Tag

Business Archives - ChangingMedia

Powered by Poverty

By | Social Enterprise, The Thagomizer | No Comments

“Do I contradict myself? Very well, then I contradict myself, I am large, I contain multitudes.” – Walt Whitman

Last week and throughout my Thagomizer posts, I often give glowing reviews to social enterprises. However this week I’d like to look at the failures of many of the businesses I’ve praised. While social enterprise has provided a new way of funding social change, it has not been as effective at producing impact. Sure most social enterprises have positive outputs: shoes provided to the poor, increased availability of affordable health services, microloans for businesses. However while models like Toms Shoes provide a way forward for funding, it also represents a step back in the way we address poverty.

I was reminded of this when watching The #GlobalPOV Project video on “Can We Shop to End Poverty?” As U.C. Berkeley professor Ananya Roy eloquently explains, while our purchases for good make us feel better, they aren’t actually ending poverty; they are perpetuating it.

The point Roy makes is that while opportunities to help people in poverty are increasingly visible while we shop, the root causes of poverty and inequality are hidden. The workers who make the goods we shop, the people helping us at checkout, the farmers who grow the food, are all hidden from us. Toms Shoes is a great example of this. While pictures of their “shoe drops” and founder Blake Mycoskie giving shoes to poor children litter their website, there are no pictures of anyone who actually makes the shoes. On the website you can find pictures of the office staff, of the communities they give shoes out to, but not the people who assemble and create the raw materials for the shoes. Yet it’s in the making of shoes, not in giving of shoes where Toms could have the most impact on people in poverty.

Most of Toms Shoes are not made in the communities they serve. Toms does make sure they have ethical business practices throughout its supply chain by requiring suppliers to sign a Code of Conduct ensuring fair wages and benefits, standards of health and safety, and no child labor.  But giving out shoes made outside of the community has the potential to undercut domestic entrepreneurs.  If they focused on not just giving people in poverty shoes, but giving them the opportunity for a steady paycheck they could do a lot more good. This is an opportunity Toms is now seeing. Mycoskie has even announced that by the end of 2015 they will produce one third of their shoes in the places they serve.

The hazards of giving have been well documented in the world of international aid. The influx of donated rice into Haiti to aid those affected by earthquake hurt domestic farmers who relied on people buying their rice. Toms Shoes might have been innovative in figuring out how to pay for social good but their model of creating social good is outdated. What we need is more support for long-term, systematic solutions but instead most social enterprises focus on immediate results that look good on an infograph.

The narrative social enterprises provide to the consumer is a compelling one, placing you as the hero in someone’s life. However while your purchase may help that person, there is also an unseen narrative. Our wealth is created on the backs of many in this country and throughout the globe. Our purchases perpetuate the cycle of poverty. Until we examine the systematic inequalities, until we zoom out from giving shoes and focus on why people don’t have shoes, social enterprise won’t change the world. We need more social enterprises not just using business for charity but advocating for changes in the way we do business to create a more equitable system. Ananya Roy quotes a U.N. official in her video: “policy not charity is what rich countries can do for poor counties.” I would say the same of social enterprises. It might not make for the best photos but advocacy could change far more lives than a pair of shoes.

When the Music was Missing

By | The Good Plan | One Comment

During the opening forum at the recent innovation “un-conference” Create Baltimore, we ran through the usual suspects of interest for potential sessions: transportation, urban farming, and education. There was a quick minute where we entertained the idea of ‘music.’ Unfortunately, there were no strong advocates for this topic. Where were the representatives from the music industry?

“They’re still sleeping,” a participant yelled over the crowd, and there was a murmur of amusement.

But where were they? Where were the innovators of music, and why weren’t they there?

I sought help from Jordan Goodman of BeatWell Baltimore and Patrick Lundberg, an editor at Vibe To This  to discern why there wasn’t a stronger music industry representation when it came to cross-collaboration. It seems almost all of us – technologists, designers, artists, educators – are expanding our professional practice in order to facilitate change and community betterment. But where are the industry changemakers for music, and why aren’t they part of the discussion? Music is one of the few arenas that’s accessible to everyone — an international industry crossing all colors and cultures and boundaries. Did musicians feel they were beyond the need to evolve?

Both Pat and Jordan spoke about the evolution of the music business. While many musicians have changed their approaches to profitability, a greater number refuse to accept the demands of the new industry. Pat spoke of how tight-knit the local music community is, and explained that since so much of the industry has moved onto the internet, playing to 15-20 people in a boutique venue is more important than a bunch of people buying music on iTunes and never leaving the house to listen to it with others. Both Jordan and Pat used the word ‘insular’ more than once.

The term community came up quite a bit, and Pat reinforced the importance of organizations like WTMD – the Towson University radio station which promotes, supports, and encourages Baltimore bands and reaches out to the community through competitions, air time, and “First Thursday” free concerts.

Jordan spoke from the experience of his days on stage and explained, “In an era of Facebook and Twitter and self-promotion, people want to dance and be the stars with their friends instead of going to see stars on stage.” Immersion sells more tickets, and is therefore more desirable for venue owners. “We used to play for people who listened and didn’t just take pictures on their cell phones… People used to pay to see Kurt Cobain — a mythical person on a pedestal. Now people pay to see Skrillex.”

We talked about local venues like The Recher and Sonar — former Baltimore concert establishments turned into clubs. Jordan helped outline that music has become a business of the establishments. Owners focus on how to sell the most tickets, and the music business becomes an issue of preserving community, or selling out — without much chance for the middle ground.

I struggled to understand how musicians were expected to balance their craft with the demand for immersion and the reality of online sales. It turns out there are cross-pollinating business models. Jordan uses music to facilitate education, therapy, stress reduction, and team-building through BeatWell. BandHappy provides online music lessons, with ‘your favorite performer,’ allowing registered musicians to make extra money without compromising musical style or business values. GameChanger World, set to launch this spring, is a video gaming platform created by John D of the Skate & Surf Festival. This video game will push music through virtual incentives and awards. Think of playing your favorite videogame and redeeming points for discounted concert tickets or merchandise. The Baltimore Rock Opera Society (BROS) partners music with theater, producing performance and art you can’t simply download from the internet. These approaches continue to create tiers of affordability, letting musicians play and audiences choose how much, and to what financial level, they can participate.

As some musicians have become more creative and partnered with less traditionally defined fields, they have made their music more accessible. New methods of service delivery attract a greater audience. BROS, for example, sells out productions to those interested in music, theater, rock, and drama. Perhaps GameChanger World will receive downloads from people who aren’t interested in music, but really like video games.

As I learned more about the changing of service provision, I couldn’t help but equate the lot of musicians to a kind of gentrification; A group of artists once steady  and predictable in the way they went about service delivery was now challenged and pushed aside by new methods of attraction and retention. To aid in the survival of the corner bar band and the late night Cat’s Eye Pub talent, musicians must continue to build an emotional attachment to the customer. In a world run by technology and convenience, a partnership is an inescapable approach to strengthening your fan base — your music community — and is achievable without compromising the sound you create on stage.

 

IMAGE CREDIT. Wikimedia Commons.