Brothers Judd Blog

If two New Hampshire men aren't a match for the Devil, we might as well give the country back to the Indians. -Stephen Vincent Benet (1898-1943)

Culture

Immigration

AMERICA HAS A CULTURE TO ASSIMILATE TO:

Why America is so much better than Europe at immigration (Kelsey Piper and Alexander Kustov, Mar 18, 2026, The Argument)


Americans are divided over immigration — in a recent YouGov/Economist poll, 55% said legal immigration should be increased or kept the same, and 46% said immigration makes the U.S. better off (only 24% say it makes the country worse off).

That’s a lot more support for immigration than you see across the Atlantic. In a YouGov poll of Germany, 32% of respondents said that legal immigration over the last 10 years was about right or too low, and only 24% said legal immigration has been mostly good for Germany. In the same survey of France, 33% said legal immigration was about right or too low, and 22% said it has been mostly good for France. Across every Western European country surveyed, there was about 50% support for ending all new migration and requiring many existing migrants to leave.

So in America, immigration is hotly contested; in Western Europe, it’s generally way underwater. But we’re not just talking about a difference in public opinion. By almost any metric you choose to name, immigration is working far better in the United States than non-EU immigration is working in Europe.

In the United States, immigrants are actually more likely to be employed than non-immigrants (but only just). In Germany, on the other hand, OECD data reveals that only 58% of non-EU immigrant prime-aged adults work, compared to 78% of non-immigrant Germans. In France it’s 52% (of non-EU immigrants) vs 66% (of French people).

Notably, in Spain, where immigration isn’t deep underwater politically (47% said legal immigration was about right or too low, and 42% said it has been mostly good for Spain) immigrant labor force participation is higher than native labor force participation.

In the United States, immigrants commit much less crime than natives; in Europe, non-EU immigrants generally commit much more crime than natives.

Art

JUST BUSINESS:

IN SEARCH OF BANKSY: The British street artist’s identity has been debated, and closely guarded, for decades. A quest to solve the riddle took Reuters from a bombed-out Ukrainian village to London and downtown Manhattan — and uncovered much more than a name. (SIMON GARDNER, JAMES PEARSON AND BLAKE MORRISON, March 13, 2026, Reuters)

Reuters took into account Banksy’s privacy claims – and the fact that many of his fans wish for him to remain anonymous. Yet we concluded that the public has a deep interest in understanding the identity and career of a figure with his profound and enduring influence on culture, the art industry and international political discourse. In so doing, we applied the same principle Reuters uses everywhere. The people and institutions who seek to shape social and political discourse are subject to scrutiny, accountability, and, sometimes, unmasking. Banksy’s anonymity – a deliberate, public-facing, and profitable feature of his work – has enabled him to operate without such transparency.

As for the risk he might face of retaliation or censorship, Britain’s legal and political establishments seem comfortable with Banksy’s messages and how he delivers them.

On September 7, for example, he stenciled a provocative piece on the exterior wall of London’s Royal Courts of Justice, a historically protected building. It depicted a judge in wig and robes bashing an unarmed protester with a gavel. Two months earlier, the government had designated the pro-Palestinian group Palestine Action as a terrorist organization. The day before the painting appeared, about 900 people were arrested at protests against the ban.


Stephens didn’t reply to a question about whether the mural was tied to that crackdown. In any event, Banksy’s painted protest against British justice appears to have gotten a pass so far.

Under local laws, graffiti is a crime, with penalties ranging from fines and community service to (rarely) jail time. The day after the mural went up, London’s Metropolitan Police said it was investigating “a report of criminal damage” to the building. An investigation remains under way, the Ministry of Justice said. The mural was power-washed off the wall, leaving behind a shadow of the image. In response to a Freedom of Information Act request, the ministry said that as of December, the government had spent £23,690 removing the piece. The work continues, it said: Next, specialist contractors will use laser equipment on the stain.

The justice ministry declined to say whether Banksy was penalized or paid compensation. Stephens had no comment.

Some artists have questioned if Banksy, once considered anti-establishment, now enjoys special treatment from Britain’s powers that be. In 2014, Vice Media asked: “Why Is Banksy the Only Person Allowed to Vandalize Britain’s Walls?” The story quoted David Speed, a street artist who ran a British graffiti collective. “It’s very much one rule for him and another rule for everyone else,” Speed told Vice. “When street artists do it, it’s vandalism. When Banksy does it, it’s an art piece.”

Contacted by Reuters, Speed praised Banksy as “a really important artist of modern times.” Yet he still wonders why “one artist should be able to have carte blanche and everyone else would be subject to penalties.”

“Is he above the law?” Speed said. “The evidence would suggest that he is.”

Some experts believe Banksy’s ability to use the world as his canvas is money in the bank. One analyst, MyArtBroker, observed that the Royal Courts of Justice mural helped bolster Banksy’s market value.

Although such public pieces “cannot be monetised directly, they maintain visibility and authorship – qualities that keep collector confidence high and demand active,” art investment site MyArtBroker wrote in a report on the 2025 market for Banksy’s work. Banksy’s “street interventions,” it said, help prop up demand and prices for his art as a whole. One Banksy piece was sold by Sotheby’s for £4.2 million ($5.7 million) last year, the report noted.

Banksy lawyer Stephens didn’t answer questions about whether Banksy has been penalized for his exploits. But he noted that some owners are happy when he paints on their buildings. “It appears that if people find a Banksy added to their wall, most of them call Sotheby’s rather than the police,” he wrote. “The question of where the artist’s work sits in the legal landscape is an interesting one, and I’m as bemused as anyone else.”

This is the story of the art, commerce and paradox of Banksy, arguably the most famous anonymous man in the world. The journey to understand him began in Ukraine and took us to a billboard in New York’s Meatpacking District, and the walls and auction houses of London.

Art

COMFORT:

What is it, therefore, that makes a good walking stick?: As it turns out, quite a lot. Gabriel Stone investigates. (Gabriel Stone, 3/10/26, Country Life)

A well-made stick is an object of beauty, a symbol of connection to the land from which it was plucked and, over many patient hours, refined. That symbolism becomes weightier still when it takes the form of the crozier, or shepherd’s crook, long carried by bishops on ceremonial occasions to represent pastoral care for a perpetually wayward flock. Cathedrals excepted, a wooden stick feels out of place in town or, at least, a striking style statement. In the countryside, however, there’s no finer companion to tackle uneven ground, beat down nettles, shoo errant livestock or simply rest on in contemplation.

Books

INGLORIOUS:

Captain America, Our First Antifascist Superhero: Peter Meineck on the Ancient and Modern Inspirations Behind the Heroes That Populate the Marvel Universe (Peter Meineck, February 27, 2026, LitHub)

Captain America was introduced in December 1940 by Timely Comics, the forerunner of Marvel. At that time Britain had been at war with Germany for seventeen months. Adolf Hitler’s forces had swept through Europe. The Nazis were setting up concentration camps for Jews, Romani, queer people, academics, political prisoners, and anyone whom the regime considered “degenerate.” Britain was being relentlessly bombed by the Luftwaffe, Germany had invaded France, Belgium, and Holland, and the concentration camp at Auschwitz had opened. America was still a year away from entering the war.

From the beginning Marvel was defined by its superhuman characters set against the background of the coming war. Its first comic book, Marvel Comics #1, had been released by Timely in August 1939 and introduced several characters. There was the Human Torch, the Angel, Namor the Sub-Mariner, the Masked Raider, and a Tarzan-like figure called Ka-Zar. By issue #2, the Angel was shooting down Nazi bombers over Poland. Then in issue #3, Namor was sinking German U-boats. Right from the start Marvel’s characters were responding to real events in the world—and what’s more, they were taking a stand.

At the foundation of the Marvel universe lies something essentially heroic. Almost two years before America entered the war against the Axis powers, Bill Everett was telling stories about a superhuman figure from Atlantis doing battle with the Nazis. Then came Captain America in 1940, a new hero billed as “against those who would conquer the United States” and the “sentinel of our shores.” Readers were encouraged to sign and become one of Captain America’s United States Junior Sentinels. Then they would receive a membership badge and an ID card. The Captain was introduced bedecked in his red, white, and blue stars-and-stripes costume. He carried a kite-shaped shield, which resembled the one on the great seal of the United States, and wore a blue half mask emblazoned with a distinctive white “A” and edged with small wings.

Captain America’s creators, Jack Kirby (born Jacob Kurtzberg) and Joe Simon (Hymie Simon), were sons of Jewish immigrants from Europe and aware of the dangers of the Nazi regime. In The Human Torch #3, released in December 1940, a story by Carl Burgos (Max Finkelstein) already has the Torch battling a Hitler look-alike named “Hiccup.” In one brilliant panel a tendril from the Torch’s fiery wake singes off Hiccup’s Hitler moustache. In that same issue Namor helps the US Navy defeat a surprise seaborne attack by the Germans and is rewarded with a ticker-tape parade in New York City.

It’s clear Captain America was introduced for one incredibly urgent purpose: to galvanize American youth against the Nazi regime.

Art Uncategorized

THERE’S NO SUCH THING AS QUALITY:

In Blind Test, Audiophiles Unable to Tell Difference Between Sound Signal Run Through an Expensive Cable and a Banana (Victor Tangermann, Feb 22, 2026, Futurism)

Pano ran high-quality audio through a number of different mediums, including pro audio copper wire, an unripe banana, old microphone cable soldered to pennies, and wet mud. He then challenged his fellow forum members to listen to the resulting clips, which were musical recordings from official CD releases run through the different “cables.”

The results confirmed what most hobbyist audiophiles had already suspected: it was practically impossible to tell the difference.

Books

CLEAVERS:

The Hawthornes In Paradise: Nathaniel was poor and sunk in his solitude; Sophia seemed a hopeless invalid, but a late-flower love gave them at last “a perfect Eden.” (Malcolm Cowley, December 1958, American Heritage)

Sophia Amelia Peabody, five years younger than Hawthorne, never suffered from self-absorption or an icy heart, but she had a serious trouble of lier own. A pretty rather than a beautiful woman, with innocent gray eyes set wide apart, a tiptilted nose, and a mischievous smile, she had beaux attending her whenever she appeared in society; the trouble was that she could seldom appear. When Sophia was fifteen, she had begun to suffer from violent headaches. Her possessive mother explained to her that suffering was woman’s peculiar lot, having something to do with the sin of Eve. Her ineffectual father had her treated by half the doctors in Boston, who prescribed, among other remedies, laudanum, mercury, arsenic, hyoscyamus, homeopathy, and hypnotism, but still the headaches continued. Once as a desperate expedient she was sent to Cuba, where she spent two happy years on a plantation while her quiet sister Mary tutored the planter’s children. Now, back in Salem with the family—where her headaches were always worse—she was spending half of each day in bed. Like all the Peabody women, she had a New England conscience and a firm belief in the True, the Beautiful, and the Transcendental. She also had a limited but genuine talent for painting. When she was strong enough, she worked hard at copying pictures—and the copies sold- or at painting romantic landscapes of her own.


Sophia had been cast by her family in a role from which it seemed unlikely that she would ever escape. Just as Elizabeth Peabody was the intellectual sister, already famous as an educational reformer, and Mary was the quiet sister who did most of the household chores, Sophia was the invalid sister, petted like a child and kept in an upstairs room. There were also three brothers, one of them married, but the Peabodys were a matriarchy and a sorority; nobody paid much attention to the Peabody men. It was written that when the mother died, Sophia would become the invalid aunt of her brother’s children; she would support herself by painting lampshades and firescreens, while enduring her headaches with a brave smile. As for Hawthorne, his fate was written too; he would become the cranky New England bachelor, living in solitude and writing more and more nebulous stories about other lonely souls. But they saved each other, those two unhappy children. Each was the other’s refuge, and they groped their way into each other’s arms, where both found strength to face the world.

Books Puritan Nation Republican Liberty

PEOPLE OF THE ARC:

Is Grit the American Virtue? (Phillip M. Pinell, 2/12/26, Ford Forum Observer)

For Mattie, grit means follow-through. It is the ability to do one’s job—however brutal—without flinching. Rooster’s violence is not admirable to her in itself, but it is evidence that he will persevere. Even this God-fearing young Presbyterian, no friend of vice, concludes that moral squeamishness is not a prerequisite for justice. Her father has been murdered. Justice requires the murderer be caught and hanged. Nothing more, nothing less. This is an Old Testament conception of justice, not as mercy to one’s enemy, but as measure-for-measure.

Yet as the story unfolds, it becomes clear that Mattie possesses more grit than the man she hires. Despite Rooster’s attempts to leave her behind, she follows him into dangerous, unfamiliar terrain. She eats little, sleeps less, and refuses every opportunity to give up. Unlike Rooster, who is motivated by money, Mattie is animated by a righteous sense of duty. Her upbringing has made her the opposite of Rooster: law-abiding, methodical, stubbornly principled. And yet she, not Rooster, ultimately kills Chaney with her father’s own rifle.

This tension—between the lawless grit of Rooster and the principled grit of Mattie—captures something fundamental about the American character as imagined in our national mythology. If America is shaped by the dispositions of those who came before, Mattie embodies the perseverance of early American settlers and frontier families, the relentless Protestant insistence that injustice must be confronted directly, that one must not shrink from doing hard things oneself. Her world is set fifty years after Tocqueville’s travels, yet she would not look out of place in his account of the determined, self-reliant Americans of Jacksonian America.

The Western endures because it dramatizes this dual nature of American grit. Sometimes it manifests as admirable perseverance, sometimes as dangerous vigilante hardness. But it is unmistakably American in its insistence that adversity is not an excuse to retreat.

Immigration

A LEGACY OF RACISM:

Trade, Immigration, and the Forces of Political Culture: America was founded as a “society of equals.” Technological or demographic changes that threaten that ideal have long provoked sharp political responses. (Stephen Haber, February 9, 2026, Freedom Frequency)

It was not long before another technological change—the fall in transport costs induced by improvements in passenger steamships—created a new challenge to America’s society of equals. Immigrants from Eastern Europe, Southern Europe, China, and Japan, who would work for wages well below those of native-born workers, began arriving in large numbers.

The political response to technologically induced demographic change was sharp.

In 1875, Congress passed the Page Act, which effectively banned the immigration of Chinese women to the United States. It was followed in 1882 by the Chinese Exclusion Act, which prohibited the immigration of Chinese laborers and denied Chinese already in the United States the right to become naturalized citizens. In 1905, the Japanese and Korean Exclusion League was established in California to expand the Chinese Exclusion Act to immigrants from those countries. The result was the Gentlemen’s Agreement of 1907, in which the Japanese government agreed not to issue passports for Japanese citizens wishing to work in the United States.

Restrictions on Southern and Eastern European immigration soon followed. A 1917 law required immigrants to pass a literacy test. In 1921 an Emergency Quota Act limited the number of immigrants from any country outside the Western Hemisphere to 3 percent of the foreign-born persons of that nationality living in the United States in 1910. It therefore sharply curtailed what had been virtually unlimited European immigration and at the same time favored Northern and Western Europeans, who were numerically dominant in the United States in the 1910 census, over poorer immigrants from Southern and Eastern Europe.

It was followed by the even more restrictive Immigration Act of 1924, which prevented immigration from Asia, capped total immigration at 165,000, and set quotas for Europeans at 2 percent of their US population in the 1890 census (when Eastern and Southern Europeans were an even smaller minority than in the 1910 census, thereby further curtailing their numbers).

America’s restrictive immigration policies endured for decades. The Chinese Exclusion Act remained on the books until 1943, when the United States and China were allied against Japan during World War II. The quotas of the 1924 Immigration Act remained until the Immigration and Nationality Act of 1965, which established a preference system based on attracting highly skilled workers and reunifying families.

Immigration

I’M A STRANGER HERE MYSELF:

A Theology of Immigration: “None of us have a permanent residence here in this world,” the Reverend Dan Groody says. (Jay Caspian Kang, February 3, 2026, The New Yorker)

These thoughts and the current battle over immigration brought me to the work of the Reverend Dan Groody, a Catholic priest and a professor of theology at Notre Dame, who spent years working in Latin America. In 2009, Groody published a paper titled “Crossing the Divide: Foundations of a Theology of Migration and Refugees,” in which he grappled with Imago Dei, the idea found throughout the Bible that human beings are created in the image and likeness of God. “On the surface it may seem basic to ground a theology of migration on imago Dei, but the term is often ignored in public discourse,” Groody writes. “Defining the migrant and refugee first and foremost in terms of imago Dei roots such persons in the world very differently than if they are principally defined as social and political problems or as illegal aliens; the theological terms include a set of moral demands as well. Without adequate consideration of the humanity of the migrant, it is impossible to construct just policies ordered to the common good and to the benefit of society’s weakest members.”

Last week, I talked with the activist Wayne Hsiung about some of the practical assets—physical infrastructure, collective belief—that religious communities bring to progressive activism. The point Hsiung made was that we cannot actually build movements without institutional support, which, at least in this country, still has to come from faith. My conversation with Groody was more philosophical, focussed on how we think, in the most foundational way, about other people, and how essential this is to political change. The transcript below has been edited for length and clarity.

the Reverend Dan Groody: I knew instinctively, as a pastor, that something of God was interwoven in their stories. And as I began to look even more closely to the Scriptures and other places, I recognized that Jesus himself was a migrant. Jesus himself was a refugee. In fact, I use this almost as the organizing understanding of God, who migrated to our human race, who in turn reconciled us to God, so that we can migrate back to our homeland and become naturalized citizens again in God’s kingdom, if you will. So there’s a way in which migration frames and can frame the whole understanding of the Scriptures from beginning to end. We come from God. We’re called to return to God. Migration is a metaphor that can be used to understand what it means to be human in this world. If that be the case, none of us are fixed or stayed and none of us have a permanent residence here in this world.

CROSSING THE DIVIDE: FOUNDATIONS OF A THEOLOGY OF MIGRATION AND REFUGEES (DANIEL G. GROODY, C.S.C., 2009, Theological Studies)

In the book of Genesis we are introduced to a central truth that human beings are created in the image and likeness of God (Gen 1:26–27; 5:1–3; 9:6; 1 Cor 11:7; Jas 3:9). This is not just another label but a way of speaking profoundly about human nature. Defining all human beings in terms of imago Dei provides a very different starting point for the discourse on migration and creates a very different trajectory for the discussion. Imago Dei names the personal and relational nature of human existence and the mystery that human life cannot be understood apart from of the mystery of God.

Lisa Sowle Cahill notes that the image of God is “the primary Christian category or symbol of interpretation of personal value.”21 “[This] symbol,” Mary Catherine Hilkert adds, “grounds further claims to human rights” and “gives rise to justice.”22 One reason why it is better to speak in terms of irregular migration rather than “illegal aliens” is that the word alien is dehumanizing and obfuscates the imago Dei in those who are forcibly uprooted. On the surface it may seem basic to ground a theology of migration on imago Dei, but the term is often ignored in public discourse. Defining the migrant and refugee first and foremost in terms of imago Dei roots such persons in the world very differently than if they are principally defined as social and political problems or as illegal aliens; the theological terms include a set of moral demands as well. Without adequate consideration of the humanity of the migrant, it is impossible to construct just policies ordered to the common good and to the benefit of society’s weakest members. The fact that in our current global economy it is easier for a coffee bean to cross borders than those who cultivate it raises serious questions about how our economy is structured and ordered.

Sex

DEPROGRAMMING THE CULT:

Plastic surgeons ditch gender ideology (Benjamin Ryan, 4 Feb 2026, UnHerd)

On Tuesday, the American Society of Plastic Surgeons came out in opposition to providing gender-transition surgeries to minors. The recommendation, the first of its kind from a mainstream medical association, was published in a nine-page policy statement that marks a watershed moment in these debates. It’s part of a broader rethink among many experts, a reminder that science can trump ideology when investigators follow time-tested, evidence-based processes.

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