement, inspiration and joy on the faces of children who experience theatre and the arts at Imagination Stage. Making those special moments possible is our passion and mission. Please help us continue opening hearts, inspiring minds, and igniting imaginations by making a generous gift today. Thank you for your support of children and the arts and for being an important part of Imagination Stage.Gratefully,Mark Richardson Bonnie FogelPresident, Board of Trustees Founder and Executive DirectorP.S. Your gift – large or small – is deeply appreciated and will help more children experience the magic of theatre and the arts at Imagination Stage. Thank you.