The Longreads Blog

The “Facebook of Money” That Wasn’t

Photo via Tilt/Glassdoor

To paraphrase Tolstoy, every struggling startup struggles in its own way. Except they all seem to feature extravagant soirées, hazy business plans, and round after round of beer pong on a SoMa roof deck. At Fast Company, Ainsley Harris charts the decline and fall of Tilt, a social-payments platform billed as the “Facebook of Money.” Joining other examples in the emerging genre of schadenfreude-laced startup postmortems, it offers an almost-wistful glimpse at Silicon Valley culture at the precise moment when easy funding became a thing of the past.

Over time, Beshara’s leadership alienated some of Tilt’s more experienced hires, who chose to move on rather than challenge their rookie boss. Meanwhile, Tilt continued to attract young talent barely old enough to join the company’s happy hours.

“There was too much focus on culture and creating this nirvana of a company. This is not a fraternity, this is a business,” says a former manager. Beshara seemed determined to keep the party going until the bitter end. Last September, for example, with a cash crunch imminent, he pressed forward with Tilt’s final Lake Tahoe retreat. Only a small group of employees had any idea that a sale was already in the works.

Looking back now, Beshara acknowledges the imbalance. “I feel very strongly that you want to end up on the side of human connection, human relationships,” he says. “But I think you can index too far on that and really miss the importance of really high standards.”

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‘But Islam Does Not Forbid Love’: How Young Muslims Define ‘Halal Dating’

a pink rose surrounded by smaller white roses
Photo by Susanne Nilsson via Flickr (CC BY-SA 2.0)

At NPR Code Switch, Neha Rashid reports on how careful use of language and a peck of dating apps for young Muslims are helping them find love while observing Muslim beliefs that forbid sex before marriage.

For young couples like them, the idea of dating is common, and it means balancing their religious views with their desire for emotional intimacy. But the term “dating” still invites an offensive suggestion for many Muslims, especially older ones, irrespective of how innocent the relationship may be. Dating is still linked to its Western origins, which implies underlying expectations of sexual interactions — if not an outright premarital sexual relationship — which Islamic texts prohibit.

One way that some young Muslim couples are rebuking the idea of dating being offensive is by terming it “halal dating.” Halal refers to something permissible within Islam. By adding the permissibility factor, some young couples argue, they are removing the idea that anything haram, or prohibited, such as premarital sex, is happening in the relationship.

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Rolling Down the Highway with the Sum Total of Human Knowledge

Rows of books line the walls of the public library in Stockholm, Sweden
Photo by Marcus Hansson via Wikimedia Commons (CC BY 2.0)

“Project Ocean,” a Google plan to scan every book in the world, might not have succeeded, but in the course of trying, they did scan over 25 million books—which now sit, untouched, on a Google server. The story of the lawsuit, settlement, and ensuing Department of Justice response a fascinating record of the tensions between art, technology, commerce, and copyright. James Somers tells the whole story in The Atlantic.

Every weekday, semi trucks full of books would pull up at designated Google scanning centers. The one ingesting Stanford’s library was on Google’s Mountain View campus, in a converted office building. The books were unloaded from the trucks onto the kind of carts you find in libraries and wheeled up to human operators sitting at one of a few dozen brightly lit scanning stations, arranged in rows about six to eight feet apart.

The stations—which didn’t so much scan as photograph books—had been custom-built by Google from the sheet metal up. Each one could digitize books at a rate of 1,000 pages per hour. The book would lie in a specially designed motorized cradle that would adjust to the spine, locking it in place. Above, there was an array of lights and at least $1,000 worth of optics, including four cameras, two pointed at each half of the book, and a range-finding LIDAR that overlaid a three-dimensional laser grid on the book’s surface to capture the curvature of the paper. The human operator would turn pages by hand—no machine could be as quick and gentle—and fire the cameras by pressing a foot pedal, as though playing at a strange piano.

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Tell Me What Donut You Prefer, and I’ll Tell You Who You Are

freshly glazed donuts on a conveyer belt
Photo by Scott Ableman via Flickr (CC BY-NC-ND 2.0)

Have you ever thought really hard about donuts? Like, 7,000 words hard? Keaton Lamle did, The Bitter Southerner published it, and it’s very much worth the reading — an extended meditation on food, America, capitalism, regional identity, and the future. Turns out we have a lot to learn from donuts.

Lamle, who can be forgiven for reserving his most effusive gushing for Krispy Kreme rather than Dunkin’ by the accident of his Southern birth, gets a bit more personal when reminiscing about the famous Krispy Kreme “Hot Now” sign. And I’ll give him that; a freshly-fried donut is a thing of beauty and joy forever.

They are very much not all over Atlanta, or Birmingham, or Charlotte. Despite expansion around the turn of the 21st century, you’ve still got to go out of your way to find Krispy Kreme stores. In fact, it’s almost like they find you. You’re driving down Atlanta’s magnolia-draped Ponce De Leon Avenue, and red, cursive neon, evocative of a ’50s downtown movie marquee, unexpectedly beckons. Majestic Ks that trail to the end of each word — somehow without connoting the South’s tortured history with such plosive consonants and alliterative acronyms — calling you to come.

The inevitable dilemma comes when you spot that anachronistic “Hot Now” neon sign ablaze. The promise you’ve made to yourself or spouse or kids: that if it’s hot, we stop. But shit, that’ll mean pulling a U-turn across three lanes of traffic. That’ll mean turning around and fighting to get in the parking lot. Is anybody in this car even hungry? Can’t we let it slide this one time? What inviolable principle are we even abiding by with this “it’s hot, we must stop” directive, anyway?

For me, the prospect of wearing the paper sailor’s hats on Instagram usually ends the argument.

You’ll still pry my Dunkin’ Donuts medium iced latte and Bavarian cream donut out of my cold, powdered-sugar-covered, New Jersey-born hands, but Lamle’s piece is piped full of food for thought. (Zing!)

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The Top 5 Longreads of the Week

Rachel Dolezal (Colin Mulvany/The Spokesman-Review via AP, File)

This week, we’re sharing stories by Ijeoma Oluo, Michael Hall, Erika Hayasaki, Jerry Saltz, and Caren Chesler.

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“Texas is Gilead and Indiana is Gilead”

Image by Jaap Noordzij via Flickr (CC BY-NC 2.0)

The Hulu adaptation of Margaret Atwood’s The Handmaid’s Tale could not have been more timely, and therefore chilling. “In February, the book overtook George Orwell’s 1984 on the Amazon best-seller list. Texas is Gilead and Indiana is Gilead and now that Mike Pence is our vice president, the entire country will look more like Gilead, too.”

In The New Republic, Sara Jones (a former fundamentalist Christian whose education prepared her for a life of tending home and making babies and obeying a husband) writes about The Handmaid’s Tale, how its world could not exist without conservative women — represented in the book by the character Serena Joy — and what it ultimately means for those women’s lives.

America is rich in Serena Joys. One need look no further for her contemporary counterparts than Michelle Duggar and her daughters; or Paula White, the televangelist who allegedly led Donald Trump to Christ; or his aide Kellyanne Conway, who defends him as a “great boss” to women. The character Atwood invented is an amalgam of Phyllis Schlafly and Tammy Faye Bakker with a dash of Aimee Semple McPherson. The spectacle of the female fundamentalist celebrity is not recent, and she is not an anomaly. Her existence is proof of American fundamentalism’s durability, and a reminder that it could not thrive without the enthusiastic backing of women.

The dilemma of Serena Joy feels deceptively easy to resolve. She’s in this for power, and understands that it’s hers if she says the right things to the right audiences. Schlafly achieved international fame, and Conway has the ear of the president. With Gilead, however, Atwood reminds such women that they might not like the results of their labor; that by the time they come to regret it, the culture they helped create will have developed far beyond their control. Serena Joy is a warning, not only to her feminist antagonists, but to conservatives, too.

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Pills and Thrills and Daffodils

AP Photo/Kirsty Wigglesworth

Eva Tenuto | Longreads | April 2017 | 9 minutes (2,181 words)

 

It was the summer of 1997. For my 24th birthday, Rachel, one of my best friends, bought me the best present I could imagine receiving: a ticket to see Prince at Jones Beach Theater—on my birthday, July 23rd, no less. A full-on Prince fanatic, I was out-of-my-mind thrilled.

The plan was for me to drive down from Rosendale, where I was managing a bed and breakfast that had just opened, and meet Rachel and her boyfriend Andre there.

Rachel and I had become best friends in high school drama club, then both moved to New York City to study acting, eventually sharing an apartment on Avenue A between 9th and 10th Streets, across from Tompkins Square Park.

But after a few years, I decided to move back upstate, where I’m from, and take the job at the new bed and breakfast. I had been partying too much in the city. In fact, because of our out-of-control debauchery, once I decided to leave, Rachel wasn’t able to renew our lease.

Prince’s latest album, Emancipation, played a role: after nights of heavy drinking, Rachel and I would stumble up the four flights and blast our favorite song on the three-disc compilation set, an eight-minute track called Sleep Around. We would crank it at top volume and have a two-person dance-off right there in our living room. What we loved about the song was the build and the crescendo. Around minute five there’s a fierce drum solo that never failed to throw us over the edge, inspiring Rachel to bust out her bongo drums. Obviously, this was not something our neighbors appreciated at 4 a.m.

I thought relocation to the country would help calm me down. Maybe there, living in the middle of the forest, it would be easy for me to switch from shots of tequila and cheap beer to fresh green juices and herbal tea.

But the bed and breakfast didn’t draw much business. With no guests, and many bottles of wine in the cellar, I was left to my own devices, and I partied, well, like it was 1999. Read more…

Before Becoming an Art Critic, Jerry Saltz Wanted to Draw 10,000 Dante-Inspired Altarpieces

(AP Photo/Evan Agostini)

In a revealing memoir piece at New York Magazine, Jerry Saltz — the magazine’s art critic — retraces his early years as an artist in 1970s Chicago (spolier alert: it didn’t work out). It’s a gripping read not just for artists and art lovers, but for anyone who’s ever grappled with the tricky interplay of productivity, mediocrity, and coming to terms with one’s own limitations. Despite his failure to build a career as an artist, I loved how absurdly (admirably?) ambitious his plans were for his magnum opus: composing 100 illustrated altarpieces for each of Dante’s Divine Comedy cantos, for a total of 10,000:

I began my “Inferno” project just before dawn on the Thursday before Easter 1975, because Maundy Thursday is when Dante’s story begins in the poem — lost in “the dark wood of error,” having strayed from the “true way.” I planned to finish on Easter, the same day Dante finished his own journey, in 1300. I would finish in 2000, by which time I would have made 100 opening-and-closing altarpieces for each of the 100 cantos of The Divine Comedy. The 10,000 finished altarpieces were supposed to represent an idea of the infinite and a way to set myself free. Why Dante? Especially as I barely read at all and didn’t believe in God? I think because The Divine Comedy, which is a gigantic organized allegorical system where every evil deed is punished in accord with the law of equal retribution and divine love, supplied me with the formulated structure I craved. The highly established internal architectonics, the almost primitive definitiveness, what Beckett called the “neatness of identification,” were psychological shelter and weapons of revenge for me. A way to right my own world, to grasp an order like that in the Bible: “all things by measure and number and weight.” Most of all, it was a vision of justice — the good being rewarded and the bad getting their punishments.

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On Becoming a Woman Who Knows Too Much

National Security Adviser Condoleezza Rice waits for remarks by President Bush after he attended a military briefing at the Pentagon Monday, May 10, 2004. (AP Photo/Gerald Herbert)

Hawa Allan | “Becoming Meta,” from Double Bind: Women on Ambition | April 2017 | 18 minutes (4,661 words)

For many women, the idea of ambition is complicated. Too often when we’re are described as ambitious, it’s hard to tell whether it’s a compliment or a criticism. Often, it’s an all-out accusation. For the essay collection Double Bind, editor Robin Romm tasked 24 women writers with considering their own relationships to ambition. Hawa Allan‘s essay “Becoming Meta” is a meditation on the mantra of I’ll show you that drove her to achieve—first as the only black student in her elementary school’s gifted and talented program, then as a law student, and finally as a law firm associate, hungry for the validation of the “rainmaker” partners whose ranks held no one that looked like her.

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A noun is the proper denotation for a thing. I can say that I have things: for instance that I have a table, a house, a book, a car. The proper denotation for an activity, a process, is a verb: for instance I am, I love, I desire, I hate, etc. Yet ever more frequently an activity is expressed in terms of having; that is, a noun is used instead of a verb. But to express an activity by to have in connection with a noun is an erroneous use of language, because processes and activities cannot be possessed; they can only be experienced. —Erich Fromm, To Have or to Be?

I have been to a few Madonna concerts in my day, so I may or may not have been straining to get a view around the pillar planted in front of my discount seat when I beheld the superstar kick up into a forearm stand in the middle of the stage. For non-initiates, a “forearm stand” is a yoga pose wherein you balance your entire body on your forearms—lain parallel to one another on the ground, and perpendicular to your upper arms, torso, and legs, all of which are inverted skyward. Imagine turning your body into an “L.” And then imagine Madonna doing the same, except spotlighted before thousands of gaping fans in a large arena.

I hadn’t done any yoga at that point, so the irony of Madonna flaunting her ability in a discipline meant to induce inner awareness was totally lost on me. I just thought it was cool. Precisely, I interpreted Madonna’s forearm stand as a demonstration of power—power that was quiet yet fierce. An expression of power that I immediately decided I wanted to embody. So, not too long thereafter, I went ahead and enrolled in a series of free, introductory lessons at yoga studios across Manhattan and Brooklyn. My modus operandi: take advantage of the introductory classes and skip to another studio (once I no longer had a discounted pass). I was doing this, I told myself at the time, to test out different teachers—to find “the right fit.” In hindsight, I can see that this was just an excuse for being itinerant and cheap.

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When Innovation Fails: Doing Hard Time in the Offender-Monitoring Business

In Bloomberg Businessweek, Lauren Etter explores another problem with the privatization of law enforcement: technology. From scrambled signals and dead batteries to false violations, the electronic ankle bracelets 3M created failed to protect wearers’ civil liberties even though the process used to design them reflected the company’s way of thinking about innovation and experimentation. Unfortunately, creating monitors for human beings involves higher stakes than yellow stickies.

The sheer amount of data generated by GPS-tracking devices creates problems across the industry and in every state, but the number of alerts in Massachusetts has far exceeded the norm, experts say. Documents reviewed by Bloomberg show that in the 12 months ended in October 2015, 3M bracelets produced 612,492 violation alerts in Massachusetts—more than 50,000 per month, from about 2,800 individuals wearing the devices. Almost 40 percent of the alerts were due to a device not being able to connect to the network or the GPS not being detected. Roughly 1 percent of alerts resulted in an arrest warrant being issued. Tom Pasquarello, former director of the electronic monitoring program for Massachusetts, estimates that half those warrants were potentially based on faulty or incomplete data. That would be roughly 3,000 warrants. “There were people that were pulled from their house in the middle of the night, that lost their kids, people that lost their job,” he says.

The problem of glitchy ankle monitors became so pronounced that the Massachusetts probation department set up an after-hours office in the lobby of a Boston police station so offenders could bring in their bracelets when problems occurred or batteries died. In August 2015, Massachusetts Superior Court Judge Heidi Brieger became so frustrated with the devices that she vowed to stop sentencing anybody to them. “It is simply administratively improper to run a system in this fashion,” she said, according to a court transcript. “We don’t lose liberty in this country because somebody’s software is not working. It just isn’t right.”

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