Just the Arts Facts…

by Jini Stolk

“What do we really know about the arts in Toronto?” was the original, seemingly simple question that led to four months of research and the publication of Toronto Arts Foundation’s Toronto Arts Facts.

Arts Facts compiles recent data from a variety of statistical surveys and research studies on Toronto’s arts and their place in our economy, tourism, communities and quality of life. Kate Taylor’s article in the Globe and Mail focused on the Facts’ anticipated prominent role in the municipal election campaign , where it will no doubt be useful in building awareness, among candidates and voters, of the size and impact of the arts in Toronto.

But there may even be a few surprises in Toronto Arts Facts for those of us working in the arts. Did you know that: arts and culture contribute $11.3 billion annually to Toronto’s GDP? that 174,000 Torontonians work in the culture sector? that our creative workforce has grown at more than twice the rate of our overall labour force? that Toronto is home to 93% more artists than any other Canadian city? or that every $1 the City invests in the non-profit arts sector generates $12.46 from other levels of government and the private sector, and $8.26 in earned revenues?

Toronto Arts Facts also tells a compelling story about how the arts enliven and enrich Toronto’s neighbourhoods and local businesses, help young people gain purpose and confidence, enhance the livability of our city and build local pride. Their central role in the creative economy, and in developing the engaged citizenry and social cohesion on which Toronto’s continued growth and prosperity depends, has become the focus of many studies and articles.

It’s not surprising but good to know that 70% of Torontonians regularly attend arts events or donate to the arts, and about the same number believe the arts improve the quality of life and benefit the community. The fact that people living in Toronto participate in and value the arts so enthusiastically speaks to those harder-to-measure arts impacts such as communal belonging, empathy and mutual understanding necessary to a multi-cultural community like ours.

Andrew Taylor recently wrote about the importance of studying and analyzing our world. He quotes Zora Neale Hurston (author of Their Eyes Were Watching God): “Research is formalized curiosity. It is poking and prying with a purpose.”

The purpose of documents like Toronto Arts Facts, I would say, is to really understand what the arts contribute, busting myths about “frills” and “nice-to-haves not need-to-haves.” Working on this project with my colleagues Kathleen McLeod and Kasia Gladki has reinforced my belief that the arts community needs to collaborate to undertake more research and fact-finding, work to align its surveys to previous studies in order to fill in research gaps and build comparable statistics, and share the results more actively across sectors and with the public.

I can definitely commit to curiosity and lots of future poking and prying; and I’m hoping that this project becomes the first of many bringing together researchers and arts leaders to understand the power of the arts in Toronto.

Toronto Arts Facts is available on the TAC, TAF and Creative Trust websites, and is being printed as a booklet for targeted distribution. Its findings will provide supporting information for the recently launched “Toronto Loves the Arts” in celebration of the Toronto Arts Council ‘s 40th anniversary. The goals of this campaign are to generate conversation and increase public pride and ownership of the arts in Toronto. Stay tuned to #TOlovesTheArts and Toronto Arts on Facebook .

 

 

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Engaging…employees

by Jini Stolk

I’ll bet you thought I was going to say “audiences.” No. I actually want to talk about how we relate to our most important resources: the people who work in arts organizations, producing, promoting and generally supporting the art in an astonishing variety of ways.

When I meet with people eager to find work in our field I can’t help but be enthusiastic about the satisfactions of my own career. But I often wonder what we’re offering young people at the beginning of their arts careers.

I think we can all agree it’s not high salaries or stable employment with good benefits.

The Nonprofit Quarterly, as it so often does, provided useful insights in a piece about recruiting and retaining excellent staff given our inability to “compete” in traditional ways. Recent research in the for-profit and nonprofit sectors, it seems, concludes that today’s workers value the same things Studs Terkel wrote about in his groundbreaking book Working.  I remember the rush of validation in reading that most people “search for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than torpor; in short for a life instead of a Monday through Friday sort of dying.”

These are things we definitely can offer, if we’re smart and purposeful about it, to the 174,000 (and growing) Torontonians who work in the arts because they want their work to have meaning.

Recent studies also say that people want a say, influence, participation, and voice at their workplace.

They find work meaningful when they’re involved in an organization with a larger purpose, where their work makes a positive difference to society; where they feel a sense of ownership and involvement in how the work is done; where they see and understand how their work fits into the larger mission of the organization; where there is a collective sense that everyone’s working together towards a goal; and where healthy and happy relationships are fostered and maintained.

Workplaces that engage workers’ spirit and intellect are more productive and produce greater customer satisfaction by means of the high quality, responsive service and communications that people certainly expect from arts and other social benefit organizations.

We should be workplaces of choice. We have mission and purpose at our core; we highly value the participation and engagement of staff and constituents; we believe in respect and equity and in each person having her own voice; we want to encourage fairness and collaboration…I sincerely hope.

These things may not always come easily – human relations are tricky; our best laid plans go often awry – but they are what set us apart, and what we can offer employees to keep them engaged and committed even when we don’t have any extra room in our budgets.

There is a particularly jarring disconnect when an organization devoted to creativity, collaboration, caring and equity turns out to have different standards when relating to their own staff. If the word gets out, organizations can lose an enormous amount of trust and good will which may be difficult to regain.

 

Helpful and interesting things to read on this topic:
Turkel, Studs. 1974. Working: People Talk About What They Do All Day and How They Feel About What They Do. New York, NY: Pantheon Books.

Tom Terez, 22 Keys to Creating a Meaningful Workplace. Holbrook, MA: Adams Media, 2000.

Management be Nimble by Adam Bryant, The New York Times

Learning is the work week by Harold Jarche

 

Posted in Organizational Development | Leave a comment

Finding space

by Jini Stolk

From the moment I heard about SpaceFinder, Fractured Atlas’ online venue database and rental system, I hoped someone would find a way to bring it to Toronto. I’m incredibly pleased that TAPA, ArtsBuild Ontario and WorkInCulture, with the support of the Metcalf Foundation, are launching SpaceFinder Toronto this fall.

Once it’s fully functional in November (but they’re accepting space registrations now; you should get yours up on the site as soon as possible) it’s going to be an invaluable tool for artists and arts organizations looking for space for rehearsals, performances, meetings, launches, and special events.  The benefits of one-stop searching are huge: Fringe producers are going to be in heaven, and I imagine that party and event planners are also going to be pretty excited.

What particularly excites me is that SpaceFinder Toronto should become an invaluable asset to companies who run their own venues. As we know, most don’t have the time or staff to make sure their spaces are fully rented out, but all would benefit from extra rental income.

In New York, the Municipal Art Society is beginning a year-long project to explore the role of civic spaces in cities and discover ways to reinvent these spaces to meet new community needs. One of their goals is to create a broad national dialogue about the critical role that civic spaces play in city life. This is a conversation I’d love to be part of.

It’s sometimes been an uphill battle to gain recognition of the uniquely important role that venued companies play in our cultural ecosystem. There’s still a great gap in collaboration and support from the heritage community; and arts funding doesn’t fully recognize the particular strains of running a space nor the community benefit  provided – which goes well beyond arts access and includes fostering community identity and neighbourhood development.

Many companies in Toronto have poured enormous energies recently into renovating or building beautiful, successful new arts spaces. We should all be supporting and assisting them in every way possible - in order to avoid the sad crises of overexpansion, debt and financial meltdown we’ve been reading about in the States.

That’s why The Trillium Foundation’s increased emphasis on capital grants, in their redesigned granting programs starting 2015, is so welcome.

So is SpaceFinder Toronto. Bravo to all!

For More

The New Barn-Raising is a new tool kit from Detroit on sustaining civic spaces.

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The joys of reading

by Jini Stolk

Something’s wrong. How can it be that a light and breezy article about summer reading includes a tip like this: “Any book, which enhances knowledge. No fiction.”(The grammatical and punctuation mistakes might indicate that this tweeter needs to read more fiction, not less…)

This war on fiction comes up more and more often. Some CEO’s are proudly too busy to read anything but nonfiction; people say that time is too short, and their need for information too great, to read novels.

An essay in the June issue of The Atlantic, reviewing two new studies of “the novel”, is an almost unbelievably engrossing and moving piece on how books and readers shape each other. William Deresiewicz describes the way great novelists, by continually reinventing the form, also reinvented what it means to read, and to learn about the world and ourselves through reading. Novels are exceptionally good, he says, at making us feel what it’s like to inhabit a character’s mind.

I hope the anti-fiction attitude is not seeping down to children, although I fear it might be. The Action for Children’s Arts was moved a few years ago to draw up a manifesto on children’s rights to arts and culture, including the simple statement that Every child has the right to rest and leisure, to engage in play and recreational activities appropriate to the age of the child and to participate freely in cultural life and the arts. La Baraca’s interesting Charter of children’s rights to art and culture is more detailed.

Richard Griffiths, who starred as the teacher in The History Boys, said in an interview: “The inculcating of enthusiasm for intellectual ideas and improvement of the human condition, what is it to be in love, what is it to discover the meaning of loyalty, treachery, cruelty, kindness, sweetness, sourness – these things shape every one of us for the rest of our lives, and they’re not debated any more, they’re not understood any more, they’re not addressed any more by the school curriculum.” He says that the educational establishment has moved away from dealing with this type of knowledge because “there isn’t an exam for it.”

Except, he adds, “The exam is life.”

 

Further reading (not novels!)

The Novel: A Biography by Michael Schmidt, Harvard/Belknap

What Writers Can Learn From ‘Goodnight Moon’ By Aimee Bender,

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Anti-spam spam

by Jini Stolk Like you, I’ve been overwhelmed by an onslaught of anti-spam compliance emails over the past few weeks. I’ve heard from companies whose messages I’ve been receiving, in some cases for the last twenty years, and with whom I have an established and very happy artistic and commercial relationship. I’ve heard from organizations who provide good, useful professional content which I want to continue to receive. I’ve heard from companies whose emails have been of marginal interest, but with whom I want to stay in touch for a variety of personal and professional reasons. I’ve heard from organizations whose messages I barely remember receiving, but whose occasional updates I think I might find interesting. I’m distressed by the amount of time, energy and fear behind our community’s response to this badly-designed and ambiguous legislation, which was put in place prior to any consultation with the nonprofit or charitable communities. The Ontario Nonprofit Network responded immediately and firmly once we understood the potential negative impact of Canada’s Anti-Spam Legislation (CASL) on the nonprofit community’s relationships to its supporters – and especially on arts organizations which rely heavily on earned income through ticket sales. We argued that “the…legislation has…inadvertently caught our sector’s community-building activities in the legislation and regulations, which will have serious repercussions for the sector and… (may)… discourage and constrain how Canadians engage in their communities.” One of the probable negative results we identified is certainly rolling out as we speak: that our communications lists, built with great effort over many years, could be devastated by people’s lack of an active decision to “opt (back) in” – or by a rash of hasty “unsubscribe” decisions which even I’ve had to steel myself against given the crazy flood of messages and the universal human desire to reduce our daily inboxes.

THE GOOD NEWS: The arguments we and others put forward resulted in important changes to the regulations, which are well summarized on ONN’s website, on Imagine Canada’s website, and by charity legal experts Miller Thomson (check out this great link by them as well) and McMillan. These should keep panic at bay, and reassure you that you do not have to delete existing names from your mailing list if they have not actively re-subscribed as of July 1:

  • fundraising messages by charities, and other activities beyond the usual CRA definition of fundraising including “organizations, such as arts groups and cultural institutions, promoting ticket sales for upcoming events,” are exempt under the legislation.
  • if commercial activities are undertaken to carry out a charity’s mission, and the funds go directly to the charity to support its work, then it likely falls under the exemption.
  • messages from registered charities offering services which may benefit individuals, where there is a cost-recovery element (for materials, for example) are exempt.
  • We understand that charities’ existing lists might be considered as having express consent as long as the organizations have a working unsubscribe option in their communications.
  • the legislation allows three years to fully comply; anyone who has previously signed up to receive your emails does not need to sign up again, but in framing future communications you should encourage everyone to actively opt-in – especially if you’ve built your mailing list through a variety of methods (like collecting business cards) which didn’t explicitly explain that ongoing email communications would follow.
  • you must include a noticeable unsubscribe function in all e-messages, now and in future.
  • you will need to obtain express consent from now on as you grow your communications lists.

No doubt we would all like to receive less spam, but I haven’t received one single message from anyone who is actually spamming my inbox and I don’t expect to. Adding the SPAMfighter program to my computer has done a nice job of cutting down on the spam I used to receive. I was going to end this post by comparing and contrasting the several hundred messages I’ve received in the past few weeks to identify “best practices” in CASL messages, but I don’t actually have the heart to criticize anyone who’s been trying to comply with this difficult to understand legislation. I will simply say: make things as easy as possible for people to sign up, donate, or otherwise show support for your wonderful organization. One click good. Four clicks and a page of information capture bad. I will instead end by saying that I am deeply grateful to those of you who continue to receive and read my messages, which have no commercial purpose but which aim to involve the community I love in an ongoing discussion of how best to sustain and grow our organizations, our art, and our audiences. If you ever wish not to hear from me again, please do unsubscribe by clicking the link at the bottom of each of my newsletters and understand that I have valued and appreciated the time and interest you’ve shared with me over the years.

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I’ve looked at boards from both sides now

by Jini Stolk

I don’t know whether Joni would approve but it’s Canada Day weekend and her beautiful poetry is never far from my mind, at any time.

It’s sometimes easy to focus on the negative side of nonprofit boards, because we hear so frequently about personal clashes and struggles for control – or alternatively, lack of engagement and commitment. Yet boards can be such powerful partners in building an organization and its mission. I was just at an event where the mutual fondness and respect between the CEO and a long-time board member was underlined by the board member’s overwhelming passion for the organization. It was clear that she was finding her board work to be a perfect platform for expressing her personal values and commitment to community; as a result, she was a powerful and articulate ambassador.

Perhaps one of the keys to this kind of success lies right at the beginning, in careful board recruitment. Arts Action Research has long talked about “casting” the board, which provides instant clarity to many artistic and producing/managing directors (who must, of course, be thoroughly involved in the choice of new board members.) Shared values, commitment to the vision, a collaborative work style, contribution to diversity of background and perspective, and the ability to fill a particular role are as important as professional skills and number of contacts.

All of that should be clearly defined and discussed from the first exploratory meeting between the board prospect, board chair/nominating committee member, and managing/artistic director.

There’s a ton of interesting information on board recruitment from organizations like Canada’s Muttart Foundation, the popular database provider Wild Apricot, Help4Nonprofits and many more.

Unless they’re specifically focused on arts boards, these sites are unlikely to emphasize the role of the managing and artistic director in board recruitment, or to say that your search should begin with your audience. Arts organizations really are different in some important ways from other nonprofits.

Looking, now, from another side, a good board rarely makes itself. Skilled and perceptive board management is always behind the best arts boards and that part is definitely up to you, managing and artistic directors. Working together. In beautiful concert with the board president and/or other committed board members who thoroughly “get it” and are not interested in implementing rigid policies, but in providing insight and direction that will protect and sustain the organization’s core purpose.

Some of the best recent writing on boards is coming from Simone Joyaux on the SOFII website. She differentiates in a very interesting way between the board and its board members. The board, she says, does corporate governance, and it does that only when together at meetings; all other contributions are made by board members, the individuals who make up the board. She’s very persuasive and thorough about defining the expectations of board members from the start.

Ultimately, both board management and board leadership are areas where experience and empathy have to come into play.

A professional advice column in The Globe and Mail’s Report on Business recently featured an achingly familiar letter from the executive director of a charity: a new board chair and some new members were challenging the ED’s performance and questioning their skills; pushback was being characterized as disrespect; secret meetings were being held. How horrible, but the ED’s response seemed to be equally wrong and unproductive. Some of the advice offered was simply unbelievable: “try swimming, boxing or yoga” to help purge negative feelings and “make your dealings with ornery stakeholders more agreeable and productive.” Yeah, that could work…

Once you’ve finished your workout, it might be a good idea to take a very deep breath, remember that you’re dealing with human relationships, test your responses against what you know from other personal and professional experiences, ask your friends and colleagues for measured advice, implement more open and honest communications, and perhaps pick up a copy of YOU and Your Nonprofit Board: Advice and Tips from the Field’s Top Practitioners, Researchers, and Provocateurs.

 

 

 

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Great emails, great results

by Jini Stolk

Speaking of emails. I said in a recent post that “good online fundraising rests on a very firm basis of excellent email capture and communications” so I think it’s only fair to say a few words on how to do that in our new CASL age.

Dunham + Company has been sending out a lot of useful information on this topic. I know it’s useful because I see many companies making the mistakes they warn against.

Getting people to sign up to your mailing list is all about building a relationship that leads to audience loyalty and donations. The first step, in their opinion and mine, is an email sign-up form that’s as simple as possible (requesting first and last name and email address only, requiring one click to complete); this stops people from abandoning the sign-up process. I’m glad to hear I’m not the only one with a low annoyance threshold. Secondly, tell people what they’re getting into up- front, as specifically as possible: “a monthly email featuring behind-the scenes interviews and background on upcoming shows” is better than “our newsletter.” Finally, tell them what to expect once they sign up: “Thanks so much for joining our list. You’ll be receiving our ‘Behind the Scenes’ newsletter, with information on the artistic team working on our exciting new production, in the next few weeks.”

Next, getting noticed in the incredibly competitive inbox world, which we are all now painfully aware of. First Do_Not_Use_An_Alias, or “do_not_reply”, in your “From” line. I’ve often found myself with my finger on the delete button until I glance down and see that the message is from a company I want to hear from. Be as personal as possible in your message and your “To” line: the open rate increases.

From there to getting a donation? A simple form, smartphone capability, content that inspires – the U.S.-based Camp Rising Sun created the most fabulously inspiring infographic I’ve ever seen for their recent, wildly successful online fundraising appeal – and a clear, reassuring, security statement. That sounds right to me.

Adam Thurman from Mission Paradox talks about the importance of carefully planned and compelling content that people will want to read, and quotes a McKinsey and Company study that found that “E-mail remains a significantly more effective way to acquire customers than social media—nearly 40 times that of Facebook and Twitter combined“.  He’s been offering an intriguing, three and half month active and interactive online course The Paradox Guide to Great Email Marketing that he’s planning to repeat in the near future. I’d love to hear feedback from anyone who signs up: at $99, it’s affordable.

Other Sources: Signing up for Patron Technology’s white paper on “The Top Five Ways to Build Your E-Mail List” will, no doubt, get you onto their email list but if you’re looking for a new data management system it might be worth it.

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Enjoy the sun? Or get everything done?

by Jini Stolk

I was excited by a recent email about the important benefits of taking a vacation until I noticed that one of its major messages was the ease of using hotspots, web conferencing and file sharing while away. Phooey.

Did you know that a vacation can increase productivity and creativity (before you leave, as you try madly to complete every last thing on your to do list)?

Did you realize that people are often more productive and motivated after taking a vacation (despite lingering yearnings for days of unstructured happiness, pleasurable exercise interspersed with quiet reading, and beautiful views of sunlight bouncing off waves)?

Were you aware that you’re more likely to have a mental breakthrough when relaxed (although much less likely to do anything about it)?

The benefits of vacations include, we are told: greater happiness (check); increased vitamin D (double check); better concentration (what was I trying to work on before that memory of long leisurely strokes through salt water took over…?)

All this is to say that I know this set of blog posts is a bit overdue and I’m sorry, but I was taking a little time for myself. I hope you can all do the same this summer.

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Since you’re updating your website…

by Jini Stolk

How do I know that many of you are updating your websites? Because two people in the past week, and two people in most other past weeks, have mentioned that that’s what they’re up to.

Everyone’s website is in regular need of revision and updating. It’s a little like home renovations: a constant cycle of repair and maintenance, until every so often you get aggravated and decide to tear things down, move things around, and totally refresh the look.

Websites, of course, are not just about looks, although looks count. They are one of your major connections to the world outside your organization – and crucially, they are one of the most important connections to current or prospective donors (60% of whom report looking first at a charity’s website before making a gift.)

If you’re wondering if it’s time for a grand renovation, this is a good overview of how to analyze how your website is currently working. It talks about architecture, usability, fresh materials, content as story, staying mission-oriented, and being CMS-savvy.

Maybe you’d prefer another analogy? This piece compares caring for your website to taking care of a pet. It needs care, attention, and needs to be fed with lots of juicy content that only you can provide. Yum. Updating the website should be a whole-organization project, with everyone having the opportunity to make sure your new website, your public face, represents what you do in the most compelling and authentic way possible.

If you’re the type who likes the idea of blasting through the needless time restrictions of New Year’s resolutions, here are some helpful resolutions you could begin implementing now: go on a website diet by removing dull or outdated content; make an annual content calendar; and make better use of Google Analytics and Google Analytics Goals.

Dunham and Company’s Online Fundraising Scorecard helps you answer the question “is my website optimized for fundraising?” (hint, according to them the answer is always no – it can be made better, and the best way to do that is by continual testing and analysis).Their methodology in doing the scorecard was simple (it’s the one I use!): Sign up. See what happens. Make a gift. See what happens.

I hate to have to say that performing arts organizations were in the bottom five “verticals” (sector classifications.) It seems we don’t make it obvious enough that we want people to donate, or easy enough for people to do so.

The Scorecard is adamant that good online fundraising rests on a very firm basis of excellent email capture and communications. You must make people click, and there are ways to compose and present your email requests to make that happen.

Once someone does click onto your website, however, you’re still not home free. Too many website giving pages require too many clicks. Too many steps. Too many fields. One of the main reasons donors prefer online giving is because of its convenience. Dunham and Company’s research suggests that nonprofits are placing too many barriers between online donors and the giving experience.

Finally, what’s the deal with refusing to divulge email addresses on your site? I could see if your company were being run by Beyoncé or Kevin Spacey that you might want to limit direct access. But does it actually make sense to make it difficult for colleagues, artists, donors or audience members to email your artistic or managing director? Aren’t there better ways for them to manage their inboxes?

Anyway, this (unfortunately relatively frequent) practice makes me mad…I wonder if I’m the only one.

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Supporting the next generation with generosity and shared purpose

by Jini Stolk

I hear a lot about the need for change in the structure and leadership of arts organizations; I hear less about the many important changes that are already taking place. Don’t throw eggs: I’m not saying that the nonprofit arts have solved their problems and are all set to compete in our complicated, diverse and dynamic world. But I increasingly think that the ways artists and arts organizations are adjusting and evolving provide clues to how we’re going to arrive at a sustainable future.

First of all there is unquestionably a new generation of cultural leaders. I won’t talk about the artists, some of whom are mixing things up in exciting ways that wouldn’t have been thought of 20 or even 10 years ago. I’m thinking of the talented and capable arts managers who are coming to the fore – like Chris Lorway, Soundstreams ED and recent winner of the John Hobday Award in Arts Management; Regine Cadet, new GM at Theatre Passe Muraille; Roxanne Duncan, who’s just completed The Theatre Centre’s capital project and is moving to Vancouver’s PUSH Festival; Gideon Arthurs, Tarragon’s GM; Meredith Potter, who provides management services to three important Toronto companies; and Aislinn Rose, newly appointed GM of The Theatre Centre, to name just a few. They’re doing things around international partnerships; donor, audience, artist and community engagement; and new production and dissemination models, that are different and inspiring. And I’m sure they’re far better suited to building the next generation of audiences than me, for example.

In my next posts, I’m going to write about some of the structural changes I’m seeing – from larger companies opening their doors to newer, smaller, culturally diverse organizations; companies rethinking their mandate, size or programming; smaller companies regularly creating fluid collaborations to do large projects; companies rethinking the most basic assumptions of what makes a “company”; independent managers managing two or more organizations; evolving arts funding policies; and the potential of new concepts like shared arts platforms.

However our managers manage, and whatever structures we use to make art, it’s become clear to me that we will be successful only if we begin to move away, as a community, from the narrative of scarcity – the notion that whether we’re funders or funded, small or large, we never have enough resources. This mind expanding piece by David Dower presents a completely new way of looking at our world.

Rather than feeling caught in a straightjacket of scarcity, constrained, unable to experiment, at odds with each other, envious – why don’t we take a few steps back and realize that we’re part of an ecosystem that’s unquestionably one of plenty. Toronto and Ontario are rich in theatre and arts spaces and companies, skilled and talented professionals, opportunities to produce, overall size of audiences, and excellent artists.

Perhaps if we focused on building bridges between the resources each of us have, by way of truly inventive sharing and collaborating, we could maximize what we have together and help each other thrive.

I wonder if our new cultural leaders are already thinking that way.

(Thanks to Andrew Taylor for linking to David Dower’s piece and rocking my world.)

 

Posted in Audience Development, Collaboration | Comments closed
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