True Crime

In 1940 and 1941 a group of ruthless gangsters from Brooklyn’s Brownsville neighborhood became the focus of media frenzy when they—dubbed “Murder Inc.,” by New York World-Telegram reporter Harry Feeney—were tried for murder. It is estimated that collectively they killed hundreds of people during a reign of terror that lasted from 1931 to 1940. As the trial played out to a packed courtroom, shocked spectators gasped at the outrageous revelations made by gang leader Abe “Kid Twist” Reles and his pack of criminal accomplices.

News of the trial proliferated throughout the country; at times it received more newspaper coverage than the unabated war being waged overseas. The heinous crimes attributed to Murder, Inc., included not only murder and torture but also auto theft, burglary, assaults, robberies, fencing stolen goods, distribution of illegal drugs, and just about any “illegal activity from which a revenue could be derived.” When the trial finally came to a stunning unresolved conclusion in November 1941, newspapers generated record headlines.

Once the trial was over, tales of the Murder, Inc., gang became legendary, spawning countless books and memoirs and providing inspiration for the Hollywood gangster-movie genre. These men were fearsome brutes with an astonishing ability to wield power. People were fascinated by the “gangster” figure, which had become a symbol for moral evil and contempt and whose popularity showed no signs of abating. As both a study in criminal behavior and a cultural fascination that continues to permeate modern society, the reverberations of “Murder, Inc.” are profound, including references in contemporary mass media.

The Murder, Inc., story is as much a tale of morality as it is a gangster history, and Murder, Inc., and the Moral Life by Robert Whalen meshes both topics clearly and meticulously, relating the gangster phenomenon to modern moral theory. Each chapter covers an aspect of the Murder, Inc., case and reflects on its ethical elements and consequences. Whalen delves into the background of the criminals involved, their motives, and the violent death that surrounded them; New York City’s immigrant gang culture and its role as “Gangster City”; fiery politicians Fiorello La Guardia and Thomas E. Dewey and the choices they made to clean up the city; and the role of the gangster in popular culture and how it relates to “real life.” Whalen puts a fresh spin on the two topics, providing a vivid narrative with both historical and moral perspective.

In 1940 and 1941 a group of ruthless gangsters from Brooklyn’s Brownsville neighborhood became the focus of media frenzy when they—dubbed “Murder Inc.,” by New York World-Telegram reporter Harry Feeney—were tried for murder. It is estimated that collectively they killed hundreds of people during a reign of terror that lasted from 1931 to 1940. As the trial played out to a packed courtroom, shocked spectators gasped at the outrageous revelations made by gang leader Abe “Kid Twist” Reles and his pack of criminal accomplices.

News of the trial proliferated throughout the country; at times it received more newspaper coverage than the unabated war being waged overseas. The heinous crimes attributed to Murder, Inc., included not only murder and torture but also auto theft, burglary, assaults, robberies, fencing stolen goods, distribution of illegal drugs, and just about any “illegal activity from which a revenue could be derived.” When the trial finally came to a stunning unresolved conclusion in November 1941, newspapers generated record headlines.

Once the trial was over, tales of the Murder, Inc., gang became legendary, spawning countless books and memoirs and providing inspiration for the Hollywood gangster-movie genre. These men were fearsome brutes with an astonishing ability to wield power. People were fascinated by the “gangster” figure, which had become a symbol for moral evil and contempt and whose popularity showed no signs of abating. As both a study in criminal behavior and a cultural fascination that continues to permeate modern society, the reverberations of “Murder, Inc.” are profound, including references in contemporary mass media.

The Murder, Inc., story is as much a tale of morality as it is a gangster history, and Murder, Inc., and the Moral Life by Robert Whalen meshes both topics clearly and meticulously, relating the gangster phenomenon to modern moral theory. Each chapter covers an aspect of the Murder, Inc., case and reflects on its ethical elements and consequences. Whalen delves into the background of the criminals involved, their motives, and the violent death that surrounded them; New York City’s immigrant gang culture and its role as “Gangster City”; fiery politicians Fiorello La Guardia and Thomas E. Dewey and the choices they made to clean up the city; and the role of the gangster in popular culture and how it relates to “real life.” Whalen puts a fresh spin on the two topics, providing a vivid narrative with both historical and moral perspective.

Beulah Annan. Belva Gaertner. Kitty Malm. Sabella Nitti. These are the real women of Chicago.

You probably know Roxie and Velma, the good-time gals of the 1926 satirical play Chicago and its wildly successful musical and movie adaptations. You might not know that Roxie, Velma, and the rest of the colorful characters of the play were inspired by real prisoners held in “Murderess Row” in 1920s Chicago—or that the reporter who covered their trials for the Chicago Tribune went on to write the play Chicago.

Now, more than 90 years later, the Chicago Tribune has uncovered photographs and newspaper clippings telling the story of the four women who inspired the timeless characters of Chicago. But these photos tell a different story—and itʼs not all about glamour, fashion, and celebrity. They show a young mother in jail hugging her two-year-old daughter. They show an immigrant woman who doesnʼt speak the language of her judge, jury, and attorney. And they show women who used their images to sway public opinion—and their juries.

He Had It Coming collects recently discovered photos, original newspaper clippings, and stories from Tribune reporter Maurine Dallas Watkins as well as new analysis written by Tribune film critic Michael Phillips, theater critic Chris Jones, and columnists Heidi Stevens and Rick Kogan to build a fascinating history of women in crime in Jazz Age Chicago, a history that takes on new meaning in today’s #MeToo moment.

In 1924, University of Chicago students Nathan Leopold and Richard Loeb were young, rich, and looking for a thrill. The crime that came next—the brutal, cold-blood murder of 14-year-old Bobby Franks—would come to captivate the country and unfold into what many dubbed the crime of the century. As the decades passed, the mythology surrounding the unlikely killers continued to capture the interest of new generations, spawning numerous books, fictionalizations, and dramatizations.

In The Leopold and Loeb Files, author Nina Barrett returns to the primary sources—confessions, interrogation transcripts, psychological reports, and more—the kind of rare, pre-computer court documents that were usually destroyed as a matter of course. Until now, these documents have not been part of the murder’s central narrative. This first-of-its-kind approach allows readers to view the case through a keyhole and look past all of the stories that have been spun in the last 90 years to focus on the heart of the crime.

Carefully curated and steeped in historical context from Barrett, this book allows the surviving Leopold and Loeb documents, most of which are in the form of either transcripts or narrative, to function as both artifact and literature, recounting the moves of the murder and sentencing hearing as well as addressing the questions that continue to fascinate—issues of morality, sanity, sexuality, religious assimilation, parental grief and responsibility, remorse, and the use of the death penalty.

This comprehensive, ephemera-driven history allows the reader to act as a fly on the wall and speaks powerfully to the unsolved mysteries of this distinct crime, in which the guilt of the perpetrators is unambiguous but almost everything else is open to interpretation.