April 27, 2024

You’re the Boss Blog: Should a Social Enterprise Go for Profits?

Saul Garlick: Looking for a sustainable business model.Matthew Staver for The New York Times Saul Garlick: Looking for a sustainable business model.

Case Study

What would you do with this business?

We just published a case study about a young entrepreneur, Saul Garlick, who is debating which business model to adopt for his social enterprise, ThinkImpact.

In high school, Mr. Garlick started a nonprofit organization called Student Movement for Real Change. By the age of 23, he had graduated from college, and the nonprofit had evolved with a new name, a new mission and a small team of employees. The organization, ThinkImpact, was coordinating trips for young adults to go to South Africa where they gained firsthand experience developing community projects and social businesses. But as the nonprofit grew, Mr. Garlick felt overwhelmed by financial burdens. Rather than focusing on the operations, he spent the bulk of his workweek connecting with potential donors and trying to raise money.

As a result, he is debating whether he should keep ThinkImpact a nonprofit that is dependent on donors or transform it into a commercial organization — or possibly some sort of hybrid that combines both.

Staying a nonprofit would mean Mr. Garlick would have to continue his constant fund-raising. On the other hand, converting to a commercial business would give Mr. Garlick a blank slate. He would gain the ability to take on debt, raise equity and build a sustainable business model. But it would also mean rebranding the organization, which can be tricky. Would other individuals and organizations be as responsive to ThinkImpact if it were in business to make a profit?

As a hybrid, the organization might keep its nonprofit status but develop a commercial offshoot. This way, the company could continue to apply for grants and take donations but also obtain debt capital. This would allow Mr. Garlick to ease off on fund-raising and build the business.

Below, you will find the recommendations of an academic and expert, a nonprofit executive and a social entrepreneur. Please read the case study and use the comment section below to tell us whether you agree or disagree with their advice — and to offer your own suggestions for Mr. Garlick. Next week, we will publish a follow-up.

Pamela Hartigan, director of the Skoll Centre at the University of Oxford, England, said, “ThinkImpact has to get itself off the treadmill of donor dependency and create a revenue stream through a fee-for-service approach. This does not mean morphing into — or separately setting up — a for-profit venture. After all, ‘nonprofit’ is not synonymous with ‘no revenue.’”

Jonathan C. Lewis, founder of MicroCredit Enterprises, which converted from a commercial business to a nonprofit, said, “The distinction between nonprofit and for-profit in my estimation is overestimated. The test should be what works in any given situation.” In the case of ThinkImpact, Mr. Lewis said he would recommend starting a new commercial company because it would “allow ThinkImpact to grow at its own pace, based on revenues, while avoiding donor fickleness.”

Shivani Siroya, founder and chief executive of InVenture, a mobile technology social enterprise that incorporates both structures, said, “Neither entity type constrains their efforts to earn revenue. As a nonprofit they can earn revenue and bring in donor funds that can additionally support their work until they become sustainable or potentially support the work that they may not earn revenue from. I think deciding to be a nonprofit is more about marketing and the way that you discuss your work with the public and your supporters.”

What do you think?

Article source: http://boss.blogs.nytimes.com/2013/07/10/should-a-social-enterprise-go-for-profits/?partner=rss&emc=rss

SFX Entertainment Files for I.P.O

SFX Entertainment, the music company led by the media executive Robert F. X. Sillerman, is looking to raise up to $175 million through an initial public stock offering, with a pitch to investors on the growing popularity of electronic dance music.

In a prospectus filed this week with the Securities and Exchange Commission, SFX calls itself the largest live event producer focused on “electronic music culture,” which it defines as “a global generational movement driven by a rapidly developing community of avid followers among the millennial generation.” According to one recent industry report, the global market for this music will reach $4.5 billion this year.

The offer is being underwritten by UBS Investment Bank, Barclays and Jefferies, according to the prospectus. An initial price was not listed, but the company said it had applied to Nasdaq under the symbol SFXE.

Electronic dance music, or E.D.M., has been a subculture mainstay for decades. But over the last few years it has turned into the music industry’s fastest-growing sector, driven by the popularity of huge festivals like Ultra and Electric Daisy Carnival, and by the dance-driven sound of top pop acts like Lady Gaga and Rihanna.

The trend has led to an investment rush on dance companies, most of them independent groups far from the world of corporate finance. Live Nation Entertainment, the dominant concert company, has acquired a number of top promoters over the last two years. Recently it bought half of Insomniac, the company behind Electric Daisy and other events; terms of the deal were not disclosed, but were reported to value the company at about $100 million.

Mr. Sillerman transformed the live music business in the 1990s by acquiring dozens of regional rock promoters to create a national concert network, which he sold to Clear Channel Communications in 2000 for $4.4 billion. That business became the basis for the concert division of Live Nation.

Mr. Sillerman returned to music last year with stated plans of spending $1 billion to amass a new empire focused on dance music. So far his acquisitions include all or the majority of IDT, the company behind the festivals Tomorrowland and Sensation; Beatport, an online music store; the promoter Disco Donnie Presents; and MMG, a nightclub company in Florida. The prospectus says that SFX is also in the process of buying Made Event, which presents the Electric Zoo festival in New York.

According to SFX’s submission, its holdings had $242 million in revenue last year, and a net loss of $48.9 million. The company has $64.5 million in debt.

The company says it will start more festivals and develop media content for its properties, but in the prospectus it also points out the popularity its festivals already enjoy. Tomorrowland, for example, “sold out all of its approximately 180,000 tickets to the 2013 festival in Belgium in one second.”

Article source: http://www.nytimes.com/2013/06/28/business/media/sfx-entertainment-files-for-ipo.html?partner=rss&emc=rss