Category Archives: Local

Bookshelf Review: the Rise of the Naked Economy

In the ongoing re-organization called Life, I came across this book and skimmed/read it to make keep/discard decisions.

It’s in the ‘Keep’ pile, but only just barely; and only for the function of identifying fallacies and wishful thinking.

I found the facile tone and smudged glossiness of the imagery very off-putting.

This book described happily the new work reality, in which many of us are super-specialists, providing very highly polished skills to a perpetually delighted market.

Others of us are to be generalists _ also very crucial, we’re told_ filling in gaps and doing – you know – general things.

All the infrastructure and ‘normal’ trappings of work are to be discarded – offices, established work relationships and protocols, permanence of any kind. Except for managers perhaps  – they can have trappings. But none for the rest!

It mentions at the end a few minor glitches – health insurance (and other benefits), collections problems, taxation policies that burden entrepreneurs vs. customers.

So ok, in reality – those minor things are kind of major, and many unstated problems exist which vastly outweigh the benefits.

For one thing, earning enough money to live on as a freelancer is very difficult to do in conjunction with maintaining the skill sets and knowledge base of a specialist. Apparently these new roles come with some sort of time-turning magical device!

Most utilization of freelancers takes place within a mature, structured workplace; because of all the ways in which that structure is necessary. The main body of activity in ‘getting things done’ will always need to happen within a permanent structure. Large groups of people engaging in innovation or existing service provision require permanent physical locations, computer and telephone technologies, long-standing interpersonal relationships.

There won’t ever be a ‘flash mob’ of people who are able to come together all as strangers for a short period to get a new design from research through the marketplace etc..

The flicking-off of a small percentage of positions from employment to contractor status weakens the people in those positions, as well as the organization itself: whether the specifics are adjunct faculty or accounting contractors. A great deal is lost when functional responsibility is lost in the shuffle.

I strongly feel that this push will turn out to have been profoundly wrong-headed; beneficial to small sets of people who managed the provision of freelance service and also to the people making the outsourcing decisions – at least until enough time passes to make clear the full impact of those decisions.

Meanwhile, from day one all the way through until a more complete relationship is re-established, the person providing the service is under-compensated. Financially, and on the wider basis as far as ongoing stability and life-planning foundation and career-wise and so on.

So many building blocks of a solid future exist only within the employment relationship. To actually replace those for freelancers – sincerely and in good faith – would take much more generous monetary compensation as well as a range of other substantive realities that have not at all been even explored, much less implemented. The reality is that these relationships have not been in good faith, but have been part of the hollowing out of the middle-class.

These authors – Ryan Coonerty and Jeremy Neuner – are themselves not distanced observers, but directly within the paradigm they’re discussing – they are both involved with NextSpace, an early pioneer in the coworking model.  Which brings up another aspect of this book – it weaves present and future, concrete realities and wishful generalizations, coal and diamonds to such an extent it’s difficult to digest.

But coworking itself is fascinating, and a great environment for certain types of functions. For folks in social media for instance, I can see how it would be perfect. It has its downsides (one example set), and will have growing pains as it matures (real estate prices for instance). But as it solidifies it also becomes one of the ‘infrastructure’ pieces that it itself is replacing, reminiscent of the conclusion of Vonnegut’s ‘Player Piano’.

This book also suggest using free resources whenever possible as a freelancer, to support the no-overhead model. Those free resources are reminiscent of procurement-chain management, in which smaller business were replaced with corporate/global supplies. Both paradigms deprive small, locally-held businesses of needed volume, causing constricted decision-making and diminished futures. More evidence of the wrong-headedness of this model

“Fun to Read!” says the book jacket. Not always ‘Fun’ to live!

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Strength & Vibrancy of Twin Cities

There was a display at the Cargill room in the Downtown Minneapolis Library a few years ago, celebrating the sesquicentennial (150 years) of Minnesota. It contained displays showcasing Minnesota’s inventions over the years. They included an extensive array: Medical (pacemakers, etc.. work by Bakken and many others), Computer, Food (wheat varieties created by Borlaug, credited with saving  the lives of millions; zillions of apples and much more at the University of Minnesota). Also random things like the Tilt-a-Whirl, Roller Blades, and Spam (which has, again, saved the lives of millions probably).

The University of Minnesota, one of the original Land-Grant institutions, has been doing everything possible to improve life for Minnesotans – and Everyone – since the 1850’s. I graduated with a degree in Accounting from there. I don’t know if you can tell. Anyway, even with the University’s various campuses and the Minnesota State Colleges and Universities system,  we have a wealth of smaller Universities and Colleges as well. Truly something for every interest and life path.

We have much more diversity here than others imagine. Minnesota schools  are helping kids learn English in addition to their own languages – 200 different languages are spoken in their homes. Our four main languages in Minneapolis are English, Spanish, Somali and Hmong. We are a vibrant community of cultures, ethnicities, neighborhoods  and communities.

We have a thriving arts community, more theater per person than almost anywhere else, storytelling, dance, live music and much more.

Politically, there’s just no end. But let me just stress our high voter turnout, and leave it at that. Except to also mention politics at its best – the Center for Victims of Torture, based in Minneapolis, doing everything possible to heal the human spirit.

That is one nonprofit of hundreds in Minnesota – part of a thriving nonprofit community that seeks to ensure the vitality and well-being of its citizens and address today’s challenges in coordination with government entities, foundations, benefactors and volunteers; in a way that is transparent and accountable.

We have a thriving technology arena with innovation and real-world application, new breakthroughs and efforts to bring technology’s benefits to as many as possible.

Our Minnesota State Fair is perhaps a good place to stop. For many on the coasts (the reason this post exists, see here and here), the State Fair justifies your belief systems about Minnesota. And, as I’ve said before, there’s a certain level of inevitability about all this which I accept.

Despite that, I’ll just say this: the State Fair is like life.

You have huge numbers of people, all of whom are doing what they want to do for their own reasons. Some have brought to the Fair the best of their years’ efforts – animals, artworks, recipes, large vegetables, seed art. Some have brought information and arguing points to try and change others minds and spark action. Some have brought items to sell, and/or money to buy. Many are artists and performers, there to incite joy, laughter and dancing. Many-many are present to take it all in and have a wonderful time.

There is a little bit of almost everything, and a zillion choices at every turn. You can – as in life – decide what experience you want to have, and then set about to have that experience. Things may go a different way, and you can adapt. There may be streets filled to the brim with unwashed masses – and alternate routes. Long lines at these times, shorter lines earlier/later. Coupons and deals to utilize. Extensive work and volunteer opportunites. Too much heat, rain, cold and blah days, disappointment, social goings-on with drama and heart break, families (in matching t-shirts sometimes) with best intentions, crying babies and their huge baby carriages always in the way, people moving about with assistive technology, people physically adjusting themselves to all those around them constantly, people who’ve been coming to the fair for decades, people who only recently landed in Minnesota and are still just their bearings, breaking technology and the newest in kitchen convenience. It’s all there, it’s all in the Twin Cities, it’s all the same in slightly different ways everywhere.

We are completely engaged in what we’re doing here. You are welcome to join us. It’s ok if you want to keep doing what you’re doing where you are. But we’re going to keep doing what we’re doing our own selves, in any case. Namaste.

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Film Note: The Company Men

Speaking of the Recession (as I have been in these last few posts, among other things) I just saw The Company Men and feel compelled to write about it.

I wonder sometimes how this recessionary period will look, historically, once more time has passed. Will it be seen as a period of massive change, best and worst of times but a necessary portal into the future – like the beginnings of the Industrial Age? Or will it be seen as a temporarily bad period, like the US Depression, that caused pain and damage, all of which was more than offset by events of the following decade(s)? Or like the early years of AIDS – in which much lasting damage was done because of the ideologies in place at the time? Or (worst case) a period that seemed bad at the time, but was actually mild in comparison to what came after. Like the Weimar Republic in Germany – creating conditions necessary for unspeakable horrors?

In any case, whether constructive change process that bore some cost, or inherently destructive period which could have been avoided/minimized, or something else entirely, the personal impacts felt momentous at the time, and this film does a great job of capturing them.

All the acting is excellent: Ben Affleck (just loved him in Argo recently also), Rosemarie DeWitt (whose work I didn’t know, but who is really great in this), Chris Cooper, Tommy Lee Jones, Kevin Costner and others.

And I felt like it captured well the changes so many had to go through, the change in the US that happened to many in the middle class/upper middle class. And which didn’t effect (negatively, anyway) the main CEO guy. Ways in which folks helped each other. The kids, responding to the best of their ability. I agree it does hit men harder, because they have their identities more inextricably linked with their work, among other things.

I liked that it didn’t feel as overwrought as Margin Call, another film related to these events. That one had an uneven tone that was distracting, a lack of emotional focus, and an idealogy of some kind overlaid towards the end (just was ready for it to be done by then). Instead, The Company Men is more simply about the emotional impacts and the choices confronting people.

I’m glad it had the ending it did. Those last few scenes – thought I heard Ben’s (I think real-life) Southie (South Boston) speech back in place, also fun.. was his parent’s home around there or something possibly? Or maybe just was something they didn’t sound-edit out. (I’m an expert in all that, having seen Postcards from the Edge, you know). Or maybe I imagined it.

Anyway, good entry into times-of-our-lives film category, IMHO. Hopefully times are getting/will get better, and the pain of this period will become temporary – in which case films like this can be informative as well as entertaining.

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Site-Member Interview in-Depth: CCLaP’s Four Year Anniversary!

CCLaP – the Chicago Center for Literature and Photography – founded June 2007 – is as a private for-profit company; established to champion the best of today’s bleeding-edge, ultra-contemporary work.

ClaritySol: Congratulations on your Four-Year Anniversary! Now, like many start-ups, you’re self-funded, so you’ve been slowly growing CCLaP’s client-base and community. Your pattern has been to publish one book each year electronically, complementing your extensive book reviews and essays (such as the ever-popular series about literary classics called “The CCLaP 100”). Now in the last year you’ve stepped things up considerably..

CCLaP: Yes, I’ve been publishing books since 2008 now, just with all the past ones being electronic only; it’s just this summer that I’m finally getting paper versions of them out for the first time.

2011 has been a year of significantly increased activity: after publishing only one book a year previously (Ben Tanzer’s “Repetition Patterns” in 2008, Sally Weigel’s “Too Young to Fall Asleep” in 2009, and Tanzer’s “99 Problems” in 2010), starting this year I’ve upped the schedule to four new titles every year . In 2011 the four books include Mark R. Brand’s “Life After Sleep” and Jason Fisk’s “Salt Creek Anthology” already published, with the compilation book “American Wasteland” and Katherine Scott Nelson’s “Write Me Back” still to come.

So that’s been a significant increase in work, needless to say, especially since I’m now adding paper versions to each release. So time that I had before been dedicating to extensive reading and high-octane book reviews (which are posted on the CCLaP blog) is going to these newer activities instead.
Accordingly, I started the long-term hunt for other staff writers who can do book reviews in the CCLaP “ethos,” if you will, so that I can keep the daily posting schedule up at the blog while still devoting my own time to more publishing-related activities.

ClaritySol: Would you like to give the audience a brief bio of yourself, your journey to opening CCLaP? Did you always have an entrepreneurial bent? Or had you had a different life vision, and then things shifted and this became the optimal path? I have heard you state over the years that you used to write, and then you stopped. Yet currently you write book & film reviews and various other things.

CCLaP: I suppose I’ve always had an entrepreneurial bent, now that you put it like that; by the age of six I was already doing puppet shows for neighborhood kids and charging admission, putting out a subdivision newsletter, things like that. I’ve had a whole series of different career focuses over the decades, mostly due to just a wide range of interests — first I was all set to enter college on a high math track and eventually become a computer programmer, then suddenly switched to political science for four years, then studied photography for four years after that, then became a publishing author and performance poet for a decade, after moving to Chicago in the mid-1990s.

When I say that I “stopped writing,” I mean only the creative fiction; as you point out, I’m still penning almost a quarter of a million new words a year at the CCLaP site, only all of it in the genre of critical and personal essays.

CCLaP itself came just very slowly and organically over the course of several years, as I first hit middle-age and became more and more dissatisfied with pursuing a career as a solo creative artist; it’s a way essentially for me to still work in the milieu I love, while hopefully bringing the kind of stability to my life that I simply didn’t need when I was younger.

ClaritySol: The close relationship between the artist and the fan, is that the main benchmark of success for you, the overriding goal?

CCLaP: Well, perhaps it’s better to call that a business goal, in that I ultimately view CCLaP in competitive terms to other larger institutions that do a whole variety of creative things, like perhaps the Museum of Contemporary Art or the Old Town School of Music; the center isn’t even close in size or scope to those examples, let me make it very clear, but that’s the eventual hope of where I’d like to see CCLaP heading as the years progress.

And what I feel is a good way to compete in that field is to pay very close attention to what your readers, your audience members want, what they really respond to, what they’re mentioning to you in emails and at dinner parties and things like that. I feel like a lot of creative institutions have lost sight of that, that many of the bigger ones especially that started back in the Modernist era have become so insular and so totally focused on grants, corporate partnerships, and just the mere struggle to stay alive at the level they’re accustomed to.

I feel a good way for a tiny organization like mine to differentiate itself from that is to be much more responsive to our customers than those groups are. But there’s of course a tricky balance to maintain, because as a creative curator, people are coming to CCLaP many times precisely FOR my recommendations of stuff they’ve never heard of or sometimes even thought about. My job as CCLaP’s owner is essentially to listen to all these people, listen to what they’re saying, and then think, “Well, if they say they want THIS kind of thing, I’ll bet that they’ll really be into THAT kind of thing too.”

ClaritySol: What is the unifying element of the work you publish?

CCLaP: My focus is on trying to get the best work possible out of that writer. I really look at an author’s entire body of work and where they are in their career, and think about what I consider the best thing they could possibly be doing right now for their particular style and where they should be next professionally. That guides what the finished book looks like more than an adherence to any particular type of genre, length, etc.

As far as the paper books go, I’m selling them literally as fast as I can make them right now, which is a double-edged sword; I could be selling more if I could simply make them faster, but the reason there’s such a strong interest is because everyone knows how long they take, and what a high quality these handmade editions have at the end because of it. Sigh!

ClaritySol: Who is your target audience?:

CCLaP: My main core target audience are people known by the term “creative class” — twenties to fifties, with creative careers but that still lets them be middle-class, essentially a lot like my personal friends here in Chicago, urban-dwelling and politically/ecologically aware, with only a certain small amount of money and time they can dedicate to the arts anymore, and wanting not just a good experience for their money but an opportunity to take a part in the process, even if just a little bit.

I think people of my generation and in my circumstances are a little burnt out on the “totebag syndrome” as I call it of older cultural institutions, where the idea is, “Give us a yearly check and otherwise just shut up and enjoy the splendor of it all, and here’s your token gift thanks very much.” I think creative-classers would like a much more direct say over which artists are being featured there, or at least what kinds of artists, and would enjoy an opportunity as a patron of one of these groups to occasionally be able to talk straight to the curators and decision-makers, literally say to them, “I saw this band or this photographer at this gallery or that pub, and they’d be perfect for your place.”

ClaritySol: How has your internet presence birthed/supported your business? Will you be enlarging it, and enlarging your business? Is there a particular size or scope you are aiming to attain?

CCLaP: Well, I have personal things to gain from maintaining an international audience, which ultimately is the simple answer in my case — I like traveling internationally, and hope to do so a lot more in the future, so it’s worth it to me to cultivate an online presence just for that alone.

Commercially it’s a trickier question; because although electronic content is great for building a passionate audience, it’s still through actual physical merchandise and physical events that most artists make the majority of their actual money, whether that’s a publisher or a photographer or an indie musician, so the question of a spread-out audience in that case ties in more with how easy or hard it is to ship things to them, whether you’ll be there regularly on tours or not, etc.

But then, I know for a fact that one of the things that a lot of CCLaP’s audience members like the most about the site is its international focus, so just from a curatorial aspect there are positive things to be gained — I read much more interesting books and see much more interesting movies because of it, feature a wider range of photography, get a wider range of perspectives.

ClaritySol: How involved are you in the Chicago Literary Scene, and is that important to CCLaP?

CCLaP: I’m unfortunately not too terribly involved with the local community anymore, for a variety of reasons. I’ve been changing that this summer somewhat, because I’ve been taking my new high-def videocamera out and shooting at least one live literary event in the city a week, then cutting it into just a little 60-second highlight reel and posting them at YouTube all year; that’s at least had me out and being a lot more social, and getting the word about CCLaP out to a brand-new audience.

While all of CCLaP’s authors have so far been Chicagoans, and all but one book have all been set in Chicago; that’s partly random, and partly that I skew a little heavily towards Chicago authors and projects from the mere nature of being here. But I’m certainly up for publishing people in other cities as well.

ClaritySol: Four year anniversary, very exciting – congratulations! Did you always expect to reach this point (and beyond)?

CCLaP: Well, thanks! As mentioned, the goal in my head has always been to go even a lot longer than this; but that said, it’s still a treat to actually make it to four years, given how many artistic projects are launched with such full confidence every year and then fall apart six months later.

ClaritySol: What about the past (four) years has surprised you the most?

CCLaP: I suppose the biggest “surprise” has actually been the anti-surprise of studying small business beforehand, and learning that just about each and every little thing I read about when studying small business has come true while actually running one.

ClaritySol: Are there things you would do differently if you could have a do-over? What lessons have you learned about entrepreneurialism in the real world?

CCLaP: If I had a chance to start over, probably the biggest change would be much less of a focus on live events at first, and a much bigger push into paper publishing from the get-go, learning in hindsight how much interest there’s been in it since actually starting it.

These are just little lessons you can only learn by actually opening and trying stuff out, which is another basic lesson from my “self-taught MBA” days that has absolutely come true: that it’s best at first to keep this sort of open, semi-flexible framework to what you’re doing, so that you can try some various things out without too terribly much commitment, and quickly shut down the things that aren’t working, even if they’re sentimental favorites.

I’d love to be doing more really big live events, like the one I did with Nathan Rabin last winter, but it just hasn’t been in the cards so far in terms of CCLaP’s audience being willing to support it, which as a business owner I have to pay more attention to than whatever personal desire I have to be sitting on a stage talking to someone cool and famous.

ClaritySol: New developments: you have an intern now! How is that going – I know for lots of folks that shift from one person to two people is a big one.

CCLaP: Oh, it’s been just about as minimalist as possible, to tell you the truth, and frankly I’m not sure if I’ll be doing it again for awhile; Traci Kim has been great, but the fact is that as a one-person, home-based business, there’s simply almost nothing for her to actually do. I’ve instead put her in charge of her own themed anthology, which we’ll be publishing at the end of the summer, which she mostly does on her own from home.

I just wanted to try hosting an internship at least once, since I had this opportunity just fall in my lap (Traci literally just wrote out of the blue this spring about it), just to see how it would go; I’m not sure if I’ll be doing it again until after CCLaP finally has its own permanent physical space somewhere in the city, and there’d be a lot more intern-type stuff for an intern to do.

ClaritySol: You’re producing blank journals – that seems a great idea – wide-open future sales. Congrats!

CCLaP: Yes, at Etsy, with me and ten million middle-aged moms! Stop by and purchase one, please!

ClaritySol: How does the Photography part of CCLAP – is that more of a future aspect of the company?

CCLaP: Yes, I have a lot more plans for photography, but they unfortunately almost all involve significantly more money than I currently have, and with a lot of it tied to finally having a permanent physical space in the city somewhere: at that point I’d like to have a full-time gallery, and also publish a book and giftstore-type merchandise with each show, which only makes sense if we literally had our own giftstore, etc.

I have a long-term view in mind with CCLaP, which at least makes it a little easier to decide to shelve certain things for now.

ClaritySol: Anything else you’d like us to know about your plans?

CCLaP: Well, just that CCLaP will have another four original books out in 2012 as well, one every three months, and mostly female-focused next year too — first a new story collection by Sally Weigel, then the new surrealist novel by Lauryn Allison Lewis, and then a new post-apocalyptic thriller of all things by Amy Guth, although political as well in that Margaret Atwood feminist-SF style, and then a winter slot I haven’t filled yet.

I’m going with an entirely new binding style for 2012, and all four books will be done in this similar style, so that in the future you’ll be able to just glance at CCLaP books and know which year they were put out.

Both the 2011 books and these coming 2012 ones are sold at a special subscription rate at the website, which is the main piece of news I’d like to get out, for those who really believe in the center and want to make a substantial financial contribution to it.

I encourage people to think of this like becoming a member of their local art museum or NPR station; only instead of a totebag or coffeemug, you’re getting a whole shelf of special handmade, hand-numbered, high-quality original books, ten altogether plus free shipping if you purchase both subscriptions for a total of $140.

Thanks again for giving me a chance to talk about the center and everything that’s been going on; I hope this has been of some interest.

ClaritySol: You’re very welcome, Jason! This has been a wonderful peek into your exciting, successful company. Wishing you all the best success for the future!

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For more information about CCLaP, check out the installment at Clarity Solutions Google+ page: http://gplus.to/CstokesCS

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Site-Member Profile: TigerOx Painting, LLC

Date Established: 2001.

Business/Organization Name: TigerOx Painting, LLC

Owner/Executive Director Name:

TigerOx is a partnership between four equal partners, Anders Christensen, Ceridwen Christensen, Rachel Taylor and Jeremy Wikre.

When we first formed our company, we were very much four individual contractors. Each one of us was involved in every area of the business, because that is how we were used to doing business for ourselves. It took us a long while to differentiate our responsibilities.

Anders, with his much broader experience in the industry, naturally is much more involved in the public interactions: meeting clients, doing estimates, etc. Jeremy does production management. Ceridwen moved away from production when she was having her children, and took over the marketing and estimating aspects at that point. Rachel is currently on maternity leave.

Product/Service:

TigerOx Painting, LLC, is a residential painting contractor, but saying we are painters doesn’t capture the full scope of our work. We do both interior and exterior painting. The function of exterior paint is not purely aesthetic. Paint also should behave as an unbroken skin protecting your house from the elements, especially from the intrusion of water. We never paint damaged or unprepared surfaces, and a large portion of any project we undertake is spent in preparation for painting, not in painting itself. For our interior projects, the same standards apply. We paint only after the plaster has been patched, the stains sealed, the peeling paint scraped away.

The members of TigerOx have long histories with historic Minneapolis houses, especially Anders. Anders has been interested in historic restoration and the history of building styles in Minneapolis since he bought a Victorian house in the 70s. Because of that long association, TigerOx can rehab old fashioned double-hung windows, refinish old woodwork, hang wallpaper, remove wallpaper. Not only can we do this, this is the work we enjoy.

Unique Features/Competitive Advantage:

Our unique features are part of our skills. We have broad skills and long experience with older homes. We are happy to take on odd, small or complex projects, projects that might otherwise require several different people. We have a number of regular customers who have us come in every couple of years and perform a punch list: repair a doorknob, repaint a closet, refinish three window sills. We are not just tinkerers though, and have successfully completed large painting projects, from painting the entire interior for a couple in St Paul, room by room, or painting an exterior in Minneapolis which included more than sixty traditional storm and sash windows.

TigerOx Painting is very aware that when we work on your house, it may be our work place, but it continues to be your private space. We earnestly endeavor to minimize the disruption of the painting process, from putting away tools nightly, to cleaning up paint chips and debris as we work. With the passage of new EPA standards for dealing with the preparation of areas with lead paint in them, this isn’t just good sense, this is now the law. Lead paint is present in any home built before 1978, and that means that almost all of the houses we work on have lead paint in them. We are are a lead-safe certified firm.

Contact Information:

Web site: www.tigeroxpainting.com

Facebook: https://www.facebook.com/pages/TigerOx-Painting/107581559263214?ref=ts

Phone: (612) 827-2361

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Site-Member Profile: E & L Bindery!

Business Name: E & L Bindery

Year Established: 1960

Business Owner: Jeff Dahlin

Product/Service: Custom Hardcover Bookbinding services Unique Features/Competitive Advantage: Serving the niche market of binding and book restoration for individuals, schools, companies & organizations. Print runs for 1 copy to 200 copies.

Examples: Limited Editions binding: Family histories, poetry collections… Professional Journals and Thesis binding: Also includes dissertations, honors projects… Periodicals binding (Newspaper, Bulletin, Newsletter file volumes): Bind those stacks of back issues into protective hardcover volumes for easy storage and reference. Book restorations and repairs,Custom binders, portfolios, and boxes.

Contact Information:
Phone: 651/251-2255
Email: jeff@elbindery.com
Website: http://www.elbindery.com/

Other Community Activities: Jeff Dahlin, owner of E & L Bindery, also participates in the Minnesota Renaissance Festival. At Windrose Mil as “Master LooseLeaf,” Jeff demonstrates the art of bookbinding alongside other specialized artisans who demonstrated paper making, printing and calligraphy. Jeff/Master LooseLeaf has been honored by the King as a Master Artisan over the years.

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This article from the Center for Media & Democracy about B Corporations is so exciting! Vermont is the 4th state to allow the establishment of these type of organizations, which recognize the value of the public good.

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