How a musical subculture evolved alongside a technological subculture:

Rave's rise mirrors the Web's in many ways. Both mixed rhetorical utopianism with insider snobbery. Both were future-forward "free spaces" with special appeal to geeks and wonks.

A profile of the hard-living, cop-dodging artist Dash Snow, published two years before his death of an overdose.

Three interviews with John Gardner, author of Grendel and The Art of Fiction, conducted over the last decade of his life.

A profile of Hollywood agent Irving “Swifty” Lazar.

A visit to the Museum of Broken Relationships.

Olinka and Drazen are artists, and after some time passed, they did what artists often do: they put their feelings on display. They became investigators into the plane wreck of love, bagging and tagging individual pieces of evidence. Their collection of breakup mementos was accepted into a local art festival. It was a smash hit. Soon they were putting up installations in Berlin, San Francisco, and Istanbul, showing the concept to the world. Everywhere they went, from Bloomington to Belgrade, people packed the halls and delivered their own relics of extinguished love: “The Silver Watch” with the pin pulled out at the moment he first said, “I love you.” The wood-handled “Ex Axe” that a woman used to chop her cheating lover’s furniture into tiny bits. Trinkets that had meaning to only two souls found resonance with a worldwide audience that seemed to recognize the same heartache all too well.

Because of what happened in Georgia, Ms. Grace has said over and over, she knows firsthand how the system favors hardened criminals over victims. It is the foundation of her judicial philosophy, her motivation in life, her casus belli. And much of it isn’t true.

A sit-down with Ms. Franklin.

How the mall was born.

Uncovering Southern California’s country music roots.

An oral history of director Michael Bay.

A profile of Justin Timberlake:

This need to succeed, to become his generation’s multi-talented Sammy Davis Jr., is part of what makes him appealing to filmmakers. “I needed someone who could be a Frank Sinatra figure, someone who could walk into the room and command all the attention,” says David Fincher, of casting Timberlake as Sean Parker, the Facebook investor and rogue, in The Social Network. “I didn’t want someone who would just say, ‘I know how to play groovy.’ You can’t fake that stuff. That’s the problem with making movies about a rock star—actors have spent their lives auditioning and getting rejected, and rock stars haven’t.”

An oral history of The Simpsons.

A profile of Chris Evans, star of the upcoming Captain America:

At this point, which was a…number of drinks in, it was easy to forget that it really was an interview, and I'd be lying if I said it didn't cross my mind that something might happen (and that we'd go to the Oscars and get married and have babies forever until we died?). But there was always the question of how much of it was truly Chris Evans, and whom I should pretend to be in response.

The name Shecky can vacillate from noun to verb to adjective. The opinion of every comedian during that gilded age of show business, whether they were Republican Bob Hope or hipster Lenny Bruce, is that Shecky Greene was the wildest of them all. The craziest of them all. Most importantly - the funniest of them all.

John Ross, rebel reporter, became the sort of devoted gringo scribe who would give up drugs and drinking in order to better write about the native revolutionaries; the sort of man who used dolls to preach armed revolution to high schoolers in the weeks after September 11th.

An essay on gynobibliophobia and the critical reception of women writers.

A profile of filmmaker Pedro Almodóvar during the 2004 Cannes International Film Festival.

On comics and journalism:

Now, when you draw, you can always capture that moment. You can always have that exact, precise moment when someone’s got the club raised, when someone’s going down. I realize now there’s a lot of power in that.

A rare interview with Gene Hackman, who says Welcome to Mooseport was his last movie, unless he “could do it in my own house.”

These were the people I lived with, these were my friends, these were my family, this was myself. I’d photograph people dancing while I was dancing Or people having sex while I was having sex. Or people drinking while I was drinking.

A profile of John Lasseter, chief creative officer at Pixar.

On the eve of the release of The Tree of Life, a look back at the turbulent making of Terence Malick’s debut.

An interview on craft:

Writing The Subs in three nights was really a fantastic athletic feat as well as mental, you shoulda seen me after I was done...I was pale as a sheet and had lost fifteen pounds and looked strange in the mirror.

A profile of silent film comedian Buster Keaton:

The story of his life seems in its twists and dives borrowed from his movies, survival demanding a pure lack of sentiment.