The 78

Tom Barnas

Historically, Chicago is made up of 77 neighborhoods with their own stories to tell. Only separated by blocks, woven in the microcosm that gives Chicago its unique taste, its people are the epitome of true grit. Each neighborhood, held together with blood, sweat, and tears that are now traditions, giving us this amazing collection of stories from each neighborhood. That is true Chicago. Chicago's newest neighborhood is being developed right now. It's called 78. Chicago, as in the 78th Chicago neighborhood. There you have it, this site is dedicated to all the stories in the 78 neighborhoods.

  1. 5d ago

    The Sheet Show: Logan Square’s Paul Gees Five-Foot Pizza Flex Just Got Bigger

    There are big pizzas, and then there’s The Sheet Show. Paulie Gee’s Logan Square, fresh off its 10-year anniversary lap, is going full spectacle mode with what might be the largest pizza currently coming out of an Illinois kitchen. We’re talking a grandma-style slab that clocks in at a towering 62 inches by 30 inches. That’s over five feet of crispy-edged, sauce-draped real estate. A pie so large it stops being dinner and starts becoming an event. This isn’t just a novelty flex, either. The Sheet Show is built to feed roughly 25 people, making it less of a meal and more of a group experience. Think birthdays, team outings, or any excuse to gather a table full of friends who won’t flinch at going all-in on carbs. Compared to the standard Detroit-style squares Paulie Gee’s is known for, this thing feels almost surreal, roughly 23 times the size, stretching across the table like a carb-loaded runway. Reservations to book The Sheet Show open August 3, and they’re expected to go fast. This is dine-in only, and availability is tight, so if you’re even thinking about it, move quickly. The booking link includes updated details on toppings, pricing, and how the whole experience works. And yes, it’s more than just the pizza. The full spread includes salads, apps, and drinks, so you can build out a proper feast around the main attraction. Because when the centerpiece is this oversized, you don’t just order sides, you curate a night. Located at 2451 N Milwaukee Ave, Paulie Gee’s Logan Square has long been a neighborhood anchor, balancing inventive pies with a come-as-you-are energy. The Sheet Show feels like a natural extension of that ethos: bold, a little ridiculous, and entirely rooted in sharing something memorable. If you’re lucky enough to snag a reservation, bring an appetite and a crew. This isn’t a solo slice situation. This is a full-table, lean-in, pass-the-pie kind of night. Reservations: https://sevn.ly/xSTqLsxL For more Stories From The 78, follow @tombarnas78 on Instagram and @storiesfromthe78 on TikTok.

  2. Jul 25

    Inside America’s Ballparks: The Hidden History of Class, Race, and Power in Major League Baseball

    There’s a long-standing myth stitched into the seams of baseball: that the ballpark is a great American commons, a place where the country exhales together under summer skies. It’s a comforting image, one painted in hot dogs, scorecards, and seventh-inning stretches. But as historian Seth S. Tannenbaum reveals, the reality has always been more selective than sentimental. In this sharply observed exploration, Tannenbaum peels back the ivy to expose a different kind of architecture — one built not just of steel and concrete, but of class lines, racial divides, and economic gatekeeping. Ballparks, he argues, were never just places to watch a game. They were carefully engineered environments, reflecting the evolving power structure of American cities. While marketed as democratic spaces, they quietly catered to a specific archetype: the middle- and upper-class white male fan. Comfort, safety, and access were not universal amenities — they were privileges. From the crowded, chaotic intimacy of early urban venues like the Polo Grounds and Yankee Stadium, baseball began a geographic and cultural migration. As cities changed — and as certain fans grew wary of them — so too did the game’s footprint. The move west brought Dodger Stadium, carved into Chavez Ravine under controversial circumstances that displaced working-class communities. Then came the Houston Astrodome, a futuristic, climate-controlled escape that felt less like a neighborhood gathering place and more like a sealed entertainment capsule. Each evolution carried a message: who the game was for, and just as importantly, who it wasn’t. Tannenbaum traces how decisions around zoning, financing, and location weren’t incidental — they were intentional. Public funding often supported private gain, while stadium placement subtly redrew the map of belonging. Accessibility was touted, but structural barriers remained baked into the experience. Inside the gates, the divisions only grew sharper. The rise of tiered seating and luxury suites turned the ballpark into a vertical map of inequality. The higher you climbed financially, the more exclusive the experience became. Baseball didn’t just mirror society’s hierarchy — it monetized it. Even nostalgia, that powerful current running through the sport, comes under scrutiny. The romantic longing for “simpler” ballparks often glosses over the exclusion embedded in their history. Camden Yards, frequently hailed as a return to baseball’s golden age, offered a curated version of urban life — charming, controlled, and carefully distanced from the complexities just beyond its walls. Throughout it all, Major League Baseball maintained the language of inclusion. Owners and executives leaned on the idea of the ballpark as an open, welcoming space, while rarely confronting the quieter systems that limited who could fully participate. What emerges from Tannenbaum’s work is not a condemnation of the game, but a reframing of it. Baseball’s story is inseparable from America’s — a narrative of aspiration shadowed by exclusion, of unity complicated by division. In the end, the ballpark stands as both symbol and stage. It’s where cheers echo, yes — but also where the contours of the American experience have long been drawn. And as the game continues to evolve, the question lingers like a fastball at the letters: Who gets a seat… and who’s still waiting outside the gates? For more Stories From The 78, follow @tombarnas78 on Instagram and @storiesfromthe78 on TikTok. StoriesAbout

  3. Jul 18

    Submerged Futures: Alison Ruttan’s “The Paradox of Inaction” Floods Hyde Park Art Center

    At Hyde Park Art Center, the gallery floor becomes a shoreline after the tide has already claimed everything. In The Paradox of Inaction, interdisciplinary artist Alison Ruttan constructs a haunting, slow-motion catastrophe, an immersive installation that invites viewers to wander through the ghost of a suburban neighborhood swallowed by rising waters. On view from April 4 through July 12, 2026, the exhibition occupies 2,300 square feet with more than 160 cast ceramic forms, each one a fragment of a world that feels both distant and uncomfortably familiar. At first glance, the work reads as abstraction, a terrain of glistening, irregular shapes. But as the eye adjusts, recognition sets in. Rooflines. Foundations. The quiet geometry of domestic life. Together, these forms coalesce into the illusion of a flooded community, suspended in a state of eerie stillness. The glazed surfaces shimmer like blackwater, evoking rot, reflection, and the slow violence of environmental collapse. Ruttan’s practice has long engaged with the visual language of trauma, translating large-scale historical and political events into tactile, labor-intensive forms. From the Gombe Chimpanzee War to the Syrian Civil War, her work insists on materializing what often feels distant or abstract. Here, she turns that lens toward the climate crisis, not as a future threat, but as a present condition already unfolding. The exhibition’s title, The Paradox of Inaction, cuts to the core of its urgency. It challenges the seductive illusion that doing nothing is neutral, that inaction carries no consequence. Instead, Ruttan reveals inaction as its own form of decision-making, one that accelerates risk and narrows the horizon of possibility. Complementing the main installation, works from her High Water series (2023–2024) appear on the Art Center’s second floor. These smaller ceramic sculptures of flooded homes echo the larger environment below, creating a layered dialogue between miniature and monumental, intimacy and overwhelm. Ruttan describes immersive installation as a bridge between knowing and understanding. Facts alone, she suggests, rarely move us. But within the space of art, analytical thought and intuitive response begin to overlap. Viewers oscillate between object and meaning, between what is seen and what is felt, arriving somewhere closer to truth. Part of Hyde Park Art Center’s ongoing commitment to commissioning ambitious, large-scale works, the exhibition continues a legacy that includes artists such as Edra Soto, Faheem Majeed, Lan Tuazon, and Yasmin Spiro. A series of public programs will further activate the space, offering visitors opportunities to engage more deeply with the work and its implications. More than an exhibition, The Paradox of Inaction is an atmosphere, a warning, and a question. It does not ask what the future will look like. It asks what it already does, and whether we are willing to see it before the water rises any higher. For more Stories From The 78, follow @tombarnas78 on Instagram and @storiesfromthe78 on TikTok.

  4. Jul 11

    Grant DePorter’s Cancer Battle Fuels A Chicago-Style Comeback Through Gilda’s Club

    In a city that measures resilience the way it measures winters, long and unforgiving, Grant DePorter’s story lands with weight. The CEO of Harry Caray’s Restaurant Group has spent a lifetime building institutions rooted in Chicago tradition. But his most defining chapter didn’t happen in a dining room or ballpark. It unfolded in hospital corridors, in the quiet, uncertain hours of a fight against T-cell lymphoma, a rare and aggressive blood cancer that tested everything. Six months of chemotherapy. A stem cell transplant. Blood clots. Kidney failure. The kind of medical gauntlet that strips life down to its bare essentials. And yet, DePorter doesn’t tell it like a tragedy. He tells it like a relay, where survival is only the first leg and giving back is the finish line. That perspective is exactly why Gilda’s Club Chicago will honor DePorter at its 28th Annual Awards Dinner at the Radisson Blu Aqua Hotel, alongside Chicago native and caregiver icon Bonnie Hunt and her family. The organization, a lifeline for those impacted by cancer, has become central to DePorter’s story, not just as a resource but as a community that carried him through. His connection to Gilda’s Club started in 2014, when his wife was diagnosed with breast cancer. Years later, when his own diagnosis hit, the organization became something deeper. Not just a place for support, but a place where fear gets translated into shared language. “You talk to people who’ve already been through it,” DePorter has said. “That creates a community. And that’s everything when you’re in it.” Gilda’s Club Chicago has quietly built one of the city’s most essential support systems, offering free emotional and social services to cancer patients and their families. It’s not just therapy or resources. It’s connection. It’s the ability to walk into a room and not have to explain the unexplainable. For DePorter, that network extended beyond his own recovery. His openness has created a ripple effect, with others reaching out, looking for guidance, or just a voice that understands. Survival, in his world, isn’t a solo act. It’s communal. But DePorter’s story doesn’t exist in isolation. It’s stitched into the larger fabric of Chicago, a city where legacy and neighborhood pride tend to run deep. Raised in Park Ridge, DePorter shares hometown roots with Bonnie Hunt, who built her own legacy not just as an actress but as a cancer nurse who stepped directly into the lives of patients. Their parallel paths converge at this moment, a reminder that Chicago often operates like a small town hiding inside a big one. His family’s imprint on the city is equally tangible. His father, Donald J. DePorter, founded Chicago Gateway Green in 1986, transforming neglected expressways into green corridors lined with trees and public art. It was a vision of a cleaner, more welcoming Chicago, one that didn’t ignore its rough edges but worked to soften them. That same philosophy echoes in Grant’s approach today. Whether it’s preserving pieces of baseball history, like artifacts tied to the 1919 White Sox, or championing organizations that support vulnerable communities, DePorter operates with a sense that Chicago’s identity is something to be protected and passed forward. And then there’s sports. Always sports. From Harry Caray’s iconic seventh-inning stretch to the city’s long memory of curses, comebacks, and heartbreaks, DePorter understands that Chicago’s teams are more than entertainment. They’re emotional infrastructure. They bind strangers, define eras, and give the city a shared language. It’s no accident that his professional life lives at that intersection of hospitality and fandom. Restaurants, like stadiums, are gathering places. They’re where stories get told, retold, and occasionally exaggerated into legend.

  5. Jul 4

    Ike Reilly and Shane Reilly Carve a Bruised, Beautiful Family Anthem on Blind and Surrounded

    There’s always been a voltage running through the songs of Ike Reilly, a current made of busted streetlight poetry, half-healed bruises, and characters who keep moving even when the map gives up. On his tenth studio album, Blind and Surrounded, that voltage doesn’t just spark, it multiplies. This time, the story isn’t only Ike’s. It’s also the emergence of a second voice in the storm: his son, Shane Reilly. Together, they turn Blind and Surrounded into something like a family transmission intercepted through distortion pedals and late-night radio bleed, where survival songs, love songs, and fallout confessions all share the same cracked microphone. Ike’s writing here feels like a drive through a flickering Midwest fever dream: county fairs sweating under neon halos, backseat fugitives half-asleep on vinyl upholstery, political weather systems rolling in like busted engines. His characters are not polished mythmakers. They are people still trying to stand up in the wreckage of their own stories. On “Life and Death in East Moline,” he sketches a place where exhaustion is a kind of inherited weather. Yet even there, hope doesn’t vanish. It just gets dirt under its fingernails and keeps working. What changes everything is Shane. Across twelve tracks, Shane contributes six songs and shares lead vocal duty, not as a shadow to Ike, but as a countercurrent. Where Ike leans into abrasion and lived-in chaos, Shane often brings clarity, restraint, and a kind of emotional steadiness that feels newly mapped. Songs like the Clash-leaning “Bad Bad Man” and the reflective “Who’s Been Hurtin’” have already been road-tested live since 2021, but in studio form they land with sharper edges and more emotional air in the frame. A WORLD BUILT FROM THE EDGESTHE SECOND VOICE BREAKS THROUGH This is not imitation. It is translation between generations. One of the most striking elements of Blind and Surrounded is how deeply it is built on literal family resonance. Ike and Shane’s vocal interplay carries an unspoken tension, but it’s the backing presence of Shane’s brothers, Kevin and Mickey Reilly, that turns the record into something almost architectural. The harmonies don’t feel layered. They feel grown. On “Precious Cargo,” that familial stack of voices turns a love song into something wider, like Chicago itself humming underneath the melody, all steel, tenderness, and memory pressure. The emotional centerpiece may be “Dance Hall Beats,” where Ike leans into loss, disorientation, and chemical solace, carried by a driving rhythm and Celtic-tinged lift that refuses to let the song collapse into despair. It’s a push-pull between collapse and movement, grief and momentum. Meanwhile, Shane’s closing statement on “Gone for Forever” arrives like a quiet exhale after a long night drive. It doesn’t resolve the record so much as release it, like letting go of the wheel just long enough to trust the road. What makes Blind and Surrounded resonate isn’t just its lyrical intensity or its garage-born grandeur. It’s the way it refuses categories entirely. Not Americana. Not indie rock. Something more unsettled, more human, more electrically alive. It is a record about survival, inheritance, and the strange way families echo inside music even when they are not trying to. FAMILY AS HARMONIC ARCHITECTURESONGS THAT HOLD THEIR OWN WEATHERA NEW ERA FOR THE ASSASSINATION And in that echo, a new chapter begins for Ike Reilly and the Blind and Surrounded era: louder, wider, and unexpectedly shared.

  6. Jun 27

    Pop’s Italian Beef at 46: The South Side Institution That Built a Chicago Classic

    There are origin stories, and then there are Chicago origin stories—the kind that begin with smoke so thick you can’t see the counter and end with a line out the door that never really stops. At Pop’s Italian Beef, the legend starts exactly that way. On March 24, 1980, Frank Radochonski opened the doors to what would become a South Side institution. The operation was as lean as it gets: Frank, his mother Betty, and a single employee grinding through seven-day weeks. His father, Frank Sr., showed up on Saturdays to slice beef and prep sausage, while his sister Sandy earned local fame as the shop’s unofficial “best fry maker.” It was family, grit, and a whole lot of trial by fire—literally. Opening day? Chaos. The grill hood—left over from the previous tenant, Kirby’s Dog House—couldn’t keep up. As friends packed the place ordering burgers, smoke billowed so heavily that Frank couldn’t even see his customers. It felt less like a grand opening and more like a baptism by giardiniera. But in Chicago, that’s how credibility is built. What separates a good Italian beef from a great one isn’t just the jus—it’s the discipline. At Pop’s, the ritual starts before dawn. Beef is sliced fresh every morning, then slow-cooked for three and a half hours until it reaches that delicate balance: tender enough to collapse, structured enough to hold onto a crusty roll once it’s dipped, dunked, or baptized. Each week, a single location moves between 1,000 and 2,000 pounds of beef. Add to that 15 to 30 gallons of house-made hot giardiniera—a spicy, vinegary confetti that defines the Chicago bite—and you start to understand the scale. This isn’t fast food; it’s high-volume craftsmanship. Even the hot dogs—a Chicago essential—are a proprietary 100% beef blend, developed over eight months. The grilled chicken is marinated, tenderized, and charbroiled with the same attention to detail. Nothing is accidental here. Everything is earned. Long before the lunch crowd rolls in, Pop’s is already deep into its daily choreography. Prep begins at 4 or 5 a.m., with hours dedicated to slicing, roasting, seasoning, and assembling the building blocks of the menu. It takes six to seven hours just to be ready for an 11 a.m. open. This is the part most customers never see—the labor that transforms a sandwich into a legacy. Frank didn’t just build a restaurant; he built a rhythm. Even now, he’s a daily presence—greeting regulars, checking in on staff, keeping a pulse on the room. It’s the kind of continuity that turns customers into lifers. His wife Kelley runs the financial side, while their four children have all worked in the business at some point. From finance degrees to hospitality studies at Purdue University, the next generation carries both the work ethic and the story forward. The “Bear” Effect: Chicago Beef Goes Global In recent years, the Italian beef has stepped out of the neighborhood and onto the global stage—thanks in no small part to The Bear. The hit FX series didn’t just spotlight kitchen culture; it reintroduced the world to the ritual, chaos, and beauty of Chicago sandwich-making. Suddenly, words like “dipped,” “sweet peppers,” and “hot giard” entered the national vocabulary. Lines got longer. Out-of-towners got curious. And institutions like Pop’s found themselves not just preserving tradition—but representing it. The show may have lit the spark, but places like Pop’s have been tending the fire for decades. There’s a certain defiance in a Chicago Italian beef. It’s messy. It’s loud. It refuses to be deconstructed or reimagined for Instagram. You eat it standing up, hunched over, juice running down your hands—and you don’t apologize for it. Pop’s doesn’t chase trends. It doesn’t need to. Its expansion to a dozen locations across the South Suburbs and Indiana happened the old-fashioned way: consistency, quality, and community loyalty. In a city where food is identity, Pop’s Italian Beef isn’t just a sandwich shop—it’s a statement.

  7. Jun 20

    Straight Outta Skokie: Al Krockey’s Wild 1968 Journey Through Chicago’s Counterculture, Hustle, and Rock ‘n’ Roll

    Here’s a story you don’t embellish—you just light a cigar, pour a whiskey, and let it ride. In 1968, Al Krockey was 18 years old, coming of age at the exact moment America seemed to crack open—politically, culturally, and musically. It was a year of upheaval and possibility, and for a kid raised in the tight-knit suburbs of Skokie, it felt like the whole world was suddenly within reach. But Krockey’s story doesn’t start with rebellion—it starts with survival. Born in 1950 and raised in a working-class Jewish family, he grew up in a Skokie shaped by Holocaust survivors, immigrant grit, and the lingering shadows of World War II. Neighbors carried trauma you could hear through open windows on hot summer nights. His father, a medic during the Battle of the Bulge, later treated survivors from Buchenwald concentration camp and Dachau concentration camp—experiences that quietly etched themselves into the family’s DNA. Krockey absorbed it all. And then he ran toward something louder. By his teens, he was already working angles—selling souvenirs outside Wrigley Field, hustling odd jobs, and dabbling in the kind of small-time rebellion that defined the era. But the real pull was music. Chicago in the late ’60s wasn’t just a city—it was a sound. And nowhere did it hit harder than the Kinetic Playground, the legendary nightclub where psychedelic rock, blues, and raw youth energy collided. For Krockey, nights there weren’t just entertainment—they were education. What followed was a blur of cross-country road trips, pop festivals, and characters that felt ripped from a film reel. It was freedom with consequences, risk with no safety net—a life lived wide open before adulthood had a chance to close in. By 20, Krockey had already turned passion into profession, opening his record store, The Record Shack. The 1970s saw him dive deeper—running a shop, launching a label, producing music—before pivoting, like so many hustlers do, into something steadier. By the early ’80s, he stepped away from the music business and built a successful second act in insurance consulting, eventually rising to vice president of a national firm. But the hustle never left. At 68, he made the final table of a World Poker Tour event. At 75, he found a new table altogether: the writing desk. His debut memoir, Straight Outta Skokie: The Krockey Chronicles: 1968, is the first in a planned trilogy that captures not just a life, but a moment—when suburban America collided with counterculture, when kids chased music like religion, and when identity was forged somewhere between tradition and rebellion. The book doesn’t just chronicle Krockey’s story—it captures a community. A version of Skokie before it became nationally known for the Skokie Nazi march controversy, when its streets were lined with survivors, strivers, and second chances. Now 76 and living in Scottsdale, Krockey writes with the clarity of distance and the memory of someone who never really left 1968 behind. What started as a pandemic project became something deeper—a routine, a reckoning, a return. Because some stories don’t fade. They just wait for the right time to be told. For more Stories From The 78, follow @tombarnas78 on Instagram and @storiesfromthe78 on TikTok.

  8. Jun 13

    Paul Natkin: The Chicago Lens That Captured Rock ‘n’ Roll Immortality

    he kind that starts under the dim lights of Chicago Stadium—where a kid tagging along with his father realizes the perks of photography aren’t just free parking and great seats… they’re front-row access to history. The kind that ends—if it ever really ends at all—in a quiet Avondale home, where decades later, the shutter is still clicking, still chasing that same electric moment. Because for Natkin, the story never stopped. It just got louder. In 1971, photography wasn’t the plan—it was the pivot. Natkin’s father, a seasoned photographer turned contractor, got pulled back into the business when the building trade collapsed. A phone call later, he was shooting for the Chicago Bulls. One game was all it took. The access. The energy. The proximity to something bigger. That was it. Natkin was hooked. FROM BULLS GAMES TO BACKSTAGE PASSES DISCOVERING THE SOUNDTRACK OF A LIFETIME By 1975, the lens had shifted—from hardwood to amplifiers. His first concert? Bonnie Raitt at Northwestern University. That moment cracked something open. What followed wasn’t easy—no roadmap, no guarantees—but Natkin carved his way in the old-school way: hustle, access, relationships, and an instinct for being exactly where the moment would explode. Soon, his work was everywhere: Rolling StoneCreem MagazineHit ParaderCircus MagazineAnd beyond music: NewsweekTimePlayboyEbonyThis wasn’t just a career—it was infiltration. THE MONTH THAT CHANGED EVERYTHING June 1984. A stretch of days that reads like rock folklore: Prince’s birthday party in Minneapolis The launch of the Jackson 5 Victory Tour The opening of Bruce Springsteen’s Born in the U.S.A. tour And somewhere in there? Natkin, camera in hand, capturing moments that would become permanent fixtures in music history—including the filming of “Dancing in the Dark.” A year later, one of those shots landed on the cover of Newsweek. Game over. FROM PRINCE TO OPRAH That single image didn’t just elevate his career—it detonated it. Natkin’s photos from that era circled the globe, especially from that night with Prince. The exposure led to a five-year run as staff photographer for The The Oprah Winfrey Show. Yes—that Oprah. Because in Natkin’s world, music, culture, and media weren’t separate lanes—they were one long highway. Then came the call that every rock photographer dreams about. A conversation. A connection. A door opens. Suddenly, Natkin is on the road with Keith Richards and the X-Pensive Winos. Then it escalates. The big one: Three and a half months embedded with The Rolling Stones on the Steel Wheels tour. Not watching from the pit. Not shooting from the press line. Living it. Breathing it. Documenting it from the inside. He’d return again: Voodoo Lounge Tour (1994)Bridges to Babylon Tour (1997)Because once you’re in that circle—you don’t really leave. Natkin’s work didn’t just live in magazines—it became part of the music itself. His lens helped define the visual identity of artists like: Ozzy OsbourneAlanis MorissetteBuddy GuyJohnny WinterThese weren’t just photos. They were artifacts. ON THE ROAD WITH ROCK ROYALTYALBUM COVERS, ICONS, AND IMMORTALITYSTILL SHOOTING. STILL CHASING THE MOMENT Today, back in Chicago’s Avondale neighborhood, Natkin is still working. Still chasing light. Still pressing the shutter at exactly the right moment. Because that’s the thing about guys like Paul Natkin—they don’t retire from the story. They are the story. And if you think you’ve heard it all? Buckle up. This one’s still being written. For more Stories From The 78, follow @tombarnas78 on Instagram and @storiesfromthe78 on TikTok.

About

Historically, Chicago is made up of 77 neighborhoods with their own stories to tell. Only separated by blocks, woven in the microcosm that gives Chicago its unique taste, its people are the epitome of true grit. Each neighborhood, held together with blood, sweat, and tears that are now traditions, giving us this amazing collection of stories from each neighborhood. That is true Chicago. Chicago's newest neighborhood is being developed right now. It's called 78. Chicago, as in the 78th Chicago neighborhood. There you have it, this site is dedicated to all the stories in the 78 neighborhoods.