Diversity : Innovation + Job News

Though debate continues as to whether the average person needs eight glasses of water per day, many of us still forget to stay hydrated when we’re busy. Hidrate co-founder and recent University of Minnesota graduate Nadya Nguyen found out the hard way.
 
On the bus home from a 10-hour volunteer shift at TEDxMinneapolis, Nguyen felt faint and disoriented. Her head was pounding. With effort, she recounted the events of her jam-packed day and realized that she hadn’t taken a single sip of water since the morning. She simply hadn’t had the time, to say nothing of the mental bandwidth necessary, to stop what she was doing and take a drink.
 
Then it hit her: In the age of cloud-connected smartphones and tiny, powerful sensors, she didn’t need to remember to drink water. She could simply build an app that connected to a special water bottle that would remind her to hydrate. Along with three other recent U of M grads, she built out the app and a prototype water bottle—called Hidrate—during least year’s Twin Cities Startup Weekend.
 
“It’s so easy to forget to take care of yourself when life gets busy,” says Nguyen. “I wanted to create something that would make life better for people in this small but important way.”
 
The idea is breathtakingly simple: Users download the app for free on their phones and enter personal parameters (weight and other factors), location (temperature, relative humidity and altitude can affect water needs), and daily activity level, editing over time as this information changes. Hidrate uses this data to create a personal “daily water goal,” expressed in both ounces and water bottle equivalents. The app syncs with a 24-ounce, BPA-free, dishwasher-safe water bottle that can sense its own fill level and updates your total daily intake whenever you take a sip. If you go too long without drinking, a reminder message appears on your phone; if you really fall behind, the bottle glows gently until your fluid intake gets back on pace.
 
Hidrate isn’t the first smart water bottle to hit the market. But the talented, driven team enjoys the benefits of a heavily discounted shared workspace at Startup Venture Loft in the North Loop — a huge help for any startup operating on a shoestring budget.
 
The company’s Kickstarter campaign, launched June 1, had a seemingly ambitious goal: $35,000. Thanks to tremendous support from what Nguyen calls “a dedicated group of early adopters” and a high-visibility mention in widely read tech publication TechCrunch, the campaign blew through that ceiling in a couple days, notching nearly $200,000 from more than 2,500 individual donors in its first week. Everyone who donates $39 or more gets a personal bottle, with delivery expected in December 2015 or January 2016.
 
The Kickstarter campaign’s proceeds will mostly cover costs for the initial bottle-manufacturing round, which is likely to be larger than expected given the campaign’s success. Nguyen and the team are still working out a retail price for the bottle, but “it’ll probably be in the $39 to $45 range,” she says.
 
For now, interested buyers can reserve a bottle — in the color of their choosing — on Hidrate’s website. Longer-term, Nguyen expects to sell through gyms, sporting goods stores and other retailers. The team is already courting potential partners, though nothing’s ready to announce.
 
“We’re willing to work with any gym, specialty store or retailer that caters to our customer base,” says Nguyen. “We’ve been blown away by early demand for the product and can’t wait for the next phase of our growth.”

 
Hidrate Jobs in Minneapolis
 

1. iOS Mobile Developer
2. Android Mobile Developer

 

In the groan-inducing 2000 film What Women Want, Mel Gibson’s misogynistic executive used an acquired ability to hear women’s thoughts to amusing, mostly self-serving ends.
 
Mary Van Note and Beth Perro-Jarvis, MSP-based Ginger Consulting’s co-founders, can’t read minds. But thanks to decades of marketing experience and a comprehensive, highly authoritative survey for female householders, they’ve got a pretty good handle on what drives women consumers in MSP and across the country — certainly more so than Gibson’s fictional mind-reading cad.
 
Van Note and Perro-Jarvis released their sixth annual “What Women Want” survey in April. The survey touched on of-the-moment health trends, like juicing and the Paleo diet, plus political issues, personal finance, household division of labor, popular culture and more.
 
Some of the headline findings were surprising. For instance, nearly two-thirds of survey respondents believe the “latest diet and nutrition trends” — i.e., Paleo — are “just fads.” A similar proportion claimed to be fine with making dinner at home every night. And more than a quarter believed that Hillary Clinton and any other female Presidential candidates in the 2016 election cycle will be judged more harshly than male candidates — in other words, that voters hold prospective women leaders to a higher standard.
 
The “What Women Want” survey processes responses from Ginger Consulting’s Alpha Panel, a 350-strong cohort of hand-selected women, most of them affluent and well-educated.
 
“The Alpha Panel isn’t a random sample,” explains Van Note. “We have longstanding relationships with most of these women and value their input in a way that goes beyond many other consumer surveys.” Ginger’s partners are particularly dismissive of teen surveys, which are highly sought after by marketers due to teens’ notoriously fickle tastes — but can be unreliable to the point of uselessness precisely because teens are so fickle.
 
By contrast, “our ‘alpha-females’ are a representative sample of America’s largest consumer group — the powerhouse that buys and sells 85 percent of all products bought and sold in the U.S.,” says Perro-Jarvis, referring to the single and family-attached women who make the vast majority of purchasing decisions, often on behalf of domestic partners and dependents. “Naturally, they have a lot to say about the marketplace, and life in it.”
 
In many ways, Perro-Jarvis and Van Note epitomize their Alpha Panel. Whip-smart, both left prominent positions at Fallon (the two were team members for some time, in fact) to work on their own terms and achieve that elusive work-life balance.
 
“The world of marketing and advertising is incredibly stressful and not particularly conducive to raising a family,” says Van Note. “At the same time, we were having these back-of-the-napkin conversations about what it would look like if we went into business together.”
 
During those conversations, the pair decided to focus more on big-picture, data-driven strategy instead of the full-service marketing work typically done by larger agencies.
 
“We don’t have the resources to manage the teams we’d need to execute client campaigns,” explains Perro-Jarvis. “We’ve found a niche as ‘strategy outsourcing’ specialists who consult on high-level tactics, custom research, ideation and brand strategy.”
 
“We’re basically strategic brains for hire,” she adds.
 
Now that they’re masters of their own destiny, Van Note and Perro-Jarvis are reaping the rewards. “We take calls in line at Target, work out of home offices and structure our workdays around other obligations,” says Perro-Jarvis.
 
“Who wants an office anyway?” she laughs. “It’s just another place to clean up.”
 

It’s no secret that women and minority entrepreneurs struggle to achieve equal footing with their white male counterparts, particularly in the fast-growing science and tech fields. The problem isn’t unique to MSP: According to American Express OPEN’s much-cited 2014 State of Women-Owned Businesses report, women-owned firms account for 30 percent of all U.S. businesses. Though the number of women entrepreneurs is growing at a rapid clip, women-owned businesses still employ just 6 percent of all U.S. workers — a proportion that hasn’t budged since the late 1990s.
 
MSP’s talented cohort of current and future women entrepreneurs may soon lead the nation on these critical representation and employment metrics. Locally based Technovation[MN] is expanding an exciting new initiative to level the playing field for local women and girls, especially those from disadvantaged backgrounds — and seeing impressive early results.
 
Now in its second year, Technovation[MN] helps small, all-female teams conceive, develop and pitch apps to the thousands-strong audience at the global Technovation Challenge, held in San Francisco every June since the late 2000s.
 
Led by Thomson Reuters veteran (now Bluespire marketing director of product development) Shawn Stavseth and sponsored in part by Code Savvy, the volunteer-run organization draws entrants mostly from MSP (including historically disadvantaged areas like Cedar-Riverside and North Minneapolis), its suburbs and the Rochester area. According to International Falls native Stavseth, the organization plans a push into outstate Minnesota over the next couple years.
 
Technovation[MN]’s volunteer mentors — tech-savvy parents, local tech entrepreneurs or computer science entrepreneurs — walk participating kids through an intense, 12-week course that includes ideation, competitor research, big-picture market analysis, actual app building and pitch practice. According to Stavseth, most apps focus on social entrepreneurship.
 
“The girls are incredibly passionate about the social issues of our time,” she says.
 
Each team works roughly four hours per week, usually after school or at local community centers. Due to the significant time investment required and the fact that mentors are usually busy professionals, Technovation[MN] requires no fewer than three mentors per team — basically a one-mentor-to-one-student ratio. The 12-week course culminates in a pitch day called Appapalooza, when each team debuts its idea.
 
In addition to the usual suspects like local financial institutions and tech companies, says Stavseth, Technovation[MN] has cross-disciplinary classroom support.
 
“We’ve heard from English teachers who frame coding as a second language and make the argument that kids who can ‘talk’ to computers will be more successful than those who can’t,” says Stavseth. Meanwhile, “[g]ym teachers and coaches are enthusiastic about the wearable-device revolution” and want students to know how to make fitness apps for those devices.
 
Despite its newcomer status, Technovation[MN] is clearly on the ascendancy. The global Technovation Challenge’s judging panel chooses a relative handful of finalists — this year featured just 10 teams in all, split between high school and middle school groups — from among hundreds of global entries. Though no MSP teams are slated to compete at this year’s event, a Rochester-area middle school team called Furst Class did make the finalist cut.
 
Technovation[MN] is also growing. The group boasted 28 teams this year, up from 11 last year, and Stavseth expects even more to sign up this coming school year, despite a barebones publicity campaign that turns mainly on word of mouth. But Stavseth cautions that Technovation[MN] can only grow so fast: Since its talented teens need intense support from mentors, the total number of teams depends on how many parents, educators and community members are willing to devote substantial amounts of their time to the cause.
 
“We’re very pleased with how things are going, but we’re also fighting a huge battle,” says Stavseth. “There’s a tremendous need to have girls in computer science and to fight the stereotypes associated with the field.”
 

 
The BrandLab, an innovative nonprofit supported by MSP’s biggest creative agencies, is actively broadening creative-industry networks to introduce young people from diverse backgrounds to the dynamic world of advertising and marketing. With more than 600 students enrolled in The BrandLab's classes this semester and with ambitious plans for growth, the organization is wrapping up a curriculum revamp that will make its lessons even more engaging to MSP’s brightest young minds.
 
The BrandLab has a simple yet ambitious goal: To boost diversity and inclusion in the creative industries through education and network building. According to Ellen Walthour, The BrandLab’s executive director, MSP’s advertising and marketing agencies — from big players like Olson and Carmichael Lynch to smaller, independently run outfits — should be every bit as diverse as the clients they represent and the consumers to whom they market.
 
“The ad industry is trying to break out of traditional modes of hiring, which tend to be network-based and thus less diverse than the talent pool as a whole,” says Walthour. “The BrandLab’s goal is not to eliminate personal networks from the equation, but rather to broaden and reframe them to include a more representative range of perspectives.”
 
According to Walthour, the industry’s long-term success could turn on its ability to attract and retain diverse talent. “Our region’s demographics are rapidly shifting,” she says. In Hennepin County, children of color account for about one in two births, and nearly 20 percent of the county’s college grads are people of color.
 
The industry recognizes the need to adapt to this new demographic reality. On April 22, more than 200 advertising professionals, Fortune 500 executives and media types packed into Brand New Workshop for “Moving Beyond Representation to Full Inclusion,” the latest panel discussion in The Brandlab’s Fearless Conversation Series. Panelists from General Mills, Cargill and Minneapolis ad agency Carmichael Lynch offered frank, occasionally uncomfortable answers to MPR host Tom Weber’s questions about racial and ethnic diversity in MSP’s creative industries.
 
Judging by the probing queries and nuanced answers, diversity and multiculturalism clearly weigh on the minds of MSP’s advertisers, marketers and commercial artists. The consensus: Though creative workplaces are slowly becoming more diverse, full inclusion is more elusive than would appear from the increasingly multicultural TV, print and digital ads produced by many local agencies.
 
The BrandLab may have the solution. Founded in 2008 by John Olson, the late principal at the legendary agency Olson, the organization hires professional instructors to teach elective marketing and advertising classes at local high schools, including St. Paul’s Johnson Senior High. Volunteer helpers, who are often creative-industry professionals, share real-world experiences and techniques to add context and perspective.
 
These classes cover industry history, ethics, culture and theory. One highlight: An engaging, if uncomfortable, lesson on “extraordinarily racist and sexist ads from the early 20^th century,” says jabber logic principal Amee Tomlinson McDonald. Along with Emily Ronning, The BrandLab’s curriculum design director, she’s spearheading the organization’s curriculum redesign. By confronting advertising’s ugly past, The BrandLab’s multicultural students gain a visceral understanding of what they’re up against — and why they need to lend their voices and talents to the conversation.
 
These awkward ads are just one example of Tomlinson McDonald and Ronning’s revamp, which shifts the focus from traditional pedagogy (think half-hour lessons) to a more interactive, engaging model.
 
“It sounds cliched, but kids really do have short attention spans,” explains Tomlinson McDonald. “We’re using 30 to 60 second videos, real-world case studies, digital images” and other varied media “to keep kids engaged.” J. Crew’s YouTube page proved a particularly effective teaching tool, she mentions.
 
Students also dive deep into key agency roles: copywriting, graphic design, video production, project management, and even positions like accounting. By the end of the semester, they’re knowledgeable enough to put together mock projects for actual clients, whose employees hear pitches, critique work, and sometimes adopt aspects of a draft campaign.
 
The new curriculum is “in beta” in all of The BrandLab’s classrooms this semester. After some tweaks and improvements, a more finalized version will roll out for the next school year, though Walthour notes that The BrandLab’s curriculum is “always looking for ways to improve and adapt.”
 
The BrandLab doesn’t rely solely on classroom instruction. Throughout the semester, heavily programmed field trips to MSP-area agencies give students the chance to interact with creatives in their natural environments — and, possibly, get a sneak peek at their future workplaces.
 
On an April 21 trip, for example, Carmichael Lynch, Colle+McVoy and Olson each hosted 20+ Johnson Senior High students for two hours of tours, informational videos, Q&A time and — of course — a Pizza Luce-catered lunch. At Carmichael Lynch, students engaged fearlessly with agency staff and appeared genuinely surprised at the creativity that pervaded the building. (After passing by a midday yoga class in the agency’s lobby, one bright-eyed young lady remarked, “I had no idea people would be having fun at the office.”)
 
The BrandLab cultivates and focuses such sentiments in hopes of transforming curious students into the next generation of passionate creative professionals. Each year, the organization places dozens of classroom alums in paid summer internships at local agencies. Whereas other organizations focus on supporting older college students who have already self-selected into creative majors, The BrandLab deals exclusively with high school students and college freshmen. “The goal is to captivate kids early, before they’ve really considered [and potentially dismissed, due to lack of professional support] marketing or advertising as a career,” explains Walthour.
 
After an intense “boot camp” that prepares them for a “real world” workplace, interns work 12 to 20 hours per week during the summer. Every Monday, they pair up with a “coach” — someone with academic or professional experience in marketing and advertising — for debriefing sessions, all held on the University of Minnesota campus. These sessions help the interns process their often intense summer experiences while providing additional instruction in advanced concepts like brand strategy and personal branding.
 
The BrandLab’s model is clearly successful. Many first-time interns return the following summer. The BrandLab alums often major in creative or marketing-related disciplines after heading off to college. As the organization’s first alums graduate from college, they’ll disperse into the creative workforce to build the broad, inclusive networks the industry needs.
 

The U of M’s Carlson School of Business hosted its annual Tech Cities conference on March 27. The event drew hundreds of local innovators, investors and social entrepreneurs to the West Bank on the University of Minnesota campus in search of answers to a simple but vexing question: “How can we strengthen and promote MSP as a source for tech leadership, talent and innovation?”
 
The packed “Supporting Innovators in the Tech Cities” workshop offered a glimpse of the problems the region faces — and offered hope that workable solutions are within reach.
 
According to Matt Lewis, Greater MSP Strategy Manager and workshop moderator, MSP could produce “tens of thousands of jobs by 2020” that the region currently lacks the talent to fill. This “talent gap” is mostly due to two structural forces.
 
First, the accelerating pace of technological change is dramatically reordering the economy, rewarding highly skilled professionals and tech-savvy innovators while challenging those who don’t acquire new, relevant skills. This shift is happening everywhere, but it’s more pronounced in regional hubs like MSP (i.e., the capital of the North), where much of the tech economy’s most exciting, cutting-edge advances are forged.
 
The second structural force is unique to MSP: Despite a strong economy, reasonable living costs and excellent quality-of-life metrics, the region perennially struggles to attract the country’s — and world’s — best and brightest. The upside is that once transplants find their way here, they tend to stick around.
 
“The cliche that it’s hard to get people to come here and even harder to get them to leave holds true,” Lewis noted at the workshop. “We need to change the conversation and make [MSP] a global destination for people who self-identify as innovators.” Doing so would solve both problems: the technological talent gap and MSP’s “attraction issue.”
 
Four self-identified innovators who already call MSP home piped up to offer their ideas. Scott Cole, co-founder of the local tech cooperative Collectivity, proposed a “comprehensive tech accelerator” that would combine and magnify the efforts of existing local initiatives like the Minnesota High Tech Association, Greater MSP, MN Cup, university-based tech groups and others. The ultimate goal: to create a pervasive culture of innovation wherein cash-strapped innovators with great ideas effortlessly connect with investors, mentors and customers.
 
Melissa Kjolsing, MN Cup director, highlighted the tech world’s persistent gender gap — an issue that has gotten plenty of press in MSP and elsewhere. She noted that while women run 30 percent of all U.S. companies, most are solo operators. The solution: “deeper peer networks for women,” she argued. Women entrepreneurs need positive role models, namely successful female business owners who have made it through the male-dominated startup gauntlet. 
 
Kjolsing noted that though MN Cup has yet to achieve parity, the prestigious tech competition is spearheading the drive to empower women entrepreneurs: In 2014, about one-third of MN Cup entries came from all-women teams, up from 25 percent the previous year; 45 percent of 2014’s teams had at least one woman on the roster.
 
Lee George of the James J. Hill Reference Library argued that MSP must do more to support ambitious people at the two biggest “pinch points”: the moment when the entrepreneur moves from tinkering with an idea in their spare time to quitting their day job and fully plunging into their startup; and the exit strategy, or the point at which the entrepreneur steps away from the company he or she founded to focus on a new project or simply “cash out.”
 
Without support from mentors, investors and talented employees, many entrepreneurs never make it past the first pinch point, and their dream either dies or goes into a long slumber. Meanwhile, those fortunate enough to be able to contemplate an exit strategy often don’t know how to forge the connections with leaders of the established firms that typically buy up successful startups. It’s worth noting, for instance, that though MSP has a deep bench of Fortune 500 firms capable of financing numerous buyouts, one of the region’s most successful startups — SmartThings — turned to a Korean firm (Samsung) for its exit.
 
George advised existing organizations like Greater MSP and MHTA to adjust their programming in two ways: creating better and more numerous mentorship opportunities for soon-to-be-full-time entrepreneurs, and deepening connections between successful startups and major firms.
 
David Berglund, the fourth speaker, exemplifies the power of connections between MSP’s startup community and established business players. He’s UnitedHealth’s “entrepreneur in residence” and co-founder of Hoodstarter, a real-estate crowdfunding app. At UnitedHealth, he’s more or less in charge of “building healthcare startups from the ground up.”
 
“We need to accelerate the pace of innovation in large, sometimes bureaucratic corporations,” he said. “To do that, we need to get off the corporate campus and out of our comfort zone.”
 
Berglund believes that MSP’s major corporations need to communicate better and experiment more, both with one another and with the region’s entrepreneurs. Knowledge — and knowledge sharing — is power, after all. Berglund’s dream: an MSP in which big companies, successful small businesses and fledgling startups “forge partnerships and come together without fear of stealing each other’s ideas.” Such an outcome could accelerate the pace of business formation here and transform MSP into a truly global innovation hub.
 
 

 
Rising costs and inconvenient delivery modes beset healthcare consumers. Thompson Aderinkomi, a trained economist with an MBA from the University of Minnesota’s Carlson School of Business, has a novel solution.
 
His new startup, Retrace Health, offers at-home, on-demand consultations and care from licensed doctors and nurse practitioners, either by videoconference or in-person visit.
 
Retrace has grown rapidly since its late 2013 launch, when the company had a roster of about 40 patients, mostly Aderinkomi’s friends and family members. The company began accepting corporate clients in June 2014: Aderinkomi now counts at least seven client companies, ranging in size from a few hundred to a few thousand employees, whose employees can tap Retrace’s services. Between individual and corporate clients, Retrace now brokers “double-digit weekly consultation counts,” says Aderinkomi.
 
According to Aderinkomi, convenience — the fact that patients don’t have to drive to a clinic or hospital and sit in a waiting room for hours on end — is a huge factor in Retrace’s success. “We’ve found that once people try Retrace and realize how seamless the process can be, they use us more than they’d use a regular doctor or care provider,” says Aderinkomi.
 
Retrace’s doctors and NPs keep longer hours than a typical health clinic. Video consults are available 6 a.m. to 10 p.m. on Mondays, and 6 a.m. to 6 p.m. Tuesday through Friday. In-person consults occur from 10 a.m. to 3 p.m. Monday through Friday.
 
For simple issues, users can schedule a three-minute video consultation and be on their way. For more complex problems, a 30- or 60-minute home visit may be necessary. Retrace’s care providers can schedule same-day appointments with as little as 60 minutes’ notice, though off-hours requests need to wait until the following business day.
 
Retrace users also value the company’s untimed appointments. Whereas a traditional clinic might schedule 15 or 20 daily appointments per doctor or NP, Retrace’s care providers don’t have such heavy workloads. A lighter workload allows care providers to linger longer with each patient, answering questions and addressing issues that might normally get pushed aside due to time constraints.
 
Financially, Retrace isn’t out of reach for most patients. Individual patients who want to pay through their insurance provider (Retrace works with most providers) don’t have to pay anything to use the service, aside from premiums and co-pays set by their providers.
 
Individual patients who don’t want to tap their insurance providers can choose from three packages: Basic, Premium and Unlimited. Basic, which doesn’t come with an annual fee, requires users to pay a la carte for labs, visits and other services. (For instance, an in-home X-ray costs $150). Premium and Unlimited come with respective annual fees of $99 and $599; costs for visits and services are reduced or waived altogether. (Corporate prices are customized based on the client’s employee count and other factors.)
 
Retrace’s simple pricing scheme is a breath of fresh air in a healthcare sector that famous for confusing statements and wildly variable prices. “We’re huge believers in price transparency and simplicity,” says Aderinkomi. “Customers have a right to know upfront how much they’re paying for their care.”
 
And not everyone is bound by Retrace’s standard prices. The company’s “original 40” patients got a sweetheart deal in exchange for their faith in the company: An all-inclusive lifetime membership for a one-time fee of $300. That deal, unfortunately, is off the table, replaced by a limited-time promotion that waives all visit and lab fees for 12 months with the payment of an annual membership fee.
 

A novel partnership between several local craft breweries and the students in a College of Design class at the University of Minnesota produced innovative tap-handle designs, and laid the groundwork for future collaborations between creative students and the Twin Cities’ booming beer industry. Sarah Sheber, a fabric developer at Target, taught the Product Form and Model Making class. Her intention was to give students a window into the workings of the small, creative businesses reshaping the Twin Cities’ economy.
 
“I pursued smaller [breweries] purposefully,” she says. “I wanted students to have a chance to learn as much about [the breweries’] brands as they could, to see as much of the business as possible and understand the different roles that go into producing local brews. With a large company [like Target], individuals own a small piece of the process. With small companies, each member of the team needs to be flexible, to know the business and the brand, and be able to wear a lot of hats.” 
 
Fair State Brewing Cooperative in Northeast Minneapolis participated in the project. So did Mighty Axe Hops, which produces high-quality, locally grown hops for brewers in Minneapolis, St. Paul and elsewhere; and Excelsior Brewing, a suburban taproom and brewery.
 
Students produced multiple tap-handle designs for each business, some attempting improvements on existing designs and others completely reimagining the brands’ ethos. Breweries had the option to purchase finalized tap handles, which otherwise remain student property.
 
The collaboration had two overarching goals. First, Sheber wanted to students to experience the creative freedom and creative expression that inform commercial design projects. “The idea was to act like a client, providing support and feedback as students worked through each design,” says Matt Hauck, Fair State’s director of operations.
 
Not every design was practical. One student incorporated powerful rare earth magnets into a prototype, recalls Fair State CEO Evan Sallee, making it impossible to detach and move. “There was a lot of trial and error,” says Sallee, “but it was great to be engaged with talented students who are passionate about design.”
 
Some designs eventually solved problems of which Hauck and Sallee weren’t even aware. “The students we worked with put a lot of thought into the ergonomics of their final designs, something we’d never even considered,” says Sallee.
 
Sheber and her students unveiled the final tap-handle designs during a December 16 happy hour fueled, naturally, by free beer from Fair State and Excelsior. Sheber is already planning to bring back the collaboration for next year’s class, possibly with new brewery partners.
 
“We’ve had interest from brewers of all scales,” says Sheber, some of whom urgently need updated branding.
 
At Fair State, Sallee and Hauck may take a pass on using any of last semester’s designs. But they’re open to future collaborations that keep their branding fresh and distinctive.
 
The local craft beer community is largely chummy and supportive of new entrants, says Sallee. “But positioning among other breweries’ tap handles at bars is still important,” he notes. “You want your design to stand out in the right way.”
 

Creative City Roadmap, the City of Minneapolis’ ambitious plan to highlight and strengthen the city’s creative assets, is entering its next phase. Until November 21, an online survey allows city residents to share insights about Minneapolis’ current cultural strengths and offer new ideas for widening the city’s “dot” on the American cultural map.
 
The results of the survey will inform the drafting of the actual Creative City Roadmap, a 10-year arts and culture plan to be released in 2015. The Creative City Roadmap will replace Minneapolis’ current 10-year arts and culture plan released in 2005.
 
In addition to inviting rank and file Minneapolitans to take part in the survey, the city tapped two “artist engagement teams” to “engage with people [around the survey], especially those who are part of traditionally underrepresented and underserved communities,” says Rachel Engh, creative economy program associate for the City of Minneapolis.
 
The teams include local creatives Chrys Carroll, Keegan Xavi, Sha Cage and E.G. Bailey. Their duties encompass in-person surveying, “anecdotal data gathering” through community engagement initiatives, and drafting and editing the Creative City Roadmap document.
 
The Creative City Roadmap process is run by a steering committee that oversees five working groups focused on core intersections of the creative economy: placemaking, creative engagement, lifelong learning and sharing, supporting artists’ work and the arts’ relationship with the “mainstream” economy.
 
“The role of arts and culture in the city of Minneapolis, and the way the city chooses to support these industries and activities, is changing,” says Engh. “The Creative City Road Map’s vision is that arts and cultural activities have the capacity to expand the economic pie and help more people reap benefits.”
 
“Many major U.S. cities have citywide arts and culture planning documents,” she adds. “[We’re also] acknowledging the value a new plan for arts, culture and the creative economy could have for Minneapolis,” both by “making Minneapolis a more welcoming and desirable place to live and giving underserved Minneapolitans access to economic and social returns.”
 
Creative City Roadmap kicked off with a September 17 public house at the Textile Center on University Avenue and a September 24 followup event at the Pillsbury House & Theater in South Minneapolis. The information-gathering phase of the project will run through September 2015, with regular programming and feedback during that time. According to Engh, at least two more open houses, in the mold of the Textile Center and Pillsbury House events, are planned for the coming months.
 

Tunde Wey, a Detroit chef with a reputation as hot as his cuisine, is making his way to Loring Park on November 11. He’s on a mission to “unfetter diners from the tedium of modern American cuisine,” using the newly opened Third Bird (on Harmon Place) as his canvas for Lagos x Minneapolis.
 
Wey’s ticketed event features a six-course meal of authentic Nigerian dishes, including a traditional rice pilaf, peppered goat and fried plantains. The gathering is aptly named after the capital and largest city of Wey’s home country. The event, Wey says, is a way for American diners “to allow themselves to be colonized by Nigerian food,” which isn’t as popular in the Twin Cities as many other ethnic cuisines.
 
“Nigeria is the most populous country in Africa, with about 150 million people in an area the size of Texas,” Wey says. “So I find it amazing that its cuisine isn’t more widely available.”
 
Then again, says Wey, “Nigerian food” is something of a misnomer. His home country’s cuisine is much like what’s available in across West Africa, which has a common climate and dozens of cultures with a shared, ancient history. Labeling country-specific cuisines is a much newer concept, the byproduct of European colonial activity in the region.
 
The idea of an authentic, intimate West African experience in a newly opened restaurant resonated with Kim Bartmann, owner of the Third Bird and the force behind such notable Minneapolis-St. Paul establishments as the Tiny Diner, Red Stag Supper Club and Barbette. Wey and Bartmann met at IMG’s Urban Innovation Exchange in September, and the partnership quickly took root.
 
“It seemed to be a good match,” says Wey. He’ll be first on a slate of monthly guest chefs that Bartmann wants to feature at the Third Bird.
 
Wey formerly co-owned (revolver), a “permanent pop-up” restaurant in Detroit’s up-and-coming Hamtramck area. Typically open just two days a week, (revolver) hosts a “revolving” slate of notable, innovative chefs from around the U.S. and world, allowing them to create a completely new menu during temporary stints in the kitchen.
 
Though (revolver) raised Wey’s profile considerably, he came to feel that the restaurant constrained his creativity. (revolver)’s guest chefs were all incredibly talented, but most adhered to the orthodoxy of modern American cuisine. Six months after opening (revolver) with his business partner, Wey was regularly experimenting with traditional African dishes—“what my mother, grandmother and relatives on back have been cooking for hundreds of years.” Earlier this year, he sold his shares to his partner and left (revolver) behind.
 
“People were very supportive of the idea behind Lagos,” says Wey, “which gave me the confidence to go out and do this.”
 
Without a permanent restaurant home, though, Wey is keen to drum up even more public support. In addition to Minneapolis, Lagos has made stops in New Orleans and Chicago, with Cincinnati, Buffalo, Philadelphia and Brooklyn still to come.
 
Asked what he’s looking to take away from the experience, Wey says, “I have no expectations. I’ll take whatever the good people of Minneapolis want to give me.”
 
When the Lagos tour ends, he does have his sights set on opening a Nigerian (or West African) restaurant in Detroit. Longer-term, he can see himself as a restaurateur in the mold of Bartmann, opening unique, independently branded restaurants in Detroit and other Midwestern cities.
 

The St. Paul Healthy Transportation for All Convening, held on October 25 at Carpenter’s Hall in St. Paul, found St. Paul’s alternative transportation advocates celebrating their movement’s growing momentum and planning for challenges ahead. The goal of the conference, according to St. Paul Healthy Transportation for All (SPHTFA), was to “actively engage St. Paul grassroots community leaders to create a sustainable multimodal transportation system.”
 
“Based on what our planning team has heard from community members, walkable streets with safe and accessible infrastructure is the most widespread issue,” says Lauren Fulner, who coordinates the “District Council [members], transportation focused non-profits and relevant agencies” that comprise SPHTFA. “[Our unofficial motto is] ‘everyone is a pedestrian at some point', so...awareness of the pedestrian realm is a natural place to focus.”
 
As SPHTFA’s first major event, the Convening drew community leaders and citizens from nearly every St. Paul neighborhood. At workshops and breakout sessions, participants learned how to lead conversations and initiatives around public and alternative transportation, collaborate with counterparts in other communities, and work directly with city and state decision-makers to effect positive change.
 
The Convening covered most of the day’s hot transit topics. Workshops included “You and the St. Paul Bike Plan,” “Racial Equity in Transit Decision Making” and “From Vision to Plan to Project.” The event also featured a session devoted to “Organizing Friendly Streets and Better Blocks,” which highlighted Fulner’s work with the Friendly Streets Initiative. And the conference explored useful tools for transportation advocates, including an “Equitable Development Scorecard” and a “walkability/accessibility survey” for SPHTFA attendees.
 
Despite St. Paul Healthy Transportation for All’s community-driven focus, the conference attracted key state and local leaders. St. Paul Mayor Chris Coleman opened with remarks on St. Paul’s transportation system, followed by Minnesota Commissioner of Health Dr. Ed Ehlinger’s keynote speech on the health benefits of walking, biking and public transit. Charles Zelle, Minnesota’s Transportation Commissioner, closed with remarks on past and future developments in road use and public transit.
 
According to Fulner, SPHTFA formed out of “several years of conversations around more intentional collaboration and sharing of resources between District Councils,” with the Macalester-Groveland and Hamline-Midway councils taking the lead. Fulner stresses that SPHTFA is “in it for the long haul, in the sense that [this isn’t] a one event or one meeting kind of project,” she says. “We want to foster increased collaboration and creative, big picture thinking in community members and decision makers.”
 
SPHTFA takes a “whole city” approach to transportation, paying special attention to the needs of traditionally underserved communities and marginalized demographic groups, such as the elderly and people with disabilities. While celebrating the better-than-expected debut of the Green Line, Fulner is quick to point out that it “does not serve many of the traditionally under-represented and under-resourced neighborhoods and populations.”
 
“There needs to be more focus of the city as a whole, including the East Side and the West Side [meaning the area south of downtown],” she adds.
 
Overall, Fulner and SPHTFA would like stakeholders and citizens to recognize the fundamentally interconnected nature of St. Paul’s urban fabric and work to strengthen it. “Transportation and health are both issues that function in a web of interconnectivity, rather than as a series of isolated issues, and should be addressed with this in mind,” she says.”
 

Green Line Theater, an “original, mobile theater production” sponsored by the Central Corridor Funders Collaborative’s Catalyst Fund, will enliven the Green Line at 1 p.m. this Saturday, Oct 18, (or 1 p.m. this Sunday, in the event of a rainout). The production—created in partnership with the Minnesota Museum of American Art’s (MMAA) Project Space exhibition “From There to Here”—includes visual art and performances from artists Wing Young Huie, Ashley Hanson and Jessica Huang, as well as from members of the communities surrounding the Green Line.

The play comprises five scenes at five stops—Raymond, Hamline, Dale, Capitol/Rice and Central—and explores the “rich history, stories and collective memories associated with [Green Line] neighborhoods,” according to the MMAA. Creatively, it’s an extension and expansion of “Bus Stop Theater,” a Creative CityMaking collaboration that brought Huie and Hanson together last year.
 
Huie, Hanson, Huang and others developed the script in close consultation with Springboard for the Arts, the Center for Hmong Arts and Talent, and the African Development Center. The three organizations held “workshops and street engagements to collect stories about the neighborhoods along the Green Line,” using the information to “inform the script for the interactive play,” according to MMAA.

The audience will travel together from scene to scene, using the light rail as transportation, in a style of site-specific theater know as mobile theater. “Utilizing public transportation to move from scene to scene is not anything we have heard of happening here before last year, when [Wing and I] produced ‘Bus Stop Theater’,” Hanson says.

“The idea behind this type of mobile theater is to get the audience engaged with their public transportation system, the landscape that it moves through, and the other people who utilize public transportation,” adds Hanson. “In a way, we are turning transit vehicles into community meeting places.”
 
In addition to her work along the Green Line, Hanson’s PlaceBase Productions—a collaboration with artist Andrew Gaylord—puts on site-specific performances at locations across Minnesota. Paddling Theater, for instance, makes its way through the Minnesota River Valley by boat. We use “mobile theater to connect audiences to their physical landscape by producing stories...in the landscape [where they] occurred,” Hanson says.
 
Performers and audience members meet at the parking lot for 2314 University Ave W, near the Raymond Station. Though “Green Line Theater” is free, register for the event. A free, open-admission reception follows the last scene at the Minnesota Museum of American Art, in downtown St. Paul.
 
“We hope to continue exploring this medium in the hope that more people will bring theater outside the box,” Hanson says, “and engage with an audience that might not otherwise attend a theater production.”
 

More than 100 Twin Cities’ creatives gathered last week in the Minneapolis Convention Center for the fifth annual Giant Steps, an all-day conference for “entrepreneurial creatives and creative entrepreneurs.” Giant Steps featured three plenary panel conversations, covering broad topics like overcoming creative and practical challenges, defining success and scaling a creative business. Smaller breakout sessions included “Finding Your Audience/Finding Your Niche,” “Tax: Thinking Outside the Shoebox” and “Self-Care for Creatives.”
 
Founded by Susan Campion of Camponovo Consulting and M.anifest, a Ghana-born hip hop artist with close ties to the Twin Cities, Giant Steps is all about helping local creatives, freelancers and self-employed “independents” overcome obstacles to creative and financial success. This year’s conference was hosted by Campion, who’s also a professor at the University of St. Thomas, and Kevin Beacham, a DJ, hip-hop historian and manager at Rhymesayers.
 
According to Giant Steps, attendees included people from all over the creative spectrum: “Chefs, designers, dancers, architects, photographers, playwrights, film-makers, inventors [and] hip hop artists.”
 
“We believe we'll learn more and learn faster if we cast a wider net—connecting with and learning from folks beyond our current discipline or industry,” according to the Giant Steps’ website. “By creating conversations around interesting examples and challenges we all share, we set the stage for cross-pollination and future collaborations.”
 
Giant Steps’ three panel conversations shaped the dialogue. In the morning, “Resilience: Overcoming Challenges and Moving Forward” found four local entrepreneurs and artists (including Teresa Fox of Glam Doll Donuts) sharing insights on early roadblocks to creative and financial success—writer’s block, business setbacks and more. “Success: How Do You Define It and How Does It Define You?” featured dancer/choreographer Ananya Chatterjea, founder of Ananya Dance Theater, and three others, discussing the importance of setting manageable goals and crafting a long-term creative or entrepreneurial vision.
 
The final panel conversation, “Good Problems to Have: Insights on Scaling Your Work and Increasing Your Impact,” featured four successful “creative entrepreneurs” who have “graduated” to managing sizable teams: Chris Cloud of MPLS.TV, Joan Vorderbruggen of Made Here and the Hennepin Theater Trust, Mark Fox of creative-friendly Fox Tax and Maurice Blanks of local modern furniture designer Blu Dot.
 
All talked about what drove them to move beyond the “independent” mindset and recruit teams to work under them. “We started with the narcissistic assumption that our need”— fashionable furniture at an affordable price—“was shared by others [in the Twin Cities],” said Blanks, whose company now has nearly 100 employees. “The initial goal was to create jobs we liked.”
 
Campion, who moderated the conversation, asked the panelists about limits to growth as well. “The most important thing we learned was when to say ‘no,’” said Fox. “You never want quality to suffer” as a result of ambition.
 
For Vorderbruggen, success—specifically, managing a team of artists for the Hennepin Theater Trust—meant sticking up for her fellow creatives. Asked by Campion what prerogatives her newfound power provided, she recalled convincing her superiors not to request free work from artists. “If I’m getting paid, my artists are getting paid,” she said.
 
Vorderbruggen also talked about staying in tune with the creative community as she transitioned to an oversight role. She was instrumental in putting together a panel that represented the diversity of Minneapolis’ arts community, ensuring that many viewpoints would be included in Made Here’s work.
 
Giant Steps packed a lot of insight into a single day, but the theme that tied it together was simple: Creatives and entrepreneurs have more in common than they might think—and they’re more powerful when they work together.
 
“You need to make sure that others know what you stand for,” said Cloud, “and know when to rely on people who can do a great job at things you might not be so good at.”
 

A $200,000 grant from the Bush Foundation could dramatically transform the Chicago Avenue streetscape over the next decade. The two-year Community Innovation Grant, awarded to Arts on Chicago, will fund existing artistic placemaking projects on Chicago Avenue between 32nd and 42nd Streets.

The corridor sits at the intersection of the Powderhorn, Bancroft, Central and Bryant neighborhoods, and local Arts on Chicago stakeholders include the Pillsbury House & Theater, Powderhorn Park Neighborhood Association, Upstream Arts, Wing Young Huie’s Third Place gallery and local artist/MCAD professor Natasha Pestich.
 
The Bush Foundation grant will also facilitate the development of a Creative Community Development Plan, to be finalized in 2016, that dovetails with the City of Minneapolis’ 38th & Chicago Small Area Plan. According to Mike Hoyt, Pillsbury House & Theater’s Creative Community Liaison, the grant will provide direct support for 8 to 12 artists engaged in creative placemaking projects around the neighborhood. The subsequent CCDP could build on this foundation, offering equity in development projects to local artists and other community members, though discussions are still in the early stages.
 
Thanks to a $150,000 grant from Artplace America in 2012, Arts on Chicago has already begun or completed about 20 small-scale placemaking projects along the 10-block corridor. “Since they last for just one year, ArtPlace grants compel you to sprint to accomplish everything you’ve planned,” says Hoyt, adding that the 2012 grant allowed Arts on Chicago to chart an ambitious path forward.
 
“We used to envision ourselves as a creative and cultural hub for the community,” he adds. “We’re now in the process of building a web of artistic assets across the area.” Arts on Chicago, and any initiatives that arise out of its Creative Community Development Plan, may eventually broaden to include the entire area bounded by 35W, Lake Street, Cedar Avenue and 42nd Street, with funding for creative placemaking projects throughout.
 
The overarching goal is to use art-focused placemaking to empower the entire cross-section of community members, including those whose agency and input has been limited until now. As the area’s character changes, says Hoyt, Arts on Chicago aims to turn local creatives into stakeholders, providing equity—“owning the dirt,” he says—so that they can’t easily be displaced by development.
 
“We’re trying to create a growth and development plan that doesn’t force people out,” he says, “but there’s still a lot we don’t know.” Conversations with Twin Cities’ policy makers and traditional community development efforts are ongoing. Arts on Chicago is also funding temporary research assistant positions, awarded to four Humphrey Institute students in late September, to canvas the community and get a better sense of locals’ needs and wants.
 
More ambitiously, Arts on Chicago is exploring hybrid approaches beyond traditional nonprofit models to facilitate sustainable development that empowers and enriches current residents. Hoyt cites the Northeast Investment Cooperative’s model, as well as “social venture” models in use elsewhere. Such plans could be particularly attractive in the Central neighborhood, which Hoyt says has a housing vacancy rate of more than 10 percent.

“A surplus of housing creates more opportunities to keep people in place” using existing assets, says Hoyt. But these efforts would require buy-in and support from other organizations, he cautions, and could take years to bear fruit.
 
“The most important thing now is tracking, measuring and assessing” Arts on Chicago’s initial placemaking work, and putting plans in place to build on its successful elements, says Hoyt. “It might take 5 to 10 years to see a real impact on the communities we serve.”
 

 

The Knight Foundation recently announced 42 winners of its first-ever St. Paul Knight Arts Challenge. The challenge tasked applicants with answering this question: “What’s your best idea for the arts in St. Paul?” The grants, totaling nearly $1.4 million, recognize creative initiatives from the Far East Side to St. Anthony Park.
 
In addition to providing their best ideas for the arts in St. Paul, the Knight Foundation requires successful applicants to demonstrate that that project will either “take place in or benefit St. Paul,” according to a release from the foundation. And each applicant must find funds to match the Knight Foundation’s awards. Some of notable winners include:
 
The “Smallest Museum in St. Paul,” $5,000
A project of almost-open WorkHorse Coffee Shop, in the Creative Enterprise Zone in St. Anthony Park, the “Smallest Museum in St. Paul” will be really, really small—a vintage fire-hose cabinet that couldn’t even hold a Labrador retriever. The museum will host rotating collections of artifacts, art and memorabilia from the neighborhood’s vibrant creative and academic communities. The first exhibit is scheduled for June. Future exhibits must follow three simple rules: celebrate local themes or history, engage the coffee shop’s patrons, and avoid high-value, theft-prone artifacts.
 
Fresh Traditions Fashion Show, $35,000
The Center for Hmong Arts and Talent won a sizable grant to expand its Fresh Traditions Fashion Show, the Twin Cities’ “only culturally inspired fashion event that exhibits the creativity, originality and quality of work by Hmong designers,” according to the Knight Foundation. At the show, designers must incorporate five traditional Hmong fabrics into clothing that hews to contemporary fashion. Part of the Knight Foundation grant will be set aside for career support and skills-building classes for individual designers.

Radio Novelas on the East Side, $50,000
Nuestro Pueblo San Pablo Productions, led by Barry Madore, will use its Knight award to produce a series of 20 fictional radio novelas that celebrate the history and culture of the East Side’s Latino community. Madore plans to promote the series with three live shows at yet-to-be-named venues around the district. Like Fresh Traditions Fashion Show designers, participating performers can count on support and training from Madore and his partners.
 
Paleo-osteological Bike Rack, $40,000
Artist and paleo-osteological interpreter Michael Bahl has plans to fabricate the bronze skeleton of a large dinosaur-like animal in repose, with its ribcage functioning as a bike rack. That bony crest on its skull? A bike helmet. The work focuses on how prehistoric skeletons, which are obsessed over by scientists and fossil hunters around the world—can also be viewed as works of art. “When the individual bones are joined in a united effort, a skeleton becomes the ultimate functioning mechanism, or in this case, a whimsical bike rack,” according to Knight’s website.

Twin Cities Jazz Festival, $125,000
More established organizations got a slice of the pie, too. The largest single grant went to the Twin Cities Jazz Festival. The annual festival already draws more than 30,000 attendees, but organizers wanted to add more stage space and spring for better-known headliners. Performers have yet to be announced for next year’s event, in June, but executive director Steve Heckler is considering a move to the brand-new St. Paul Saints stadium, in the heart of Lowertown. That would create more seating space and facilitate pedestrian traffic from the Green Line stop at Union Depot.
 
The St. Paul Knight Arts Challenge will continue through 2016, with two more rounds of awards. All told, the foundation has earmarked $4.5 million to fund creative ideas, plus another $3.5 million for five established St. Paul arts institutions: Springboard for the Arts, Penumbra Theater, TU Dance, St. Paul Chamber Orchestra and The Arts Partnership. St. Paul is just the fourth city to participate in the Knight Arts Challenge, after Miami, Detroit and Philadelphia.
 

Mathew Janczewski’s ARENA DANCES recently previewed its upcoming “Main St. Project” at a well-attended event in the patio space between the Marriott Courtyard Minneapolis Downtown and Town Hall Brewery. The event, called “Main St. Project: A Photography Unveiling,” included work from three Twin Cities’ photographers: Keri Pickett, Jack Armour and Wing Young Huie.
 
Their images of urban and small-town landscapes that have changed as a result of economic forces like suburbanization, big box retail and de-industrialization were projected on the brick exterior wall of the Southern Theater, where the multi-media performance “Main St. Project: The Evolution of Main Street: Yesterday, Today and Tomorrow” will run October 2-5. Performers from ARENA DANCES animated the imagery, which also included faces from Twin Cities' communities.
 
Following the show, some of the photographs were also projected onto the broad sides of buildings in the surrounding area, including the silos near the Guthrie Theater. Minneapolis Art on Wheels handled this aspect of the project.
 
The photographs will be incorporated into the October dance performance, as well. "When Mathew approached me to be a part of [his “Main St. Project”], I combed through my archives of photographs taken over 35 years," Huie says, "and selected 20 photos from about six different projects that I thought reflected a broad range of socio-economic and cultural realities in Minnesota."
 
According to ARENA DANCES, “Main St. Project” aims to answer a simple question: Does “Main St.” still exist? The dance performance incorporates “visceral and explosive movement [and] electro/techno/pop music, folk-inspired songs, and projections of filmed interviews with people from diverse communities and backgrounds” in pursuit of the answer. The photos add context to the performance by portraying historic and contemporary "Main Sts.," neighborhood intersections and city centers in various states of repair.
 
"All of the photographers and photography provide a great perspective on what 'Main St.' means," says Janczewski. "We're asking the question, 'How can we have a neighborhood-oriented future?'"
 
For Janczewski, the “Main St. Project” is personal. He grew up in Round Lake, Illinois, between Chicago and Milwaukee. As a child, he remembers a vibrant, community-focused town with a bustling downtown. Today, the town's economic engine has shifted to generic office parks and big box stores on its outskirts—a transformation repeated in countless other American communities.
 
Janczewski also wrestles with modern themes of alienation. Though he lives in a condo building, he says, there isn't always a sense of common purpose and community in his own neighborhood. And he's inspired by MIT professor Sherry Turkle's work on "technological isolation"—stories about how, despite being more connected than ever before, we feel depressed or inadequate when we interact with others online.
 
The project incorporates participants from ARENA DANCES’ Intergenerational Residency Program, an ongoing outreach initiative that facilitates dialogue between members of discrete, age-specific communities. The residency connected local middle- and high-school kids with residents of senior living facilities, who told stories of growing up in close-knit small towns and neighborhoods—quintessential "Main St." experiences.
 
The show includes a dynamic interplay of multimedia elements. A preview video on ARENA DANCES’ website shows unadorned performers in states of apparent bliss and others marked by frenetic bursts of energy against a backdrop of scattered newspapers, forlorn images and jarring bursts of light. The performing company is comprised of six local dancers: Elise Erickson, Sarah Baumert, Kimmie Allen, Timmy Wagner, Blake Nellis and Dustin Haug.