Greater East Side : Innovation + Job News

In schools, it’s common for there to be a divide between the administration and the student body that’s hard to bridge. Local schools are trying to reach out, shown by the Minneapolis Board of Education’s decision to give a student representative a nonvoting seat on the board.

For students, though, that move rung hollow: a token position that didn’t have voting rights. Looking to improve its own interactions with students, St. Paul Public Schools (SPPS) is taking a new approach through Student Engagement and Advancement Board (SEAB), a 13-student group that researches and recommends changes to improve the educational experience.

SEAB, now in its second school year, was formed under the guidance of Shaun Walsh and two of her peers. To mitigate the popularity factor of an election, Walsh and her peers chose an application process and interviewed students, grades 10-12, from St. Paul schools.

The first year SEAB established a framework. This year’s agenda is action focused. To improve student inclusiveness, SEAB recommends three changes: The ability of students to choose to wear cultural garments at graduation; to examine the district’s disciplinary programs; and to adjust the district’s social studies program to better reflect the diverse student population of St. Paul schools.

Last year, graduating senior Chandra Her was asked to remove a traditional Hmong stole that violated an existing rule against personal modifications to the graduation uniform.

“Many of the other students had their cultural items physically taken off of them and confiscated,” says Skyler Kuczaboski, a senior at Harding Senior High School. “I think this is extremely disrespectful and I want to make sure none of this happens ever again.”

This disconnect between student emotions and the Board of Education is what inspired Central sophomore Rajni Schulz to join SEAB this year. “It confuses me that decisions in SPPS are not made by the people ultimately effected by them; the students,” she says. “The diversity present in the SPPS community is a beautiful thing,” she adds, which is why the graduation rule has become one area of focus.

While the experience gives its participants valuable leadership and community building experience, the purpose of the group is to improve the student experience for all 60,000 SPPS students. They research and identify issues, taking suggestions from the Board of Education but making their own decisions on topic, tone and recommendations, and speaking with the general student population.

Walsh recalls a presentation at the close of the 2015-2016 school year as evidence of SEAB’s influence on students’ lives. “[A SEAB student] was in a meeting with a board policy work group with kind of cantankerous adults and she really held her own,” Walsh says. She’s also proud that the students followed her advice and requested the right to evaluate their facilitators. In other words, the students can fire her.

The purpose all along was “to take the power to the people,” Walsh explains. Students are standing up for themselves, using their power in constructive methods that are bearing results.

“I’ve been surprised at the receptiveness with adults,” she says, citing a presentation from late last school year where SEAB members used their own experiences as students to describe challenges to their learning environment. “Different departments have used that phrasing in their presentations [this year],” Walsh says, showing that when SEAB speaks, educators listen.

“They still only represent 13 students, they don’t represent the student body,” Walsh admits, but she sees SEAB as a foundation for more effective student-education board interaction.
 

Knight Cities Challenge, a massive social enterprise contest supported by the John S. and James L. Knight Foundation, announced the 37 winners of its 2016 competition last week. Two innovative concepts hatched in St. Paul made the cut, taking home more than $250,000 (of the contest’s $5 million total prize) between them.
 
Front Lawn Placemaking Platform, submitted by The Musicant Group, won about $82,000 — payable over the coming year — to support its goal: “Transforming front lawns from empty expanses of grass to vibrant places full of life through the development of a toolkit that encourages residents to create community hubs on their doorsteps.”
 
I’m Going to Vote Today, submitted by the University of St. Thomas (UST), won about $170,000 — also payable over the coming year — to put an updated spin on the age-old “I Voted!” trope. Instead of distributing “I Voted!” clothing or bumper stickers at polling places, the initiative hands out “I’m Going to Vote Today” stickers to eligible voters.
 
The goal, according to UST associate professor for marketing Aaron Sackett, is “behavioral intervention.” In an article released by UST, he explained: “First, sending out this sticker should serve as a reminder for people to make a plan for how and when to vote…[s]econd, the sticker and accompanying message serve as an indicator that voting is a socially desirable action, and that by wearing the sticker they can show both themselves and others that they engage in this desirable action.”
 
By labeling themselves voters, Sackett added, people wearing the sticker positively affect the behavior of “people who generally have a positive attitude toward voting but who don’t always follow through and vote” — rendering them more likely to vote. Now that his concept is funded, Sackett plans to test it across St. Paul, which has tens of thousands of registered voters.
 
These two initiatives were among more than 500 submissions. Following a rigorous review, Knight Cities Challenge narrowed the pool down to about 160 finalists, a significant increase over previous years. Knight then subjected finalists to a further round of view before settling on the 37 finalists. According to the organization, Challenge winners hail from 19 cities around the country — most of the markets in which Knight operates.
 
According to the John S. and James L. Knight Foundation, Knight Cities Challenge contestants must “focus on one or more of three drivers of city success: attracting and keeping talented people, expanding economic opportunity and creating a culture of civic engagement.”
 
The Florida-based Knight Foundation, which has an active presence in Minnesota but invests nationwide, is sometimes confused with the Minneapolis-based McKnight Foundation. McKnight invests heavily in sectors such as clean energy and sustainability, arts, education and community building, training most of its firepower in the MSP region and surrounding parts of the North.
 
 

Public Art St. Paul has big plans for 2016. Pop Up Meeting, the city’s ambitious drive to “increase diversity and participation in St. Paul’s urban planning process,” is leading the way.
 
Pop Up Meeting’s specially retrofitted, immediately recognizable red van hit the streets in 2015. Drivers Amanda Lovelee, a St. Paul City Artist, and intern Abby Kapler hold meetings during which they solicit survey responses, verbal opinions and other feedback, then “visibly and comprehensibly share” those ideas with others.
 
Pop Up Meeting had a great inaugural season. According to Lovelee, 70 percent of the initiative’s participants had never before engaged with the city planning process. “We think that’s a great measure of success,” she says.
 
This year, Pop Up Meeting aims to reach St. Paul’s most underrepresented citizens, particularly those with limited or nonexistent English fluency. Lovelee plans to use tablets to present questions and solicit feedback from respondents in their native tongues, rather than rely on ad hoc translators.
 
“[Non-English speakers] tend to be more disengaged from the planning process,” says Lovelee, “so we’re really doubling down on our efforts to reach them.”
 
No matter what language they speak, Pop Up Meeting participants get a free, locally made popsicle — courtesy of St. Pops — for their troubles. Lovelee tapped St. Pops to design a healthy, organic popsicle that “captures the flavor of St. Paul,” says Lovelee. They settled on mint lemonade, “which tastes like a super-delicious mojito, without the alcohol.”
 
“I lost count of how many popsicles I had last summer,” she adds. “Seriously, they’re amazing.”
 
Lovelee is putting together Pop Up Meeting’s official 2016 schedule this month, but the broad strokes are already clear. She’s devoting plenty of bandwidth to Mayor Chris Coleman’s 8 to 80 Vitality Fund, whose component projects include the River Balcony and elevated downtown bikeway loop. Lovelee also plans to spent lots of time in Highland Park, soliciting residents’ thoughts and visions for the Ford site redevelopment, which isn’t projected to begin until 2018 at the earliest.
 
“The city planning process is partly about getting out in front of big, multi-year projects and setting expectations that conform to residents’ needs and desires,” says Lovelee.
 
Besides Pop Up Meeting, Lovelee and Public Art St. Paul have some other big projects on tap.
 
Public Art St. Paul recently received a Knight Foundation grant to deploy pollinator-friendly streetscapes around the city. This ear a prototype will be constructed in a single St. Paul neighborhood “to make sure the plants survive the winter,” says Lovelee. Also this year, a mobile seed cart slated to distribute seeds to local residents will be launched.
 
At the corner of 10th & Robert, work just wrapped on the first biodiversity study of Public Art St. Paul’s Urban Flower Garden. The study’s findings will inform future work on that site through the 2016 growing season and beyond.
 
All in all, it’s shaping up to be a banner year for Public Art St. Paul. “Start dreaming of warm weather and popsicles,” advises Lovelee. “We’ll be out on the streets again before you know it.”
 

Thread Connected Content is MSP’s newest independent creative agency — and it’s an overnight powerhouse, thanks to its cofounders’ combined decades of agency experience, a multidisciplinary approach to creative campaigns, a unique penchant for high-touch storytelling and one of the most unique internship programs around.
 
Launched in July on St. Paul’s East Side, Thread already has 30 employees and is hiring for a handful of additional positions: digital designers, account managers and others as the need arises.
 
Thread’s client roster, burnished by its cofounders’ and employees’ past professional relationships, is already wildly diverse: blue chips like 3M and Target coexist comfortably alongside public institutions like Mia, and MSP originals like The Wedge Co-op and FOOD BUILDING.
 
“Our client strategy is a three-legged stool,” says Kim Rudrud, vice president. The first leg is “large companies with multiple brands and distinct visions,” like 3M and General Mills, she says. The second is the middle market, broadly defined: mostly MSP-, Minnesota-, and Midwest-based companies with eight- or nine-figure annual revenues and “similar cultural philosophies,” says Rudrud. And the third is “passion projects,” clients that more traditional firms might work with on a pro bono basis to burnish their creative bona fides and impress deeper-pocketed prospects.
 
“We’re not looking to leverage [the third leg] so that someone bigger and better walks through our door,” says Rudrud. “We’re actually passionate about helping these clients.” Earlier this year, Christiana Kippels, Thread’s director of accounts and business development, brought in a friend who’d just purchased St. Paul’s Treadle Yard Goods and sought to rebrand on a shoestring budget.
 
Thread’s diverse client base is reflective of its cofounders’ and employees’ diverse professional backgrounds. Many came from top-tier MSP creative agencies, like Campbell + Mithun (now simply Mithun) and Olson. Some cut their chops as internal communications and branding gurus: Kippels came over from Thymes’ product development department. Others have boutique backgrounds: Rudrud honed her storytelling intuition at WomanWise, a marketing research consultancy that “uncovers insights into what makes people tick,” she says.
 
Thread’s diverse staff, in turn, supports an impressive range of in-house capabilities: market research, brand strategy, copywriting and graphic design, technical digital marketing work, video production and more. “We do have outside research partners,” says Rudrud, “but we handle the bulk of our research and all of our production work internally.”
 
According to Rudrud, Thread’s in-house approach sets the agency apart from MSP’s smaller independents — and even many of the region’s biggest players, which tend to farm out labor-intensive production to specialized studios. “It’s not an accident that we call ourselves a ‘studio,’” says Rudrud.
 
Thread has a couple other differentiators up its sleeve, too. Compelling stories, not overcooked data, form the nub of each Thread campaign. According to Kippels, other agencies have “veered away from the creative side of marketing and branding,” creating an opportunity for an agency willing to mount comprehensive, authentic and human-scale — if subjective — campaigns.
 
“Human relationships are messy in the best possible way,” she explains. “More than ever, [marketing] is about creating useful, authentic experiences.”
 
When it comes to messy and authentic, thread definitely walks the walk. The agency’s website deftly blends what you’d expect from a well-produced business property — succinctly described services, employee headshots and bios, “about us” copy — with edgy, interactive elements that drive interaction. Each service description, for instance, ends with an open-ended question and live tweet button, inviting visitors to loop their followers into the conversation. Thread’s “Connect” page is a constantly evolving social feed that changes daily. Even its website logo is interactive, morphing and changing color in response to qualitative social media interactions (“a major development challenge,” says Rudrud).
 
In its employees’ admittedly biased collective opinion, Thread offers MSP’s best creative-industry internship. Dubbed “Spool,” Thread’s three- to six-month program is “not your typical internship,” says Rudrud. “Spoolers” hail from diverse academic backgrounds — from graphic design and comp sci to English lit — and can choose from several openended programs (“blogs to code,” “apps to animation,” and others).
 
“In many cases, we just give [interns] cameras, send them out into the world and tell them, ‘See what you can find,’” says Rudrud. The current crop recently spent a week producing and editing creative content onsite at the FOOD BUILDING, for instance. The results, says Rudrud, were “amazing.”
 
“The Spoolers are our Ph.Ds of pop culture,” says Rudrud. “As digital natives, they see the world differently — they provide us with insights that we don’t have and help us tell stories that we couldn’t tell on our own.”
 
 

 
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 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.
 

On September 10, the Minnesota Cup announced its best “breakthrough idea” of 2014: 75F, a Mankato-based technology company that makes efficient, cost-effective HVAC sensors. The company, which emerged as the winner of MN Cup’s Energy/Clean Tech/Water category division before emerging as the grand prize winner, took home a total of $105,000 in prize money and funding commitments.
 
But it wasn’t the only company that won big in this year’s MN Cup. Trovita Health Science, a startup based in Minneapolis' North Loop that makes a meal replacement drink called ENU, took home a $30,000 prize as the winner of the Food/Ag/Beverage category. YOXO, a St. Paul toymaker that uses simple cardboard connectors in innovative ways, also took earned $30,000 for topping the General/Miscellaneous category. Four other category winners won between $20,000 and $30,000 in prize money, and earned immeasurable visibility for their ideas.
 
All told, more than 1,300 Minnesota entrepreneurs and startups participated in this year’s MN Cup—a record turnout. At least 50 percent of all entrants came from the Twin Cities. In a press release, MN Cup co-founder Scott Litman described the field as “the most competitive yet” in the competition’s decade-long history.
 
Aside from 75F and the rest of MN Cup’s category winners, the September 10 event highlighted the achievements of local entrepreneurs and thought leaders who support the Twin Cities’ growing startup scene. After raising more than $10,000 via Kickstarter, Twin Cities Mobile Market secured a $1,000 cash prize for its elevator pitch at this year’s Minnesota Cup. TCMM is a “grocery store on wheels” that brings fresh, affordable produce and other nutritious foods to Minneapolis-St. Paul neighborhoods that lack easy access to full-service grocery stores.
 
MN Cup also recognized Carlson School of Business grad Steve Eilertson as its “2014 Entrepreneur of the Year” for his role as president of locally based Grain Millers, Inc. And thanks to a partnership with the Holmes Center for Entrepreneurship, women were much more visible at this year’s event. Published figures indicate that more than one-third of all entries came from women-led teams. Nearly half of all entries had at least one female participant.
 
For entrepreneurs who missed the May filing deadline for MN Cup 2014, next year brings a new opportunity. In a September 12 interview on Minnesota Public Radio, Litman had some sage advice for those who would participate. “It might seem un-Minnesotan,” he said, “but successful entrepreneurs” have to be unabashed about self-promotion and arguing for their vision.
 
He sees two big reasons why enthusiastic entrepreneurs fail. First, they don’t ask for enough money. It’s critical to pin down the cost of developing, marketing and scaling an idea, and many startup owners underestimate the costs they’ll incur before revenues start coming in. By holding out the prospect of five-figure prizes for winning entrants, and by connecting all entrants with mentors and investors who can inject additional capital into worthy startups, MN Cup helps bridge this financing gap.
 
Just as important, entrepreneurs must surround themselves with the right people, who may be more important than the idea itself. “A great idea in the hands of a mediocre team may not work,” said Litman. He argues that MN Cup is designed to help entrepreneurs self-select: Those who thrive on high-stakes pitches and meticulous business plan development leave the process much stronger, while those who flounder realize that they may need help turning their vision into a reality.
 
“It’s like American Idol,” said Litman. “Lots of people can sing well,” but not everyone’s voice can fill Xcel Energy Center.
 

A recent city-ordinance change has paved the way for mobile grocery stores. Now the Wilder Foundation’s Twin Cities Mobile Market, a repurposed Metro Transit bus that cost the foundation just over $6,000, can distribute fresh produce on St. Paul’s East Side and the North Side of Minneapolis.

Both neighborhoods are considered “food deserts” because the corner shops and independent markets that provide residents with groceries lack fresh produce and other wholesome items.

“[Low-income] people living in these neighborhoods are already at higher risk for obesity and diabetes,” explains Leah Driscoll, the Wilder Foundation program manager in charge of the project. “Living in a food desert makes these problems worse.”

Many residents of these lower-income areas also lack reliable transportation to supermarkets in adjacent city neighborhoods or suburbs, further constraining their shopping options.

The ordinance change, which requires each food truck-like mobile grocery store to stock at least 50 individual fruits and vegetables in at least seven varieties, replaces an older ordinance that had restricted mobile grocery sales to areas around senior housing complexes.

The new law permits mobile grocery stores to set up in commercial, industrial and apartment complex parking lots between 8 a.m. and 9 p.m. They can’t locate within 100 feet of traditional grocery stores and farmers’ markets without explicit permission from owners or operators. They also can’t sell certain items, including tobacco products and alcohol.

In addition to the requisite variety of fresh fruit and veggies, Twin Cities Mobile Market will also stock other staples, including bread, dairy products, meat, canned goods, and other non-perishables at costs competitive to places like Cub Foods. Before selecting sites for weekly visits—“public housing high-rises, senior buildings, community centers, and churches” will get the highest priority, according to the foundation—Wilder must secure at least 50 signatures from locals interested in using the market.

Driscoll is working closely with local community leaders to ensure that “we’re actually wanted and needed in the neighborhoods that we select—we don’t just want to show up,” she says.

Twin Cities Mobile Market, which Wilder unveiled on Monday at a “sneak preview” event hosted by Icehouse, isn’t the only mobile grocery truck set to take advantage of Minneapolis’s ordinance change. Urban Ventures, a faith-based organization headquartered in the Phillips neighborhood of Minneapolis, is putting the finishing touches on a repurposed refrigerator truck that will begin making grocery sales around South Minneapolis, and eventually the North Side, later this summer. The truck, whose wares will include healthy helpings of local produce, will accept EBT and carry a nutrition specialist to help customers make healthy buying decisions.

 

Got big plans for April 26? Lu Lippold, the local producer for One Day on Earth’s “One Day in the Twin Cities,” has a suggestion: Grab whatever video recording device you can—cameraphones included—and record the audio-visual pulse of your neighborhood.

On the final Saturday of April, the Twin Cities and 10 other U.S. metros will host the fourth installment of One Day on Earth’s celebration of film, culture, and all-around placemaking. Founded by Los Angeles-based film producers Kyle Ruddick and Brandon Litman, One Day on Earth (ODOE) has a “goal of creating a unique worldwide media event where thousands of participants would simultaneously film over a 24-hour period,” according to its website.

The first event took place on October 10, 2010 (10-10-10); 11-11-11 and 12-12-12 followed. ODOE skipped 2013, but its organizers weren’t about to wait until 2101 for their next shot. Instead, they selected a spring Saturday—both to accommodate amateur filmmakers with 9-to-5 jobs, and to give participants in the Northern Hemisphere longer daylight hours to work with—for a bigger, bolder, slightly revamped version of the event.

For the first time, participants get 10 questions to inspire their creativity and guide their storytelling, from “What is the best thing happening in your city today?” to “Who is your city not serving?” The goal is to create a multi-frame snapshot of “cities in progress,” one that doesn’t simply answer the who-what-where of the places it covers.

As One Day in the Twin Cities’ point person, Lippold supervises local filmmakers and pitched the project to dozens of partner organizations, including the Science Museum of Minnesota and Springboard for the Arts to visual media companies like Cinequipt and Vimeo. (The McKnight Foundation and the Central Corridor Funders Collaborative are the largest local sponsors.)

The upside? “[The event] is a great way to shine a light on all the hard work that our nonprofit community does,” says Lippold.

Lippold also works with a handful of local ambassadors, some of whom enjoy national acclaim. These include noted cinematographer Jeff Stonehouse, veteran documentarian Matt Ehling, and community-focused filmmaker D.A. Bullock. They’ll be contributing their talents—and stature—to One Day in the Twin Cities’ promotion and execution.

One Day in the Twin Cities could be seen well beyond Minneapolis and Saint Paul. Along with their counterparts from other participating cities, local filmmakers may see their work incorporated into a condensed, three-part series that Litman and Lichtbau will market to PBS affiliates around the country. No word on whether TPT will air the special, but TPT Rewire has agreed to publicize the event in the coming weeks.

The real stars of One Day in the Twin Cities, though, are its filmmakers. Even if you’ve never filmed anything in your life, says Lippold, you can contribute meaningful work. Thanks to an interactive map feature on ODOE’s main site, the work will visible to anyone who visits.

“If I were just starting out in video, I would see this as a huge opportunity,” says Lippold. Since all contributions are credited by name and location, each participant “instantly becomes a documentary filmmaker,” she adds.

Source: Lu Lippold
Writer: Brian Martucci

During a two-week residency, a group of 33 students from St. Paul’s Galtier Community School collaborated with the Minnesota Museum of American Art (MMAA) on a multifaceted art project called CuratorKids. The 4^th and 5^th grade students’ artworks will be exhibited at Groundswell, a nearby coffee shop, from Dec. 16 through Jan. 19. In the spring of 2014, the childrens' artwork will also be exhibited by MMAA.    

MMAA developed CuratorKids to address “the shortage of art education in our public schools by offering a program that brings art and practicing artists directly to the kids,” MMAA  materials state.

Through the program, students examined a handful of artworks from the museum’s collection, according to Heidi Swanson,  technology integration specialist at Galtier. Students then wrote poems about the museum pieces. The following week, students responded to the artwork in a different way -- by making mixed-media collages. In their collages, Swanson says, "They made artistic choices relating to color, objects, and emotion.”   

Diana Johnson, a consultant to the program, says the museum pieces became “source material" for the students. “These kids really were responding emotionally and aesthetically" to the museum works, she says, which they "turned into their own work."

After the residency wrapped up, the students recorded podcasts of their poems and videos of their collages. Their poems can be listened to online here.  

Johnson hopes the project helps the students gain confidence in artmaking, as well as in academic subjects. The school hasn’t had an art program for a number of years. But CuratorKids shows students that “they can do things they didn’t know they could," she says. "If they stick with it, they can surprise themselves and see that the world around them cares and is interested in them."   

As if in response to that sentiment, a group of school volunteers pitched in $300 to frame the collages for the coffee shop exhibit, according to Swanson. At Groundswell, the students’ recordings will be accessible online via QR codes that can be scanned by smartphones.  

Swanson hopes the residency inspires students’ ongoing creativity. Through programs like CuratorKids, she says, "We hope to build a bridge to our community and create opportunities for our students to share their successes beyond the school walls." 


Source: Heidi Swanson, technology integration specialist, Galtier Community School
Writer: Anna Pratt