· Private foundation
The Lanie and Ethel Foundation
Its FY2024 filing reports that it funds preselected organizations and did not take unsolicited requests; check the foundation's own site before ruling it out.
What you funded, over time
Every grant placed by its stated purpose and the recipient’s mission, by year — across FY2019–2024.
Where the money goes
Your grants by size, and where they go.
By grant size · FY2024
- Under $10k6 grants · $26k
- $10k–50k3 grants · $47k
| Recipient | Amount |
|---|---|
| LA OPERA | $17,500 |
| NEW ENGLAND CONSERVATORY | $17,000 |
| THE HUDSON REVIEW | $12,000 |
| KNEISEL HALL | $8,000 |
| EAST BLUE HILL LIBRARY ASSOCIATION | $5,000 |
| NY PUBLIC LIBRARY | $5,000 |
| UNIQUE PROJECTS INC | $4,000 |
| YOUNG PEOPLE'S CHORUS OF NYC | $2,000 |
| CARNEGIE HALL | $1,500 |
Do your dollars go where the need is?
Each grant placed by the hardship in its grantee’s ZIP, then read against the area’s typical level.
Your US giving — 45% of grant dollars ($283k). The need read here covers only this US portion; the 55% that went abroad ($345k) is mapped below.
Dollar for dollar, your grants (FY19–24) land where the poverty rate runs at 17%, against an area that typically sits at 13%. 93% of your dollars go to grantees based in above-average-need neighborhoods. Most of your grants land in higher-need ZIPs.
Matched: human-services grants are those whose grantee’s IRS cause code is Human Services. Placed by people below the poverty linein the grantee’s ZIP, averaged from the tracts in that ZIP; grantee ZIP can differ from where services are delivered.
Beyond the US — 55% of all-years giving ($345k)
1 country, by the recipient’s country on the filing.
US grants placed by each grantee’s ZIP, which can differ from where services are actually delivered. Need from public data — U.S. Census/ACS, CDC PLACES, Eviction Lab, USDA — shown as context about the area, never attributed to your giving. International giving is mapped by the recipient’s country from the same 990 filings; comparable need data isn’t available at that grain.
Who you back again
Which organizations you funded more than once, and which you funded a single time. Each grantee is matched to its own filings.
And the relationships you keep tend to grow: grantees you re-up on have seen median revenue of +42% since the first grant, against -65% for the ones you funded once.
8 repeat relationships — 6 still active in FY2024, 2 since wound down; 3 grantees were first funded in FY2024 (too recent to call).
How the two cohorts compare
Organizations
Total granted
Median revenue growth · since first grant
Still filing today
New vs renewed · share of each year
In FY2024, 63% of grant dollars renewed an existing relationship; $27k went to new ones.
Where new relationships form · theme of each grantee’s first grant
First-time = a grantee’s first year in your filing window; renewed = funded in an earlier year too. As a portfolio matures the renewed share naturally climbs — once funded, an org stays “renewable” — so the signal is the years that buck it (a new-grantee intake wave). The earliest year is left-censored: relationships that predate the data read as “new.” Theme is the grantee’s IRS cause.
Backed again, and grew
- NENEW ENGLAND CONSERVATORY OF MUSIC6× · 2019–2024 · $99k · revenue +42%
KNEISEL HALL6× · 2019–2024 · $42k · revenue +383%- EBEAST BLUE HILL LIBRARY ASSOCIATION3× · 2021–2024 · $15k · revenue +122%
Funded once
- ECENTERTAINMENT COMMUNITY FUND (THE ACTORS FUND)one grant, 2021 · $5k
- FFFOUNDATION FOR INDEPENDENT ARTISTS INCone grant, 2022 · $3k · revenue -65%
Repeat = funded in two or more distinct years; growth and survival are read from each grantee’s own subsequent IRS filings.
The map has a center of gravity: the average direction from the rest of the sector toward the organizations the foundation funds — the shape of its giving. Scoring every nonprofit along that direction surfaces the ones that look most like the portfolio. These are the closest matchesthat aren’t grantees — a resemblance in what they say they do, not a recommendation.
The mission of new york city center is to be new york city's leading center for dance and musical theater. dedicated to making the arts accessible to the broadest possible audience, city center seeks to create a welcoming environment and…
The mission of the Bowdoin International Music Festival is to provide gifted young musicians from around the world with an opportunity to study with world-class artists, and to provide audiences with classical music performed to the…
The general purpose of the organization is to promote chamber music concerts to the general public.
To further art education and appreciation.
Fine Arts Radio, Inc. is a 501(c)(3) non-profit dedicated to supporting classical and classic music in Connecticut and New York
To enhance and promote musical performances of all kinds of ensembles such as orchestras, chamber ensembles, and solo recitals by providing a variety of performance opportunities and personal networks to members of musicians in new york so…
The cleveland institute of music's mission is to empower the world's most talented classical music students to fulfill their dreams and potential.
Support and encourage a collaborative community of the visual, performing and literary arts through education, grants, scholarships and events.
To broaden experience, knowledge and enjoyment of every style of new music by embracing the full range of today's compositional activity and giving voice to music that might otherwise not be heard.
The American Chamber Ensemble is a consortium of distinguished musicians whose concerts explore the music for piano with strings, woodwinds and/or voice, presenting both great standard repertoire and living American composers.
A pioneering advocate for cultural equity, the bronx council on the arts nurtures the development of diverse artists and arts organizations and build strong cultural connections in and beyond the bronx.
Westbury arts is a 501(c)(3) nonprofit organization that delivers arts and cultural programs that connect, educate and inspire the westbury, ny community. activities include concerts, shows, exhibits, lectures, etc.
For reference, the grantee most central to the portfolio’s shape is New England Conservatory of Music and the most unlike its peers is East Blue Hill Library Association. Resemblance is measured on each organization’s own IRS 990 mission text; it reflects how work is described, not its quality or impact.
10 grantees tracked through their own filings, 2017–2025.
Each one resolved to its own IRS returns and tracked year by year — your grant beside their revenue from every source. Association, dated; never a causal claim.
Counted here: distinct organizations you funded across 2017–2025, not grant rows in a single year — so this will not match the grant count on the cover. 10 of the 13 grantees resolved in that span have returns of their own we could reconcile; the rest are funded organizations whose filings we could not track year by year.
Where your money sits — by cause, then by grantee
Each org by its size and your share of it — top-left is where you’re load-bearing
Go grantee by grantee — a decade per org, and how each moved after you funded them
A decade per grantee — revenue shaded, your grants as bars, all rows on one timeline.
- Who funds NEW ENGLAND CONSERVATORY OF MUSIC ↗
- Who funds THE HUDSON REVIEW INC ↗
- Who funds KNEISEL HALL ↗
- Who funds EAST BLUE HILL LIBRARY ASSOCIATION ↗
- Who funds THE YOUNG PEOPLE'S CHORUS OF NEW YORK CITY INC ↗
- Who funds THE CARNEGIE HALL CORPORATION ↗
- Who funds The New York Public Library Astor Lenox and Tilden Foundations ↗
- Who funds UNIQUE PROJECTS INC ↗
- Who funds WATERSHED CENTER FOR THE CERAMIC ARTS ↗
- Who funds FOUNDATION FOR INDEPENDENT ARTISTS INC ↗
The grantmakers whose grantees overlap with yours far more than size alone predicts. Each orbits closer the stronger the alignment; the arcs between them show where they also fund each other. Here it reads as a tightly interlocked camp — most of these funders back each other's grantees too.
Open a dossier: Vanguard Charitable Endowment Program · Fidelity Investments Charitable Gift Fund
Affinity is a Gamma-Poisson posterior co-funding rate, re-centered on the typical rate, so thin evidence shrinks toward no signal. A research starting point: overlap is association, not proof of shared intent.
Government reliance of your grantees
Every dot is one organization The Lanie and Ethel Foundation funds. Left–right is the share of its income from government; up–down is the share from you. Bigger dots raise more. Filter to federal or a single department — and drag the year to watch it move.
- New England Conservatory of Music — 1% of income from government
Government income is each org’s traced federal awards (USASpending — grants and contracts) plus state payments (open checkbooks) as a share of its total revenue (IRS Form 990); the self-reported government-grant line (990 line 1e) is carried for cross-check: a grantee that reports government grants we could not trace to a source is left off the chart rather than shown as receiving none. An association, not a claim that your grant caused the public funding. Coverage is precision-first — a floor, not a census; state records exist for 9 states, so a grantee outside them shows no state figure (dimmed) rather than a false zero. Federal award amounts are obligations, which can span years, so a single-year share is indicative. 990 filings lag 12–24 months.
Warm introductions · Powered by PlinthPlus
How do I get to The Lanie and Ethel Foundation?
Find your warmest path to The Lanie and Ethel Foundation through trustees and officers whose names appear on both boards. Search for your organization and Plinth traces the shortest route it can evidence.
Each link is a name appearing on two organizations’ public IRS 990 filings, matched on that name and, where the filings support it, on location. A same-state match has geographic support, which is a second matching feature rather than confirmation that the two are one person; a cross-state one is the likeliest to be two people who share a name. Every hop shows its tier, low-confidence and distant paths are held back rather than guessed, and it is worth confirming the person before you use the introduction.