Ari Aster, the critically acclaimed A24 horror auteur known for “Hereditary” and “Midsommar,” released his third feature film, “Beau is Afraid,” on April 1.

“Beau is Afraid” focuses on the paranoid and middle-aged Beau, who is planning a trip to see his estranged mother, Mona. During his journey home, Beau goes through a gauntlet of his greatest fears.

What some might call a poor man’s Lynchian effort, others might describe as an original cinematic feat of epic proportions. Either way, Aster delivers a theater experience that will linger in the back of your mind, for better or worse. Probably the latter.

“Beau is Afraid” follows middle-aged Beau, played by the incomparable Joaquin Phoenix, navigating a life filled with stress, guilt and indecision. Beau’s mother is expecting him for a visit, triggering a descent of ultra-tense circumstances — Beau’s inferno, if you will.

“Beau is Afraid” does not stray away from the “wait, what did I just watch?!” disturbed model of filmmaking that built Aster’s reputation. Aster’s latest hones in a similarly absurdist energy that quickly becomes very personal.

Aster uses choppy rhythms in his story structure. Fast-paced story beats are met with abrupt, unexpected lulls in the action. Aster’s unpredictability factor doesn’t let the audience get settled.

Outside of the obvious Alfred Hitchcock inspiration (especially “The Birds” or “Rope”), Aster does implement his own useful techniques of suspense that stem from a place of shamed vulnerability. Everyday anxieties for someone like Beau, who often becomes paralyzed in indecision and fear, fast-track his mortal clock.

However, the shock value sequences of trauma fall flat when attempting to get viewers invested in the next story beat.

While a three-hour-long original screenplay hitting theaters feels exciting in the age of franchise sequels and the MCU, it does not work to Aster’s advantage. The second act becomes a bit of a drag: it doesn’t come to fruition and loses track of its subplot.

The film’s final hour is the most interesting, without a doubt. Here, Aster lets the film be what it wants to be without dizzying the audience into total resentment. The corner of surrealism and gut-punching drama is where Aster is at his best. A primary key to this part of the movie is the performance of Patti LuPone, who plays Beau’s mother.

When LuPone appeared on screen, there was a tonal shift in how the story developed. LuPone offered an even darker undertone to Beau’s past. Using dreamlike sequences and flashbacks, Aster connects this piece of his puzzle well.

Sound design, practical sets and bold camera choices offer this film a helping hand in technical enjoyment.

Nathan Lane provided unexpected comic relief in his role as Roger, a husband character who Beau encounters on his journey.

“Beau is Afraid” is easily Aster’s riskiest, most abrasive film in his young career.

The age-old sentiment about a film “not knowing what it is” is drawn out and used inappropriately in most circumstances. In this case, though, Aster might not even know what “Beau is Afraid” is.

“Beau is Afraid” is worth the watch if you don’t mind leaving the theater with more anxiety than you walked in with.

Whether you love it or hate it, you won’t forget it.

With one of Minnesota’s snowiest winters on record approaching its demise (hopefully), it’s time to welcome back frozen treats on warmer days.

I set out on behalf of A&E to taste-test five ice cream spots near campus and rank them. Here are my thoughts:

5. Meat and Dairy Salesroom

The Meat and Dairy Salesroom offers products made by University of Minnesota students, faculty and staff. Located on the main floor of the Meat Science Laboratory, the ice cream options range from pumpkin pie to rootbeer float. These uncommon flavors provide a solid experience. However, the obscure hours of operation, strictly Wednesdays from 2-5 p.m., and its St. Paul campus location are major turn-offs.

4. Fletcher’s Ice Cream & Cafe

In addition to ice cream, Fletchers, located at East Hennepin and University avenue, offers espresso, savory sandwiches and bakery items. They recommend adding a scoop of ice cream to one of their fresh waffles. However, other than the waffles, it feels lackluster.

3. Insomnia Cookies

Insomnia Cookies is a staple in Dinkytown. The ice cream sandwiches are better than single scoops because you get an excuse to still have their signature cookies at the same time. It’s a safe bet from a national chain, but perhaps a bit too safe.

2. Mango Mango Dessert

With a measly 3.5 stars on Google reviews, Mango Mango is a Dinkytown sleeper pick. Their mango ice sundae is definitely a standout in the University community’s ice cream scene. Good presentation and a refreshing taste take Mango Mango a long way. Their selection of mochi, teas and pastries takes them even further.

1. Bebe Zito Ice Cream

Bebo Zito takes the crown with their very creamy yet light Vietnamese coffee ice cream. Aside from having the best logo out of any of the other shops (an ice cream-holding baby donning patterns and Twins colors), Bebe Zito’s ice cream delivers exactly what you crave on a hot day, a light and satisfying frozen treat. With famous burgers and fries on the menu too, this place can double as a lunch spot.

In addition to its campus-adjacent pop-up in the Market at Malcolm Yards in Prospect Park, Bebe Zito fans can flock to Lyndale Avenue for their brick-and-mortar location. Bebe Zito could easily hold its own in a ranking of best Twin Cities ice cream in general, not just near campus.

Once a decade, the British Film Institute’s (BFI) magazine, Sight & Sound, asks the world’s best directors and film critics about their personal top 10 favorite films.

Most recently in 2022, well-regarded cinephiles (more than 1,600 of them!) shared their most sacred texts with both their fans and the magazine. Once the responses are in, Sight & Sound compiles everyone’s top 10 lists into their “Greatest Films of All Time” list.

I conducted a similar poll for The Minnesota Daily with some of the University of Minnesota’s cinema professors and a couple A&E staffers. However, I did not compile a composite list because the only films on multiple lists below are “Seven Samurai,” “Spirited Away,” “Do The Right Thing” and “La Noire de.”

Here’s what they said:

Maggie Hennefeld
An associate professor of cultural studies and comparative literature (CSCL), Hennefeld was also a selected voter for the real BFI Sight and Sound poll.

1. “La pile electrique de Leontine” (Unknown, 1910)
2. “Le bateau de Leontine” (Romeo Bosetti, 1911)
3. “Leontine s’envole” (Unknown, 1911)
4. “Laughing Gas” (Edwin S. Porter, 1907)
5. “Daisy Doodad’s Dial” (Florence Turner, 1914)
6. “Sedmikrásky” (Věra Chytilová, 1966)
7. “Born in Flames” (Lizzie Borden, 1983)
8. “De Cierta Manera” (Sara Gómez, 1977)
9. “Sambizanga” (Sarah Maldoror, 1972)
10. “Bildnis einer Trinkerin” (Ulrike Ottinger, 1979)

Daniel Aufmann
A Ph.D. student in CSCL, Aufmann included films from legendary directors like Alfred Hitchock and Akira Kurosawa in his list.

1. “2001: A Space Odyssey” (Stanley Kubrick, 1968)
2. “Rear Window” (Alfred Hitchcock, 1954)
3. “City Lights” (Charlie Chaplin, 1931)
4. “Seven Samurai” (Akira Kurosawa, 1954)
5. “Der letzte Mann” (F. W. Murnau, 1924)
6. “The Watermelon Woman” (Cheryl Dunye, 1996)
7. “Singin’ in the Rain” (Stanley Donen & Gene Kelly, 1952)
8. “Dance, Girl, Dance” (Dorothy Arzner, 1940)
9. “Spirited Away” (Hayao Miyazaki, 2001)
10. “3 Faces” (Jafar Panahi, 2018)

Michelle Lekas
A CSCL professor, Lekas included films that spanned 10 different decades in cinema.

1. “The Dupes” (Tewfik Saleh, 1973)
2. “Moolaadé” (Ousmane Sembène, 2004)
3. “Poetry” (Lee Chang-dong, 2010)
4. “The Crowd” (King Vidor, 1928)
5. “Seven Samurai” (Akira Kurosawa, 1954)
6. “Mahanagar” (Satyajit Ray, 1963)
7. “Le Salaire de la peur” (Henri-Georges Clouzot, 1953)
8. “Super Fly” (Gordon Parks Jr. 1972)
9. “Neptune Frost” (Saul Williams & Anisia Uzeyman, 2021)
10. “The Night of the Hunter” (Charles Laughton, 1955)

James Schaak
The Daily’s A&E editor plans to graduate with a double major in journalism and studies in cinema & media culture in May. Here are his takes.

1. “Spring Breakers” (Harmony Korine, 2012)
2. “The Living End” (Gregg Araki, 1992)
3. “Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles” (Chantal Akerman, 1975)
4. “Under the Skin” (Jonathan Glazer, 2013)
5. “Spirited Away” (Hayao Miyazaki, 2001)
6. “The Bling Ring” (Sofia Coppola, 2013)
7. “Some Like It Hot” (Billy Wilder, 1959)
8. “Do The Right Thing” (Spike Lee, 1989)
9. “Taxi Driver” (Martin Scorsese, 1976)
10. “La Noire de” (Ousmane Sembène, 1966)

Joshua Badroos
As for my list, these are the 10 I can settle on (for now).

1. “La règle du jeu” (Jean Renoir, 1939)
2. “Amélie” (Jean-Pierre Jeunet, 2001)
3. “Rashomon” (Akira Kurosawa, 1950)
4. “Raging Bull” (Martin Scorsese, 1980)
5. “Do the Right Thing” (Spike Lee, 1989)
6. “Det sjunde inseglet” (Ingmar Bergman, 1957)
7. “Vertigo” (Alfred Hitchcock, 1958)
8. “Apocalypse Now” (Francis Ford Coppola, 1979)
9. “Shoplifters” (Hirokazu Koreeda, 2018)
10. “La Noire de” (Ousmane Sembène, 1966)

“Cinema’s First Nasty Women” marked the finale in Northrop’s silent film and live music series on April 4, with composer duo Dreamland Faces scoring the collection.

“Cinemas First Nasty Women” is a DVD Blu-Ray set that focuses on the “nastiest” woman found in the archives of cinema.

Maggie Hennefeld, an associate professor of cultural studies and comparative literature at the University of Minnesota, helped curate the program of films.

Hennefeld introduced the 10 highlighted silent films that all had a theme of “contagious revenge.”

“In these films, you’ll see nasty women defying gender stereotypes, asserting their sexual desires, while leaving total chaos and apocalyptic mayhem in their wake,” Hennefeld said.

With some of the films being made more than 100 years ago, the event aims to show how irreverent female comedy is not something new. It’s a celebration of an era where women had more power in the process of filmmaking and a reminder to audiences of that reality.

“Women held more positions of power in the silent film era than in any other time in motion picture history,” Hennefeld said. “Their contribution was subsequently written out of the history of film and deprioritized by archives for decades. This has created an acute problem that feminist film historians diagnosed as archival amnesia.”

Andy McCormick and Karen Majewicz, the two multi-instrumentalists who make up Dreamland Faces, score films together with their smooth sound.

Throughout the night, the live score aspect to the program worked in complete cohesion with the overall artistic vision. Highlighting women’s resilience and bravery, the triumphant notes of Dreamland Faces exuded a similar energy. Whenever the film got more ludicrous, so did the music, injecting the films with a new life.

Joseph Kratzin, a third year University student in cinema and media culture, appreciated the combination of old cinema and new music.

“It was interesting to see the music in front of you interact with films that are a century old. It felt like two eras of creative movement meeting,” Kratzin said.

During a Q&A held after the screening, McCormick talked about the process for scoring films.

“We definitely spend a lot of time trying things that don’t work with the films,” McCormick said. “We try to repeat ourselves when something does work. We’re not afraid to repeat. We try to score as much as we can to the action of the movies.”

Hennefeld will continue curating short film programs through a mini festival at the Film Society in May. Dreamland will continue their work toward bringing silent mediums to life through the Twin Cities Silent Film Project.

The Trylon Cinema in Longfellow is the only movie theater in Minneapolis that screens 35 mm films.

For more than a decade, the theater has provided specially curated film programming to Minneapolis cinephiles. Heights Theater, in Columbia Heights, also shows 35 mm films.

On 35 mm, every frame is a singular image unique to the exact moment that frame was shot, which allows viewers to see films in their rawest and most natural form. It connects audiences with the medium with which films were originally captured.

Since Trylon’s opening, larger chain theaters have begun removing 35 mm projectors and replacing them with digital projectors to cut costs. With the rise and rapid takeover of digitally shot movies, 35 mm projectors became obsolete and 35 mm prints of films became increasingly rare to obtain, let alone project.

Establishments like the Trylon Cinema now serve a greater purpose.

“There’s a special visual quality to film that’s impossible to imitate,”said Daniel Aufmann, a University of Minnesota comparative literature Ph.D. candidate. “Black and white prints shine and shimmer as they run through the projector. Reflective surfaces pop out at the viewer, and shadows are a deep, true black that can be very difficult to achieve with digital technology.”

The preservation of film archives has become one of the greater missions in art preservation, and Trylon has extensive access to a large film archives collection, unlike, say, your nearest AMC. This makes it a dream for local cinephiles.

“Movies on film are a direct connection to film history. You step into the theater, silence your phone and sit back to experience a technology that has seen only a few changes since the 1890s. You become a part of that history, and that experience is absolutely irreplaceable,” Aufmann said.

John Moret, the film programmer at Trylon Cinema, finds showing films on 35 mm rewarding.

“It’s more expensive and much more involved, but it’s also, I believe, much more of a production to be able to watch a 35 mm print. It’s special because it’s a one-of-a-kind item that is a physical object, handled, threaded, then projected,” Moret said.

Moret credited the impressive projection team that Trylon has for keeping a rarity in art alive.

“As things become obsolete, they become more special in their nature of them as a short-lived item. We’re a bit spoiled for that in Minneapolis to see films projected and projected well,” Moret said.

Minneapolis resident Eric Mueterthies said he feels grateful that Trylon is “introducing a community of movie-goers to great films in the medium they were meant to be seen.”

Trylon Cinema shows curated selections of classic films seven days a week with tickets at $8.

Kelvino, a Southeast Como-based afrobeat rapper, plans on dropping a four-song EP titled “love for the plug” on April 20.

Kelvino has been making waves with his live electric performances and unique sound. The artist offers a fresh take on afrobeat music with his genre-bending style, including elements of rap, rock and funk.

“That’s something I’ve worked on with my artistry, I don’t want to sound like any other artist; I want people that gravitated toward that sound to find me,” Kelvino said. “In some way, I’ve carved out a niche, but there’s still a lot more crafting and perfecting to be done to reach more ears.”

With more than 8,000 streams on singles like “Sumncrazyinlife,” the hype around Kelvino is just getting started. Kelvino performed live on Thursday at Students United’s “A Night of Black Excellence,” which sold out Can Can Wonderland.

Kelvino is one of the owners of Water Wave TV, a rising Minneapolis media hub and vintage clothing store. As one of the artists under the Water Wave banner, Kelvino paved the way from the business’s humble origins to live performances at historic venues such as First Avenue.

What sets Kelvino apart from other local artists in the rap scene is his signature style, which provides context to his growing fanbase in the Twin Cities as well as internationally in Kenya and Nigeria.

University of Minnesota alum and Kelvino fan Sherif Faltas emphasized Kelvino’s energy when speaking about what drew him to the artist.

“He just has really smooth energy. It comes out in his music, and the energy he creates through his live performances is really great,” Faltas said.

Jackson Hanson, another one of Kelvino’s fans, also commented on the artist’s live impact after his 7th Street Entry performance on Feb. 16.

“The best set of the night was Kelvino’s,” Hanson said. “The band, the tracklist, everything was great.”

Ahead of the 7th Street performance, Kelvino reflected on what it meant to perform at such a historic venue.

“It gets more special every time you return there, especially at 7th Street,” Kelvino said. “You connect with fans in a way you can’t at other venues. As I’ve grown as an artist, you start to see more faces that are truly rocking with you, giving you something to feed off of.”

Performing with a live band is another aspect of Kelvino’s arsenal that delivers in a major way. This allows Kelvino to bring a different version of his music to the stage every time.

“I’m really trying to bring out a different show, a different version and a new experience,” he said. “The band gives that aspect with the acoustic, the piano. What we’ve started is not even close to what we got coming.”

A testament to staying original and not sounding like anyone else in the Twin Cities, Kelvino’s last three singles offer different energies and delivery. “Switch Up,” “FWM” and “Sumncrazyinlife” all provide listeners with something new each time between melodies, instrumentals and tone.

“You can’t predict the sound,” Kelvino said.

The Water Wave banner boasts artists like Qmoe, Treyson Green, Jake Giller, Reese Leraux and LXSTEMP, with Eric Geisthardt in the role of CEO and founder. Being a part of the company since its conception, the role Kelvino played as Water Wave’s first artist came with learning experiences and gratitude.

Often performing alongside each other on the same lineup, Kelvino expressed how feeding off each other creates a healthy relationship between the artists.

“One of the most special feelings in the world is to know you are at the beginning of something great. It makes me feel really grateful and blessed to be put in that position, to feed and learn from each other. It makes you want to work harder,” Kelvino said. “It’s an all-around team goal.”

Hong Kong art director and designer Tim Yip arrives in Minneapolis with his exhibition, “Eternal Offerings,” at the Minneapolis Institute of Art (Mia).

Yip brings an immersive experience centered on ancient Chinese bronze artifacts to Mia this spring. Opening on March 4, the exhibition comprises about 150 Chinese bronze objects from the Institute’s acclaimed collection.

Yip collaborated with Mia’s Chinese art curator, Liu Yang, to create an engaging admiration for ancient Chinese culture and tradition.

Yip is known for his attention to detail, whether that be in costume, film or multi-medium design. His work on the 2000 martial arts movie “Crouching Tiger, Hidden Dragon” won him an Academy Award for Best Production Design.

A true staple in his craft, the care that went into “Eternal Offerings” provided greater context to the exhibition’s mission.

When entering the exhibition, you are immediately stimulated by a change in lighting and audio. A stunning display of broken bronze dangles from the ceiling, with a bed of mirrors underneath it. In an attempt to set the mood for the rest of the exhibition, the opening piece detaches the viewer from the rest of the museum.

After going through a wall of split-up curtains, the viewer enters the world Yip created. The aromas, audio, dimness and ancient vessels all play a part in creating a visceral experience.

The exhibit is split into seven sections. Each installment focuses on a specific part of ancient Chinese culture in relation to the bronze artifacts. The first installment shows “An Animistic World,” highlighting the bronze sculptures of animals and mythical beasts.

The “Pillsbury” owl zun, one of Mia’s most known artifacts, is at the center of this section. The bronze sculpture, formally titled “Zun wine vessel in the shape of an owl,” hails from 13th-12th century B.C. China.

The temple portion of the exhibit centered on offerings from the living to their ancestors.

Museum-goers John and Sarah Sorkin felt the captivating nature of the exhibition.

“The energy of the artifacts in this setting is very enthralling. It makes you feel like you time traveled to ancient China,” John Sorkin said.

A testament to how the exhibit evoked emotion, viewers expressed a sense of peace and tranquility.

“It’s a very peaceful exhibit. It puts you at ease when you go from one installment to the other,” Sarah Sorkin said.

A notable installment included a moving sky above an earthen altar, an ode to the Chinese rituals of communicating with heavenly beings.

Mia member Jules Compton called the exhibition “one of the most stimulating” exhibitions she’s seen.

“I’ve been coming to the museum as a patron, supporter and admirer of art for years now. Tim Yip’s ‘Eternal Offerings’ was one of the most stimulating exhibits I’ve seen here,” Compton said.

“Eternal Offerings” is now available for viewing until May 21. General admission is $20.

The Woodbury 10 Short Film Festival celebrated its 8th anniversary on March 19 at the locally owned theater.

The festival focuses on highlighting local filmmakers and serves as a food drive every year, with the price of admission being at least two canned foods per person for entry. The event also allowed audiences to view films that have been entered into this year’s Z-Fest, which takes place on May 19.

Z-Fest is an annual Twin Cities contest format film festival highlighting feature and short-length films from Twin Cities artists. It’s a great opportunity for local film lovers to support their community by engaging with these Minnesota-made film catalogs.

With Woodbury 10 being a locally-owned landmark in its community since 2003, it was fitting for the theater to see continued success with the film festival.

Owner Nathan Block ensures the craft in local cinema does not lose its light.

“This is a wonderful opportunity for local filmmakers to unite, benefit a local charity and be in a local theater. Really, tonight is all about Minnesota and what we can do for the greater good,” Block said.

With more than 100 people in attendance, the event was the biggest the festival has seen since before the pandemic. Woodbury 10 Theatre patrons Zachary Clemons and Justin Pierce expressed gratitude for the opportunity to give local filmmakers a platform.

“It’s always important to support local artists regardless of the medium, but when it comes to films, for these filmmakers to see their work shown on the big screen to movie lovers like us has to be a great feeling,” Clemons said.

Pierce echoed a similar sentiment.

“Obviously we all love seeing blockbuster type of films at the movies, but seeing low-budget, local work is just as exciting. This crop of local filmmakers that Minnesota has brings out the excitement in theatergoers,” Pierce said

The films shown at the festival varied in genre, spanning from dark comedies to sci-fi horror flicks.

For more on local cinema, you can visit the Z-Fest website.

The Tuttle Community School building in Minneapolis’ Southeast Como neighborhood is currently for sale.

Whoever eventually buys the building will need to think of a new purpose for Tuttle other than using it as a school, according to the real estate listing. With its large size, historic architecture and distinct interior, Como residents now wonder what Tuttle’s future holds.

The school was named after Calvin A. Tuttle, a Minnesota pioneer and millwright. Tuttle owned what’s now known as Como and East Bank in the mid-19th century, according to the Southeast Como Improvement Association.

The building is more than 63,000 square feet and includes a gymnasium, a theater, office spaces and, obviously, classrooms, according to the listing. The antiquated feel of the property fits right in with one of Minneapolis’s oldest neighborhoods.

Built in 1910, the building boasts a Queen Anne design style, a subgenre of Victorian architecture.

The many windows bring natural light, a highlight of the building. Bracketed windows display the early 20th century feel of the building.

Tuttle was built with modern safety precautions in mind. The stairs were made of iron, and cork layerings were on the floor in case of fires, according to Como Green Village.

Its roots within the Minneapolis neighborhood make it a special place for those who live near the closed school.

Tamika Rogers, a Northeast Minneapolis resident, attended primary school at Tuttle Community School in 1985.

“It seemed so much bigger when we were kids,” Rogers said. “I remember always liking how many windows there were. Every single room or hallway had a window. It felt very royal when we were kids.”

As someone who grew up near the school, Rogers said she is curious about what buyers might turn the school into.

“We’re not sure what use the building might have with new ownership. I think it will be some sort of housing or multi-purpose event center. It looks like it’s still in good condition,” Rogers said.

The school’s sentimental value to Rogers provided excitement for the historic building’s potential.

“Whatever it turns into, it will always be the place where I went to grade school. I’m excited about it,” Rogers said.

The cost to take care of a shutdown school is a debt Minneapolis Public Schools would like off their shoulders, with MPS declaring a potential “fiscal crisis” in November 2022, according to the Star Tribune.

A new addition to the Twin Cities clothing scene arrived in February with the launch of Pink House Project in Southeast Como.

The independent brand provides a collection of original acid-washed shirts, denim apparel and long-sleeved tees. Pink House Project looks to build on its early momentum by bringing original clothing to the University-area community.

Despite the recency of the business’s launch at WaterWave on Como Avenue, owner and founder Sam Haines said customers have responded positively to the custom-painted pieces from the Pink House project so far. Haines hopes to expand on that promising initial reception.

Frank Seeb, from Minnesota sneakerhead event Seebs Sneaker Swap, said he loved his custom-painted denim shirt.

“I was very honored to receive one of the first Pink House Project denim shirts. When Sam reached out, I knew I wanted a pair of the Air Max 1/97 Wotherspoons painted on the back,” Seeb said. “Sam brought that dream to life.”

Haines designs the denim shirts and jackets himself and includes a little pink house on the foot of a mountain bed in their first denim release. Their acid-washed black tees have a walking, smiling house on the back with the phrase “everyone is welcome” printed underneath the design.

Haines grew up in Paynesville, a small town in central Minnesota, and initially pursued an electrical degree at Lake Superior College in Duluth.

“I moved to Duluth, into a seven-person house that happened to be pink,” Haines said.

A surgery kept Haines from raising his arms comfortably above his head, ruining his electrical school plans and paving a new path for the clothing designer.

“I soon switched my career path to graphic design,” Haines said. “In this time, I painted my first jacket, knowing I’ve always enjoyed fashion.”

Haines’ roommates first began to wear his jackets in 2020. Thinking nothing of it, Haines decided to paint one for himself the same year.

The Pink House Project moniker hints at Haines’ friends’ championing of his creativity. He said the support Haines felt from his roommates in that pink Duluth house furthered his passion.

Haines held on to the jackets for two years, looking for options to further his brand as a small-town upstart.

“I decided I was done with freelance art and contacted a store who was more than welcome to try selling the jacket. WaterWave absolutely loved the jacket and their store owner wanted one for himself,” Haines said.

WaterWave, located in Southeast Como, promotes and sells clothing from local small businesses. In February, their offer opened the door for Haines and his Pink House Project. As of now, WaterWave is the only physical location to buy Pink House Project clothing.

“I came into contact with a couple of local artists who were interested in a custom piece. Now I have over 50 jackets printed,” Haines said.

Haines and Pink House Project held their first pop-up stand in the merchandise station for WaterWaves’ City Takeover show at the 7th Street Entry on Feb. 16. The items sold at the show featured denim shirts and jackets that were custom-made by Haines to include the names of WaterWave artists, the First Avenue wall of fame and more.

Pink House Project team member Donovan Doffing said the strong messaging drew him to the brand.

“Pink House to me represents an inclusive place for all to thrive creatively as a community,” Doffing said.

You can find PinkHouse apparel on the Pink House Project website and Instagram. Custom jackets can be purchased at the WaterWave store as well.