You can stream "Kush Coma" after the jump.
Hey, did you read:
• Or noticed, in support of marriage equality, all the creative pink and red versions of the Human Rights Campaign logo on FB? (The HRC is impressed.) —Jennifer McLaughlin
Louisa Chu on the lucrative and cutthroat Wisconsin wild ginseng trade.
Food/art blog Food Crypt posted some boss posters designed by Dutch artist Koen van Os.
Check out Titus's epic northwest Indiana lake perch quest at Smokin' Chokin' and Chowing With the King.
As Wildeboer noted in one of his stories this week, 33,000 prisoners are released from Illinois’s penitentiaries every year. (The prison population, now 49,000, is constantly replenished.) Each newly-minted ex-offender gets $10, and, if no relative or friend is willing to pick him up, a bus or train ticket home.
Home is often the poor, black neighborhoods the ex-offender left. A disproportionate number come from, and return to, Englewood and West Englewood, Greater Grand Boulevard, Woodlawn, Roseland, West and East Garfield Park, North Lawndale, and Austin.
This concentration of ex-offenders is hard for the ex-offenders, and hard for their neighborhoods.
Their daydream was that Michelle Obama would come home to lead the city, but in the realm of possibility they weren't sure who else could seriously challenge Rahm, for one simple reason.
"You'd need lots and lots of money," as one of the west-siders put it.
It's not an abstract theory. Mayor Emanuel has alienated a few large swaths of Chicago. His poll numbers have tanked. Other elected officials have begun to question him—openly, no less—and some leading ministers have yearned aloud for a mayor who shows some "heart for the people." But Emanuel continues to make the kinds of friends who keep on giving.
To show people they don't have to rely on mass-produced "fast fashion" and to celebrate the art of handcrafted clothing, fiber artist Sonya Philip shows off her year's yield in "100 Acts of Sewing," a new exhibit at Lillstreet Art Center.
An evening of meta movie magic awaits you at the Gene Siskel Film Center with back-to-back screenings of Alfred Hitchcock's 1960 classic Psycho and Sacha Gervasi's recent Hitchcock, a dramatized account of the making of Psycho that stars Anthony Hopkins as Hitchcock. Confused yet? Just be grateful they didn't throw in Gus Van Sant's shot-for-shot remake.
"California singer and multi-instrumentalist Frank Fairfield was born during Reagan’s second term, but he looks like he walked straight out of a Depression-era Farm Security Administration photograph and sounds like someone from Harry Smith’s Anthology of American Folk Music," writes Bill Meyer in Soundboard. Catch Fairfield's set at Schubas. Andrew Pelletier opens.
For more on these events and others, check out the Reader's daily Agenda page.
Hundreds of activists are getting ready to protest his mental health clinic closings.
Students at Lane Tech have been protesting CPS's confiscation of Persepolis.
And ministers, priests, and rabbis are protesting the water fees the city now charges charities and other nonprofits.
You know, with all these protests, I wouldn't blame the mayor if he said, "Get me back to Utah!"
But give him some credit. Apparently, he put his time on the slopes to good use, coming up with a compelling reason for closing 54 schools, most in black neighborhoods.
Noting that there's a particularly high dropout rate among young black men, Mayor Emanuel said, "Locking kids into a school that, year in and year out, is failing their full potential—is unacceptable."
In other words, many black students are doing poorly in the public schools, so what he's going to do is—convert uncrowded schools into crowded ones.
'Cause nothing helps students learn like going to crowded schools.
As far as the actual meat of the lineup is concerned, this year's Lollapalooza is a bit of a glass half-full, glass half-empty scenario. It's a top-heavy bill, though one that's offset by the boring, white-bread bands that take up a large portion of the headlining spots—seriously, the most exciting things about the Lumineers are some tweets that the New York Times' David Itzkoff made about their headgear. If you ignore the Lollapaloozzzzzzzza part of the bill (Mumford & Sons, Lumineers, Killers, Vampire Weekend) there's enough of a stable of solid big names (the Cure, Nine Inch Nails, New Order) and unexpected outsiders (Death Grips?!) to keep me cautiously optimistic. (Also, I hope the "Ghost" that's on the lineup is the theatrical Swedish metal outfit, but I won't be surprised if that's not the case.)
Truth be told, I hadn't spent much time with their filmography before researching the piece I wrote on Caesar for last week's issue. I had incorrectly assumed, based on the little I'd read about them, that their movies were stodgy pageants on historical or rustic subjects. I didn't expect to encounter so many details that were weird or just plain silly, such as the talking animals who turn up in the largely realistic Padre Padrone. Now that I've seen a number of their films, these details strike me as being central to their work, which I'd describe as an ongoing gentleman's quarrel with cinematic realism.