Purpose of Social Media in the American Orchestra Field - Part 2 - The Changing Strategies of Marketing and Public Relations Due in Part to the Influences of Web 2.0 Applications

The way arts non-profit organizations interact with individuals is constantly changing and evolving.  This trend is true of marketing and public relations for organizations in all industries, too.   As David Meerman Scott asserts his 2009 text, The New Rules of Marketing & PR, there are currently new rules that everyone is learning to live and play by.  What Scott’s work focuses upon most is how interactions are different in this new environment.  To him marketing and public relations is no longer a one-way announcement of events and news.  The focus now is on developing authentic relationships with individual relationships.  Marketing and public relations can no longer be solely based on what organizations want to tell people, it is now also about what they want to say back and meeting their needs.  Web 2.0 applications are the platform where these new strategies can be put into motion in the quickest, most effective, and most personal way.

Paul Gillin echoes these sentiments in The New Influencers (2009).  Chapter 7 of Gillin’s book is entitled “Putting the ‘Public’ Back Into Public Relations”.  In this chapter he focuses on how blogs and social media sites can be where the conversation is started by individuals and that conversation then moves to what becomes news.  Gillin’s main point is that the public relations field is now being driven by individuals and what they want to talk about which in turns forms where the news is and also decides where the organizations must focus its  marketing efforts.

While the way we interact with people is changing, there are general concepts that remain the same.  The much used arts administration textbook, Standing Room Only, by Kotler and Scheff is still relevant in terms of marketing demographics, individualization and various strategies (1997).  What the text is lacking and needs to be supplemented with is a focus on how these strategies can now be moved into Web 2.0 applications.  The same is true of Relationship Fundraising (Burnett, 2002).  Here Gillin’s thoughts are echoed on letting the conversation be driven by the interests of the individual.  While Burnett is focusing on fundraising he is also building relationships, which are one of the reasons Web 2.0 applications should be utilized.

It is clear that experts are now focusing on what the individual wants to hear, see and talk about when deciding how to present information to the public.  This is where Web 2.0 applications are relevant as they are a mechanism for achieving these new standards and doing so with minimal cost and maximum results.

The proceeding research looks at how orchestras in America are using social media / Web 2.0 applications.  Social media is one of the hottest topics today.  For many it is changing how businesses are run and how orchestras interact with their various audiences, patrons, and clients.  Organizations are encouraged to use this resource to help support their missions.  While there have been many works published on how to use social media, at the point this survey was distributed, no one had done a study to quantify how the field of American orchestras were actually using social media.  This study introduces those detailed findings to better understand what is occurring in the field.

The research portion of this study is purely quantitative.  To prepare for distributing the survey, email addresses of contacts were collected for the entire membership of the League of American Orchestras as of November 2011.  The orchestras surveyed therefore represented organizations with budgets as large as $100,000,000 and those with budgets less than $100,000.  All orchestras in America are categorized by numbers 1 through 8.  These numbers represent their budget size, with 1’s being the largest sized budget organizations and 8’s being the smallest.  Due to the drastic differences in sizes, the survey was distributed to the Executive Director, General Manager, or individual who was designated in charge of the administration for orchestras with budgets in the 5 to 8 groups.  For the 1 to 4 sized groups the survey was sent to the head of the organization’s Marketing Department.

The analysis of the collected data focuses purely on the quantitative results yielded from the survey, making no assumptions to the meaning.  The recommended strategies section of the paper draws assumptions on what orchestras could do to be more successful in the areas they indicated within the survey where they wanted better results and / or more audience engagement with their social media offerings. 

Purpose of Social Media in the American Orchestra Field - Part 1 - Introduction

While Web 2.0 applications, also known as social media, have gained traction in arts marketing, researchers are still determining their functions as well as factors for success.  This paper will define what is presently happening among practitioners and then suggest strategies rooted in the stated objectives of American orchestras.  Participation and awareness of social media can be tracked via simple usage statistics.  However, more research is needed to determine how these factors translate into the bottom line of attendance and donations for non-profit arts organizations.  While the initial sections of this paper introduce quantitative findings of a specific survey focusing on American orchestras, a review of the relevant literature includes some of the techniques for Web 2.0 applications that are showing definitive, positive results.  To determine the definition of success in social media, the literature review findings are compared with the quantitative data collected through the survey.  These findings are discussed in the recommendations section of this paper.  

Media is an instrument of communication.  Examples of common media would be newspaper or radio.  The difference in social media is it is a social instrument of communication with a more direct connection with the intended audience.  Regular media is a one-way street where an individual can read a newspaper or listen to a report on television, but that individual has very limited ability to give thoughts on the matter.  Social media is a two-way street that gives the consumer the ability to communicate back to the organization.  Examples of Web 2.0 applications are Facebook, Twitter, YouTube, Flickr, Pinterest, MySpace, Foursquare, LinkedIn, Bebo and other blog sites, MeetUp, Google+, Plaxo, Flixster, among many other sites that foster communication among participants.  Commonly mistaken for social media but not Web 2.0 applications are websites and e-blasts.  Websites and e-blasts are useful tools that can help link recipients to Web 2.0 applications but on their own they are only mechanisms that give information but do not receive it.  As defined above, if an information source only relays news in a one-way fashion, it is not social media.

The literature review provides information which addresses these issues and raises further questions requiring continued investigation as new technologies emerge, adapt, and change.  The literature addresses such questions as: What is success in Web 2.0 applications / social media as used by non-profit arts organizations?  Are arts organizations using Web 2.0 applications for the purpose of increasing participation or just to enhance awareness?  Is the primary goal awareness or participation?  How should social media translate into financial benefits for an arts non-profit organization?  What strategies are proven to show positive results for arts non-profit organizations?  Conversely, what are ineffective Web 2.0 practices?

These questions are important.  The answers will establish clear definitions of success for awareness, participation, and financial gains.  Success must be defined to show how awareness and participation in social media translate into financial gains.  From understanding this concept, it will bring forth the examination of strategies for behavior and use of Web 2.0 applications which are currently being employed by arts non-profit organizations, to understand which of these strategies are effective and which are not.

This review addresses: (1) various discussions on how general marketing strategies are changing with the increased uses of Web 2.0 applications; (2) specific strategies being recommended for non-profit arts organizations; and (3) examples from the field including articles describing efforts and comparisons / critiques of several specific social media sites.

The use of Web 2.0 applications is an emerging marketing technology that, if applied effectively to arts non-profit organizations, will deliver maximum impact with minimum cost.  As arts administrators utilize Web 2.0 applications they create large scale market presence, awareness, and participation opportunities that generate expanding revenue sources. 

The most significant limitation of this study is that Web 2.0 applications are a new and emerging field.  Therefore the study is confined to the state of the field at the time in which the research is conducted.  Additionally, while the strategies defined in this paper are currently proven to be successful in various ways, these strategies will continue to evolve.  The thesis will still be valid as a source for current day practices and could later become an example of best used strategies during a specific time period.

A word about potential confirmation bias which comes from a decade of working with symphony orchestras; while I begin this project with an open mind, I expect to find that social media is most effective when word of mouth strategies are applied online, there are specific known objectives and methods of postings, and when an organization markets itself with a personality with which their audience can identify.  I believe that frequency and levels of activity also affect measures of success.     

10 Recommended Social Media Strategies

To be successful with social media applications, social media interactions should be treated the same as face to face interactions.   When it comes to successful strategies for Web 2.0 applications, various experts and sources (i.e.: Bauman, Fost, Gillin, Kanter, Sernovitz, etc.) agree with these ten main points:

1. Organizations should be active and regular but not excessive
2. Use techniques that start conversations and ask questions.
3. Allow an organization’s personality to show.
4. Do not only post when and where events are.
5. Ask for it the actions that are wanted from fans / friends / followers.
6. Present materials in a fashion that is specific to the arts medium.
7. Link Web 2.0 applications together to form unity when possible.
8. Match off line branding and online image.
9. Employ Word-of-Mouth-Marketing strategies as often as possible.
10. Know who the audience is.

Emotional Arguments Seldom Win Grants

Credit for this article goes to Jim Abernathy and it was originally published March 2013 in Volume 6, Issue 3 of {Centered}, a publication of The Grantmanship Center.  The bullet points are an excellent reminder for seasoned grant writers and wonderful advice for those learning.

Cutbacks in government funding, reductions in foundation grants, and declines in individual giving - these have combined to put enormous pressure on organizations that provide social services. In "Writing Grant Proposals for Faith-Based Organizations" (CharityChannel, February 13, 2013), Ron Flavin says many grant requests from faith-based social service providers fail because they use emotional arguments. While such arguments may be a powerful way to attract individual donors, grantmakers generally base their funding decisions on more objective criteria.  Flavin's advice, on how to make a strong case in a grant request, is sound for both faith-based and secular organizations: In the needs section, use recent and relevant statistics from reliable sources. Don't mix goals with objectives.  Goals are broad statements. Objectives should be specific, measureable, attainable, reasonable, and time-specific. Draw a clear relationship between the activities of the project for which funds are requested and the goals and objectives of that project. Include a time line for the activities. Show that your organization has the capacity to manage the project. Provide examples of similar efforts you've managed in the past, and describe the background and experience of staff who will be doing the work. Explain how you plan to collect information on the progress of your project, use that information to evaluate your performance, and use the evaluation to improve your work.

Example of Telemarketing Script for Donations

Large arts non profits aren't the only ones who can make calls for donations.  Board members, artists, staff, and even volunteers can help bring in donations with a little help and guidance.   

Here is an example of a telemarketing script for a non profit with a $300,000 budget.

What the Ask is for?

Donations:  As ticket sales only cover about 33% of our organizations income, donations are vitally important to sustainability.

Script

Introduction

Good evening, may I speak with (Mr./Mrs./Ms./Dr. Last Name)?

My name is                              and I am a Board Member / Musician / Staff Member / Volunteer with The Orchestra of the Southern Finger Lakes. I wanted to take a few minutes of your time to talk about the letter you recently received from us. Did I catch you at a good time?

(If no, thank them for their time and ask if there would be a better time to call them back.)

Appeal

You should have recently received a letter regarding our annual fund campaign.  As mentioned in the letter, The Orchestra of the Southern Finger Lakes had an outstanding 2009 -2010 season with tremendous community involvement during our Music Director and Conductor Search.  Single ticket sales tripled, more than 7,500 community members attended an OSFL performance, and over 2,500 educational experiences were provided. 

However, ticket sales only cover one third of the entire operating budget.  Without the generous support of our donors like you, the orchestral performances and educational youth programs would not exist. 

This upcoming is season is especially challenging.  With the economic problems our country and community are facing we have been forced to produce one less OSFL concert than usual.  Our goal throughout this year is to ensure that we will be in a position next season to bring our fifth concert back. 

We hope you will help us with this.

1st Ask

We really value your support as an attendee.  Again, as sales only count for 33% of the income we need to provide outstanding concerts, would you be willing to make a first time donation?

2nd Ask

Thank you for your last gift of $___.  Please consider a gift this year of ($ 10% increase).  This increase will help to ensure a successful season helping all of us to be ready for our normal number of concerts next season.

If no to increase in 2nd Ask

I understand that a 10% increase may not work for you now.  Support at any level is critical for the ongoing operations of this wonderful organization.  Please consider a gift of $ at the same level you gave last year. 

Donor Requests Something in the Mail, No Commitment

We can definitely send you some information about The Orchestra and charitable donations in the mail.  Let me verify that our records are correct.  Do you still live at (address)? 

Wait for “Yes”

If “No,” get new address info, and make change on donor’s record sheet.

Pledge Confirmation

Wonderful!  Thank you very much for your gift of X.  This really means so much to us. 

Would you like to pay by credit card this evening?  (Fill out credit card slip)

If donor is worried about credit card security:

Once I record your credit card information, it is secured internally at the office.  We adhere to donor confidentiality rights and will not use any of this information for other purposes nor will we share this information outside of the office. 

If still does not want to give a credit card number,  Should I have our office bill you so we can recognize you right away for your support?  We will send a return envelope for your check.   (Make a note the check will arrive in the mail)

Thank you again for your ongoing support!  We look forward to seeing you at an upcoming concert.  Goodbye.

Refusal

Thank you for your time this evening.  Should you be interested in making a contribution at a later time, feel free to call The Orchestra office at (XXX) XXX-XXX.  Have a good evening. 

Leaving a Message on Their Machine

Good evening!  This is (Your full name) and I am a Board Member / Musician / Staff Member / Volunteer with The Orchestra of the Southern Finger Lakes.  

You should have recently received a letter regarding our annual fund campaign.  As mentioned in the letter, The Orchestra of the Southern Finger Lakes had an outstanding 2009 -2010 season with tremendous community involvement during our Music Director and Conductor Search.  Single ticket sales tripled, more than 7,500 community members attended an OSFL performance, and over 2,500 educational experiences were provided. 

However, ticket sales only cover one third of the entire operating budget.  Without the generous support of our donors like you, the orchestral performances and educational youth programs would not exist. 

This upcoming is season is especially challenging.  With the economic problems our country and community are facing we have been forced to produce one less OSFL concert than usual.  Our goal throughout this year is to ensure we will be in a position next season to bring that concert back.  We hope you will help us with this. 

I hope you will consider renewing your annual fund gift before to help us start our season. 

We will attempt to call you again to discuss how you can help support orchestral arts.  If you have any questions in the meantime, feel free to call The Orchestra office at (XXX) XXX-XXXX. 

Thank you for your time and have a good evening! 

Make a Library of Stats for Your Proposals

Statistics are wonderful resources!  They show a possible investor, sponsor, donor, etc. that you know who you are and you know who your organization affects / supports.

Financials are a type of statistic.  For those who live in states were the CDP (cultural Data Project) is now required, a word of advice, READ YOUR CDP!  As an occasional grant panelist it is always obvious which organizations had one person fill out the CDP while another wrote the narrative.  And it is glaring when the narrative does not match the story in the financials.  Be smart, know who your own organization is.

Credit for this article goes to Jim Abernathy and it was originally published March 2013 in Volume 6, Issue 3 of {Centered}, a publication of The Grantmanship Center.

Make a Library of Stats for Your Proposals

By using good statistics in your proposals, you bolster your arguments for funding. So why not start collecting relevant stats now? This way you'll have more choices about which ones to use when it's time to write a new proposal, says Diane H. Leonard in "Putting the Horse Before the Cart: Gathering Statistics Prior to Writing Grant Applications," CharityChannel, February 6, 2013). Leonard advises against using the same stats in every proposal you submit; instead, you should think about which, of the relevant statistics available, are most likely to clinch your argument with a particular grantmaker. She offers these tips on how to make sure you'll have a wide range to choose from: Collect and save statistics related to your program areas as you come across them. Remind coworkers and program staff to let you know when they come across useful research or statistical data. Find out which sources of data are the most widely accepted in your program areas. Don't limit yourself to outside sources. Collect stats from within your organization too: - Ask program staff to give you monthly or quarterly updates on progress in achieving program and organizational goals. - Collect data that was developed for grant reports, whether or not that data was used in the reports. - If your organization has an in-house evaluation staff or uses evaluation consultants, ask them to identify the statistics they believe are most significant.

Explaining an Arts Non Profit

A helpful video to show board, staff, and supporters for a giggle and a reminder as to how many people see arts non profits.

Sample Form to Aid in Clarifying Board Responsibilities

Often we ask people to join Boards without being clear in what our expectations are.  Clarity from the start of a relationship is key to helping Board Members be as successful as possible and allowing them to aid an organization and move it forward.  Too often people are asked without any explanation of what will be expected of them.  Outlining responsibilities from the start and asking for signatures to show these responsibilities are understood and agreeable allows all to move forward with the organization as a priority.

While the below was developed specifically for an orchestra, these expectations and the form they can be made into can be easily adapted for a variety of arts organizations.

MISSION of the ABC PHILHARMONIC

The mission of the ABC Philharmonic is to strengthen our community and region by providing high quality live orchestra concerts and programs that enrich, entertain, and educate people of all ages.

ABC Philharmonic Orchestra Board of Governors

Responsibilities for Membership

Election to the ABC Philharmonic Board of Governors brings with it a responsibility of trusteeship.  It calls upon the person elected to dedicate time, thought, and energy as well as financial support toward the viability and progress of the ABC Philharmonic.  Please check each box to show understanding, sign at the bottom of the form, and return to the office.  Each Board member is expected to:

   Read and understand the By-laws of the ABC Philharmonic.

   Attend Board Meetings.  It is imperative that Board Members attend all meetings so that they can be informed of Board business and vote knowledgeably on issues brought before the Board.  It is understood that some Board business may be sensitive and therefore remain confidential.

   Attend Board Training Programs.  Board Members need to be knowledgeable about the responsibilities and concerns of the Board.  Participation in Board orientations, updates, and retreats is expected of each Board member.

   Have a Good Working Relationship with each other, the Executive Director, and the Music Director.

   Recommend Qualified Individuals with Relevant Skill and Experience as possible nominees for membership on the Board of Governors.

   Give to the Annual Fund.  Board Members set a leadership example by contributing to the Annual Fund Drive.  In order to receive maximum grant funding, a personal contribution to the Annual Fund Drive is expected of each Board Member.

   Be a Subscriber.  Board Members are expected to purchase a season subscription or flex package, attend concerts regularly, and commit to bring a guest(s) to concerts. 

   Be Active Fundraisers.  The Philharmonic’s financial stability depends on contributions from private individuals, corporations, and foundations.  Board Members are expected to identify potential donors and sponsors, actively solicit contributors, and participate in the fundraising and sponsorship solicitation efforts of the Board. 

   Accept Appointment to and Actively Participate in Committee Work.  The work of the Board is accomplished for the most part in committees.  Participation on committees as assigned is a requirement and an opportunity to become a more knowledgeable and effective Board Member.

   Function as an Ambassador for the ABC Philharmonic in the Community.  Each Board Member is an advocate of the Philharmonic and should take every opportunity to increase public awareness of the organization’s contribution to the cultural life of the region and to promote public support for its ongoing programs and services.  

   Use Contacts, Talents, and Influence to Benefit the ABC Philharmonic.  The Board should be as diverse as our audiences and community and each member brings a unique combination of strengths to the Board.  These abilities, which include such areas as influence with individual and corporate donors, artistic knowledge, community relations and regional representation, knowledge of the orchestra field and/or the ABC Philharmonic in particular, should be used to promote the vision of the organization.

I have read the above responsibilities, understand them, and accept election to the ABC Philharmonic Board of Governors.

_________________________________________________     ______________________________

Signature                                                                                         Date

                                               

________________________________________________      ______________________________

Signature of the Chair of the Board of Governors                             Date

By Request for a Music Teacher

Posting for Jerry Anderson:

Dear Parents,

I am sending this somewhat unconventional e-mail to speak to you about the dangers our music department is facing.  I am sure that most of you are aware that our district is currently dealing with a financial crisis.  Unfortunately, as a result, music courses and musical opportunities have the potential to be cut and/or eliminated. 

As most of you know, music is far more than just performing in an ensemble.  Countless studies have shown that music education improves social skills, brain development, cognitive abilities, critical thinking, and yes, even higher test scores.  But I think most of us would argue that music education is even more than that. 

If music education is important to you and/or your child, there will be an advocacy meeting in conjunction with the other music educators in the district and the McDowell band aides program. We are all working tirelessly to “band” together to help our cause.  The meeting will discuss ways to get involved and make our voices heard. 

The meeting will be held this Tuesday night, the 16^th, at the Millcreek Sportsmen’s club at 7:00p.m.  Due to the clubs liquor license they are asking that we keep the meeting adults only.  At this meeting we can work together to find an additional location for future meetings that could include student input. 

Please try to attend and invite any parents you know that would be helpful in working with us to preserve these essential performing arts and music programs in our schools. 

I leave you with a quote from Gerald Ford, former President of the United States: “Music education opens doors that help children pass from school into the world around them-a world of work, culture, intellectual activity, and human involvement.  The future of our nation depends on providing our children with a complete education that includes music”.

Sincerely,

Jerry Anderson,

Walnut Creek Music Teacher

A Creative Way to Thank Your Donors

I will confess, this video created by Bowling Green State University to celebrate those who made building their athletic center, The Stroh Center, possible is one of my favorite unique ways of thanking donors.  A video that goes viral to almost 200,000 people in a fairly short time and shows the faces of their donors in a non traditional way, why aren't more arts organizations doing this?  Think of this as a challenge to be more creative in how you say thank you next time.

Recommended NEA Advocacy Talking Points

Please use the below points as an aid in training Board and staff members about how funds from the National Endowment for the Arts affect the U.S. economy, aid arts non profits, and leverage additional funding.

• The nonprofit arts industry generates $166.2 billion annually in economic activity, supports 5.7 million full-time equivalent jobs in the arts and related industries, and returns $12.6 billion in federal income taxes. Measured against direct federal cultural spending of about $1.4 billion, that's a return of nearly nine to one.

• Grants through the NEA are widely distributed to strengthen arts infrastructures and ensure broad access to the arts. 

• The NEA distributes 40 percent of its program dollars to state arts agencies, on the condition that each state devotes its own appropriated funds as well.

• In partnership with the NEA, state arts agencies awarded 24,000 grants to 18,000 organizations, schools, and artists in more than 5,100 communities across the United States.

• Federal funding for the arts leverages private funding. The NEA requires at least a one-to-one match of federal funds from all grant recipients—a match far exceeded by most grantees.

• On average, each NEA grant leverages at least seven dollars from other state, local, and private sources. Private support cannot match the leveraging role of government cultural funding.

Arts Advocacy Day - April, 9th, 2013

From the League of American Orchestras - 

Join in a National Day of Arts Advocacy on April 9!

April 8, 2013, Washington, D.C. – Tomorrow, April 9 is National Arts Advocacy Day – please join with arts advocates across the country in speaking up in support of the arts! The League, a national co-sponsor of Arts Advocacy Day, participates in the legislative planning committee that creates the messages carried by arts advocates in the nation's capital and nationwide. Join us in this special day of united advocacy: it only takes a few minutes to contact your Senators and Representative on the issues that matter most to you!

1) Write to Congress on April 9
Customize any of the letters we have set up for you in a range of advocacy issue areas including protecting charitable giving incentives, strengthening arts in education in our nation's schools, and supporting the capacity for the National Endowment for the Arts to expand public access to performances, preserve great classical works, and nurture the creative endeavors of contemporary classical musicians, composers, and conductors. It pays to personalize our sample letters with a few details from home. Congress wants and needs to hear real stories and examples that tell them of the local impact national policy has! Elected officials regularly ask their staff to track the top issues motivating constituents to call or write, so make sure to keep the arts on your Congress person's radar!

Click here to see the full range of issue areas impacting orchestras and choose one or two that matter the most to you.  

2) Engage with elected officials at home
Advocacy is most powerfully sustained in your own community, so take some time to maintain relationships throughout the year. View our 2013 Calendar of Advocacy Opportunities to see when your representatives will be home, then schedule a meeting and continue communicating with them throughout the spring, summer, and the rest of the year. When members of Congress are home, take advantage of the opportunity to invite them to tour your offices, attend an event, and see powerful community programs in action.

Share your advocacy stories with us and don't hesitate to contact League Government Affairs staff with any questions. Thank you for joining advocates nationwide in support of the arts on Arts Advocacy Day and every day! 

The Changing Strategies of Marketing and Public Relations Due in Part to the Influences of Web 2.0 Applications

The way arts non-profit organizations interact with individuals is constantly changing and evolving.  This trend is true of marketing and public relations for organizations in all industries, too.   As David Meerman Scott asserts his 2009 text, The New Rules of Marketing & PR, there are currently new rules that everyone is learning to live and play by.  What Scott’s work focuses upon most is how interactions are different in this new environment.  To him marketing and public relations is no longer a one-way announcement of events and news.  The focus now is on developing authentic relationships with individual relationships.  Marketing and public relations can no longer be solely based on what organizations want to tell people, it is now also about what they want to say back and meeting their needs.  Web 2.0 applications are the platform where these new strategies can be put into motion in the quickest, most effective, and most personal way.

Paul Gillin echoes these sentiments in The New Influencers (2009).  Chapter 7 of Gillin’s book is entitled “Putting the ‘Public’ Back Into Public Relations”.  In this chapter he focuses on how blogs and social media sites can be where the conversation is started by individuals and that conversation then moves to what becomes news.  Gillin’s main point is that the public relations field is now being driven by individuals and what they want to talk about which in turns forms where the news is and also decides where the organizations must focus its  marketing efforts.

While the way we interact with people is changing, there are general concepts that remain the same.  The much used arts administration textbook, Standing Room Only, by Kotler and Scheff is still relevant in terms of marketing demographics, individualization and various strategies (1997).  What the text is lacking and needs to be supplemented with is a focus on how these strategies can now be moved into Web 2.0 applications.  The same is true of Relationship Fundraising (Burnett, 2002).  Here Gillin’s thoughts are echoed on letting the conversation be driven by the interests of the individual.  While Burnett is focusing on fundraising he is also building relationships, which are one of the reasons Web 2.0 applications should be utilized.

It is clear that experts are now focusing on what the individual wants to hear, see and talk about when deciding how to present information to the public.  This is where Web 2.0 applications are relevant as they are a mechanism for achieving these new standards and doing so with minimal cost and maximum results.