Craft beer connoisseurs aren’t all flannel-wearing, hipster millennials. They’re the professors at the head of your lecture halls, the twenty-somethings sitting in the library and retired professionals in pursuit of new hobbies. The beer industry caters to a broad audience beyond the certified cicerones and bonafide brewers of the world.

If you’re looking to expand your tastes and start sipping on something a little more sophisticated than a six-pack from the corner store, the following guide offers an introduction to the bubbling beer scene in the Twin Cities.

Beer Basics
The brewing process is far simpler than it seems, according to University of Minnesota professor James Cotner. Beer breaks down to four key components: malt, water, yeast and hops.

Most of the time, the malt in a beer refers to barley. However, malt also comes in different forms like wheat, rice or sorghum. For the celiacs or gluten-intolerant, alternative malt forms lend themselves to the makings of a good gluten-free beer. Hops are the component of beer that impact its aroma, bitterness and flavor. While the hops in beer traditionally refer to the flowers of a plant known as Humulus lupulus, alternatives like juniper can be used to switch up flavor profiles, according to Cotner. If you’ve ever heard someone refer to a beer as “hoppy,” this simply means that the intensity of the hops used in the brewing process are present in the end-product — resulting in a beer that might be described as overtly floral, citrusy or earthy.

All beers start out as either ales or lagers, depending on the yeast used in the fermentation process, according to Matt Asay, head brewer and co-founder of Forgotten Star Brewing. What lands them in categories such as sours, stouts, India pale ales (IPAs), porters or pilsners is dependent on the hops and malt used in the brewing process.

Curiosity piqued by the process? Students can enroll in BIOL 2101 at the University for an opportunity to both learn more about brewing and participate in routine beer tasting to enhance their understanding of the final product.

Food Pairings

When it comes to pairing food with the right beer, Asay says the guidelines are relatively simple. Certain foods work with certain brews simply because they’re consistently served together — like pale ales and burgers or Oktoberfests and bratwursts.

The best rule of thumb is to match intensities, according to Asay. For example, pair a stout with chocolate cake and a light lager with a salad. Hoppy or highly carbonated beers can enhance the intensity of spicy foods. On the flip side, an amber ale might quell the heat with its sweetness. Just as there is no single right beer out there, there isn’t a single correct pairing. Experimenting with contrasting flavors can lead to some out-of-this-world combinations, so don’t be afraid to try pairings that might seem a little outlandish upon first glance.

Consumption
“My main philosophy with beer is drink what you like,” Caroline O’Halloran, director of marketing and events at Good City Brewing, said. According to O’Halloran, the judgement regarding what consumers are drinking has gone away in the industry — so drink what makes you happy.

If you’re looking for a place to start your endeavors, head to Pryes Brewing Company, 56 Brewing or Summit. Overwhelmed at the thought of selecting a starting point and navigating an extensive menu? Asay has some advice.

“Throw a dart at a wall, pick a brewery and I would say try their lightest option,” Asay said. “If their light option is drinkable and good, they’re probably doing everything else well. With light beers, if you make mistakes, there’s really nothing to hide behind.”

Perhaps the next time you’re out and about, consider ditching the cheap stuff in favor of a local brew. Or don’t, and wash down your grain water with a firmer understanding of what you’re consuming. And if sitting at a brewery isn’t your scene, make a stop at Ombibulous or Zipp’s to shop a wide assortment of local and imported beers.

“Licorice Pizza” is director Paul Thomas Anderson’s ninth film and the first to fit neatly within the ever-popular coming-of-age genre.

Set in California’s San Fernando Valley in 1973, the film is loosely based on the memories of Gary Goetzman, a former child actor and co-founder of Tom Hanks’ production company. Newcomers Alana Haim and Cooper Hoffman shine in breakout roles as Alana Kane and Gary Valentine, an unlikely pairing (boasting a 10-year age gap) that find themselves entangled in a complicated relationship characterized by their joint antics and the push and pull of adolescence and adulthood.

“Licorice Pizza” find its niche through its venture into the wild world of waterbeds, the outlandish realities of navigating Los Angeles in the ‘70s and a hang-up in the midst of the period’s gas shortages featuring a sleazy Bradley Cooper, among other things, all while managing to center what it feels like to be both entirely certain and wildly confused about the possibilities of youth.

Here are edited excerpts from a college roundtable Q&A between Anderson and university A&E writers from across the country.

You have so many potential projects you could pursue — why was this the one you wanted to direct and take to the finish line?

It really is just surrendering yourself to what’s inevitable and in front of you and a feeling of unquenchable thirst for something. You think, “there’s no way I’m not doing this.” Even if we can only get five dollars, we’re still making this movie. Once you have that feeling — you know you’re powerless and the film is what your life is going to be.

Is there something special about being the director behind two debut performances for your lead actors?

There’s something really exciting about it. I know what it’s like as an audience member and you see somebody on the screen that you’ve never seen before. So, imagine that as the director of the movie. I kind of have built this movie on the premise that the actors could do it, and they did it. It gives you proud papa feelings.

Both leads sort of toe this fine line between adolescence and adulthood, seeming at once childlike and at other times sternly responsible. What’s it like to display the complexities of navigating a platonic romantic relationship on screen?

What’s interesting about their relationship is that what it appears to be initially is not what it is. He appears to be this irritating, smooth-talking kid who has all these hare-brained schemes; she seems to be a fully grown, intelligent, strong, young adult woman. Within five to 10 minutes you realize he’s completely stable, responsible for raising his younger brother, he’s a good businessman and he’s emotionally mature. And what you realize is even though she’s older, she’s very unpredictable, emotionally immature and stuck firmly in her adolescence. She’s not anxious to grow up (even though she might say she is); she’s doing everything she can to stay young. This is an interesting dynamic and actually creates a lot of dramatic and comedic possibilities. The idea that two people can’t be together instantly creates a dilemma. This is a very traditional formula for 1930s romantic comedies, which really stand the test of time to me.

When you’re filming a scene, do you know at that moment what song is going to be playing or is the movie’s soundtrack something that you figure out in post production?

It’s a combination, but I would say that the majority of it is figured out beforehand in the writing process. For the major sequences, the David Bowie song playing was always planned to be there, the Paul McCartney song was always planned to be there, Nina Simone singing “July Tree” was always planned to be there. Now, that leaves open many more possibilities for discovery in the editing room.

What was it like releasing a film in the pandemic and what do you hope for the future of filmmaking post-pandemic whether in films you might make or the process of returning to movie theaters?

The great thing about releasing a film right now is that movie studios are looking at what it means to make a film and release it and they’ve thrown their hands up and said, “We have no idea what to do.” Now in the land of unintended consequences here, that’s very exciting. That means that there is room to do things differently and in a new way. So we’re trying a lot of actually not revolutionary but very old fashioned techniques to get the movie out there. What seemed to happen recently with films is they would just kind of get carpet bombed into existence and then forgotten about within two days. So we were trying to sort of raise people’s awareness over a long period of time instead. We’re so used to consuming things so rapidly that to stop and to give audiences a chance to breathe, or at least present the film in a more respectable way, in turn gives respect to an audience.

You used equipment and processes from the 1970s — did this pose any technical challenges in regards to the filming?

There’s an old light called an arc light — literally a carbon arc. Using it was like resurrecting an old ‘57 Chevy Bel Air that had been sitting in a garage for 30 to 40 years that had never been turned on again and trying to fire it up and having it run the Indy 500.

It gives you a quality of light that is absolutely incredible. Finding the carbon arcs was hard, finding people who knew how to work the lights was very hard. They’re very large, they’re very impractical. That was something that was technically challenging but absolutely worth it once you finally got these lights turned on. It was one of those magical things where you realize through the labor of it why no one does it anymore.

What’s something that you’ve taken away from the filming of “Licorice Pizza” and what’s something that you hope viewers will take away from watching the film?

When I started working with [Alana] Haim and we never had any money, we never had any time and we just did what we could with what we had. We had a similar situation with this film. We had to shoot it quickly, we had to shoot without too much thinking about it — just instinctual. We were really using all of our friends and all of our family to make the film. So if anything, it verified this belief that you really don’t need much more than the desire and a handful of friends and family to make a great film.

This interview has been edited for clarity and length.

Elected officials: they’re just like us! In all seriousness, as we delve into the depths of Spotify Wrapped season, Minneapolis’s incoming city council members are doing the same.

1. “Fountains” by Drake and Tems – Robin Wonsley Worlobah, Ward 2

“Afro beats are literally food to my soul. It uplifts me. It’s the only music that will instantly get me to the nearest dance floor. Most importantly, for many U.S. born Black people, like myself, the cultural connections that we had to our ancestral homes were severed when we were stolen and brought to settler lands as slaves,” Wonsley Worlobah said. “Afro beats is a global movement, which has enabled African-Indigenous artists and Afro-descendants from around the world to reclaim and re-establish a cultural bond with one another and with our ancestral home. It allowed us to begin to restore parts of what was stolen from us.”

2. “Jump Around” by House of Pain – Michael Rainville, Ward 3

After attending the Minnesota vs. Wisconsin football game, Rainville’s been all about this amped-up Wisconsin anthem. “Competition is all about the excitement,” he said. “When you’re the winner, you’re the winner — and you get to choose the song played on the field.”

3. “Love’s in Need of Love Today” by Stevie Wonder – LaTrisha Vetaw, Ward 4

“Listening to this song makes me so happy and it motivates me to do more in the world. It boosts my confidence while making me feel more connected to others,” LaTrisha Vetaw said. “I love singing every word when I play because I feel connected to the world.”

4. “Found/Tonight” by Lin-Manuel Miranda and Ben Platt – Lisa Goodman, Ward 7

“I wouldn’t say this is my favorite song of all time but it’s what I have been humming the most as I walked my dog this summer to sing along and take my mind off of everything else going on in the world,” Lisa Goodman said. She said that both songs hold significant meaning for her.

5. “Pop Life” by Prince – Andrea Jenkins, Ward 8

Jenkins is an avid music fan, which made choosing just one song difficult. Some of her other favorites include hits by Stevie Wonder, Marvin Gaye, Tupac, The Notorious B.I.G. and Harold Melvin & the Blue Notes.

6. “Same Love” by Macklemore and Ryan Lewis feat. Mary Lambert – Jason Chavez, Ward 9

“It’s old, but I still listen to it all the time,” Chavez said. “I played it for like two hours before I came out to my mom and dad, and it’s still something I want to listen to.”

7. “Megalovania” by Toby Fox – Aisha Chughtai, Ward 10

“My relationship with listening to music has always been that I’ll listen to something on repeat, over and over again,” Chugthai said. While “Megalovania” has been on loop for her lately, two other songs have cemented their place on her regular rotation. First, “Hey Shona” by Ta Ra Rum Pum earned its spot because during the recent election, she “listened to it more than anything else.” She also said that Brother Ali’s “All the Beauty in This Whole Life” deserved an honorable mention.

8. “Moonshadow” by Cat Stevens – Emily Koski, Ward 11

Koski’s pick is a classic nod to living life in the present moment. “Although, my 8-year-old daughter, Iris Koski, usually takes over the Alexa speaker in our house, and when she does she almost always plays Olivia Rodrigo’s album SOUR, so that is what I am listening to most of the time these days,” Koski said.

9. “Sunday Best” by Surfaces – Andrew Johnson, Ward 12

“If you wanted to nail me down to a specific song, I feel a lot of joy whenever I hear “Sunday Best” by Surfaces. It’s energizing and hopelessly positive, which is something we need more of in this world,” Johnson said. “I’d be remiss if I didn’t give a shout out to local artist Caroline Smith (now Your Smith), who is among my all-time favorites.”

10. “Spirit Cold” by Tall Heights – Linea Palmisano, Ward 13

“I got to see them play at First Ave shortly before COVID last year, and I am hopeful that I will be able to see them when they come back to the Twin Cities in January of next year. They play at the Amsterdam Bar in St. Paul,” Palmisano said. “It is an eclectic duo from Boston, and they tour with other interesting singer songwriters. I find them relaxing and soulful, which is what I find rejuvenating in between all the other events of my day job.”

Incoming councilmembers Elliot Payne, Jeremiah Ellison and Jamal Osman could not be reached for commentary.

Unlike its uncertainty-filled predecessor, 2021 was a year marked by burgeoning optimism. Many Minneapolis residents rolled up their sleeves to get a shot, were able to gather freely with the people they loved for the first time in months and were allowed to return to one of life’s greatest pleasures: in-person dining. While some beloved businesses closed their doors, a handful of new ones opened theirs over the course of the year. 

As 2021 comes to a close, I present to you — in no particular order — the best things I ate in the Twin Cities this year. 

1. Gnocchi with cauliflower and orange, $25 – Bar La Grassa (800 Washington Ave. N., Mpls.)

 

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After its pandemic-induced closure, chef Isaac Becker and Nancy St Pierre’s Italian joint reopened its doors in June — excellent news for those of us eager to once again experience the pleasure of their housemade pastas. The pillowy, caramelized gnocchi shines in a light cream sauce, intermixed with bits of cauliflower and topped with fragrant orange zest. It’s tender and rich, the kind of dish that leaves you dreaming of the next time you’ll have a taste.

2. Zoo Siab Meal with Hmong Sausage, $17 – Union Hmong Kitchen (520 North 4th Street, Mpls.)

 

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Chef Yia Vang’s pop-up restaurant, newly opened at Graze Provisions + Libations, offers a variety of his signature narrative-centered dishes, each working to tell a story of their own. The Zoo Siab Meals are no exception to this concept, letting traditional Hmong flavors shine through in each component. The Krunchy Chile Oil complements the coarsely ground, flavorful sausage link. The crispy brussel sprouts are rich enough to offset the tang of the pickled vegetables and the purple sticky rice is the element that pulls it all together.

3. Tomato Mozz Arancini, $4 – un dito (4728 Cedar Ave. S., Mpls.)

 

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A creamy blend of arborio rice, smoked mozzarella and basil come packaged in a crispy exterior. Like much of the southern-Italian street food-inspired menu, the arancini wows as a small plate. I’d extend an honorable mention to the Gnocco Fritto, a set of chewy focaccia dumplings best enjoyed alongside a serving of cacio e pepe sauce.

4. Sticky Toffee Cake, $8 – Red Rabbit (201 Washington Ave N., Mpls.)

 

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The best thing on the menu at Red Rabbit is this sticky toffee cake, and I stand by that. Between the soured whipped cream, indulgent caramel sauce and candied orange garnish, it’s an unexpected delight.

5. Ham and cheese croissant, $4.95 – Bellecour at Cooks of Crocus Hill St. Paul (877 Grand Avenue, St. Paul)

We could eat our ham and cheese croissants all day, everyday… have you tried one yet?! pic.twitter.com/HEjbPVMXhr

— Bellecour Bakery (@BellecourBakery) September 8, 2018

Perfectly flaky and just the right amount of cheesy, this pastry is an ideal grab for breakfast or lunch.

6. Romeu e Julieta ice cream, $5.50 – Bebe Zito (501 30th Ave SE, Mpls.)

 

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Declared Minnesota’s best ice cream by Food & Wine over the summer, Bebe Zito truly is as good as they come. Guava ripple weaves through a rich cream cheese base in this dish, topped with a sweet guava sauce and dusted with Ritz crackers.

7. Shredder, $20  – Wrecktangle Pizza (729 Washington Ave N, Mpls.)

 

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This midwestern take on Detroit-style pizza is rectangular with a thick crust that succeeds in being just light enough to throw down a few more slices than you think you can. Topped with a generous helping of salty pepperoni, dotted with pickled jalapenos, sprinkled with finely shredded pecorino romano, all atop a red sauce base — the real kicker here is the whipped Cry Baby Craig’s honey.

8. Raffi Luigi, $15 – Marty’s Deli (Location Varies)

 

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If you haven’t made your way to a Marty’s Deli pop-up yet, I’d advise you to change that immediately. This gem features a thick stack of red table salami and prosciutto alongside marinated sweet peppers, fennel slaw and a spicy mustard aioli, all nestled between two pillowy slices of house made focaccia.

9. Parlour Burger, $15.99 – Parlour Bar (730 Washington Ave N., Mpls.)

 

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The beauty of this burger lies in its simplicity. The charred patties, a mix of ground chuck, ribeye and brisket are just the right amount of thin. Melty white american cheese oozes out of the soft egg bun and crisp pickles finish it off.

10. Star Bar, $6 – Estelle (1806 St. Clair Ave, St. Paul)

 

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Maple-coffee nougat, peanuts and caramel come together in this delicious candy bar, finished with a sprinkle of flaky salt. It’s a decadent conclusion to the end of any meal at the Portuguese, Italian and Spanish-inspired spot in St. Paul.

Director Ridley Scott’s “House of Gucci” is a star studded and overtly campy — albeit gorgeous — affair. Honestly, should we have expected anything different?

Scott’s been trying to write a story about the downfall of the Gucci empire since 2006, providing him with ample time to map out every nitty gritty detail of the story he hoped to help tell. “House of Gucci” takes the tragic story that has long fascinated avid followers of the luxury fashion world and presents it in a way that fails to fully encapsulate the weight of the crime at hand, opting to string the story along for an agonizing amount of time without ever accomplishing much of anything. It’s a shallow plot featuring a series of not-so-shallow performances.

Based on Sara Gay Forden’s novel of the same name, the film follows the doomed relationship between accountant Patrizia Reggiani (Lady Gaga) and fashion heir Maurizio Gucci (Adam Driver).

From the start, it’s evident that Gaga is going to carry the film on her back. After meeting Maurizio at a party in Milan, Patrizia is ruthless in her ambitious pursuit of the Gucci name. Maurizio’s father, failed film star Rodolfo Gucci (Jeremy Irons), writes Patrizia off as a gold-digger. Instead of fighting this notion, Maurizio accepts his father’s disownment and dives headfirst into a life by Patrizia’s side, working for her father’s trucking business.

This is where Driver’s otherwise flat portrayal of Maurizio shines, when he flashes his dimples while playing games of soccer among coworkers and throws Patrizia around her office in a moment of carnal passion. The early days of their union give way to Patrizia inevitably finding a way to reacquaint Maurizio with the family business, securing her spot within it. From there, an exhausting internal takedown of the Gucci family ensues — one that leads to Maurizio’s spot at the top of it all.

Jared Leto’s performance as Paolo Gucci, the scorned son of Aldo Gucci (Al Pacino), is noteworthy only because he is unrecognizable. Concealed in layers of prosthetics and a bald cap complete with stringy hair, Leto’s Paolo is a simple inconvenience to Maurizio and Patrizia throughout the film.

Costume designer Janty Yates’ well researched, intricately designed costumes redeem some of the movie’s worst moments. Throughout the film, Patrizia manages to avoid any outfit repeats — gifting viewers a multitude of glimpses into the former Gucci’s glitzy wardrobe. Paolo’s descending into a tirade, accompanied by that insufferable, Mario-esque accent? Have no fear, Patrizia’s at his side in a figure-hugging, pink polka-dot adorned number.

The accents in the film are all over the place, with most of the actors appearing to revert back to their English mother tongue at one point or another — often in the middle of a sentence. While frustrating to some, the inconsistencies of the various dialects attempted to be spoken fit right in alongside the film’s campiness.

With a runtime of over two and a half hours, it would be rational to assume that the film is split between the before of Patrizia and Maurizio’s chaotic relationship and the aftermath that lead to his eventual demise at the hands of a hitman hired by his ex-wife. However, their anticlimactic downfall waits to make an appearance until after the film hits the two-hour mark — rendering that first bit unbearably and unnecessarily long.

Viewers hoping for a true crime take on the scandalous assassination of Maurizio Gucci will be disappointed. On the other hand, those searching for an Italian soap opera-esque, designer-fueled drama will find themselves soaking in exactly that.

Jack Walsh, University of Minnesota Lettuce Club president and winner of last fall’s meeting, arrives at Fraser Hall 101 dressed for the occasion in a pale green button down. Walsh became president of the Lettuce Club by winning the fall 2020 competition and securing the title of Head Lettuce.

In his current role, he’s responsible for the night’s successful execution. His duties include overseeing a competition in which students compete against one another to consume a head of lettuce the fastest and then crowning the winner, his successor, as the new Head Lettuce.

This meeting is special: it’s the first in-person meeting of the lettuce club after the pandemic forced the club online. Barstool’s Adam Ferrone also happens to be present, filming a mini documentary on the club. Crew members are equipped with cameras and mics, distributing waivers to be signed by every individual in attendance. Students continue to steadily trickle in past what was supposed to be a 6 p.m. start time, iceberg heads in hand (this is a B.Y.O.L. meeting). There’s a look of disbelief on the faces of the non-believers as they slip through the door — for some, lettuce club seemed like a meme, a figment of their imagination, too good to be true.

Quickly consuming an entire head of lettuce requires strategy. According to Walsh, some people get their heads wet to get the lettuce down quicker. Others opt for the assistance of their condiment of choice. At this particular meeting, one glance around the room confirms the presence of bottles of Hidden Valley ranch, balsamic vinaigrette, western dressing, a container of homemade egg dressing and a questionable packet of Hellman’s mayonnaise someone’s retrieved from the depths of their backpack.

“JoJo Siwa plates for good luck, Italian dressing for flavor and then Vitamin Water to help it go down,” Alex Maierhofer, third-year student, describes his set-up for the evening. He’s spent the last 24 hours taking part in a meticulous routine discovered via a competitive eating blog that’s meant to help expand one’s stomach.

Once it appears that everyone who wants to be there has made their way to one of the lecture hall’s seats, Walsh begins to go over the rules for the night. These include specifics on lettuce type (iceberg only), assistance allowed (each head of lettuce can be washed, dressing of choice is allowed) and eligibility requirements (only Twin Cities students with one semester left can participate).

He follows the rules by requesting that everyone place their right hand on their lettuce, left hand in the air and recite the Lettuce Creed, which he drafted the night before: “Lettuce compete today with honor, glory, and most importantly a mild appetite for leafy vegetables. If we find ourselves growing weak, let the strength of the mighty iceberg carry us. Even if we do not win, we will be grateful for this little gem of a club and for those of us that will go on to compete in the future, we butter be prepared to toss salad once again.”

At 6:13 p.m., the competition officially begins. The room descends into a lettuce-filled frenzy, with everyone deploying a variety of techniques on their quest to be dubbed the winner. Someone smashes their head against their plate, attempting to loosen the leaves of lettuce. A few partake in the tear-and-dip method, ripping off pieces of their heads and drenching it in dressing before swallowing it. Another attendee stands up while eating, bending down to let discarded pieces fall on his plate while he tries to get it down. There’s a select few taking their time, seeming to almost find pleasure in each bite. One attendee finds a bug in their lettuce head — don’t worry, it was organic. Amid attempts to swallow bites of lettuce, another exclaims that this is the most vegetable they’ve consumed since the pandemic began.

The first person to raise his stem of lettuce in the air, as per the official rules, Hampton Weber is declared the winner of the competition. Amid cheers from his peers, it is announced that he’s rung in at a cool two minutes and thirty five seconds. Andy McKenzie comes in at a close second, clocking in at two minutes and thirty seven seconds.

“Big thanks to mom and dad for always having vegetables out,” begins Weber’s brief victory speech. He ends it by affirming his anticipated return to defend the homemade green crown that’s placed upon his head shortly after.

At 6:35 p.m., the floor is littered with the carnage of dozens of demolished lettuce heads. Bits and pieces of shredded iceberg cling to the carpet, watered-down remnants of the evening’s festivities. Leftover stickers distributed to each attendee stick to the tables. The Barstool crew packs up their equipment, sticking around for a few stragglers requesting selfies. In less than an hour, the meeting is over and done with.

Walsh has successfully pulled off the semester’s meeting, his only fault being that he forgot to activate the Zoom link for the aspiring lettuce-eaters stuck at home.

In May 2021, the Tk’emlúps te Secwépemc First Nation reported finding the remains of 215 children buried at the former Kamloops Indian Residential School in Canada.

For many, this discovery came as a shock. For members of the Indigenous community, the truth of what occurred at these residential schools has always been known, according to Maria McCoy, member of the Turtle Mountain Band of Chippewa and family empowerment coach at the American Indian Family Center.

Indigenous Roots’ current exhibit, “215+,” began with a desire to honor the children of the Kamloops Indian Residential School and a dream. Co-founder of Indigenous Roots Mary Anne Quiroz dreamt she was visited by the 215 children and told she was to help coordinate a project in their honor, according to McCoy. Alongside these children was a gray-haired grandmother meant to help with the project — McCoy. Quiroz reached out following her dream, and McCoy stepped into her role in bringing the exhibit to life as one of dozens of doll-makers. The result is a memorial exhibit that runs until Nov. 30 at the Indigenous Roots Cultural Arts Center.

The spirit medicine dolls on display represent the spirits of each of the Indigenous children whose unidentified remains were discovered, according to McCoy. From the sacred materials used to mold their exteriors to the traditional medicines contained within them, every bit of the dolls’ handcrafted construction was intentional. Many are adorned in orange, the color associated with remembrance and acknowledgement of the residential school system in Canada.

The exhibits’ curators include Maria McCoy, Abril Macias, the Quiroz family, the Torres family, members of the International Indigenous Youth Council-Twin Cities, Kalpulli Yaocenoxtli and Indigenous Roots.

While some of the dolls have faces, many are faceless. This design choice was made at the discretion of the doll-makers. According to McCoy, many of the doll-makers, herself included, had incredibly intimate experiences with the dolls as they made them in which they were able to communicate with the spirits of those whom they represented. It was in these interactions that the stories of the dolls came to life — stories shared in detail in a space dedicated to letters of reflection at the exhibit.

“They tried to bury us. They didn’t know we were seeds,” reads the message on posters featured at the exhibit, created by Samuel Torres, member of the Mexica-Nahua community and Director of Research and Programs at The National Native American Boarding School Healing Coalition, and his partner. The message alludes to the community’s refusal to be dismissed by forces that have long tried to invalidate their existence, attempting to erase the realities of their culture through colonization and the forced assimilation practices of residential schools.

Dozens of community members were involved in the process of making dolls and contributing to the exhibit. Macias, a teacher at the American Indian Magnet School and member of Indigenous Roots, served a fundamental role in pulling the exhibit together. They assisted heavily in the creation of the dolls, ceremonies meant to honor the children and in the construction of the exhibit itself.

“There have been a string of experiences that have been leading through to this in so many beautiful ways,” Macias said of the exhibit and their involvement. They described their opportunities for involvement as a “gift.”

Macia, McCoy and Torres hope to see people walk away from the exhibit having learned something, utilized the dolls as a method of healing or having gained a newfound sense of validation. At its core, the aim of the exhibit is to promote healing within the community.

“We’re all here collectively as ancestors of those ancestors that experienced severe trauma and we carry the resiliency, the gifts and the knowledge that they carried for us,” McCoy said. “It’s in us, and we can carry it forward and give it to the next generation. Whatever we do in this lifetime to heal, we can use it to help the new ancestors not to have to carry that burden.”

While the future of the exhibit is unknown, its co-curators hope to see it move beyond the walls of Indigenous Roots.

“We’ll let the dolls figure out where they’ll go,” Torres said. Given a renewed social and political interest alongside the government’s acknowledgement of residential schools as a time in history, Torres believes people are beginning to realize the necessity of these conversations.

“A couple of years ago, many of the folks who made spirit dolls were not in a place to have this conversation,” Torres said. “Now, we’re in a new place.”

What: Honoring Indigenous Children 215+
When: Nov. 2 through Nov. 30, Tuesdays & Thursdays 5:00-8:00 p.m., Wed. 2:30-4:30 p.m., Saturdays 12:00-2:00 p.m. Where: 788 E. Seventh St., Saint Paul, MN 55106
Cost: Free

It’s no secret that Minneapolis is home to an ever-evolving, lively restaurant scene — and you don’t have to stray far from campus for a taste of it. Whether you’re seeking an escape from the monotony of dining hall fare or searching for something more sufficient than last night’s leftovers, the Dinkytown restaurant scene likely has what you’re looking for. A&E put together a compilation of the area’s various restaurants to guide you on those days you just can’t make up your mind when it comes to figuring out what to eat.

If you’ve ever walked along Fifth St SE, there’s a solid chance you’ve caught wind of the smells wafting from the kitchen of Kbop Korean Bistro. Kbop serves classics like bulgogi, bibimbap and japchae in a fast-casual atmosphere.

Wander into Wally’s Falafel Hummus & Bakery for a plethora of Mediterranean and Middle Eastern options. The falafel sandwich rings in at under $7 and makes for a relatively cheap, fulfilling meal.
If you’re an early riser or equipped with a decent amount of patience in the morning, make your way to Al’s Breakfast and snag a seat at the 14-stool counter for a specialty omelette or a stack of blueberry pancakes. It’s even Guy Fieri-approved, so you know it’ll be worth your wait. For the mornings that you just can’t wait for breakfast, pop into Tony’s Diner for a healthy dose of that classic greasy-spoon diner fare we all know and love.

Searching for something sweet to sip? Chatime, Tiger Sugar and Kung Fu Tea each offer their own selection of tea and coffee drinks to sip on. Don’t miss the Avocado Chocolate Shake at Avocadish, either.

If you make it to Kung Fu Tea, consider sticking around to eat at Le Pot Chinese Hotpot. Hot pot is in and of itself an experience — one that entails sticking an assortment of vegetables, meat or noodles into a pot of boiling broth in order to cook and consume them. Le Pot’s unsung hero is its sauce station, offering a variety of ingredients like crushed garlic and sesame oil to mix and match that make it a condiment lover’s dream. Head to Tasty Pot down the street for a similar experience.

Although you might be familiar with its interior in the context of its coffee shop status, Gray’s has an eclectic lunch and dinner menu worth browsing, alongside a weekend brunch. Try the Llapingachos (Ecuadorian cheese-filled potato cakes) if you’re trying to switch things up.

Banh-mi on the brain? Banh Appetit should be your go-to. You can grab one at Pho Mai as well, but you’re better off opting for a big bowl of their pho accompanied by a Cafe Sua Da (Vietnamese iced coffee).

As the days grow colder, consider tucking into a pasty (a traditional Cornish pasty with a savory filling, mind you) from Land’s End Pasty Company. These hefty little pockets of dough, potatoes and (sometimes) meat pack a hefty punch.

Shuang Cheng Restaurant is a Dinkytown staple, cranking out Cantonese-style Chinese food on a daily basis. While the menu is packed with options, the restaurant’s real gem is their lunch specials, a rotation of over thirty options that offer large portions at a solid price.

Struggling to find decent plant-based options? Look no further than Camdi, a family-owned Chinese and Vietnamese fusion restaurant that’s been in the area for over 35 years. Their separate vegan menu offers everything from Steamed or Fried Vegan Dumplings to Vegan Hot and Spicy Mock Duck.

If pizza’s on your mind, try one of the funky-flavored slices like Southern Gentleman (cajun chicken, mashed potatoes, bacon and cheddar cheese) or Guacamole Burrito (black beans, rice, guacamole, sour cream and cheddar cheese) from Mesa Pizza. Down the street, Frank & Andrea offers their own selection of slices along with cheesesteaks. Pro-tip: order via Doordash and snag an order of mini donuts for a State Fair-esque delight.

Feeling something fresh? Head to JJ’s Poke for a full customizable, build-your-own poke bowl. Opt for a sushiritto from The Cove if you’re looking for a way to switch up your typical poke order.

For the fast-casual folks, check out the following: Crisp & Green for crisp, green salads; cult-classic Raising Cane’s for crispy chicken tenders and that frustratingly delectable Cane’s sauce; Bonchon for Korean fried chicken; Jimmy John’s for freaky-fast subs; DP Dough for a doughy, cheesy calzone; Potbelly Sandwich Shop for a mediocre sandwich fix; Qdoba for a burrito-bowl and queso that won’t cost extra.