An essay, originally published over two issues, on how and why we forget war.
How the seminal midwestern songwriter behind Songs:Ohia and Magnolia Electric Co. descended into dipsomania.
A Chicago housing project resident reports intruders breaking into her apartment through a medicine cabinet. Days later, she’s found dead.
A profile of the greatest checkers player of all time.
On a mission to the moon, a female astronaut reflects on her mission and her family life.
"John left and I had Jonah and I felt like I had a hole in me like rocket man, starting between my legs and going right up inside me. I asked Houston if I could stop the special events and training and trajectory and thrust for a little while so I could see my children's special events and training and trajectory and thrust. Houston copied that and so I did. For a little while. But after a little while it felt like a long while. John came back and my children were good and my status was good but I felt the moon calling."
The trials and silliness of Facebook, from beyond the grave.
"In a last, desperate attempt to recapture our imaginations, Madeline began posting pictures of herself with dead celebrities like Michael Jackson, Marilyn Monroe, even Benjamin Franklin. But they were doing things like high-fiving, watching TV, and playing darts. As a community, we agreed it was in bad taste."
“The squirrels may take my tomatoes and spit them back, but they would not go unanswered. The time had come to close the circle of life.”
A look at Chicago’s DJ culture in the ’90s.
One day in 1997, Sneak promised his friend and fellow Chicago DJ Derrick Carter a new 12-inch for Carter's label Classic, then spent hours fruitlessly laboring over a basic, bustling four-four beat. Finally, Sneak gave in and smoked the J he'd had stashed for later in the day. When he came back inside, he carelessly dropped the needle onto a Teddy Pendergrass LP, heard the word "Well . . . ," and realized, "That's the sample, right there." He threaded Pendergrass's 20-year-old disco hit "You Can't Hide From Yourself" through a low-pass filter to give it the effect of going in and out of aural focus, creating one of the definitive Chicago house singles.