Scope and arrangement
The records of the Negro Ensemble Company (NEC), 1967-1993 document the work of the most successful African-American theatrical company in the United States to date. In addition to information about the productions, the records also document the growth of the company through the development of its administrative structure and of the funding base that keeps a theatrical company alive.
The collection is divided into three series, thirteen subseries, and eighteen sub-subseries. The titles and dates are as follows:
Types of materials found in the Administrative and Production series include: advertisements, art boards, audio and video tapes, box office statements, budgets, by-laws, certificate of incorporation, contact sheets, contracts, correspondence, costume plots, flyers, grant applications, handbills, handbooks, index cards, insurance materials, invoices, itineraries, light set-ups, lighting plots, light board hook-ups, meeting minutes, membership lists, memoranda, mock-ups, newspaper clippings, notes, theater tickets, personnel materials, photographs, posters, press kits, programs, prop plots, proposals, reports, resumes, royalty statements, a scrapbook, scripts, scripts log, set designs and drawings, stage manager's daily [performance] reports, teaching materials, and telegrams.
During processing many items were removed from the collection for one or more reasons including duplicate items; information not pertinent to the Negro Ensemble Company, or, in some cases, African-American theater in general; materials of little or no research value; private information on members of the company; or information that is available in another series or complied format. Examples of such materials are: regular payroll, pension and welfare payments, personnel materials such as vacation requests, Workman's Compensation claims and related medical bills, W-2 forms, house seat logs, and annual reports from other companies. These materials have been permanently removed from the collection. Posters, audio and videotapes, and photographs have also been separated and transferred to the appropriate divisions within the Schomburg Center. A separation record for each transfer is a part of this finding aid. Other materials have been separated, but not permanently removed and have been restricted due to privacy issues. These materials include contracts or any materials with a person's Social Security number on it and personnel records. Permission of the Manuscripts, Archives and Rare Books Division curator is required to view these items.
The Negro Ensemble Company records are arranged in three series:
- 1967-19929.2 linear feet
Series was developed after several conversations with key figures (Gerald Krone, Leon Denmark and Debbie McGhee) from the Negro Ensemble Company and examination of the records. Judging from the small volume of records for each department, it would appear that much material is missing. The bulk of the records date from the 1980's, after the Development and Marketing Departments were formally established and the Marketing Director position was instituted.
Some materials date from the 1970's, particularly in the Production series, but the Administrative and Financial series document the Negro Ensemble Company more strongly during the 1980's. Of the three founders of the company, Douglas Turner Ward, Robert Hooks, and Gerald Krone, no substantial office records were found for Artistic Director Ward or Executive Director Hooks. Hooks is reported to have left the day to day participation in the company to pursue other career interests after the expiration of the original three-year Ford Foundation grant in 1970. Some materials for Ward can be found under the "Artistic Director" subseries. As the Artistic Director, founder, and the spokesperson for the NEC, Ward's correspondence is scattered throughout the Administrative files. Robert Hooks, however, is completely absent from all of these records in any administrative capacity.
At its founding, Gerald Krone held the position of administrative director as well as secretary/treasurer of the company's board of directors. In 1971 he stepped down from day to day management of the company as administrative director, but retained his position on the board of directors. Krone remained involved with the NEC on a consultant basis throughout the 1970's, under the title "Director of Special Projects. " Files from his tenure in that position can be found in the Special Projects subseries. These records include documentation for the television broadcast of two NEC productions: Ceremonies in Dark Old Men and The First Breeze of Summer, along with a proposal for creating a weekly series for the latter; the film A Soldier's Story; and other projects. The tour files for Nevis Mountain Dew were also among the Krone files, which may indicate his management of that tour production. For the sake of consistency they have been transferred to the Tour subseries in the Production records. Krone returned to the NEC full time as managing director in 1978, staying until 1981. These files are found under the Managing Director subseries.
The administrative director who followed Krone in 1971, Frederick Garrett, is not well represented in these records, nor is the general manager directly, other than in the production files for the off-Broadway venues (see "Season Files").
Although the founder and sole artistic director, Douglas Turner Ward's presence in these records is more "flavor" than substance. He determined the production schedule and casting for each season, thereby molding the character of the company, however the documentation for much of his creative and administrative contribution is missing from these records. The subseries, Artistic Director, 1965-1993, (10 lin. in), consists of materials pulled together from undesignated parts of the collection to represent Ward and his office and/or function. It includes, in particular, early correspondence congratulating Ward for the success of his pre-NEC productions, Happy Endings and Day of Absence (1965-66). The file entitled "Scrapbook, 1965" contains reviews, congratulatory telegrams and notes for these productions. The scrapbook was unbound and placed in a folder for preservation reasons. Other files contain letters to Ward, primarily regarding scripts submitted for production consideration.
Of particular interest is the script log, which lists the scripts on file with the production office, and sometimes includes a brief outline of the play, noting characters and a brief summary of the plot. A related card file found in boxes 5 and 6 contains 4 x 6 index cards listing the plays by author and title of the play.
The Board of Directors subseries, 1967-1991 (5 lin. ft.) serves to document the founding of the board and many of the major decisions made by the company and provides an overview of all that the NEC aspired to accomplish. These records often do not include the minutes for every board or sub-committee meeting, including only agendas and handouts. Lists of funding sources and amounts granted are often included, as are the by-laws and the certificate of incorporation, other financial information, board member lists, correspondence, and some clippings. The earlier years of the company are not as well documented as the later ones.
The Managing Director's Files subseries, 1978-1991 (3 lin. ft) consist of two sub-subseries documenting Gerald Krone's tenure, (1979-1981), and that of Leon Denmark, (1981-1989). Two items of note regarding Denmark's records. Firstly, a large part of the managing director's job was fund raising and development, therefore grant proposals to the National Endowment for the Arts (NEA), New York State Council on the Arts, and foundations, in particular the NEA Advancement Grant and Four-year Work Plan were written by him. In order to keep all grant applications together, these and the early grant applications written by Treasurer Gerald Krone, have been moved to the Financial Records series (see: Development/Fund Raising section). Secondly, the McDonald's Literary Awards Contest created to support and encourage amateur authors, playwrights, and poets, was administered by Denmark, thus these records are included here. Note that only the playwright entries to the contest have been retained onsite. Poetry and fiction entries have been stored off-site in boxes 16-7.
Other files of note in the Managing Director's records: the late Adolph Caesar tribute, the Bert Andrews Project, which was created to assist in rebuilding his photograph collection of theater stills which was destroyed in a fire, the Feasibility Study (1981) that examined a move to a larger theater, the NEC Needs Assessment of 1988, and the Ford Foundation Report Summary from 1983.
The Administrative Office Files, 1975, 1980-1989 (2 lin. ft.) subseries are made up of records which do not appear to have a clear departmental association, but are obviously administrative in nature, and, therefore are grouped under this general subseries title. They consist of five sub-subseries. The Alphabetical File was found as a unit, but because it was unlabeled it was unclear who created the records. A possible candidate is William Edwards, who was the Administrative Assistant from approximately 1981 to 1983.
The second sub-subseries, the General Files, also appeared to be unaffiliated with a particular office or creator, though some files may have belonged to Managing Director Leon Denmark and some files may have been belonged to Debbie McGee, executive assistant to Douglas Turner Ward between 1978-1983 (see "Interns" files). Others who may have created files found here include comptroller John Barrera, Administrative Director Fred Garrett, and tour coordinators David Visser and Claude M. Johnson. Files of note in this series include house budgets for 1986-1991, the Ford Foundation Reports, 1979-1980 in the General Files sub-subseries, and the NEA Institutional Advancement Grant and Follow-up folder in the Alphabetical File.
Files in the next two sub-subseries, the Development Department and the Marketing Department, were found with materials in the Administrative Office Files, thus the decision to keep them in the Administrative Files series. (For more information about each department, see the Financial Records Series.) The Development Department files, 1971-1988, arranged alphabetically, are largely composed of correspondence to corporations and black businesses soliciting support, in addition to information about benefits, budgets, and press releases. The bulk dates of the files, fiscal years 1983 and 1986, correspond both with the further development of the Development, Marketing and Subscription departments, and the effects of the success of A Soldier's Play.
The small group of Marketing Department files, 1982-1988, provide a snapshot of the larger body of material found in the Marketing/Subscription sub-subseries in the Financial Records series. These files contain general correspondence, fund raising materials and events information.
The Selected Personnel (Restricted Access) sub-subseries are comprised of files for notable company players, authors and administrative personnel including (but not limited to) Leon Denmark, Charles Fuller, Samuel Jackson, and Denzel Washington. Albeit many of the folders contain little information, the files are restricted primarily because all contain private information. Many of the folders contain personal data sheets, press releases, contracts, resumes, and clippings. Because some of these materials contain private information, these files are restricted. Permission of the curator is required to use the files.
- 1966-199087.5 linear feet
Series documents the performance life of the Negro Ensemble Company. This series is made up of six subseries: Season Files, Broadway Files, Tour Files, Clippings, Play Scripts, Special Projects, and Restricted Files.
The Season Files, 1965-1992 (14. 5 lin. ft.) document all the productions mounted in NEC's first home theater, The St. Mark's Playhouse in Greenwich Village, and later, Theater Four. (A list of all productions, by season, author, and title is included in Appendix A). Occasionally other New York City theaters were used for Negro Ensemble Company productions (e. g., the Lambs' Theater, The Cherry Lane Theater) and these are also included among the Season Files. The folders are arranged by theater season, with general and special events files for each season leading the list, followed by files for each play, usually in the order in which they were performed. This series' organization, for the most part, is in the same order created by the NEC, as are the folder titles, with very few exceptions. While the play titles fall in approximate chronological order of production, in some instances conflicting or missing information may have resulted in a few plays being misfiled.
There is some confusion about the performance dates of several productions of Two Can Play mounted between the 1984-1985 and 1987-1988 theater seasons. The play was produced and had a highly successful run at Theater Four. It closed according to schedule in order to produce the next title in the series, but was quickly re-mounted at another theater, perhaps in hopes of reaping continued success and financial benefit. Two Can Play was then re-produced a third time, but it is unclear from the materials in which season it was re-produced, particularly as the files for all three of these productions came together in one bundle. Folders were placed in the 1984-85 season, (produced twice), and in the 1987-1988 season as could best be determined by the information found in the records themselves. However, the production list supplied by the NEC lists productions in 1984-85 and 1985-86 seasons only.
The Broadway Files, 1972-1990 (. 8 lin ft.) include production materials from three plays, First Breeze of Summer, Home, and The River Niger. The folders are arranged alphabetically, and contain various types of information including advertisements, contracts, correspondence, playbills, programs, and subject files. This small series does not contain every Broadway production mounted by the Negro Ensemble Company; most notably absent is their biggest success, A Soldier's Story.
The Tour Files, 1972-1990, (6 lin. ft.) include materials similar to the Season files, with the addition of itineraries, or audition materials, and occasional freight and cargo information for some productions. Most of the tour materials contained detailed technical information about the performance venue itself. Since this type of information can be found in published form, it was removed from the collection. Ground plans and light plots with related hook-up instructions for each particular venue were also removed, since each plot or design plan is merely a duplicate set in a different stage size or shape per individual venue. If a particular item provides the only example of the ground plan or light plot for a play within all the production materials, whether it was from the Tour, Season, or Broadway materials, then that item was kept. A set of light plots and/or ground plans for the 1980-1981 production of Home were retained as a sample of the working materials created for the average production. This set was chosen because it is the most complete, even though there are plans missing for several venues. Lighting and set design materials were also kept for A Soldier's Play because the set was uniquely designed to allow the same set pieces to be arranged to fit into each of three different types of stage shapes; diagrams of the different set-ups are included in the records. Oversized items such as set designs in stapled multiple sheets, light plots, ground plans (sometimes called floor plans), and oversized materials in fragile condition have been filed in an oversized box (see box 67). A removal form was placed in the file where the item would logically be found.
It is unclear whether the complete body of tour records was accessioned into the collection. There are large numbers of files for some of the productions, or multiple tours for an individual play (e. g., Home), on the one hand, but it appears that other productions merely had long-term engagements in one venue outside of New York City (e. g., The Isle is Full of Noises).
Posters for the following productions can be found in box 56: Black Circles, Ceremonies in Dark Old Men, Contribution, Daddy Goodness, Eden, Kongi's Harvest, Malcochon, The River Niger, A Soldier's Play, Song of the Lusitanian Bogey, String, Summer of the Seventeenth Doll, Two Can Play. There is also a poster for a benefit for the NEC featuring writer Nikki Giovanni. In addition, box 57 contains art boards and mock-up materials which were used to design posters and programs for several NEC productions. Some of the productions represented in these folders include Abercrombie Apocalypse, Black Body Blues, Brotherhood, The Brownsville Raid, Ceremonies in Dark Old Men, Daughters of the Mock, Day of Absence, First Breeze of Summer, The Great MacDaddy, The Harangues, Man Better Man, The Michigan, Nevis Mountain Dew, Old Phantoms, A Soldier's Play, Summer of the Seventeenth Doll Two Can Play, and Zooman and the Sign. Though the majority of the productions can be found singularly (e. g., First Breeze of Summer), a few are listed two or more to a document (e. g., The Harangues/Day of Absence & Brotherhood). This box of materials also contains miscellaneous images of the NEC including photomechanical reproductions of the cast, scenes from plays or from programs.
The Clippings File, 1968-1989 (1.4 lin. ft.) covers a variety of NEC productions, in a variety of venues (i. e., St. Mark's Playhouse, Broadway, tours and television). The productions are listed alphabetically and include Eden, The First Breeze of Summer, From the Mississippi Delta, God is a (Guess What) ?, The Great MacDaddy, Home, Livin Fat, Nevis Mountain Dew, Old Phantoms, Plays From Africa, The River Niger, A Soldier's Play, Song of the Lusitanian Bogey, The Sty of the Blind Pig, and Two Can Play. There are also files for founders Douglas Turner Ward and Robert Hooks, playwrights Charles Fuller, Joseph Walker, and Samm-Art Williams, and actors Francis Foster, Stephanie Mills, Roxie Roker, Esther Rolle, and Richard Roundtree. General information files also exist for the Negro Ensemble Company, the National Black Theater Festival and black theater in general.
The Play Scripts sub-subseries (72. 8 lin. ft) includes solicited and unsolicited scripts received by the Negro Ensemble Company. Many are complete, final versions and many are not. The Play Scripts received by the company that were performed in a reading, a staged reading, or developed into a full production have been separated into three groups: production, on-site, and off-site (*Off-site storage play scripts can be retrieved within 48 hours. Please contact the Manuscripts, Archives and Rare Books Division for more information). play scripts. Production scripts are those that were produced by NEC; they are annotated and can be found in boxes 60 to 67. Scripts denoted by two asterisks are legal-sized and can be found in box 63. The Special Projects files contains production materials (scripts, correspondence, contracts, rehearsal schedules) for several NEC productions which were produced for television and film including Ceremonies in Dark Old Men, First Breeze of Summer, and A Soldier's Play.
The on-site play scripts consist of scripts by playwrights who have more than one script either read or produced by the company (e. g., Charles Fuller, Steve Carter). These scripts may have been produced by the company, but are not annotated. On-site scripts are cataloged, and are accessible by playwright's name, title of play, or by the call number Sc MG 345, in the New York Public Library's catalog (CATNYP).
The last group, off-site play scripts, consist of scripts that are distinguished from the other categories in three ways; 1) these play scripts were un-annotated, 2) it does not appear that the plays were read or produced, and 3) the authors of these plays have only one title in the entire collection. A listing of these plays by the author's name and title appears in Appendix B.
The Restricted Files, 1967-1992, (2 lin. ft.) consist of contracts from 1967 to 1989 containing personal information. Permission from the curator is required to access these files.
- 1967-1991 [bulk 1982-1985]10.5 linear feet
Series partially documents the development and management of the company's funding base, its financial administrative structure, and its earned and unearned income. The types of documents which can be found here include balance sheets, box office tally sheets, brochures, budget flow sheets, campaign plans, cash disbursement journals, cash flow journals, cash receipt journals and logs, correspondence, cumulative logs, grant applications, invoices, ledgers, mailing lists, memorandum, operating statements, payroll registers, reports, strategic plans, telemarketing campaigns and scripts, and vouchers.
All files are arranged alphabetically. Certain financial materials (e. g., Ford Foundation Reports, 1979-1980, located in the General Files subseries, and the NEA Institutional Advancement Grant and Follow-up files, located in the Alphabetical File), have been kept in the files where they were originally found. Other materials have been restricted due to privacy issues. These materials include personnel records, contracts or any materials with a person's Social Security number on it. Permission of the Manuscripts, Archives and Rare Books Division curator is required to view these items.
The series is divided into three subseries: Fiscal Management, Marketing and Subscriptions and Development/Fund Raising. Each subseries contains records generated primarily by the following individuals and positions: Administrative Director/Director of Special Projects Gerald S. Krone; Managing Director Leon Denmark; General Manager/Director of Fund Raising Frederick Garrett; Director of Development Sidney Baker; Marketing Director/ Subscription Manager Porcia Howard; Marketing Director Tshaye Llorens; Ticket Service Manager Delphine Lester; and Director of Development/Special Events Diane Aubry. (Please note that multiple titles indicate that these individuals held more than one title during their tenure with the company).
The Fiscal Management subseries, 1967-1992 (bulk dates 1982-1986) (4 lin. ft.) serves as a general source of fiscal information. Due to the condition of the collection upon arrival at the Schomburg Center, it appeared that several departments' records may have been kept separately originally, but were later assimilated into the general office files when key staff members left the company, or when the company moved. Judging from the scarcity of materials and information for certain dates, particularly the 1970s, it would appear that some materials are missing. The bulk of the records date from the early to the mid-1980's, after the Development and Marketing departments were formally established. Financial records, particularly audit and accounting materials, are scattered for the first decade. Absent from the collection are the Ford Foundation records from 1968 through 1980. The bulk of the records found here date from 1982-1986. This subseries is divided into three sub-subseries: Audits, Box Office, Budgets.
The Accounting records consist of two folders: Accounting Department, 1982, which includes memoranda generated by Comptroller John Berrera; and Accounts Payable, 1987-1993, which contains a sampling of invoices and statements that provide a glimpse of the company's financial status in the late eighties and early nineties (see also: Box Office sub-subseries for cash receipts journal, 1988-1990). The Audit files, 1973-1993 contain auditors' reports, copies of business verification letters, charts of accounts, correspondence, and spreadsheets and ledgers created by the accounting firm, Lutz and Carr, and Certified Public Accountant Warren L. Frazier. These reports detail the company's assets and liabilities and include accounts payable, box office revenue, certificates of deposit, grants and contributions, insurance, office supplies, physical production costs, royalties, salaries, taxes, and travel. These reports also indicate restricted and unrestricted grants, and how this capital was used throughout the fiscal year.
The Box Office sub-subseries, 1973-1990, contains summaries of earned income from various NEC home theater, Broadway and tour productions. The Budgets sub-subseries, 1977-1991, primarily consists of budget forecasts, statements and a cash flow journal, and a cash receipts journal. The NEC's financial status in the early years can be found in Financial Reports, 1967-1984, which contain quarterly reports that predate the run of the Auditor's Reports, 1973-1990. There are also monthly balance sheets for fiscal years 1980-1985, which are unaudited tallies of the company's assets, liabilities, income and expenses, salaries, rents, investments and payroll. The bulk of these reports are incomplete; many have missing months or pages. Most reports are annotated and further detail the company's financial status per month.
The bulk of the Marketing and Subscriptions files, 1975-1990 (bulk dates, 1983-1986) (2 lin. ft.) subseries coincides with the NEC's most successful years. The subseries is divided into three sub-subseries: General, Advertising, and Campaign. The General, 1978-1985, sub-subseries is arranged by fiscal year and contains general information about several productions, and may contain duplicate information found in other sub-subseries (e. g., a small amount of Advertising materials is also found here).
Tally sheets for flyers, group sales, information pertaining to the development of the theater parties, mailing lists, marketing questionnaires, and correspondence generated by Marketing Director Tshaye Llorens, Ticket Service Manager Delphine Lester, Subscriptions Coordinator Porcia Howard, and Director of Development/Special Events Diane Aubry can also be found in these files. In addition, there are general subscription logs containing information on people who subscribed to the 2, 3 or 4-play subscriptions. These logs contain private information. *.
The Advertising, 1973-1985 sub-subseries is organized by production and consists of advertisements, related data, and invoices primarily generated by Krone-Olim Advertising, Inc.
The Campaign files, 1981-1986 reveal a rich source of information about the company's audience development strategies and include subscribers logs, mailing lists, and telemarketing initiatives. Contained within this sub-subseries are the Brochure files for 1985 that contain logs* of subscribers who registered as members through the brochure's coupon. In addition, there are letters to potential subscribers, newsletters, reports on audience development, schedules, program analysis sheets, and timelines. The Cumulative logs, 1985 include subscriber's name, amount of pledge and other pertinent information. * Group Sales, 1983-1986 files contain contracts, correspondence, employee worksheets, memoranda, projected sales reports, sales orders, rate lists, theater party information, and notes.
There is also specific group sales information for the season productions of Ceremonies in Dark Old Men, A District Line, Henrietta, Manhattan Made Me, A Soldier's Story, and Two Can Play, and a touring production of A Soldier's Play. In addition, there are also contracts and correspondence with ticket service agencies such as Anderson Associates, Broadway Tix, Inc., and Caryl Goldsmith. The Mailing Lists files, 1977-1979* include contact information for individuals who subscribed to the company, some prior to the establishment of the Development and Marketing departments.
The Telemarketing files, 1982-1985, 1986, contain information on telemarketing strategies, renewal subscriptions, information for a proposed telethon on a local radio station, subscribers, and information for the telephone campaign for the production Abercrombie Apocalypse. Additionally, there is a file with training information for the campaign, telephone sales progress reports, tally sheets for tickets sales, and notes about the success of telephone campaigns to stimulate sales for future productions.
Also included is a file for the Discount Voucher Program, 1984-1985 that was designed to encourage schools, organizations, and employees of corporate sponsors to attend NEC productions. Although limited, the information found here consists of logs and a program description.
Dating to the founding of the Negro Ensemble Company, the Development/Fund Raising, 1967-1991 (5 linear ft.) subseries contains ample information about the strategies that the company employed to raise funds. Gerald S. Krone, Leon Denmark and Frederick Garrett created many of the Development/Fund Raising records found here, before and after the inception of NEC's Development Office in 1978.
The Development/Fund Raising subseries is divided into the following five sub-subseries; Benefits, Corporate, Foundations, Government, and Individual Contributors, each reflecting the different sources from which funds were solicited. With the exception of the Bert Andrews Benefit, which was held to assist the legendary photographer rebuild his collection after it was destroyed in a fire in 1985, the Benefits files, 1981-1988 document several fund raising events. Materials found in these files describe the planning and execution of various special events projects.
Much of the information contained therein includes correspondence with potential sponsors and entertainment notables (e. g., Phylicia Ayers-Allen, Bill Cosby). There are also logs, mailing lists, programs, clippings, and reports. Included are files for a program that the Nzinga Society, a New York City-based organization for black women in communications, held for NEC. Other files include "A Salute to Black Classics of Dance and Music", in 1981; the Adolph Caesar Performing Arts Awards, in 1987; and "A Salute to the Black Music Industry", in 1988.
The Corporate, 1971-1990, Foundations, 1971-1993, and Government, 1967-1991 sub-subseries contains grant information including correspondence, proposals, reports to and contracts with potential and actual donors, spreadsheets and budget reports. Although the 1967 Ford Foundation files for the grant that helped launch the Negro Ensemble Company are not found here, an annual report to the Ford Foundation for fiscal year 1968 is available, and can be found in the Administrative Files.
The Corporate and Foundation files for major donors and longtime supporters include the Shubert Foundation, National Broadcast Company (NBC), Philip Morris Companies, Inc., and the New York Times Company Foundation, Inc. In the Government Files, there are files for the Foundation for the Extension and Development of the American Professional Theatre (FEDAPT), New York Department of Cultural Affairs, and New York State Council on the Arts.
There are also files for the National Endowment for the Arts, whose 4-year Advancement Grant (1980) helped the NEC strategize to develop a stronger subscription base, broaden their audience and erase their ever-growing deficit. (See also the Alphabetical File in the Administrative Office Files for additional NEA Advancement grant files).
Individual contributors files, 1971-1990 consists essentially of donor's correspondence, and are arranged by the last name of the donor or potential donor, followed by the year. Also included are logs that contain name, address and phone number. * A small group of files pertaining to Matching Gifts and Membership can also be found here. The Matching Gifts file, 1981-1982 contains letters from corporations that have matching gifts funding programs for cultural institutions, and a log of those contributors. The Membership files, 1980-1986 contain membership drive information such as solicitation letters to corporation heads, check logs, pledges, and correspondence to and from members about membership concerns. Boxes 95-96 contain index cards comprised of contact information for corporate, foundation, government, and individuals. It is not clear whether these cards are for prospective or actual donors. *.