Don’t you ever get tired of waiting for the system to deliver justice? In Esquire, Suzy Khimm enters the underworld of Canadian vigilantes who hunt pedophiles and make popular videos of busts. They have names like Creep Hunters and Creep Catchers. Some members were molested themselves, and they’re done waiting for authorities to help. But going rogue requires walking the line between avenger and criminal, and mistakes have led to widespread changes in the movement. Now some are asking what they want more: to be famous or effective?
When he took over the Creep Hunters last fall, Brady boasts, he created a culture of professionalism for their work: All chats and videos were required to be posted to the “head office” (a virtual workspace) and vetted by a “legal team” (a law student) before being published online. The group required members to sign a service agreement and complete a training program, using a manual called The Book of New Blood. The group even appointed an “office manager,” a 55-year-old former HR assistant who organized all the chat logs—the smutty propositions, the overwrought confessions of love, the dick pics—to send to the police.
So far, Creep Hunters hasn’t gotten anyone convicted, and only one catch—snaring a deputy sheriff in British Columbia—has resulted in charges of child sexual exploitation. But Brady insists that Creep Hunters could be the ideal complement to traditional law enforcement. Compared to the U.S., Canada has been slow to toughen its laws on child sexual exploitation: In 2008, it raised the age of consent from fourteen to sixteen years—the first time it had changed since 1892. Brady believes that the country needs to take America’s lead in cracking down on sex offenders, and that groups like his can help close the gap. Since predator catchers don’t have the ability to make arrests, they aren’t subject to the same entrapment laws that limit how police carry out their own sting operations; they can go where the police don’t, then turn their evidence over to the authorities.
José Mares was one of 161 undocumented immigrants netted in the L.A. sweeps that ICE conducted in early February, the first significant enforcement surge of the Trump presidency. The sweeps were part of a nationally coordinated surge of 680 arrests in 11 states. Yet it was not the size of the raid that’s notable but, rather, how abruptly ICE had jettisoned the “felons not families” guidelines for removal established under President Obama.
Trump appeared to endorse the sweeps a few days after Mares was deported, tweeting: “The crackdown on illegal criminals is merely the keeping of my campaign promise. Gang members, drug dealers & others are being removed!” It is the “others” he mentions that most concern advocates for immigrant rights.
ICE under Trump is going after low-hanging fruit, migrants with final orders of removal for a petty misdemeanor offense, according to lawyers who work with the recently deported in Tijuana. Last month, the Department of Homeland Security issued new immigration enforcement guidelines that make a priority of following no priorities. The guidelines call for hiring 10,000 additional enforcement agents, increasing the holding capacity at detention centers and reactivating a program that deputizes local law enforcement to help make immigration arrests.
Prince made too much music for just one person. He knew this, banking thousands of hours of unreleased material in the vaults of his Paisley Park studios. A year after his unexpected death on April 21, 2016, we’re no closer to realizing what he stashed away in his vaults, but what he gave away in his lifetime represents an important chapter in his legacy.
A year after his unexpected death. Prince was the soundtrack to the most naively optimistic years of my life, the years that my life was first my own. Years full of risk and erratic income and the first time I fell in love as something resembling an adult. A year after his unexpected death. I still catch my breath when there’s a Prince song on the radio. I can’t sing along without my voice literally choking on the emotion I still feel from this loss.
At Pitchfork, Stephen Thomas Erlewine reminds us that Prince existed beyond his own discography. We know about “Manic Monday” and “The Glamorous Life” and “Jungle Love,” but there was so much more. And much of it went to women.
Prince’s cottage industry as a songwriter for hire was a key part of his purple reign in the mid-’80s. He wasn’t contracted to write hits but instead gave songs to acts he deemed worthy. Usually these were women, which emphasized Prince’s androgyny and feminine empathy, but also reflected the practical reality that he no longer had Vanity 6 and Apollonia 6—the short-lived girl-groups he built, respectively, around his ex-girlfriends Vanity and Apollonia in the early ’80s—as a vehicle for exploring this side of himself. Certainly “Sugar Walls,” the tune he gave to Sheena Easton in 1984, felt like a throwback to Vanity 6’s sex-saturated 1982 hit “Nasty Girl,” and Easton delivered it with a heavy-handedness befitting its single-entendre. But if “Sugar Walls” treads familiar territory, “Manic Monday”—written for the scrapped second Apollonia 6 album—was a genuine departure into psychedelic pop. In the Bangles’ hands, “Manic Monday” carried a bittersweet sparkle suiting the Paisley Underground scene, which inspired the Revolution’s Around the World in a Day.
There’s an Apple Music playlist included at the end of Erlewine’s homage to Prince’s diverse side projects. You might want to grab your headphones.
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.
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!)
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.
Tom Maxwell | Longreads | April 2017 | 10 minutes (2,329 words)
On June 12, 1963, in the early morning after president John F. Kennedy’s Civil Rights address, activist Medgar Evers was shot in the back as he stood in the driveway of his Mississippi home. He was returning from a meeting with NAACP lawyers and officials, and carried an armload of T-shirts that read “Jim Crow Must Go.” Evers was taken to a local hospital, where he died less than an hour after being admitted.
On September 15, 1963, four girls were killed when white supremacists planted more than a dozen sticks of dynamite beneath the side steps of the African-American 16th Street Baptist Church in Birmingham, Alabama. The children were preparing for a sermon titled “A Love That Forgives.” According to one witness, their bodies flew across the basement “like rag dolls.” Read more…
Food — from the infamous chocolate babka to the “big salad” — figures heavily in the popular ’90s sitcom, Seinfeld. At Eater, Chris Fuhrmeister serves up 25 Seinfeld food favorites, ranked “based on their influence on pop culture, accuracy at mirroring real life, and overall hilarity.”
Episode: “The Dinner Party” (Season 5, Episode 13).
One of many in which the gang is out in the world experiencing constant mishaps, the episode shines a light on the unwritten rules of a civilized dinner party. Elaine, George, Jerry, and Kramer must pick up a bottle of wine to take to their friends’ party (they can’t simply grab a bottle of Pepsi, as George would prefer). That’s not enough: There must be a cake, too. But in the events that lead to the group missing out on the last chocolate babka and having to settle for cinnamon, one wonders: What kind of New Yorkers are these? Forgetting to take a ticket in a crowded bakery seems like an amateur mistake.
We’re taught that all narrative conflicts boil down to one of three stories: man versus man, man versus himself, or man versus nature. So what about women? Megan Mayhew Bergman takes to the pages of The Paris Review, looking for depictions of women acting and exploring with agency—from fictional women like Judith in Artemisia Gentileschi’s famous painting, to modern explorers like Rahawa Haile—and finding not nearly enough, and not much range. Still, there are inspiring examples of women taking on nature, and the hopeful note that women will continue carving out large spaces in adventure art and literature.
In the midfifties, Emma “Grandma” Gatewood, sixty-seven years old and mother of eleven children, became the first woman to hike the Appalachian Trail. She carried her gear in a homemade knapsack and slept under a shower curtain. She wore Keds. Emma was a survivor of domestic abuse: she had been nearly beaten to death by her husband more than once; when she divorced him, he threatened to commit her to an insane asylum. In 1955, she turned to her kids and told them, I’m going on a walk. She completed the 2,168-mile trail three times, the last when she was seventy-five years old.
In the sixties, Audrey Sutherland, who was raising four children alone on Oahu, would leave for weeks at a time to take solo expeditions. She explored the northern coast of Molokai, swimming in jeans and pulling her camping gear behind her in an army bag. From 1980 to 2003, she explored over eight thousand miles of waterways in Alaska and British Columbia, traveling with an inflatable kayak.
Dillard has had to wait for more than 15 months for the public to see his movie. After brokering a deal with Blumhouse and WWE Films, Dillard entered a period when he was forced to resume his life and earn a living while tuning up his movie for its wide release. Few had seen Sleight and so momentum was difficult to come by. Artistic purgatory doesn’t pay.
“Here’s the not-so-glamorous side of independent film: All of my student loans defaulted, all my credit cards went into collections, I went back to Bad Robot to help my friends who are chefs there, to help them in the kitchen,” says Dillard. “So I was doing whatever I could, but I still had to keep so much time open for Sleight, and that process sucks — like, it really sucks. And that’s nobody’s fault. It’s the nature of a low-budget [movie], where you can’t just pay somebody 85 grand [to fix all your problems].”
There was no such interregnum for Macon Blair.
“It seems to me like a cool way of doing things,” Blair says of his movie’s quick arrival on Netflix. “If the temperature is already up on a particular title to not let it cool off and then have to re-remind people about it nine months or 12 months later, just sort of strike while the iron is hot.”