creative economy : Innovation + Job News

Outsell, based on the 32nd floor of the Capella Tower in downtown Minneapolis, is one of the fastest-growing companies in the U.S. according to Inc. Since 2010, Outsell has roughly tripled its employee base and quadrupled its revenue. The company earned a spot (#455) on the 2014 Deloitte Fast 500, a closely watched list that tracks revenue growth at public and private North American companies. According to Deloitte, Outsell is Minnesota’s third-fastest growing tech company.
 
And Outsell shows not signs of slowing down. The company has added 15 jobs this year, bringing its total headcount to more than 100, and predicts an equal or greater number of employees for 2015.
 
“Our people are our most important asset by far,” says founder and CEO Mike Wethington. “We’re constantly looking for talented, self-starting candidates, especially web developers, data analysts and marketing specialists.”
 
Outsell’s current office space measures about 18,000 square feet, with a variety of spaces that encourage collaboration. Depending on the pace of hiring next year and beyond, says Wethington, his company may soon need to exercise an option to expand into the Capella Tower’s 31st floor.
 
Outsell was started in 2004, when Wethington, a self-described “serial entrepreneur,” bought Judson Bemis’s Solv Technology, which had developed an online lead generation solution for auto dealers. Wethington and his first employees improved and streamlined the platform, developing analytics to predict customer preferences and deliver automated, high-value marketing material.
 
For instance, a recent car buyer might receive emails or texts advertising oil changes, tune-ups and vehicle-appropriate accessories consistent with the buyer’s past purchasing and web navigating habits. “We customize and automate everything for the dealers so they can devote more resources to selling and fixing cars,” says Wethington.
 
“The experience is brand-consistent, like Amazon,” he explains, allowing independently owned and franchised dealers to use the same platform and analytics as others selling the same model. Outsell currently works with about 1,000 U.S. dealers and seven automotive brands, sending out automated communications to about 10 million consumers per month.

If you’ve recently purchased a new or used vehicle from a franchised dealer, there’s a good chance Outsell is behind the marketing emails and texts it sends you.
 
Despite its reach, there’s room for Outsell to grow. Dealers spend well over $1 billion per year on marketing, says Wethington, and many don’t yet use automated customer-contact solutions.
 
Even as Outsell racks up impressive growth figures and finds new ways to improve the customer experience, the company devotes significant resources to employee retention. The company offers unlimited paid time off, with no questions asked, and no distinction between sick days and vacation time, a rarity in the modern workplace.
 
“We place a lot of trust in our employees,” Wethington explains. “We expect them to take care of their work and reward them for holding up their end of the bargain,” –i.e., getting their work done on time.
 
Outsell also offers a profit sharing program for all associates, including entry-level employees, as well as performance bonuses, a matching 401(k) and tuition reimbursements for associates looking to further their careers with advanced degrees.
 
In a typical year, says Wethington, Outsell devotes 3 to 5 percent of total operating income to charitable contributions. The company’s employee-led Caring Committee partners with the Minnesota Keystone Program to distribute financial resources and manpower to groups like the Make-a-Wish Foundation, Boys & Girls Clubs of America, and the ASPCA.
 
Giving back to the local community is a win-win experience for employees, says Wethington—just like every workday at Outsell. The company’s perks earned it a spot on a recent Star Tribune list of best Minnesota work environments.
 
“We love being based in the Twin Cities,” he says. “We’ve got a talented, smart, kind workforce that understands the value of hard work and doing the right thing.”
 
Outsell Jobs in Minneapolis
 
Senior Software Analyst

Senior Software Developers
 
 

The latest craft brew to come out of Minneapolis-St. Paul isn’t made from barley and hops. It’s Prohibition Kombucha, a fermented beverage made from high-quality teas and fruit or floral flavorings.

The tasty product of a partnership between former Herkimer brewer Nathan Uri and Verdant Tea founder David Duckler, Prohibition is the region’s first homegrown kombucha. The company’s three kombucha flavors are available at about a dozen co-ops, coffee shops and farmers markets around the Twin Cities, including Mill City Farmers’ Market, Seward Co-op, Spyhouse and Kopplin’s Coffee.

Uri has bigger aspirations, though: He’s teaming up with Minneapolis-based Tree Fort Soda to build a larger kombucha brewery at a to-be-determined location in the Twin Cities.  Eventually, Uri envisions a product line available at cafes, restaurants and grocery stores throughout the country, plus satellite breweries on the East and West Coasts to supply customers in other regions.

Prohibition Kombucha’s creations are healthy -- really healthy. “Depending on the quality of tea and type of yeasts and bacteria used, there can be varying levels of amino acids like L-theanine, healthy sour acids like malic and acetic acid, B vitamins, magnesium, zinc and other nutrients,” says Uri. “Our kombucha is also low in sugar and calories, slowing the glycemic load of a meal when consumed with food.”

According to Uri, all Prohibition Kombucha varieties have less than one gram of sugar per ounce and no more than 56 calories per pint.

Popular with the counterculture movement in the Southwest and West Coast, kombucha is novel concept in the Twin Cities. “Currently, the main reason people drink Kombucha is for the probiotic content,” explains Uri, “which can be as simple as one bacteria or as many as 20 beneficial yeasts and bacteria.”

The microbes ferment a mixture of tea, sugar and other natural ingredients, producing carbonation, crisp flavors and a trace, non-intoxicating amount of alcohol. A multi-organism fermenting base is called a symbiotic colony of bacteria and yeasts, or SCOBY.

Kombucha doesn’t always taste great, though. Without naming names, Uri fingers “some other brands” that have a funky, sour, “sharkbite” flavor that’s too tangy to be pleasant. Prohibition uses high-quality black and oolong teas, plus carefully selected secondary ingredients, to achieve a “crisp, cider-like acid-sugar balance,” Uri says.

The fermenting process does produce trace amounts of alcohol -- less than 0.5% by volume. Though 0.5% isn’t intoxicating, Uri and Duckler are sensitive to sober customers’ concerns.

“We completely and unequivocally respect and support” those who avoid kombucha for any reason, says Uri. “That said, others in recovery enjoy our Kombucha without issue. It's a very personal choice and we want everyone to lead healthy and happy lives, so we label our product accordingly.”

In fact, Prohibition Kombucha probably wouldn’t exist if not for Uri’s temporary decision to quit drinking. In 2012, while living in Portland, he hankered for the sensory and aesthetic experience of a fine wine, great beer or perfect cocktail.” He tried his first “small batch craft” kombucha, loved it, and began brewing kombucha at home.

Soon realizing the importance of quality tea to quality kombucha -- many other kombucha producers use low-quality teas or “the bare minimum” of a higher-grade variety, he says -- Uri moved back to the Twin Cities and contacted Duckler, an old friend. Now, Uri exclusively uses Verdant Tea’s black and oolong teas in his kombuchas.

“Since [Duckler] sources the finest, freshest and highest quality Chinese teas available in the US, it’s a natural partnership,” he says. One that could soon bring a fermented, cocktail-quality and (almost) totally non-alcoholic beverage to your local coffee shop or grocery store shelf.

 

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.
 

The Foundation is moving its 20+ employees from a small office shared with Atomic Data into a bigger space in the recently renovated Ford Center, near the heart of the North Loop. The “single source IT provider,” which serves as a one-stop help desk for design, architecture and nonprofit firms that use Apple systems, is also opening a new office in Co-Merge, a coworking space in San Diego, in what could be the first phase of a multi-city expansion.

A rapid expansion and a shift into mobile device support for national retail chains “caused us to run out of physical space” for housing employees and “storing pallets of iPads and iPhones,” says Matt Woestehoff, director of operations and business development. “Meanwhile, Atomic Data”—a data center operator co-owned by Jim Wolford, sole owner and CEO of The Foundation—“was growing rapidly and basically kicked us out of their office,” Woestehoff says with a laugh.

The new digs are “definitely an upgrade,” he adds. The Foundation shares one floor of the Ford Center with Seed, a small startup incubator that focuses on biotechnology and other high-tech ideas. Seed uses an old chemistry lab on one side of the building.

The Foundation’s new space belonged to a boutique soap manufacturer, a longtime client of The Foundation’s, which moved its operations to Milwaukee after a buyout by Johnson & Johnson. The space has a 32-desk bullpen and easy access to a highly secure storage area for valuable electronics. The Foundation has access to a guest parking lot, a huge perk for the 300-odd local clients that had to use meter parking at its old location.

Though The Foundation is growing rapidly, the Ford Center space should be fine for the foreseeable future. Unlike many IT companies, The Foundation lacks an office-based salesforce. “We’re not salesy people,” says Woestehoff. Instead, the company relies on referrals and search traffic to generate new business. The company’s engineer-heavy workforce spends “40 to 45 hours per week, per person” on site at local clients’ offices, freeing up space at the Ford Center.

The flexible work model first led Woestehoff and the team to explore the possibility of a second office last year. Two employees, an engineer and operations specialist, expressed interest in moving to southern California and remaining part of the team. Woestehoff investigated and found that San Diego’s business culture is remarkably like the Twin Cities’, “very forward-looking in terms of technology, but laid back and supportive too,” he says, without the competitiveness of tech hubs like San Francisco and New York.

Using The Foundation’s experience with CoCo, “a valued partner” that the company has worked with for years, Woestehoff found Co-Merge and set the two employees up there. It’s still early going, but initial business development efforts have been successful. He’s confident the move will pay off, noting that other cities with similarly forward-looking yet supportive cultures could be ripe for additional offices for The Foundation.

But not too fast. In today’s fast-paced IT world, The Foundation, now in its 15th year, prides itself on patience and strategic thinking. “A lot of our friends have gone out of business because they’ve acted fast and made mistakes,” he says. “If it takes another 15 years to open a third office, so be it.”
 

Hundreds of entrepreneurs, investors and corporate executives gathered at the Depot Hotel in Minneapolis on October 27 and 28 for the Midwest Innovation Summit, an annual gathering that showcases what’s next in technology and manufacturing across the region. About 75 exhibitors were on hand, including promising Minnesota startups like 75F—winner of this year’s Minnesota Cup— and Water Meter Solutions, which operates out of CoCo Minneapolis.
 
“The Midwest Innovation Summit is about attracting entrepreneurs and business leaders from all across the region to display any solution that uses natural resources more efficiently,” says Justin Kaster, executive director of Midwest CleanTech Open, the summit’s sponsor. “Many of the exhibitors here are committed to sustainability for ethical and environmental reasons, but [Midwest Innovation Summit] really shows that clean technology is a great business opportunity as well.”
 
In innovation capitals like the Twin Cities, Kaster adds, entrepreneurs and investors have “started to respond to that value proposition” over the last decade. “Everyone realizes that clean technology is a win-win situation now,” he says. “You don’t have work overtime to convince people of that anymore.”
 
Several Twin Cities companies have clearly bought in. Water Meter Solutions makes two water-saving technologies. Floo-id is a “smart toilet monitoring device” that allows property managers and homeowners to monitor their toilets’ water use in real time, quickly identifying leaks and other issues that could affect their water bills. Floo-id is powered by flowing water, making it energy neutral. Water Meter Solutions’ other technology, H2O Pro, performs a similar function for entire buildings’ water systems, offering value to multi-unit landlords.
 
Nearby, Minneapolis-based Irri-Green’s exhibitor booth showed off the Genius irrigation system, a patent pending lawn-watering setup that analyzes landscape contours and other factors to deliver water as efficiently as possible. Each Genius irrigator’s range overlaps precisely with that of the next, “eliminating the wasteful, overlapping arcs of water that conventional irrigation systems” produce, says Irri-Green.
 
Garden Fresh Farms, a Minneapolis startup and 2013 Minnesota Cup division winner with an aquaculture facility in the city, was on hand as well. The fish in the company’s growing tanks continuously fertilize the plants suspended above them, creating a self-sustaining ecosystem that produces plant and animal products for harvest.
 
These local companies are part of what Kaster calls “a regional ecosystem of innovation.” He urges entrepreneurs, investors, nonprofits and government entities across the Midwest to “think bigger than the city or county level” and “move past the state versus state competition” that can hinder the exchange of ideas, people and investment. The Northeast, Kaster says, is a great example of a region where innovators have banded together to create sustainable, big-picture solutions, like the Regional Greenhouse Gas Initiative.
 
“We have a tremendous amount of intellectual and creative capital here in the Twin Cities,” he says. “Events like the Midwest Innovation Summit are conduits for ideas and investment from nearby areas” that ultimately raise the profiles and prospects of local innovators.
 

Hothouse @ MIA, Sarah Lutman’s pop-up coworking space in the Minneapolis Institute of Arts’ (MIA) Villa Rosa Room, just reached the end of its 12-week run. To sustain momentum for the experiment, Lutman is partnering with OTA and Philadelphia-based coworking guru Alex Hillman to produce “What’s Up with Alex Hillman,” a TED-style conversation this Thursday, Oct. 23, at 7 p.m. in the MIA. Thursday’s event, coupled with “ongoing conversations with fellow Hothousers,” could help Hothouse secure a permanent location somewhere in the MIA.

“What’s Up with Alex Hillman” is the final event of several produced with the participation or collaboration of Hothouse residents. “Hothouse participants who produce public programs as part of their professional work were tasked with directly connecting the MIA to their programs during the 12-week pilot,” says Hunter Wright-Palmer, MIA’s Venture Innovation Director. “Programs as diverse as Climate Hack Twin Cities, Chris Farrell's Unretirement, Sing the Museum, and an FD:13 performance by Jen Rosenblit were enhanced by authentic connections to different elements of the MIA and the collection.”

On Thursday, Hillman—founder of Philadelphia’s Indy Hall coworking hub and first-time Twin Cities visitor—will talk about “taking an active role in creating community and pursuing ‘the good life,’” says Lutman, MIA’s Entrepreneur-in-Residence. Hillman defines “the good life” as one “rich with relationships, ideas, emotions, health and vigor, recognition and contribution, passion and fulfillment, great accomplishment and enduring achievement.”

The overarching goal of “What’s Up with Alex Hillman” is to spark conversations about creative approaches to coworking here in the Twin Cities, using Indy Hall’s community-driven art shows, readings, pop-ups, farmers’ market and spin-off organizations as models. Those conversations could help determine the future of Hothouse and coworking at the MIA. 

“There are a lot of spaces at the MIA that are episodically not in use,” says Lutman, stressing that no decisions have been made about how Hothouse will look or where it will “live” if it returns later this year or next.

“[Lutman] and I are working together to determine the future of Hothouse,” says Palmer-Wright, “exploring...benefits thus far from both the participant side and MIA side to address next steps.”

Hothouse @ MIA, and community-driven coworking more broadly, is an important component of MIA’s development strategy, which “emerged directly out of two prongs of our strategic plan DNA, audience engagement and [revenue generation],” says Palmer-Wright. For Lutman, Hothouse offered an opportunity to “foster [community] connections and create an opportunity for authentic co-working experiences,” a longtime passion. Hothouse naturally arose from the intersection of these complementary goals.
 
“Hothouse posed an opportunity to connect a new audience with new ways to use the MIA's resources by activating our collection, physical spaces and staff to catalyze innovation, productivity and connection in the everyday work of Hothouse members,” explains Palmer-Wright.

Like Indy Hall, Lutman’s inspiration, Hothouse is more than a “transactional” coworking space where independents share resources with peers but otherwise remain aloof. Rather, Hothouse is “an opportunity to take a deeper dive into the MIA in the daily lives and needs of members,” says Palmer-Wright.

“The key differentiator between Hothouse @ MIA and other co-working spaces, locally or nationally, is the intentional connection between the co-working members and the MIA,” she adds.
 

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.”
 

You no longer need to bike to the boutique to find the latest in Twin Cities fashion. With HOTROCITY, a Minneapolis-based e-shop run by model, blogger, event promoter and fashion guru John-Mark, you can shop for local designs in the comfort of your living room. Still, you may want to pedal over to Public Functionary on Friday (October 17), where HOTROCITY will be featured during an open-admission launch party.
 
HOTROCITY launched at the beginning of October, drawing inspiration from (among many others) local artist Jesse Draxler, “the exquisite personal style” of Twin Cities’ fashionista Sarah Edwards and the collaborative fashion blog MPLSTYLE, which John-Mark ran with locals Drew Krason and Savanna Ruedy.
 
HOTROCITY specializes in such items as pendants, bracelets, earrings and bags, made right here in the Twin Cities. Featured local designers include East Fourth Street, Silver Cocoon and Objects & Subjects. Some items are instantly memorable, like Silver Cocoon’s “Moon Rabbit Rice Pack Draw String” and Objects & Subjects’ “Bullet Bracelet” (yes, those are shell casings).
 
“At HOTROCITY, we have a very unique relationship with each individual designer,” says John-Mark. “It's been so much fun getting to know [them all]. We're pretty flexible with our designers and do our best to accommodate wherever they're at in their own journey as artists and business people.”
 
Though the focus is on local artists, HOTROCITY also curates designs from creatives in L.A., Chicago, Seoul and Shanghai. And John-Mark is always on the hunt for new looks, wherever they’re found.
 
“We have an intensive checklist of standards to ensure that we're providing our customers with high quality product, manufactured with care,” he says. To keep things fresh, he adds, HOTROCITY will add to its lineup on a monthly basis and “do an aggressive turnover of store product bi-annually.”
 
HOTROCITY launched after a year of “brainstorming how I could foster a greater impact on the local design community that extended beyond blogging,” says John-Mark. He paired with Irv Briscoe of VON91, a web design agency based in downtown Minneapolis, to craft an arresting website and e-commerce platform: “something notorious,” according to the website.
 
John-Mark expects the “relentless creativity” of the Twin Cities to seal HOTROCITY’s success. The region isn’t known as a fashion hub, but there’s enough inspiration here to support a locally focused fashion boutique.
 
“This is an easy job when I see all the talent we have in the local design community,” he says. “Starting a business can be scary, but I've seen enough positive growth in our design community to be confident in the sustainability of HOTROCITY.”
 
John-Mark is a big fan of the buy-local concept, too. “Most women make the pilgrimage to Uptown, the Mall of America or the Internet to buy clothing or accessories at least once a year, if not more,” he says. “Wouldn't it be great if that shopping also supported local artists?”
 

Tech Dump, a technology recycling nonprofit based in Golden Valley, opened a second location on North Prior Avenue in St. Paul on September 22. The facility collects more than a dozen varieties of tech waste, from old computer monitors and TVs to batteries, cell phones and printer cartridges.
 
Tech Dump complements its commitment to responsible waste disposal with a mission to create jobs for “economically disadvantaged adults” who live in the area. The organization is an offshoot of the nonprofit Jobs Foundation, led by Probus Online founders George Lee and Tom McCullough. Lee and McCullough claim that for every 72,000 pounds of waste Tech Dump handles, the organization creates one job for one year.
 
Tech Dump finds its employees through partnerships with such Twin Cities nonprofits as Goodwill Easter Seals and Better Futures Enterprises, and referrals from current employees. “[The nonprofit partners] provide soft skills training and other pre-employment resources, then refer employees to us when we have openings,” says Amanda LaGrange, marketing director, Tech Dump.
 
She adds that,  “employees are very protective of our organization,” so they can recognize potential candidates who “really want to change and work toward a new future.”
 
Once hired, employees take on escalating responsibilities until they “graduate” from Tech Dump and find work at another employer. “We want to develop the skills that will make our staff the best employees in their next position,” LaGrange adds, such as “showing up to work on time each day, respecting managers and co-workers, accepting feedback and going the extra mile.”
 
Tech Dump handles old electronics in two ways: recycling and repurposing. For the former, Tech Dump employees take apart each piece of equipment, separate its electronic components and reduce them to the simplest state possible before shipping them off to a specialized facility for recycling. For the latter, Tech Dump workers repair or replace damaged or broken components and restore each piece of equipment to good working order.
 
With both processes, any stored data is destroyed (by force, not just erased) before usable components are harvested or recycled.
 
Tech Dump is cheap and inclusive, too. “We only charge for the items we have to pay to recycle, like CRT/tube TVs and monitors, rear projection TVs and fluorescent bulbs,” LaGrange says. Tech Dump is also “open to anyone—businesses and residents of any city, county or state.”
 
Ironically, Tech Dump started out as a furniture recycler. But an experimental “Tech Dump Day” in 2011 was wildly successful, turning Lee and McCullough on to local demand for responsible e-recycling. The pair exited the furniture recycling business in 2013 and set about building Tech Dump into a socially responsible powerhouse.
 
To sharpen its approach and develop new practices, Tech Dump regularly communicates with other recyclers, like Isadore Recycling in Los Angeles and Recycle Force in Indianapolis, which provide employment opportunities for teens and adults who have spent time in the criminal justice system.

Tech Dump is open Monday through Friday, from 8:30 a.m. to 4:30 p.m., for waste quantities of any size. Tech Dump also operates trucks that travel off-site, by appointment, to pick up larger amounts of waste.
 

On Thursday October 2, Minneapolis Idea eXchange (MiX) holds its inaugural event at Minneapolis City Center, to offer “just a taste of what’s to come,” says MiX vice chair Mary Shaffer. The theme of the free event (register here), which runs from 5-8:30 p.m., is “the power of ideas.”

MiX will feature three prominent headliners with a local connection: Sandy Vargas, president and CEO of the 100-year-old Minneapolis Foundation; Barry Kudrowitz, a product design luminary at the University of Minnesota; and Nate Garvis, founder of Studio/E.
 
The event, which will immediately follow the Downtown Council’s MPLS 2025 Forum, will also feature a lively cocktail hour for about 500 attendees and a performance from internationally known piano virtuoso (and Twin Cities native) Nachito Herrera. “He’s the icing on the cake,” says Shaffer.
 
The October 2 event previews the first full Minneapolis Idea eXchange in Fall 2015. Planning for the three-day festival, modeled after similar “festivals of ideas” in Chicago, Aspen and Portland, is just beginning in earnest. About 20 downtown business leaders and residents—“from lawyers, to creatives, to accountants,” says Shaffer—are spearheading the effort, which is chaired by pastor Tim Hart-Andersen of downtown Minneapolis’ Westminster Presbyterian Church and chartered by the Minneapolis Downtown Council.
 
Despite superficial similarities to other ideas festivals, MiX has some key differentiators. For starters, it’s free and open to the public, unlike more exclusive events. Shaffer hopes for as many as 10,000 attendees over three days next year.
 
MiX is also multi-locational and multi-format “in a Northern Spark meets TED Talks meets Minneapolis kind of way,” says Shaffer. Other ideas festivals tend to be concentrated in a single ballroom or convention center, reducing opportunities for attendees to interact with the host city.
 
On the interaction front, the festival’s timing should be a boon. “The early October dates give us the opportunity to celebrate the fall colors and highlight our spectacular landscape, while it's still feasible to do outdoor activities,” says Shaffer.
 
She adds that MiX hopes to coincide with the Twin Cities Marathon and attract as many of that event’s attendees—many of whom come from out of town—as possible. In fact, Shaffer’s team is actively working with Meet Minneapolis and Twin Cities in Motion to ensure that MiX and the marathon are complementary, not competitive.
 
Each annual MiX festival will have its own theme, typically an evocative verb like “intersect” (MPLS 2025’s theme) or “captivate.” The organizers encourage restaurants across the city to use these themes as inspiration for special dishes and drinks. By getting local businesses involved, visitors “can participate in an exciting activation of downtown,” says Shaffer.
 
To make next year’s festival as engaging as possible, MiX is actively courting corporate sponsors. Current sponsors include Ryan Companies, the Bush Foundation, This Is Folly! (the creative agency behind the MiX brand) and several private individuals on the MiX development team.
 
MiX is the last of 10 initiatives in the Downtown Council’s MPLS 2025 plan, though “that doesn’t mean we’re least important,” says Shaffer. Some of these goals are aspirational, like doubling downtown Minneapolis’ population within the next 10 years and turning the area around the new Vikings stadium into a “sports district.” Others are more concrete, like launching MiX and building Gateway Park.
 
 

The third edition of Spinning Stories, a bi-monthly “place-based storytelling series” that transports cyclists to its stories’ settings, takes place Saturday, September 27. Departing from Northeast Minneapolis’ Recovery Bike Shop at noon, the free and open-to-the-public event features three yarns from three notable Twin Cities storytellers: Amy Salloway, Javier Morillo-Alicea and Heidi Arneson.
 
According to a release from Spinning Stories, the event covers up to 15 miles at a languid “muppet pace,” says organizer Brian Fanelli. “We’re only as fast as the slowest rider.”
 
The three storytellers all have deep connections and street cred in the Twin Cities. Salloway is the founder of Rock Star Storytellers and Awkward Moments Productions, among other groups, and has previously won the SlamMN! and Moth slam events. Morillo-Alicea, who is president of the Service Employees International Union’s Local 26 by day, has won two Moth awards. Arneson produces one-woman plays that explore life in the Upper Midwest, and has garnered recognition from TC Daily Planet and members of the local comedy and storytelling communities.
 
Fanelli is keeping the subject matter of the stories close to the vest, but he will say that one features a particular parking space on University Avenue—a seemingly mundane setting for performance art. “It all comes back to this parking space,” he says. “Stories happen everywhere, even in the negative space of a parking lot.”
 
Previous editions of Spinning Stores have attracted about 40 people. The initiative got a big boost in July, with its participation in the city-wide, week-long Pedalopolis event.
 
Ongoing support from Recovery Bike Shop and Re-Cycle (Fanelli jointly serves as Community Involvement Coordinator) has been “hugely helpful” as well. He credits both shops’ broad customer base— “beginner cyclists, veteran cyclists and everyone in between, including storytellers who don’t think of themselves as bikers at all”—with attracting diverse participants to Spinning Stories.
 
He notes that “bike shops supporting the arts is becoming a thing,” citing this year’s Artcrank series and ongoing exhibitions at One on One Bicycle Studio in the North Loop.
 
Recovery and Re-Cycle have also provided mechanical support for Spinning Stories’ riders and unspecified “in-kind payments” to storytellers, says Fanelli, and will do so for this event as well. “Their support means I'm able to put more time into the project than I might otherwise be able to.”
 
Fanelli also credits participating storytellers with generating enthusiasm for Spinning Stories. “The community of storytellers in the Twin Cities is this beautiful, thriving ball of energy,” says Fanelli, “and it's really a wonderful thing to be so welcomed by that community.”
 
For all three events, he has engaged with “local storytelling producers” to find stories (and tellers). Salloway has been “overwhelmingly helpful with connecting to other storytellers,” says Fanelli. Previous Spinning Stories storytellers have included local luminaries like Paul Canada Nemeth, Taylor Tower and Tristan Jimerson.
 
Saturday’s edition will likely be the last outdoor Spinning Stories event of the year, but Fanelli is slated to teach a month-long storytelling unit in an ESL classroom at Roosevelt High School this winter. “No one is doing anything like this,” he says, “and I'm incredibly excited to bring story arts into the Minneapolis Public Schools.”
 
Outdoor rides will begin again in the spring, though Fanelli hasn’t yet set any dates. He does plan to incorporate the “youth voices” from his stint at Roosevelt into next year’s programming, though.
 

Minneapolis event-organizing company, GetKnit Events, is changing the way Twin Cities residents experience local businesses and attractions. On September 13, it pulled off its most ambitious and far-reaching experience yet: Rails & Ales, a self-guided tour of the breweries and brewpubs along the Green Line, from Target Field to Union Depot. Hundreds of participants sipped discounted brews, previewed special cask releases and rubbed shoulders with some of the most innovative brewers in Minneapolis-St. Paul.
 
For GetKnit founder Matt Plank, connecting Twin Citians with local business owners—preferably on a permanent basis—is the whole point. He and the company’s “core team” of paid employees, most of whom knew each other socially before GetKnit’s founding, are constantly looking for “ways that we [can pursue] our goal of community engagement while supporting local businesses in and around Minnesota,” says Plank.
 
Tickets for Rails & Ales sold out quickly, but a lucky group of several hundred attendees got their run of three establishments in Minneapolis and five in St. Paul, all within walking distance of the Green Line. (Though pedicabs were out in force to transport customers between stations and breweries, especially at farther-flung spots like Urban Growler and Bang Brewing.) Guests checked in at the Target Field, Stadium Village or Union Depot stations, where GetKnit staffers and volunteers handed out T-shirts, drink tokens (two per person, each good for a free pint) and “event passports” that listed participating breweries, their specials and Rails & Ales social media contests.
 
Other locally owned businesses got in on the act too. The Dubliner Pub, between the popular Raymond Avenue (Urban Growler and Bang) and Fairview Avenue (Burning Brothers) stops, ran all-day drink and food specials. Food trucks like Peeps Hot Box posted up outside participating breweries, tempting customers with daily specials. And even independent vendors, like the woman selling vintage glassware outside Bang, profited from the early-afternoon crush on a beautiful Saturday.
 
Meanwhile, the brewers themselves relished the chance to mingle with enthusiastic craft beer fans. At the Mill District’s Day Block Brewing, for instance, the head brewer handed out free pints to anyone who correctly guessed the varieties of hops laid out on the table before him. Rails & Ales wrapped up at 6 p.m., but brewery owners have to be hoping that the day provided a permanent boost in visibility.
 
GetKnit draws inspiration from other tour companies and event organizers, says Plank, but with a twist. Aside from the focus on locally owned business, which is lacking in some areas of the industry, the company aims for “wildly original” events “that our participants likely couldn’t do anywhere but through GetKnit.” You might be able to spend an entire Saturday riding the Green Line between breweries, in other words, but you probably wouldn’t be able to mingle with head brewers, try specially brewed cask releases or enter social media contests for free events and swag.
 
And unlike more bare-bones tour and event operators, GetKnit organizes well-staffed, all-inclusive events that “allow participants to turn off their brains for a day...and not worry about anything,” says Plank. For Rails & Ales, GetKnit had at least one representative at every participating brewery, in addition to staff at check-in stations. The goal was to facilitate “safe and responsible” enjoyment while showcase the ease of using local transit and “how much is accessible right off of its grid.”
 
GetKnit also designs bespoke events for private groups. Plank cites a recent example in which a group of Latin American businesspeople came to the Twin Cities for meetings and sightseeing. Many had never been to Minnesota, so Plank’s team set about creating the "quintessential Minnesotan experience” that included a horse-drawn carriage tour of St. Anthony Main, a brewery tour and tasting, a hands-on cooking class featuring Jucy Lucy burgers and even private curling lessons.
 
For now, GetKnit organizes events in the Twin Cities and greater Minnesota. But Plank doesn’t rule out the possibility of expanding the model to other regions, possibly with the help of knowledgeable locals. A recent St. Croix Valley winery tour did cross the Wisconsin border, and “we are playing with other events that might do more extensive tours of other areas in our neighbor to the east,” he says.
 

This week (through September 14), the best and brightest in the Twin Cities’ booming startup scene will come out to play for Twin Cities Startup Week (TCSW). Sponsored by prominent, entrepreneur-focused local organizations like Beta.mn, Tech[dot]MN, Minnesota Cup and Minne*, the event features free coworking at CoCo, Minnesota Cup’s final awards reception and the ever-popular Bootstrappers Breakfast get-together.
 
“Twin Cities Startup Week is inspired by the growth of Minnesota’s tech startup community,” says Morgan Weber of Minnesota Cup. “Our goal is to unite the makers, doers and creators in the local startup scene.”
 
TCSW events will take place throughout Minneapolis and St. Paul, with many events finding homes at tech-friendly spaces like CoCo and Maker’s Cafe. They’ll cater to businesses at every stage of the startup process, too.
 
For instance, on Tuesday, Beta.mn 1.5 invited early-stage startups to demo their ideas, dispensing with formal pitches. It was “a lot like a science fair, but with more booze,” according to the event page. The Minnesota Cup reception on Wed evening caters to startups that are further along, awarding hefty prizes to entrepreneurs and teams with highly promising products. Rejection Therapy, which teaches participants to deal with professional rejection, offers character-building guidance that entrepreneurs can use throughout their careers.
 
While most TCSW events cater to local startups, tech entrepreneurs and investors will be on hand as well. Showcase events like Twin Cities Startup Crawl, which will tour a handful of downtown Minneapolis startups, and MinneDemo, a formal pitch event, are particularly attractive to outsiders (and local investors) looking for the next big thing.
 
Twin Cities Startup Week isn’t a first-of-its-kind event. Startup Weeks abound in other parts of the country: In May, Boulder hosted its own Startup Week, sponsored by more than a dozen local tech companies and innovation nonprofits; in June, Maine Startup & Create Week hosted an eight-day conference that showcased that state’s technology sector for the benefit of outside investors. Startup Weekend, a Seattle-based, nonprofit offshoot of Google for Entrepreneurs, hosts frequent local events at which entrepreneurs collaborate to launch a startup within 54 hours.
 
TCSW, however, is rooted in the unique, collaborative culture of the Twin Cities. Neither the Boulder nor Maine events included free coworking sessions or anything like Minnesota Cup, for example.
 

The Twin Cities has an entrenched biking culture and a surprising history of local cycling innovations. Soon, MSP will have a cycling museum to celebrate those achievements, as well.

Three cycling enthusiasts, including the two founders of Recovery Bike Shop, are creating the Cycling Museum of Minnesota (CMM)—"an idea that's long overdue," says Nina Clark, Secretary of CMM's Board of Directors. The museum will open sometime in 2015, in the 4,000-square-foot, second floor suite above Recovery.

The idea for a cycling museum originated with Juston Anderson, the captain of the Minnesota chapter of The Wheelmen, a national organization "dedicated to keeping alive the heritage of American cycling," according to its website.

Over the years, CMM has accumulated dozens of bikes and bike-related artifacts from sponsors, including one of the oldest bike repair stands in existence, a solid racing wheel prototype from HED Cycling and the first Surly fat tire prototype. "We want to be a repository for those seminal artifacts," Clark says.

At the moment, CMM's collection is largely made up of items Anderson has loaned out. In turn, Recovery owners Brent Fuqua and Seth Stattmiller permit rent-free use of their second-floor space. But CMM is growing quickly: According to Clark, the organization has already had some success in soliciting donations, pledges and loans from individual biking enthusiasts and companies tied to the industry.

A fundraising/open house event in late July showcased items that represent various cycling eras. "The idea is to represent all periods" of cycling history, says Clark about the museum, while "keeping the focus on Minnesota."

The museum won't just be for physical artifacts. A self-described "biker about town," Clark is particularly interested in literature and exhibits that celebrate cycling's contributions to the development of the Twin Cities' park and trail systems, as well as the manufacturing and retail businesses that profit from growing interest cycling.

CMM's founders and directors envision the space as a force for advocacy, too. "We want to be advocates for cycling's benefits for health, the environment and sustainable urban development," Clark explains, "not just a static collection."

Significant donors can earn membership in one of three "Founders' Clubs": Silver Spoke for contributions of $50 to $249, Gold Spoke for $250 to $499, and Titanium Spoke for $500 to $1,000. Since the cost of refurbishing and maintaining items in a collection like CMM's increases proportionally with its size, the organization is exploring membership and/or sponsorship models that ensure positive cash flow.

 

After months of anticipation, Sisyphus Brewing Company opened its doors to the general public on July 11.The new nano-brewery, located in a former Dunwoody College of Technology storage space near the I-394/94 interchange, has a 100-seat taproom with local artwork, shuffleboard tables and exposed brickwork.That's the first phase.

A 100-seat performance space on the opposite side of its building is still under construction. And a massive, Kickstarter-funded mural on the north side of the building--facing busy I-394--is ready for admiration.

The beer is flowing, too.Owner and head brewer Sam Harriman unveiled four brews at the July 7 "thank you" party for Kickstarter contributors.The Kentucky Common, which is brewed with ingredients you'd find in a typical Kentucky bourbon, was chewy yet refreshing. The Oatmeal Pale Ale--"I've only tasted one other example of this before in the many beers I've tried," says Harriman--evokes several different styles without being derivative.

The black ale with coffee displayed the final stage of the "brewing" process, with Harriman's associate pouring an ounce or so of dark roast coffee into the freshly poured beer. The Brett IPA toed the line between brewer's dream and nightmare, using a wild strain of yeast (brettanomyces). Regarded as a malodorous contaminant in most styles of beer, brettanomyces imparts a sour, spicy, slightly floral note in the right doses. (It worked beautifully.)

"The brewing world is steeped in tradition, and that tradition says bringing brett into a production brewery is a dangerous proposition," says Harriman. "But others I've talked to do it successfully, and with proper cleaning we'll be able to do it successfully too...I view the use of brett as an opportunity to differentiate ourselves in the Twin Cities market."

Harriman is also cognizant of how the Twin Cities' brewery scene looks from an outsider's perspective. The region's craft beer advocates, he argues, can get so caught up in new brewery openings and locals' increasingly sophisticated palettes that they downplay the work that still needs to be done.

"People in the Twin Cities may think we have an awesome brewing culture, which we most certainly do," he says, "but we lag behind many, many cities in the US...to set ourselves apart, we need to do things that aren't being done here yet."

Harriman and the Sisyphus crew have no plans to step on other brewers' toes, though. They won't can or distribute, with the possible exception of a partnership with the Comedy Corner (in the basement of the Corner Bar).

Even that will require regulatory wrangling that Harriman doesn't yet have time for. And even if he wanted to, the taproom's volume would probably make that impossible. With a 2-barrel brewing setup, Sisyphus is officially the Twin Cities' only nanobrewery--the smallest brewery designation there is.

Since he can't brew much of any one brew, being small will actually help Harriman experiment with different styles and circle back to fan favorites. "I brew what I like to drink, and I have a really concrete idea about what I like," he says. "There are so many beers out there nowadays, and it takes something really special to stick out in your mind and make you come back for more...Inspiration and focus is what will set us apart in the long run."

A big part of that inspiration are Harriman's plans for a comedy/performance space in the still-in-progress section of his building. The timing of the buildout--and the opening of the space itself--will depend on the taproom's cash flow.

Harriman hesitated to give a timeframe, but was hopeful about its prospects: "If our customers like our beer enough," he says, "we'll be able to build out the other side of that space."

For now, the brewery is open between noon and 1 a.m. on Fridays and Saturdays. Additional hours are in the works.