Covering life, work, and play in the Historic Mill District and Downtown Minneapolis Riverfront neighborhoods. Have an opinion, local news or events to share? Contact us.
On Wednesday, June 5, make your way to The Commons, 425 Portland Avenue S, for a day packed with music, games and a movie to celebrate the beginning of summer in Downtown Minneapolis Parks. Noon-11 pm
Noon: Music in the Park - Megan and Shane
Take a break from the daily grind and join us for our first lunchtime jam session of the season with Megan and Shane, serial troubadours of Americana music. Picture yourself lounging on the green grass, soaking up the sun, and grooving to some awesome tunes. It's the perfect way to welcome the summer season!
Stop by Minneapolis Elections' table to register to vote, hear about the two upcoming 2024 elections, learn about becoming an election judge, and get some free swag!
Let the games begin! Get ready for an afternoon of non-stop action with our active games extravaganza. From cornhole to bocce, grass pickleball to kubb, there's something for everyone. Expect laughter, friendly competition, and plenty of memorable moment.
Calling all roller-skate enthusiasts! Twin Cities Skaters will be rolling into town with 100 pairs of skates in all sizes. Whether you're a pro or a newbie, grab some wheels and join the party! DJ Presto and DJ Ju!ce will be spinning the tunes, so get ready to groove.
8:30 pm: Movie in the Park - Ratatouille
Wrap up the evening with a special screening of Ratatouille as part of our Kick-off to Movies in the Park.
Don't forget to swing by Chloe by Vincent, the generous sponsor of Ratatouille, to grab some artisan breads, cheeses, and mouthwatering handmade snacks. Enjoy dining under the stars—it's the perfect way to end a perfect day.
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Eat, drink, and soak in the summer vibes! This celebration is all about laughter, music, games, and coming together as a community.
Article by Becky Fillinger, Photos provided
As you venture from studio to studio during Art-A-Whirl, have you ever been curious about the artists behind all the fabulous artwork? How did they become artists? The answer for me is Yes! I talked to Andy Sjodin about his journey to become a contemporary realist artist, his approach to creating a painting, career as an art instructor and all the locations you may find him and his artwork during and after the festival.
Andy SjodinQ: Please tell us about your journey to becoming an artist.
A: I had a talent for drawing from an early age. Throughout junior high and high school I took all the art classes I could. In college I let that go a bit, only taking the one fine arts course required for the B.A. program at St. John’s University. I come from a working-class family. My father wanted me to be practical and utilize my college experience to prepare myself for a lucrative career path. I was originally a math major and intended to become an engineer. Looking back, though I did enjoy mathematics, I realize that these choices were made more for my dad’s sake than they were for mine. I did not finish my undergraduate career as a math major. In my freshman year I was placed in a philosophy course simply for the lower-level humanities credits. I had never before experienced the more formalized way of thinking about ethics, epistemology, phenomenology, life, choices, god, existence…all of it! I loved it. I felt at home and thrived in the philosophy courses. Part way through my college career it became apparent to me that philosophy was a much better fit as a major than math, so I switched. This was a good choice, the right choice. My dad did not understand or approve though. This was the first time I was able to make a bigger “life choice” on my own. It was the first time I really veered from what was expected of me. This choice ultimately set me off on a path that I had not foreseen, one where I felt more confident to make choices that were right for me, even if others did not approve or understand, even if I was not sure where they would take me.
I wandered through most of my twenties after college. I served as an AmeriCorps volunteer in Washington State for two years. I spent many months driving around the country, backpacking, camping, mountain biking, and visiting friends and family in different places I moved to Thailand and taught English for a school year. After returning to the states, I moved to Homer, Alaska. Throughout the time that I was doing all of these things I continued to create art. It was a hobby. I enjoyed it, but I did not take it all that seriously. During my second winter in Homer, I decided to take a painting course from Asia Freeman at the local community college. Asia holds an MFA from Yale, runs a gallery in Homer, teaches, and is a working artist. I was excited to take a course from her. I had only dabbled with painting. Drawing media had always been my primary approach to creating art. I was a bit intimidated by paint for some reason. In taking the painting course I was hoping for some guidance in how to approach creating paintings. The course went well. I enjoyed doing the work and received a lot of good feedback. At the end of the course Freeman gave all the students a final critique. She finished her critique of my work by suggesting that I consider pursuing painting more seriously, and that I should think about entering an MFA program. This feedback gave me a sense of clarity that I was not expecting. In receiving this push from Freeman I realized that I had wanted to be an artist, a professional artist, since I was young. I just never had the confidence to give myself permission to even consider it as a possibility. Receiving such encouraging feedback from a working artist with the credentials that Asia has gave me the confidence I needed to pursue a career as an artist.
I ended up returning home to Minnesota later that spring. After getting re-established back home and working for a while I started looking into art training programs. I was looking at MFA programs throughout the country, but was mainly focused on getting into MCAD. While looking into MFA programs I stumbled across the atelier system of training. I was completely unfamiliar with atelier programs for artists and did not even know they existed. An atelier program is more akin to a trade school. Atelier programs are skill-based training programs for drawing, painting, and sculpture. They have evolved out of the apprenticeship model of the old masters and base their methodology upon that of the old masters. When I learned about this style of training I was sold. I wanted to obtain the skills necessary to execute my artistic ideas in a sophisticated, high-quality manner. This is what an atelier offers.
And Water
Dried Bouquet
Two Plums II
I was surprised to learn that we have an atelier program right here in NE Minneapolis - The Atelier Studio Program of Fine Arts, which was originally Atelier Lack in Uptown. After visiting The Atelier in Minneapolis and talking with the directors I quickly decided that this was the path that I was going to take. I interviewed in the spring of 2010 and entered the core program as a full-time student that fall. I trained at The Atelier for four years, graduating in 2014. Since graduation I have continued to push myself in the creation of my work, ever eager to achieve a higher degree of quality and artistic expression. I’ve also taught classes and workshops throughout the years since my training. In 2018, I joined the core program teaching staff at The Atelier Program of Fine Arts and continue in that role today.
Q: Thank you for sharing how you came to see yourself as an artist. Please tell us about the studio programs and the courses that you teach.
A: The core program at The Atelier Studio Program of Fine Arts includes twenty-two full-time student positions. It is a small, intimate school. Five days a week we start the day working from a live nude model from 9am to noon. During this time students work in graphite, charcoal, black and white oil paint, or full-color oil painting, depending on where they are at in their training and which project we are working on. In the afternoons students work in their individual studio spaces on projects specific to where they are at in their training. In the first year of the program students are working on drawings and paintings of plaster casts in either charcoal or black and white oil paint. In their second year they progress to still life paintings in full-color. In their third year they start portraiture. In the fourth year, students take on a larger culminating interior project. And interior is a painting of a figure or figures in a full-room setting, as opposed to, say, a simple head-and-shoulders or three-quarter portraiture. We also offer an optional fifth year for students who want to do more interior work or imaginative work. There are five core program instructors at The Atelier. We each have a day of the week that we come in to critique the core program students. In the mornings we give each student at least one critique on their figure work. In the afternoons we make our way around to each studio space to give students critiques on their independent projects. Beyond the more formal critiques we also offer students guidance and advice on all the aspects of being a career artist: marketing, framing, social media, website, applying to grants and shows, pricing, etc. It is the aim of our program to produce working career artists.
Besides teaching the core program students I periodically offer workshops through the school.
Q: I saw your one-man show at the Stone Arch Condos and loved the moods you create by color. How would you describe your art?
A: Most of my work is in the contemporary realist style. I create representational work that is primarily executed from life. I paint and draw a variety of subjects, including still lifes, portraits, animals, and interiors. Occasionally I will do a landscape, but not often. From time to time, I will also create work that is more imaginative or that incorporates abstract elements in the imagery. These pieces are often experimental or just for fun and don’t end up getting shown.
A lot of my work is quiet and contemplative. I like to create work that allows the viewer to slow down and dwell within the pictorial space. Much of our life feels increasingly superficial, like we are all flitting about and disconnected. Through my work I strive to create something of depth, of quality; something that encourages an experience that is intentionally antithetical to the superficial and flitting. Often the palette I use in my paintings is muted. My compositions are spacious. I like to allow the light-play to act as more of a protagonist than the objects themselves. I enjoy painting subtle moments in nature: an interesting shift between warm and cool notes; a soft transition of light across form; the simple harmony of muted colors throughout a composition. These are often the things that grab my attention and that I work hard to capture in my work.
Q: How do you approach the technical aspects of creating still life paintings?
A: I do more still life painting than anything else. I would probably do more portraiture and figurative work if it wasn’t for the cost of hiring models. I really enjoy painting people but do not like working from photographs. I enjoy working from life. Nature gives us an immensely complex and rich array of visual information. Working from photographs is much more limited in this respect. The work I do from photographs is always of a lower quality than that which I create from life.
With still lifes, as with all of my work, composition and light are the most important elements. I put a lot of thought into my compositions. I strive to think abstractly about how to construct the pictorial space. I often start with an idea in my head and then create thumb nail sketches (small black and white abstract sketches). With these sketches I strive to understand how the pictorial space is going to be broken up between light and dark shapes. I try to create a simple image that is attractive and interesting. Once this starts to work, I move into the studio where I spend hours fleshing out the idea with objects and lighting. I really enjoy this part of the process; it is a very creative and free part of the process. Once the composition has come together, I will sometimes do a color study (small, simple version of the painting) or I just move onto the preliminary drawing. The preliminary drawing is done in charcoal and is the same size and dimensions as I intend for the final painting. In the preliminary drawing my objective is to find all of the shapes and how they relate to one another. I keep it somewhat simple and only push the drawing in those moments where I need to develop a further understand of how the drawing elements need to work. These are often the more complex moments of the composition. Finally, I transfer the drawing to the surface that I intend to paint on. The painting process consists of developing layers of paint, some thin and more transparent, some thicker and opaque, that allow me to communicate how I am interpreting the light and form that I am observing. This is a slow process that requires a lot of sensitivity to the relationships between values, colors, color temperatures, and edges. Overall, the process is a practice in communicating how light describes form.
Q: What do you hope viewers take away from your paintings?
A: Ultimately all true art is a window into oneself. This sounds a bit hokey…I hear it. But I think it is true. I experience it as true in the art I love. I hope that those who view my work and connect with it are given a contemplative window into themselves.
Q: Where may we view your work?
A: Besides my website www.sjodinfineart.com, Instagram and Facebook, I am currently showing work in a variety of venues. I have work in multiple galleries: The Grand Hand Gallery, St. Paul; Robert Lange Studios, Charleston, SC; Studio Pintura, Minneapolis; Susan Powell Fine Art, Madison, CT; Williams Fine Art Dealers, Wenham, MA. Also, I currently have work hanging in Zeller Studio in Hopkins as a part of the Minnesota Portrait Showcase (April 20 - May 30). For Art-A-Whirl (May 17 - 19) I will be showing work in three locations: The Atelier Studio Program of Fine Arts, Studio Pintura, and in The 1330 Quincy Building. Every year during Art-A-Whirl, The Atelier finishes off the school year with the full-time student show. Some of the instructors show work in a fundraiser show called “Artists for The Atelier” which hangs in conjunction with the student show. Per usual, I will be participating in the “Artists for The Atelier” show. I will be spending most of the Art-A-Whirl weekend at The 1330 Quincy building in Studio 401. This is where I will be hanging a large selection of my work, including originals and prints, all of which will be for sale. I will have a number of pieces hanging in Studio Pintura during Art-A-Whirl, as I typically do. Finally, I will likely be showing work in The Mill Yard at Stonebridge Lofts in Minneapolis sometime this year. Nothing has been confirmed yet, but I’m hoping to be a part of the show that will open there in August.
Q: When you're not painting or teaching, what are your hobbies?
A: I love reading, particularly classic novels - the Russians are my favorites - and science fiction. I live out in the country and like taking my dogs for walks. I enjoy cooking. I also love listening to music. I am an avid bird hunter; I love following my pointers around looking for birds throughout the fall.
Article by Becky Fillinger, photo/video provided
Guthrie Theater’s epic marathon production of Shakespeare’s history plays - Richard II, Henry IV and Henry V - is a major undertaking in all of the elements of producing a play - casting, directing, set design, choreography, sound, lighting and costumes. Let’s take just one element, costume design, for the three plays. There is one head costume designer, 3 design assistants (one for each play) and then a large team assembling the clothing, craft pieces, accessories and wigs – 40 to 50 people total! We spoke to Trevor Bowen, Costume Designer, about how he prepared to costume the three plays, collaboration with team members and how to get started in the business of costume design. Waiteth not on this one - the impressive theatrical event runs through May 25.
Trevor BowenQ: Can you walk me through your process of designing costumes for Shakespeare’s three history plays, Richard II, Henry IV and Henry V?
A: The beginning of the process begins with reading each script multiple times. From there, I’m in conversation with the director to discuss themes and key ideas in the play. After that, I research, including going to the museum or the library and understanding the history and context of each play.
Q: How do you begin conceptualizing the costumes, and what factors influence your initial ideas?
A: When reading through the script, I have to understand the action happening within each scene, the context and what’s really being spoken about in each scene. It helps me understand how we want to frame people and how we want to help shape what the audience is understanding. Beyond that, I just want to understand why they’re wearing this particular costume on this day. I want to build a mental wardrobe for each person, I want to have a sense of what their entire wardrobe looks like. I may also look at fashion references, but it’s really just a way for me to understand something culturally and how someone will respond to the garment, but it’s all in the context of the script.
Q: How many actors are you designing for in this three-play event? How many assistants/members of a costume crew are on your staff to produce the costumes?
A: There are 27 cast members in various roles, 3 design assistants (one for each play) and then the amazing team that’s putting all of the clothes, craft pieces, accessories and wigs together. I would say it’s about 40-50 people who are really getting the cloth together for these shows.
Q: How do you collaborate with the director, set designer, and other key team members to ensure a cohesive visual aesthetic for the production?
A: Theater is such a collaborative effort and I feel that it’s very much like a construction or building site. The set is our scaffolding, our frame where everything hangs. Costumes are the cartilage and ligaments of it all, sort of a connective tissue across the story. Regarding how we function, it varies across multiple channels with virtual and in-person meetings, but we’re always in constant conversation.
Q: How much input do the actors have in the costume design process?
A: We are dressing people, so it varies. Some actors are very involved and others just want to inhabit the space you create. I enjoy both! We are not dressing mannequins; I don’t ever want to dress a mannequin. I love that we have the opportunity to create costumes for actors to settle into and feel comfortable. If a performer is thinking about a costume when it’s not called for, I don’t think we’ve done our job well.
Q: What kind of historical research was necessary for your designs?
A: I’m looking at clothing from about 1300 – 1500. That’s where we’re playing with most of the shapes for Richard II. In Henry IV, it’s about 1300 – 1600, but the time frame is quite loose. What’s important to me in those historical resources is do they have emotional weight in regard to our stories? Do they have something the audience can latch onto or why this person is important? Henry IV is also where we dip into some contemporary fashion moments. In Henry V, we’re very much celebrating the north and south dichotomy. Clothes that are very battle worn and contemporary. Very high fashion, runway couture.
Q: How do you approach character analysis when designing costumes? Are there specific elements in the script that influence your choices?
A: I think it’s very important! Script analysis is #1 and if you don’t understand what was written or a particular character, you have no idea who they are. You don’t understand why they are saying the things they are saying. If you don’t have a clear understanding of this, it’s harder to bring out certain elements within the garment. For me, clothes live in between the space in the world, kind of like jazz or music. The note that is being played is just as important as the space between those notes/phrases.
Q: What advice would you give to aspiring costume designers or those interested in pursuing a career in theatrical costuming?
I would say enjoy reading! Also, be very observant. You’re working with people, so it’s good to understand what people have on, why they have it on and how they have it on. If a shirt is turned upside down, it’s still a shirt, wear it how you want to wear it. I think some of the rules people establish for themselves regarding dressing is quite inhibiting and not celebrating who they are and how they want to present in the world. So always be aware of that. Just because something is made a certain way doesn’t mean you have to wear it that way or you can’t break it apart to tell a certain story.
Q: Are there specific skills or experiences that you believe are crucial for success in this field?
A: I can only speak from personal experience, but I’ve found that the opportunities I’ve had to work daily in a costume shop have been invaluable to me to navigate through a shop and be able to communicate with artisans of many different disciplines.
Q: Thank you for sharing your viewpoints with us. How may we follow your news?
A: Check out my website, Trevorbowendesign.com or on Instagram @trevorbowen.
The Woman’s Club of Minneapolis invites you to the Annual Dandelion Day Celebration at the Ard Godfrey House in Chute Square (across from Lund's) Sunday, May 19, 10am – 5pm in conjunction with Open Doors Minneapolis - a city-wide celebration of history, architecture, and culture. This is a great opportunity to soak up some local history - the Ard Godfrey House is the oldest remaining frame house in the city!
The annual Dandelion Day celebrates Harriet Godfrey’s introduction of dandelion seeds to the St. Anthony Falls area. Enjoy a guided tour of the charming Ard Godfrey House with docents dressed in 1850s period costume. Admission is free, but donations are welcome.
Arrangements for special tours should be made with The Woman’s Club of Minneapolis at (612) 813-5300. The house is partially wheelchair accessible on the main floor, but has the restrictions of a historic home. Please call the Woman’s Club two weeks in advance to make arrangements for guests with special needs.
For the first time, TPT is premiering a new series as a streaming-first experience on the PBS App and TPT.org/Relish. All six new episodes are available to stream for free starting on May 10!
Yia with John Ng
Fiona Duncan with a Pastie
Aubry and Kale with Yia at Hmong Village
Chef K Taylor and Mariam Omari 
Sean Sherman and Yia prepare a fried wild rice
Yia makes chutney with the Sajady sisters and their mother 
Yia with Milissa of El Burrito Mercado
Yia checks out the dried cod that will become lutefisk
Yia with Nick and Orest Kramarczuk Article by Becky Fillinger, Photos provided
A discussion with Noah Eisenberg, President, Out of the Box Opera
Mark your calendar for June 27-29 – that's when Out of the Box Opera (OOTB) will produce Suor Angelica at the Basilica of Saint Mary! Permission was granted by The Vatican for the Puccini opera to be produced in the Basilica – the first time ever for an opera to be staged in a Basilica. We talked to Noah Eisenberg, President of OOTB, about the upcoming production, the history of the opera company and ways for you to support their innovative artistic work.
Q: For readers unfamiliar of Out of the Box Opera, please tell us your history.
A: Out of the Box began with a 2016 conversation among three opera fans about how to “save” opera - how to grow the audiences, which had been shrinking for years. The three fans were me, (I’m a board member of Mill City Summer Opera), David Lefkowich, the artistic director of MCSO and Jim Berman, a close friend of mine. Our first idea was to take opera out of traditional opera houses - places many people thought of as stuffy and dull. The second idea was to make opera itself less stuffy, more enjoyable and experiential. We saw no one else doing this, so we decided to do it ourselves and created Out of the Box Opera.
During the first years (pre- pandemic), we created Diva Cage Match, a singing competition in a boxing rink and worked with J.D. Steele on an opera/gospel fusion event at the Weisman Art Museum. We turned an abbreviated version of a Handel opera into an interactive tour of the historic Pillsbury A Mill, from the water tunnels in the basement to the roof deck on top. After a pandemic pause, we returned in 2022 with another “immersive” experience; a selection of scenes from La Traviata, staged at various locations, the lobby, a guest suite and parking lot, of the Minneapolis Canopy Hotel.
Noah with pet Henri
Q: I hear exciting news - you're producing Suor Angelica at the Basilica of Saint Mary! Please tell us more.
A: I thought the Basilica would be a great setting for an OOTB show. David came up with the opera and the concept for the immersive production. Johan VanParys, director of Liturgy at the Basilica, liked the idea and after getting the necessary approvals on his side (Minneapolis, St. Paul, Boston and finally Rome) we agreed to move forward with the project.
It is a co-production, with the Basilica providing the space and logistics and OOTB providing the show.
While OOTB is unorthodox in its production, it is very serious about the music. Suor Angelica has a female cast and will feature mainly local singers. These singers have strong backgrounds performing with other opera companies locally and nationally. This OOTB production has the largest orchestral accompaniment of any of its shows to date.
Staging Suor Angelica at the Basilica of Saint Mary is a perfect fit for OOTB. It is a place where people have never heard opera before. It is a highly dramatic setting and a highly dramatic story. It has a variety of spaces for small audience groups to move around and through. Suor Angelica has another OOTB trademark - it is short. One hour. The themes are serious and have contemporary resonance - single motherhood, suicide and redemption.
Q: How do you secure funding for your productions, especially given your non-traditional approach to opera?
A: Approximately 50% of funding for Suor Angelica comes from donations. The other half comes from ticket sales.
Q: How may we purchase tickets for this event? Many readers will want to give a donation – how may we give to OOBO?
A: Tickets are sold on our website: outoftheboxopera.org. Of course, we welcome your donations to our opera company at the same website! Tell your friends – we hope to have sold out shows of Suor Angelica. Sign up for our newsletter too.
Note - If you'd like to forward directly to when Mayor Frey takes the stage, it's at the 13:16 minute mark. The transcript is available here.
Two Paddles races returns for its third year the weekend of June 7-9. Over 200 paddlers participated in 2022 and 2023, respectively, from 17 different states and 4 Canadian provinces.
Per co-founder Scott Miller, "The new finish line at Mississippi Point Park in Champlin offers a scenic and challenging route, eliminating stagnant stretches, motorboats, and a dam. Merging with the Father Hennepin Festival promises a fresh and vibrant atmosphere for all."
Races include: Family 5-mile Challenge, 25 Race, Tour & Relay, 10 Race and Tour, 150 Race, Relay and Tour, 48 Race & Tour and High School Paddle Challenge.
Via a May 6 e-announcement from the City of Minneapolis:
The City of Minneapolis Public Works Department is constructing a new parallel storm tunnel, enlarging a portion of the existing storm tunnel, and constructing a new tunnel access in Downtown Minneapolis.
The new tunnel is being constructed parallel to the existing tunnel located under Washington Ave S between Nicollet Mall and Chicago Ave. The existing tunnel under Chicago Ave between Washington Ave S and the Mississippi River is being expanded to handle the increased stormwater capacity. The purpose of this project is to reduce pressure in the existing tunnel, provide more room for future growth, and to reduce the need for future repairs and tunnel failures.
Project Map
Latest Project News
Mississippi River Portal
2nd Ave
Portland Ave
* * * Barring any unforeseen issues, major work will be completed at the 2nd Ave and Portland Ave access shafts by mid-June. Traffic will be restored to its preconstruction condition. * * *
Lining progress
Crews continue to work on the concrete tunnel lining, pouring about 300 cubic yards of concrete in the last month. To date 14,600 cubic yards of concrete have been poured. As noted in the infographic above, this is approximately 1700 truckloads of concrete. This process is about 98% complete.
Stay Connected
Visit the project website for more information and to sign up for project updates: https://www.minneapolismn.gov/government/projects/central-city-tunnel/
Email the project team: info@mplscentralcitytunnel.com
Contact the project hotline: 612-888-9418
"The City is worth about $2 billion dollars less than a year ago."
By Carol Becker
The Minneapolis City Assessor presented the 2025 property value estimates to the City Council and alarm bells should be going off for anyone who cares about this city. The value of property represents our belief in our collective future and the numbers say that belief is declining.
The Assessor estimates the overall value of the City declined about $2.1 billion dollars from 2023 to 2024 or about 3.1% in one year. In 2023, all the property in the City was estimated to be worth $67.5 billion dollars. In 2024, all the property in the City was estimated to be worth only $65.4 billion dollars. To put it in simply, the City is worth about $2 billion dollars less than a year ago.
Unsurprisingly, downtown saw the largest decline, a 13% loss in commercial property value. Valuations of commercial property is based on the rent that property can generate, and foot traffic is only 55% of its pre-pandemic levels. (https://downtownrecovery.com/charts/rankings) Offices are empty and retail has fled so rents have declined, leading to declines in commercial property values. Employment in Finance, the City’s largest private sector employer, declined 6.8% compared to prior to the pandemic. (DEED QCEW)
Rental property lost 9.5% of its value from 2023 to 2024. All rental property was valued at $14.3 billion in 2023 and only $13.7 billion in 2024, for a loss of over half a billion dollars for property owners in one year. The most obvious reason is that Minneapolis voters authorized the City Council to enact rent control, which will stifle the rental market. Also, the City has made it harder for landlords to screen out or deal with problem tenants. Many rental property owners are now paying for security due to the lack of police. Taxes and other costs continue to increase faster than inflation. It makes sense that rental property is less valuable. Minneapolis reduced zoning regulations with its 2040 Plan in an attempt to attract more rental property, but it is hard to see investments continuing when the value of those investments decline.
Single family homes collectively lost 1.2% of their value. This isn’t surprising as the population declined 1.1%, the last two years, from 429,985 in 2020, to 425,096 in 2022. (U.S. Census) Many homeowners will most see double digit tax increases next year, even if the City, School Board and County do not increase their levies, due to the decline in commercial and rental property.
The decline in ownership housing is the most disturbing, as it represents a real loss of wealth for regular people. Residents lost about $100 million in wealth in one year. And it is simply a reflection of the belief in the viability and attractiveness of our city. The causes seem obvious. Crime increased compared to prior to the pandemic. Travel in the City is being stifled to accommodate bike lanes, making it harder for both residents and non-residents to access jobs and businesses. Retail employment declined 12.6% since 2019, (DEED QCEW) with Target’s leaving Uptown being the most obvious loss. Homeless encampments make whole neighborhoods crime magnets.
One would think our newly elected City Council would be laser-focused on these issues given billions of dollars and the future of the City is at stake. Coming up with new ways to recruit and retain police. Finding ways to make it easier for people to get to jobs and businesses. Meeting with business owners to understand why they may consider leaving the City. Bringing in new tools to strengthen small businesses. Accelerating the conversion of commercial spaces to housing in downtown. Meeting with landlords about what can be done to reduce their costs. Strategizing now on how to reduce property tax levies, as the City has a growing housing affordability problem and property taxes make housing less affordable.
Instead, the priorities of our new City Council, so far, have been a divisive vote on Gaza, and driving Uber and Lyft from the region. But they have a year and a half in this term, plenty of time to change their agenda to focus on the real issues of the City. And I hope they do. The lives of hundreds of thousands of people depend on it.
“one of my questions was could you help us understand why you felt the state's consideration of financing costs is inadequate, and I think you in part just said so, but for example um the state accounts for $870 a month for financing a vehicle which seems pretty generous to me, um, but we're contemplating compensation for someone to pick up a $1,200 a month car payment, with this as a job that's being calculated on minimum wage, and that just seems like a lot.” Watch the entire statement...(1 min 28 sec)
I hope you didn't let the morning rain keep you from attending opening day at the Mill City Farmers Market 2024 outdoor season on May 4. We met four of this year's new vendors, and I must say they are a fantastic addition to the Market! From Mom’s Garden I picked up bok choy, and an incredibly delicious sourdough olive bread and brown butter chocolate chip cookie from Zeytoon Bread & Co. Chocolate San Jose had a beautiful array of chocolate items made from Ecuadorian cacao. My first purchase was Inkakaw Brewing Cacao, which can be prepared as a cold or hot brew. I also tried the Kunafa and Basbousa Middle Eastern desserts from Menoush Bakery - both equally lovely, and not too sweet.
Experience the Minneapolis Institute of Art (Mia) like never before with the Meet at Mia summer event series, occurring most Thursday evenings beginning May 16 through September 19 in Mia’s Target Park. The series is free to the public. Community members can enjoy live music, unique food and drinks available for purchase, gallery tours and the chance to make art while participating in bike nights, movies in the park and courtyard concert events.
“Meet at Mia provides an opportunity for the community to join us and connect, create and kick back as we celebrate summer in the Twin Cities. With thoughtful and varied programming taking place nearly every week, there is a Meet at Mia event suited for everyone. We can’t wait to welcome both new and returning guests to Mia to experience the museum in a whole new way.” Lynn Farmer, chief audience and engagement officer at Mia
Meet at Mia kicks off on May 16 with Bike Night, including art activities with Wóokiye Wín, a poetry reading with Gwen Westerman, a screening and panel discussion of the film Blackwaters, and food and libations from Pizza Karma, Trickster Tacos and more.
Highlights of this year’s Meet at Mia events include:
Bike Night (May 16, June 6, July 11, August 1, September 5) – Pedal to the party right through Mia’s doors from 5-9 p.m.! Learn more about the Twin Cities biking community and make experience art while enjoying music from DJ TaliaKnight. Show off your best bike pose in Mia’s photo booth and indulge in tasty food truck offerings.
Movie in the Park (May 23, June 13, July 18, August 8, September 12) – Enjoy movies on the big (inflatable) screen in Mia’s Target Park while encountering art and imbibing in local food trucks. Festivities will run from 5-10 p.m. with movies starting at 8 p.m.
Courtyard Concerts (May 30, June 20, June 27, July 25, August 15, September 19) – Join Mia in Target Park for a sampling of Twin Cities talent while engaging with local music expert Diane Miller as she spins tunes before and after each live performance. Local food trucks, gallery tours and experiential art will be available throughout each event, running from 5-9 p.m.
For more information on Meet at Mia, as well as other featured events, visit ArtsMia.org.
Attention everyone with kids in your life!
Mark your calendar for Sing, Play, Learn with MacPhail®'s Kidsfest at Water Works Park happening Saturday, June 8 from 10am–12pm.
This fun-filled morning includes two concerts at 10:15am and 11:15am. Before, during, and after performances, kids can decorate a ribbon wand to dance along with, explore instruments, and have a snack!
This event is free and open to the public.
The Downtown Minneapolis Neighborhood Association (DMNA) and North Loop Neighborhood Association are hosting a Personal Safety Workshop on Saturday, June 22, at 10am, at the Target Field Station Plaza, located at the corner of 5th Street N and 5th Avenue N.
Guest presenters include MPD 1st Precinct Crime Prevention Specialist Renee Allen, who will talk about personal safety awareness; and Gail Boxrud and Dante Pastrano from Krav Maga, who will conduct the self-defense training.
This is a FREE event, but please RSVP via Eventbrite so the organizers know how many people to expect.
Please wear appropriate fitness clothing and bring a water bottle.
Article by Becky Fillinger, Photos courtesy of Fretless Marketing LLC
Jamie RobinsonSix Minnesota breweries took home medals from the recently concluded World Beer Cup, the largest and most prestigious beer competition in the world. The World Beer Cup is held annually during the Craft Brewers Conference, and with over 9000 entries from over 2000 breweries worldwide, to have six winners from Minnesota is very impressive. Northbound Smokehouse & Brewpub took the Gold Medal for their Doppelbock in the German-Style Doppelbock or Eisbock category. We spoke with Northbound's Owner and Brewer, Jamie Robinson, about what it meant to win the Gold Medal and what sets his Doppelbock apart from the rest.
Q: Congratulations on winning the gold medal for your Doppelbock! Please tell us what it felt like to be recognized as one of the best among so many talented brewers.
A: It’s a great honor to have won a World Beer Cup gold medal for our Doppelbock. We’re particularly proud of winning this category because not only is this competition the most competitive in the world, but we likely competed against German breweries that have been perfecting this style over a few hundred years.
Q: Please tell us more about the Doppelbock – what inspired its creation and what do you believe sets it apart from other beers?
A: Doppelbock is one of our favorite styles. It’s a dark, rich, and strong lager. It’s 8.8% ABV. A sipper for sure. We decided to brew it for the first time in 2013. We’ve made adjustments to the recipe and process every year since to improve it so that it could compete with the best versions of the style.
Q: Taste is subjective, but winning a competition suggests broad appeal. What do you think resonated with the judges and drinkers about your beer?
A: While we don’t immediately see the judges’ feedback, we believe the adjustments to the recipe over the years is what resonated with them. A couple of years ago we changed the recipe to use premium Weyermann Barke malt. This made a noticeable difference in the richness and body of the beer that Doppelbocks are known for, and resulted in a more authentic version than past batches.
Q: When we visit Northbound Smokehouse & Brewpub, what food should we order to complement the Doppelbock?
A: Well, it will be several months before it will be available at our brewpub again. Doppelbock is one of our winter seasonal beers. It’s released in December and normally is gone by mid-March. I believe Doppelbock is best on its own, but it pairs well with much of our menu. Try it with the wild rice burger, or porketta sandwich.
Q: We’ll wait patiently and try your other fabulous brews and food items in the meantime. How may we follow your news?
A: We post on Facebook and Instagram almost daily.
Inviting patio at Northbound Smokehouse & Brewpub, 2716 E 38th Street
Excerpt from the May 2 City of Minneapolis e-newsletter
The City of Minneapolis is proud to provide city residents and businesses with safe, high-quality drinking water. You can look at monthly water quality reports on the City’s website or watch a video about how the City’s water is brought from the river to the tap.
Earlier this month, the U.S. Environmental Protection Agency, the federal agency responsible for regulating drinking water, issued new standards for several per- and polyfluoroalkyl substances in drinking water. Per- and polyfluoroalkyl substances, also known as PFAS, are a large group of human-made chemicals.
PFAS are used in many products, including:
Unfortunately, research suggests that exposure to PFAS may result in adverse health impacts. The good news for Minneapolis residents is these regulated compounds have not been detected in the Mississippi River, which is our water source, or in the finished water that we send out to your tap.
The City of Minneapolis has been monitoring for PFAS for nearly 10 years. Minneapolis tap water has always met and continues to meet the new federal standards.
For continued information about Minneapolis drinking water, watch for our annual Consumer Confidence Report. This report has data and information about various water quality metrics we provide to customers and state and federal regulators. The new Consumer Confidence Report will be posted by the end of May on the City website.
Article by Becky Fillinger, photos provided
Rich Henriksen, owner, seated at the bar in front of the stained glass entryway. Photo credit Northstar Imagery
Rich Henriksen recently opened Berlin in the North Loop – and aren’t we lucky? This intimate music club, located at 204 N 1st Street, provides first rate entertainment with tasty food and drink menus. We talked to Henriksen about his inspiration for Berlin and what we can expect when we visit. Check out the amazing talent on the team! Berlin is open six days a week from 4PM to 12AM, (1AM closing time on Friday and Saturday), closed on Tuesday.
Q: Congratulations on opening Berlin in the North Loop. What inspired you to open a jazz club? We would love to hear your vision for the club.
A: I have always been captivated by the spontaneity of live music and its ability to connect people around the world. Minneapolis has a rich musical history and culture - our aim is to make a meaningful contribution to the city and its artists. We created Berlin to be a cozy space designed for genuine connection, great conversation, as a way to immerse yourself in the energy of live music. We hope people will discover new artists experimenting with sound. It’s good for the soul to listen to live music together.
Q: How do you go about selecting the individual artists and bands to perform at Berlin?
A: Music Supervisor Alex Proctor selects artists to feature a wide variety of experimental music from jazz, ambient, and electronic programming while leaning on mostly instrumental music. The calendar will balance between live bands and DJ’s that span across musical genres with an expanding cast of local, national, and international artists.
Photo of the main room, view from the desirable counter-height seating. Photo credit Northstar Imagery
Q: How did you design the Berlin interior? What elements of the décor or ambiance are you most proud of?
A: Built in 1888, this historic building will maintain much of its time-honored charm, though with a fresh, cocktail-forward perspective. Designer Aaron Wittkamper, of Wittkamper Studio, brings together decadent velvety textiles, a stunning marble bar top and layered moments of colored glass, to evoke a truly jazz-minded environment, both contemporary and classic in its presentation. Vintage brass fixtures, tasseled pendants and soft curves in the millwork offer a subtle nod to all things art nouveau, while a stained glass entryway, hand crafted using a thousand year old technique, by Janelle Wilson of Archon Glassworks utilizes antique glass acquired from Germany. Berlin honors the past, while hosting a 21st century party.
We are most proud of how you can't quite place where Berlin exists in time. It is both old and new.
Q: Are there community events or collaborations in the works that you may share with us? I’m thinking of a MacPhail School of Music/Berlin collab on jazz performances by emerging artists!
A: There definitely will be in the future! This year we were brand new, but we still collaborated with The Great Northern for some of their programming. We hope to partner with other organizations once we get into a groove with our team.
Tinned fish is a hidden delight of the food menu. Photo credit Isabel Subtil
An old fashioned highlights the beauty in simplicity of the classic cocktail program. Photo credit Isabel Subtil
A spread of warm olives with orange and chili, a sourdough baguette with caramelized bacon butter, and a soft pretzel with cervelat cheese sauce. Photo credit Isabel Subtil
Q: How did you decide on the menu for Berlin? Are there signature drinks or dishes?
A: Culinary Director Jamie Malone of Paris Dining Club offers shareable snacks, a few large plates, and delightful desserts. The beverage program is overseen by Ruby Langworthy, previously of Young Joni back bar and Little Tijuana. Cocktails are classic, simple, and unfussy. Both food and drink are designed to complement the heartbeat of the experience, which is music. You can enjoy a full dinner that adds to the show, without being too distracting and taking away from it. There is also an amazing happy hour from 4-6pm Monday-Friday.
Q: How may we stay current with the performance schedule and other events at Berlin?
A: We keep our calendar up to date on our website, but the best way to hear the news first is to subscribe to our newsletter here.
A treat in May - the scent of lilacs and lilies of the valley wafting from Goldfinch Flowers
Mill City Farmers Market (MCFM) returns to the Chicago Mall and historic Train Shed with fresh local produce, sustainable groceries and handmade goods on Saturday, May 4 from 8am to 1pm.
This year, an additional 10 new vendors joined the MCFM roster for a total of 115 vendors. MCFM is a primary storefront for many of the farms and local businesses showcased each Saturday. Customers can find a wide variety of local businesses including fruit and vegetable farmers, food makers with staple pantry items, textile and ceramic artists, jewelers, bakers, skin and body care, ready-to-eat food and more.
What you can expect this season:
Thanks to the Market’s Charitable Fund (MCFM-CF), educational programming will be back at the Market, including live cooking lessons with Market Chefs, veggie sampling for kids, Storytime and more.
Alongside food education, the Market and its Charitable Fund will continue their mission to give everyone in our community access to fresh, nutritious food through their food access programming. SNAP and EBT users can get their purchase tripled up to $10 each Market day (spend $10, get $30). In addition, beginning in July, MCFM’s Greens for Good food rescue program will return in partnership with Augsburg University’s Campus Kitchen, purchasing excess produce from farmers and distributing it weekly to low-income seniors in the Cedar Riverside neighborhood.
MCFM welcomes 10 new vendors for the 2024 season, with initial appearances scheduled as following:
May 4:
May 11:
May 25:
June 15:
July 13:
MCFM runs every Saturday, May through October, from 8am to 1pm (October markets open at 9am).
MCFM has long been a champion for the local food movement and has put farmers first since its founding in 2006 by farm-to-table pioneer and James Beard nominated restauranteur Brenda Langton. All vendors meet a high standard for local sourcing and are committed to market’s sustainability statement, which ensures the use of farming practices aligned with building healthy soils, sustainable water use, humane treatment of livestock, honorable workplace practices, and rejects synthetic inputs, pesticides and GMO seed. MCFM vendors are not required to be USDA Certified Organic, as the time and costs associated with certification are a barrier to many BIPOC, immigrant and emerging farmers. Customers at the Mill City Farmers Market can feel confident they will find high-quality, naturally grown and made products no matter which vendor they support.
Mill City Times | 35W Bridge Memorial | Mill District Block Party | Mill City Media
Thursday, May 16, 2024 at 10:20AM