Info You Can Use: Crowdfunding Legislation Update

by:

Joe Patti

Thanks to Ken Davenport’s post on the subject, I discovered the bill to facilitate crowdfunding I wrote about at the end of October is nearing approval. The House (H.R. 2930) approved the measure early in November and the Senate’s proposed bill (S. 179) is in committee.

As discussed in my earlier post on the subject, the existing rules for inhibit small investments made by many people because S.E.C. rules kick in after threshold of 500 people. These bills provide a little more leeway.

William Carleton has a good comparison of the passed version of H.R. 2930 and the proposed S. 179. Of most immediate concern to most people will probably be that where the House bill places the per investor, per year limit at the lesser of $10,000 or 10% of annual income, the Senate bill caps investment at $1,000. The North American Securities Administrators Association apparently agrees with the Senate on this point.

At that level, and given the level of required reporting and investor notice, I wonder if it will be worth it to too many people to attempt crowd funding in this manner. But again, I am thinking in terms of the investing prospectus one receives. Presumably, there will be less information to provide to investors in the case of crowdfunding efforts.

Trent Dykes at The Venture Alley provides the details of the House bill. I was particularly interested to see what sort of protections an investor had against fraud.

Not that it isn’t enough motivation to defraud, but you can only raise $1 million annually using the exemption provided by the bill ($2 million if you provide audited financial statements.) In addition to providing warnings of risks to potential investors and sending a collection of information and reporting to the S.E.C., one protection people will have is that the money will be held in escrow by a third party until 60% of the target amount has been raised. Presumably, if the amount has not be raised by the target deadline, additional arrangements must be made to retain it. There are also provisions that ensure the people handling the offering and cash management are qualified to some degree. People with a history as a “bad actor” as determined by the S.E.C. will be prohibited from offering investment opportunities.

As I am not an expert in investing law, I don’t know how vulnerable these arrangements are to fraud. Presumably, moreso then your typical investment opportunity. Individuals will just have less of their personal fortunes exposed to the fraud.

For some people in the arts, this might offer a viable alternative to the non-profit model. I imagine the return on investment might manifest as a hybrid of traditional donor benefits and cash. Providing preferential treatment to encourage people to remain emotionally invested in the organization in addition to paying out cash dividends will probably help keep them financially invested in the company.

Hopefully the limitation on the investing level will insulate arts companies from demands to operate themselves to maximize investor return. Even if the cap is set at $10,000, people aren’t going to be getting immense returns enriching their bank accounts (at least not for a few years). Who knows, perhaps a company will realize so much success thanks to this, they will grow to the point the will be subject to regular S.E.C. investment rules.

Now that this form of investment looks to pass the hurdle of legislation, how long before the arts community will pass the mental hurdle of considering anyone who uses it to finance their operations as selling out their purity and ideals?

Pools And Pre-Schools And Theatres, Oh My!

by:

Joe Patti

Those who have been reading for a number of years may recall that I have been on an advisory committee for the performing arts portion of a community center the Salvation Army is building with the bequest of Joan Kroc.  I thought it was only a year ago, but it has actually been over two years since I attended the ground breaking ceremony for the center. Today I had the opportunity to tour the facility before its official opening just after the new year. I had been looking at a lot of plans so it was gratifying to walk through the actual spaces and see elements that I suggested they add.

With the official opening nearly two months away, there is still some work being done. Enough of it was complete that we had to take a circuitous route around the complex and peer through windows into rooms that had been completed and were awaiting final inspection.

Just by way of comparison, here is the front of Kroc Center Hawaii now versus the empty fields in the pictures I took at the ground breaking.

 

You can take a look at their website for all the programs they will offer which includes a pre-school, after school programs and memberships to their athletic facilities. What I am sure families will really love is the POOLS!

 

Of course, the part I was most interested in was the theatre space. If you can believe it, I was actually pushing for a venue that was more like my own to provide an alternative rental facility for all those people I have to turn away. There is nothing else really on my side of the county and this is where all the population growth is.  As much as I am interested in the theatre portion, I feel the entire project will be a real benefit to the community.

However, the Salvation Army wanted a more multi-purpose space to serve their worship services and provide the opportunity for weddings, banquet assemblies, conference trainings, etc as a supplement to their ballrooms. So there are some nice permanent seating areas.

 

And then a wide area for temporary seating, tables, etc, leading up to a low stage. They had some pretty nifty state of the art technology and a beautiful sound system which made me a little jealous.

Being the arts administration geek that I am, I was already mentally writing procedures and policies to suggest to whomever they hire to run the place. I suspect that even though the venue lacks many of the features my theatre possesses, they will see a level of demand that will force them to decide between rentals and their own programs.

Info You Can Use: Internship Guide For Arts Organisations

by:

Joe Patti

The subject of paying interns has been in the news fairly frequently. This summer I noted that while non-profits are currently exempt from some of the rules of the Fair Labor Standards Act, this may not be true for long. Classifying employees as interns or independent contractors may not be valid, even for non-profits depending on their work situations.

In the England, arts organisations (yes, I am intentionally using British spelling) have a legal responsibility to pay interns according to minimum wage standards. The Arts Council of England just published a guide to these rules. While these wage laws don’t apply the entities in the U.S., the criteria for what constitutes an intern are very close to those applicable to for profits in the U.S.

The guide also provides suggestions for designing a meaningful internship experience and for writing appropriate ads for these positions. Therefore the guide can be a good resource for those looking to get ahead of possible changes in the labor laws and seeking to provide a positive working environment.

Will Perform For Snacks

by:

Joe Patti

On the Marginal Revolution blog, Tyler Cowen has a short post about a psychology professor who requires his students take turns bringing a homemade snack in to each class. If they don’t bring in a snack, he doesn’t teach. I was initially pretty cynical about this approach as a valid teaching technique and was surprised to learn he had actually been doing it for over 30 years before it became an issue.

While I was still a little cynical after reading about his rationale for the requirement, I could understand how it fits into a psychology class that runs 3 hours at a stretch.

Parrott said that he’s teaching students to work together to set a schedule, to work in teams to get something done, and to check up on one another, since everyone depends on whoever has the duty of bringing snacks on a given week. Typically, no individual should be involved in preparing the snack more than twice a semester, he said.

Parrott said that considerable research shows that students learn more if they develop the skills to work in teams, to assume responsibility for projects, and get to know their fellow students. Team members need to count on one another, he said, and his students learned Thursday that if someone fails at a task for the team, there are consequences. “They need to learn to check on one another and clearly they didn’t get that done,” he said. “This was an important lesson.”

It struck me that this might be a good approach for building/engaging community around an arts organization (with the punitive elements de-emphasized, of course.) An arts organization might have a performance/gallery series where attendees were required to bring food as payment. Some times it might be the orange ticket holders, other times the blue ticket holders, so that an attendee isn’t bringing food for the whole audience every time they attend.

Allowing for a snack period like this will change the dynamics of the relationship with the audience. It isn’t going to pay the light bill, but it can get people involved and invested enough in the organization in other programs that do earn revenue and donations. I suspect the staff will do a much more effective job of convincing people their organization is worthy of support while chatting over chocolate chip cookies than pitching them during a curtain speech.

I can envision scenarios where groups bond over their shared responsibility to provide snacks to try to outdo the other groups. If that turns into its own type of headache and introduces stress to an event intended to be informal, that impulse could be channeled to support a more formal series of events to increase the investment in its success.