Weekend guide: Black History Month art and eats and an Anti-Valentines Day party
The big picture: The annual show at the Griffin Museum of Science and Industry celebrates well-known and emerging Black artists, creatives and innovators.
Flashback: Chicago Defender staffers started the program in 1970 as a tribute to Black culture and heritage, and extended it beyond art with live music, dance and theater.
The vibe: This year's exhibit includes 150 artworks from nearly 100 different artists, including work by teens and mediums ranging from acrylics, oils, collage, dry painting, clay, plaster, and more.
💭 Moyo's thought bubble: These displays of Black art are truly remarkable. The attention to detail, rich colors, and diverse styles are something I wish we could experience more often in public viewings.
If you go:"Black Creativity Juried Art Exhibition" is open now through April 27 at the Griffin Museum of Science and Industry.
🎟️ Cost: Tickets start at $25.95
Illinois residents can take advantage of free admission on select days this month: Feb. 9-13, 18-20, and 24-27.
🤳🏾 Behind the scenes: Check out some of my favorite artworks.
More things to do this weekend in Chicago:
🧘♀️ Family Day | Comfy Cozy
Snuggle up with the family for tea making and other interactive art workshops, music and movement.
Saturday 11am-3pm at the Museum of Contemporary Art in Streeterville.
Plus, there will be a sound bath meditative experience to calm your mind, body and spirit.
Cost: Free
Afrofuturism: The Freedom Metropolis:
Dance to the sounds of Africana music spanning jazz, soul, hip-hop, African-American spiritual and Afrobeat as part of Uniting Voices' Black Futures concert series.
Friday at 11am at the Chicago Symphony Center in the Loop.
Free, but must RSVP
🤑 Bingo Logo
Grab your friends and cards for a night of Bingo (yes, it's cool!), dance-offs, lip-sync battles and more.
Friday at 8pm at the Morgan MFG in the West Loop.
Cost: Tickets start at $35
Travis
Dust off your old CDs ahead of the band's Chicago stop on their "Raze the Bar" tour.
Saturday at 7:30pm at the Vic Theater in Lakeview.
Cost: Tickets start at $72
🐍 Lunar New Year Celebrations
Celebrate the Year of the Snake with bright colors of floats, the sounds of marching bands and the sights of traditional dragon and lion dancing.
Saturday 10am-4pm at Argyle and Sheridan in Uptown and Sunday 1pm at 24th Street and Wentworth Avenue in Chinatown.
Cost: Free
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Chicago Tribune
44 minutes ago
- Chicago Tribune
A UFC fight at the White House? Dana White says it's happening as part of deal with Paramount.
Hours after Paramount and UFC announced a billion-dollar rights deal, Dana White said he had yet to hear from his friend, President Donald Trump, on his thoughts about the fight company's new streaming home. That was fine with White. The UFC CEO was set to travel to Washington on Aug. 28 to meet with Trump and his daughter, Ivanka, to catch up and discuss logistics on the proposed Fourth of July fight card next year at the White House. Trump said last month he wanted to stage a UFC match on the White House grounds with upwards of 20,000 spectators to celebrate 250 years of American independence. 'It's absolutely going to happen,' White told The Associated Press. 'Think about that, the 250th birthday of the United States of America, the UFC will be on the White House south lawn live on CBS.' The idea of cage fights at the White House would have seemed improbable when the Fertitta brothers purchased UFC for $2 million in 2001 and put White in charge of the fledging fight promotion. White helped steer the company into a $4 billion sale in 2016 and broadcast rights deals with Fox and ESPN before landing owner TKO Group's richest one yet — a seven-year deal with Paramount starting in 2026 worth an average of $1.1 billion a year, with all cards on its streaming platform Paramount+ and select numbered events also set to simulcast on CBS. ESPN, Amazon and Netflix and other traditional sports broadcast players seemed more in play for UFC rights — White had previously hinted fights could air across different platforms — but Paramount was a serious contender from the start of the negotiating window. The Paramount and UFC deal came just days after Skydance and Paramount officially closed their $8 billion merger — kicking off the reign of a new entertainment giant after a contentious endeavor to get the transaction over the finish line. White said he was impressed with the vision Skydance CEO David Ellison had for the the global MMA leader early in contract talks and how those plans should blossom now that Ellison is chairman and CEO of Paramount. 'When you talk about Paramount, you talk about David Ellison, they're brilliant businessmen, very aggressive, risk takers,' White said. 'They're right up my alley. These are the kind of guys that I like to be in business with.' The $1.1 billion deals marks a notable jump from the roughly $550 million that ESPN paid each year for UFC coverage today. But UFC's new home on Paramount will simplify offerings for fans — with all content set to be available on Paramount+ (which currently costs between $7.99 and $12.99 a month), rather than various pay-per-view fees. Paramount also said it intends to explore UFC rights outside the U.S. 'as they become available in the future.' UFC matchmakers were set to meet this week to shape what White said would be a loaded debut Paramount card. The UFC boss noted it was still too early to discuss a potential main event for the White House fight night. 'This is a 1-of-1 event,' White said. There are still some moving parts to UFC broadcasts and other television programming it has its hands in as the company moves into the Paramount era. White said there are still moving parts to the deal and that includes potentially finding new homes for 'The Ultimate Fighter,' 'Road To UFC,' and 'Dana White's Contender Series.' It's not necessarily a given the traditional 10 p.m. start time for what were the pay-per-view events would stand, especially on nights cards will also air on CBS. 'We haven't figured that out yet but we will,' White said. And what about the sometimes-contentious issue of fighter pay? Some established fighters have clauses in their contracts that they earn more money the higher the buyrate on their cards. 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Indianapolis Star
an hour ago
- Indianapolis Star
IndyFringe is celebrating 20 years this month. Here's a guide to the festivities
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Atlantic
2 hours ago
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King of the Hill Now Looks Like a Fantasy
When Hank Hill, the stalwart, drawling protagonist of King of the Hill,returns to Texas, he kneels in the airport and kisses the floor. More than 15 years have passed since audiences last saw him—the show, which debuted a new season last week, ended its original 12-year run in 2009. Viewers learn that Hank and his wife, Peggy, have recently moved back to their yellow house on Rainey Street, in suburban Arlen, after several years living in Saudi Arabia. Hank had taken a job as a propane consultant there, where the couple had lived in an idyllic simulacrum of an American small town, a place that put Hank in mind of 'what things were like in the '50s.' Then and now, the slice-of-life comedy—which also stars Hank and Peggy's son, Bobby— mainly concerns neighborhood antics unfolding across Rainey Street's living rooms and lawns. (Bobby, for his part, is now a chef who lives in Dallas.) Yet its premise lands differently today than it did a decade and a half ago. Today, when only a quarter of Americans reportedly know most of their neighbors, and nearly as many say they feel lonely and disconnected from their community, King of the Hill 's focus on neighborly relations is comforting, even idealistic—a vision of suburban America with strong social ties that, for the most part, isn't riven by cultural or political divisions. As such, the show feels like a playbook for a type of rosy coexistence that, in the real world, seems harder and harder to come by. From the Hills' perspective, Arlen has primarily changed in ways they find inconvenient. Now Hank has to contend with ride-share apps, boba, and bike lanes that interfere with his commute—adjustments that are perturbing to him. But these signs of the times are easier for him to accept than the realization that some things, or people, haven't changed; they've deteriorated. Almost immediately after reuniting with his friends, Hank learns that Bill Dauterive, his longtime friend and neighbor, hasn't left his bedroom since the COVID lockdowns of 2020. Hank had been Bill's de facto lifeline for years, helping his friend even when it meant pushing himself wildly outside his comfort zone, such as getting a tattoo of Bill's name and donning a dress alongside him. Without Hank's stabilizing presence, Bill's well-being seems to have declined to the point that even Netflix—which he'd been watching nonstop—sent someone to his house to perform a wellness check. Horrified by Bill's sorry state, Hank vows to get his friend 'back on track.' But when his former boss calls to offer him an attractive job that would take him back to the Middle East, alongside all the amenities he could want, Hank's new dilemma seems to crystallize. Listening to the tempting offer, Hank stares across his lawn toward Bill, who's using a garden rake to drag a package in through his window without leaving his room. Does Hank really want to be back in this neighborhood, where his relationships create inescapable obligations and daily nuisances? By choosing to stay in Arlen, Hank and Peggy reaffirm King of the Hill 's core message: that belonging to a community is a worthwhile enterprise that requires ongoing commitment. In the case of Bill, that ultimately means enticing him back into society with the appetizing waft and convivial chatter of a barbecue party—a small coup for social connection amid the inertia of alienation. Mike Judge, one of the show's co-creators, has said that the character of Hank was partially inspired by neighbors he once had in suburban Texas, who saw Judge struggling to repair a broken fence in his yard and helped him fix it, unprompted. This habitual caretaking—the act of showing up for others, regardless of convenience or reward—is part of what the political theorist Hannah Arendt called the ' web of human relationships,' conceived on an ethic of tolerance and responsibility that goes deeper than simply enjoying your neighbors' company. After all, Bill can be a buzzkill, and the Hills' other neighbors, such as the conspiratorial Dale Gribble across the alley and the holier-than-thou Minh and Kahn Souphanousinphone next door, are flawed too. For the Hills, staying in Arlen means forgoing a more comfortable life to lump it with some weird personalities. But without taking pains to help one's neighbors, a resilient, tolerant community could not exist. And without that web of relationships, even the most Stepford-perfect town is a spiritual desert. While Bill's storyline dramatizes how isolation can hollow out an individual's life, King of the Hill also explores how withdrawal can fray community ties more broadly. One episode finds Peggy aghast that her neighbors are pulling away from one another and receding into their technology: Many Arlen locals now pretend not to be home if their doorbell cameras reveal chatty-looking strangers on their doorstep; some even post paranoid warnings to an anonymous neighborhood forum, fearmongering about 'strange people' sightings (half of which turn out to just be Dale). Peggy takes it upon herself to bring the neighborhood together by erecting a lending library in her front yard. The initiative works well—until her books spread bedbugs, making everyone even angrier and more suspicious of one another. Peggy doesn't want to admit that she's responsible for a public-health fiasco, but the show underscores that a community can't function on good intentions alone. Sometimes, restoring harmony requires a willingness to lose face—which she does. After confessing to causing the outbreak, she leads a group effort to burn the infested books in a bonfire. 'Texas morons have book-burning party,' is how one anonymous forum user describes them. But at least the whole street comes together in the end, with someone strumming a guitar as the pages crackle. King of the Hill 's belief in the innate power of moral character remains one of its most appealing traits—but the revival glosses reality in order to preserve its gentle equilibrium. Many viewers have described the series as 'small c ' conservative: Hank values the familiarity of his traditions more than he's vocal about his political beliefs, but he also once refused to lick a stamp with an image of Bill Clinton on it. Judge has described its humor as 'more social than political.' In an episode of the original series, the Hills meet then-Governor George W. Bush at a presidential-campaign rally; world events that occurred during Bush's presidency, however—such as 9/11 and the Iraq War—never came up during the show's original run. Now neither do ongoing stories that have kept Texas in the news, such as the state's restrictive anti-abortion laws. The reveal that Dale was briefly elected mayor of Arlen on an anti-mask campaign is the closest the show comes this time around to commenting on today's culture wars. Some viewers may find it difficult to reconcile the show's good-humored, inclusive portrayal of everyday suburban life with the political and social fragmentation found within many American communities today. A version of the show that more directly explored real-world tensions could have sharply captured the moment into which King of the Hill returns. However, its obvious distance from real life encourages viewers to suspend disbelief and immerse themselves in its true politic: participating in the ritual of neighborhood life, regardless of whether that just means standing in an alley with a beer, contributing to a frog chorus of 'Yups' until everyone's made it through another day together. All of this principled neighborliness may sound Pollyannaish, but the show's optimism seems intentional. King of the Hill has always held a distinctive place in Judge's canon: Though his other film and TV projects, such as Idiocracy, Beavis and Butt-Head, and Silicon Valley, mercilessly skewer what some critics have defined as 'American suckiness,' King of the Hill celebrates American decency. The show's narrative arcs continually reinforce that social trust is key to communities weathering any crisis, that being moral in the world can be a matter of looking out our windows and recognizing how we can serve one another, whether that's by fixing a fence or checking in on a friend. That's the evergreen charm of the Hill family: their pragmatic belief that helping out is just what neighbors do. Or, as a Girl Scout chirps to Hank while handing over a box of Caramel deLites, 'It's nice to be nice.'
