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Made In America, Mostly: How to spot fake heritage

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Last month, my wife and I spent an afternoon walking around the West Village in New York. As we ambled between the boutiques and fashion houses, we passed a Buck Mason store. My wife pointed it out and said “Oh, I think you’d really like them. They make all their stuff. It’s all American-made.”

I was immediately skeptical. My instinct is that brands who focus on making things in America spend their money on making them, rather than on West Village rents. So I looked them up.

As it turns out, Buck Mason does make things in the USA. It owns a sewing factory in Mohnton, Pennsylvania, that makes some of its T-shirts from fabric knitted at its mill in neighboring Shillington. Some of its jeans are also cut and sewn in Los Angeles. They promote their “Made in USA” line in the top menu of their website, and the page leads with the mill’s story.

Buck Mason bought both facilities in December 2022, after Stitch Fix closed them and cut 56 jobs. The company then rehired several of the original workers. When the New York Times reported on the mill in August 2023, 20 people worked at the two sites. “It’s not a lot of jobs,” Mohnton’s mayor, Eric Burgis, told the paper. Co-founder Erik Allen Ford said “the dream” was to employ 100. His co-founder, Sasha Koehn, said being able to market products as “made in America” was one benefit of making them here, along with quality control.

I could find no public headcount for the mill since then. Buck Mason now has 44 stores, two of them on Bleecker Street in the West Village.

Curious about the scale of the USA-made component of their business, I audited the origin line on every product page in Buck Mason’s men’s and women’s catalog. There were 773 listings in all. Of those, 83 were made in the US, about 1 in 9. 385 listings carry the word “Import” without naming a country and 17 named Japan or England. The remaining 288 listings said nothing about where they were made.

To be fair to Buck Mason, many of its US-made items do carry a “Made in USA” tag on the product grid. Its US-made tees are also often cheaper than its imported ones. The Pima tee, made in the US, costs $48, while the imported Field-Spec heavy tee costs $62. Its Our Story page says its partnerships are “both domestic and overseas.”

Buck Mason is a fashion brand selling a mid-century American look. It does not shy away from applying “American Heritage” language and iconography in its marketing. But at least it operates a mill, employing some American workers. It is by no means the worst case. As I kept digging, I found some real shockers.

Roughly 97% of the apparel and footwear sold in America is imported. Buying imported is a perfectly reasonable choice for many people, and many imported products are high quality.

However, some heritage brands market the notion of “American-made” across the whole brand, while importing most of what they sell.

Shinola calls itself “The American Watchmaker.” On 92% of its product pages, I found no indication of where the product was made. Every leather and jewelry page I checked carries a paragraph about its Detroit watch factory, with no confirmation that the products were actually produced there.

Filson leads its homepage with the slogan “Unfailing Goods Since 1897.” They charge $149 for an imported 8-ounce flannel shirt. Carhartt sells an imported 8-ounce flannel shirt, labeled as such, for $55.

I suspect many people are happy to pay a heritage price if they know it supports American manufacturing. I certainly am. Some brands charge that price and sell you the appearance of heritage.

Today’s article covers what the law says about “Made in USA,” and names a few of the worst cases. I’ll run the numbers on what the heritage premium costs you, and share how to find real, high-quality American-made goods.


Worse on Purpose investigates why the things you buy are getting worse. Subscribe to get the next essay in your inbox.


What counts as “Made in USA”

The FTC sets the standard for origin claims. Under its guidance, any product sold as “Made in USA” must be “all or virtually all” made in the country. Its final assembly must happen in the US, and it should contain no more than a negligible amount of foreign content.

The rules cover more than simply saying “Made in USA.” The FTC judges “the overall impression” that an ad conveys. It says US flags, maps and “references to U.S. locations of headquarters or factories” can all imply that a product is made here. An American brand name on its own does not. The guidance does not mention whether founding dates or heritage copy imply US origin.

“Assembled in USA” is a lesser claim. It requires that the product’s principal assembly happen in the US, and that assembly must be substantial. The FTC’s Made in USA rule also treats “built” in the USA as the same claim as “made” in the USA.

The FTC also sets out additional standards for clothing. Under the textile rule, a listing that sells clothing online or by mail must say clearly and conspicuously whether each item was made in the USA, imported, or both. Every imported garment must also name its country on the label.

The FTC does enforce these rules. It sent four Made in USA warning letters in July 2025 (to flagpole retailer Americana Liberty, footwear maker Oak Street Manufacturing, LLC, football equipment company Pro Sports Group LLC, and personal care products manufacturer USA Big Mountain Paper Inc). In April of this year, it announced a sweep that included three law enforcement actions.

Imports and heritage brands

The average American wardrobe is now predominantly made up of imported goods. Despite that, the provenance of clothing still matters to many buyers. In a 2025 Gallup poll, 43% of Americans said it was important that their clothing and shoes were made in the US. Among people who said that origin matters, 71% cited supporting American jobs and workers when asked why, the most common reason. Only 39% said that they usually know where a product was made before they buy it.

Most buyers are not prepared to pay extra, though. In a 2017 Reuters/Ipsos poll, 37% said they would not pay any more for US-made goods, and another 47% would pay at most 10% more. Bear in mind that this poll is now almost a decade old. I’d be interested to learn whether those numbers have shifted at all.

Affordable clothing is a fair thing to want, and an imported jacket can certainly be an excellent jacket. Imports serve a genuine need, and the fact that consumers now have access to excellent clothing at more affordable prices is something I have no qualms with. I want to focus instead on the companies that market American heritage across the whole brand while importing most of what they sell. They charge heritage prices for the imports too. Shinola, Filson and Woolrich are a few examples in this group.

What the product pages say

To assess the level of disconnect between the brands’ manufacturing practices and their marketing claims, I compared what each brand’s homepage says with what its product pages say about where things are made. Counts are between the 31st of October and the 3rd of November.

Brand

Homepage

What the product pages say

Shinola

Page title “Shinola | The American Watchmaker”

514 of 558 give no origin; 33 watch pages mention Swiss and imported parts or Detroit assembly; 3 home items say “Made in Michigan”

Filson

“Unfailing Goods Since 1897 / Proven from the Alaska goldrush to today’s frontiers”

157 of 1,096 listings are made in the US, only 44 of them clothing

Woolrich

Page title “American Heritage Since 1830”

Every product page I checked names a foreign country of origin

Buck Mason

“Made in USA” in the main menu

83 of 773 made in the US; 385 say “Import”; 288 give no origin

Red Wing Heritage

“Handcrafted … in our Minnesota factory”

All 90 Heritage styles labeled Made in USA, a few with imported parts; a flag on every tile and the label under each product photo

Shinola takes its name from a shoe polish brand founded in Rochester, New York, in 1907, which went out of business in 1960. In 2011, Bedrock Manufacturing, the Dallas company owned by Fossil founder Tom Kartsotis, bought the rights to the name and launched the new Shinola in Detroit.

It assembles quartz watch movements in its Detroit factory “from Swiss and imported parts,” and it sews some of its leather straps there. Its homepage title reads “The American Watchmaker … Shinola began with a simple idea: to bring watchmaking back to the US.” Its About page headline reads “Designed and Built in Detroit.” The same page says it works with “hand-selected manufacturers in America and abroad.”

Shinola’s Google listing

I audited all 558 product pages on Shinola’s site. Of those, 514 (92%) provide no indication of where the product was made. That includes every leather good and every piece of jewelry, along with 120 of the 153 watches.

Every one of the 31 leather and jewelry pages I checked carries the same copy about the watch factory:

This $225 wallet is a typical example. Its page contains no origin disclosure. It does, however, carry the factory paragraph, under the heading “Reviving American Craft, One Watch at a Time.” The same section also says, “American manufacturing is thriving once again in Detroit.”

The FTC has looked into Shinola’s marketing claims before. In 2016, FTC staff closed an inquiry after the company agreed to drop the slogan “Where American is Made” and qualify its other claims. The letter found that 100% of the materials cost of certain Shinola watches was imported.

A Shinola employee who recently left the company told me they joined because of that promise. They wrote, “I joined this company on the basis that we were bringing jobs back to the area.” On a call, they added: “I thought we were making watches in Detroit.” Inside, they said, the company was “always kind of vague with us about what was going on.”

Their account of what actually gets built in the Detroit factory is narrower than the marketing. The factory assembles watches and stitches straps, they wrote, “but that’s it.” They estimated that “up to 99% of components in the watches were foreign-made.”

According to the employee, Shinola’s clocks are the starkest example. “They have clocks that actually say when you open the box up, made in China.” Shinola’s product pages say its 14-inch wall clocks are “built in the United States with U.S. and imported parts,” and that its 6-inch desk clocks are “assembled in our Detroit watch factory.” 13 of the company’s 14 clocks carry product codes ending in “CHN,” the standard code for China.

From a Shinola clock product page.

From a Shinola clock product page.

Leather goods follow the same pattern. The employee said nearly every leather item in Shinola’s stores carries a tag reading “Made in Vietnam.” On its website, 211 of its 238 leather product codes end in “VNM,” the standard code for Vietnam, including the $225 wallet.

Customers asked the employee more than once why the watches cost so much. “There is no good answer.”

Filson was founded in Seattle in 1897 as an outfitter for prospectors heading to the Klondike gold rush. The Filson family sold the company in 1970. It changed hands twice more before Bedrock bought it from private equity firm Brentwood Associates in 2012. Filson and Shinola share an owner, and the FTC’s 2016 letter covered Filson-branded products as well.

It still makes its Mackinaw Cruiser jacket as well as its Mackinaw and Western vests at its own factory in Kent, south of Seattle. As recently as 2015, it made 90% of its products in the US. In 2023, the Seattle Times reported that it moved up to two-thirds of its remaining Seattle-area production to a vendor in southern California.

The move cut up to 26 manufacturing jobs, mainly in Kent. Bedrock’s then-CEO, Awenate Cobbina, said the move was about management time and “was not a cost-driven exercise.” Filson declined to tell the paper what share of its products are still made in the US.

As of November 1st, 157 of 1,096 listings on Filson’s site sit in its Made in USA collection. Many are small goods such as hats, belts and home items, and some are made with imported materials. Just 14 listings carry the “Made at Filson” tag.

When I checked a random sample of 36 men’s listings, 31 read “Imported.” The homepage still leads with “Unfailing Goods Since 1897” and “The Original Outfitter since 1897.”

From Filson’s Homepage

Woolrich runs the slogan “American Heritage Since 1830” as its homepage title. Its heritage page tells the story of its Pennsylvania woolen mill. That mill has not been operational since 2018.

Woolrich’s Google listing

At its peak in 1988, the company employed about 3,000 people, and it ran 10 US plants by 1989. By 1995, it had closed six of them and moved much of its sewing to Mexico. A 2016 merger with its Italian licensee ended nearly two centuries of Rich family majority ownership, and in 2018, the Luxembourgish private equity firm L-GAM bought a majority stake.

By then, Woolrich employed about 250 people worldwide. The original mill described on the company’s heritage page stopped making fabric at the end of 2018, and its equipment was auctioned off in 2023.

Every Woolrich product page I checked names the country it was made in, such as India or Vietnam. Its homepage title still leads with “American Heritage Since 1830,” and the heritage page offers no indication that the mill it describes has since shut down.

From Woolrich’s Heritage page

What the story costs

Heritage brands charge heritage prices, whether or not a good is imported. Filson’s Alaskan Guide Shirt is made of 8-ounce cotton flannel. Its page reads “Manufacturing: Imported.” Filson’s European site says it is made in Sri Lanka. It costs $149.

Carhartt’s Hubbard Loose LS Plaid Shirt is made of “8-ounce, 100% cotton brushed flannel.” Its page reads “Country of Origin: Imported.” Carhartt’s flannel can be had for $54.99 to $59.99.

The Filson shirt costs almost three times as much as the Carhartt. Both are constructed from 8-ounce flannel, and both are made abroad.

Other heritage brands charge more still. Woolrich’s cotton flannel shirt is made in India and costs $195. Pendleton’s wool board shirt costs $198 and reads “Assembled in Mexico of USA made fabric.” It’s a different cloth and the product page is clear about where each part is made.

I have not tested any of these shirts directly, and the Filson does have some extra features relative to the Carhartt. Its flannel is a twill brushed on both sides, and its chest pockets are gusseted, so they expand. It also comes with Filson’s limited lifetime guarantee. The Carhartt also has extras of its own, such as triple-stitched main seams. Both shirts share the same weight of cotton flannel and a pleated back. Details like these probably account for some of the $94 difference, but not all of it. A large part is the premium that a heritage name can command.

What honest labeling looks like

Honest labeling means the product page tells the same story as the homepage. If a product is made here, the page says so. If it is imported, the page says that too.

Red Wing’s Heritage line gets the first half right. Its Heritage homepage says the boots are “Handcrafted … in our Minnesota factory,” and all 90 Heritage styles back that up. Each US-made tile carries a flag, and each product page shows “Made in USA” under the main photo. Its filter separates “Made in USA” from “Made in USA with Imported Parts,” and its Porter Moc reads “MADE IN USA W/ IMPORTED PARTS.”

From Red Wing’s Homepage

Red Wing’s work boots are less clear. Of 296 styles in its men’s work section, 61 carry a US origin label. The other 235 say only “Globally Sourced,” without naming a country. That includes its own $284.99 Traction Tred Lite.

Some brands get the second half right. Woolrich names the country on every product page I checked, and Pendleton names Mexico where it applies. Filson’s US pages say “Imported,” though its European site names Sri Lanka for the same shirt. Buck Mason marks about half its range “Import” without naming a country. Most Shinola pages say nothing.

Federal rules already require every imported garment to name its country on the sewn-in label. Some brands commendably also display that information clearly in their online catalog. Others leave it on the label, which you only see once the product arrives.

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How to buy American on purpose

If you want to support American making, the information is available… you just have to look a little deeper. Here’s how to check any listing yourself:

  1. Read the product page, not the homepage. Look for the tag or the origin line. At Buck Mason, it is a “Made in USA” tag when browsing the grid, or the “Origin” line in the Fabric tab on the product listing. At Filson it is the “Manufacturing” line. At Red Wing, US-made products are indicated clearly, right under the main product photo.

  2. Know what the words mean. The FTC’s rules give most of these terms a fixed meaning:

On the page

What it means

Made in USA

All or virtually all made here

Made in USA with imported materials

Made here, partly from foreign parts or cloth

Assembled in USA

Main assembly here, often from foreign parts

Designed in [city]

Where it was designed, and nothing more

Import or Imported

Made abroad; the sewn-in label names the country

Since [year]

When the brand name started; tells you nothing regarding ownership transition

No origin line

For clothing sold online, the listing should say whether it was imported or not. If you can’t find it, I’d skip it

  1. Buy the line, not the logo. If your reason for buying American is to protect jobs, what counts is whether the product is made here, whatever the marketing copy says. Several of these brands make some things here. Buck Mason’s US-made Pima tee costs $48, and its selvedge jeans are cut and sewn in Los Angeles. Filson’s “Made at Filson” Mackinaw pieces come from its own factory in Kent. Pendleton’s Made in USA blankets and Red Wing’s Heritage boots are made here and labeled as such.

  2. Price the story. Before paying a heritage price for an imported item, look up a plainly labeled one with the same stated fabric. The difference is indicative of the heritage tax you may be subjected to.

  3. Ask, and report. If an apparel listing does not say where an item was made, ask the brand before you buy. If you find a Made in USA claim you believe is false, you can report it to the FTC at ReportFraud.ftc.gov.

You can find the brands discussed in this article, along with dozens more heritage brands, in the Brand Ledger. Each listing shows what each brand makes in the US and how it labels the rest.

For a few of my personal favorite US-made brands, check out:

  • Duckworth, for great, technical merino clothing made from Montana wool.

  • Darn Tough, whose Vermont-made socks are the only ones I wear. They’re guaranteed for life.

  • My Green Mattress, a family-run company whose Natural Escape mattress is handcrafted in Illinois. The best mattress I’ve owned.

In Part 2, I’ll look at a number of brands that invented their heritage from scratch, from a rye whiskey distilled in Indiana and sold on an Iowa Prohibition story to a watch brand that credits a man who died in 1829 with its 2012 launch.

If you know of any excellent American-made brands or products, do share them in the comments or the community. If you live in another country, give your local heroes a shout-out too! Let’s give the companies doing it right some love.

Thank you, as always, for your readership and support.



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SIGNET CITY: Playing the City

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Hi Everyone,

Here we are at the final of four newsletters on Signet City’s influences, and some of the media and ideas that have been stirred into the melting pot for my new project. If you missed any, you can see the posts indexed below:

Reading the City - Literature and poetry

Visualizing the City - Film, comics and photography

Listening to the City - Music

Today’s final newsletter is Playing the City, a set of videogames and tabletop games that have shaped the development of Signet City from when it was an idea, to where it is at today, past the halfway point of its development. As always this list is non-exhaustive, but a curated peek behind the curtain!

Concept art showing the first-person player perspective of Signet City

This time I wanted to zoom in a little closer: games can be such massive objects—aesthetic, sonic, narrative, systemic—to say a game as a whole influenced me is less true than saying that some particular part of it left its mark. I so often find inspiration in the details of games, in single systems or ideas that feel potent and open to expansion or development. Part of In Other Waters conception, for example, was drawing ideas from the scan visor of Metroid Prime and the gorgeous topogrpahic maps of Destiny and using them not as subsidary systems, but the central pieces of the project.

So here I am once again going to break my influences into three sections, with one main influence and two related influences, where I will pick out just one element of the game that I drew inspiration from. I would always advise those interested in making games to play widely, and with attention to the details, you never know what small system or moment might inspire a whole project in you.


WHISPERS IN THE STREETS

Dishonored | Arkane Studios

I don’t know if there is a series of games whose cities have fascinated me more than the Dishonored games. So richly layered, so elegantly stylized and so cleanly refracted from the capitals of empire of our own world, they feel deeper than any other simply in vibes alone. Dishonored and its sequels are deeply connected to Signet City, in the same way that Mass Effect 2 is connected to Citizen Sleeper 2 or In Other Waters to Metroid Prime: not in pure replication, but instead as a springboard towards my own creation.

If I were to choose a single element of Dishonored that feels like it sparked something in Signet City, it would be The Heart, an equaippable item that you only need squeeze to be fed a poetic whisper straight from the soul of Dunwall. You can point it at places or people, and it gives them all a sense of interiority or history. “The ale here is sweetened with honey to hide the taste of river brine,” the heart might hiss. I love the idea of pulling threads out from the city like this. Its a magic act repeated again in Death of the Outsider with its rat whispers, and in Signet City it is the starting point of the idea of a whole game where you search for these reasonant moments in a decaying, layered city.

Disco Elysium | ZAUM - though people often compare my work to Disco Elysium, I do think there are elements of my approach, style and intent that are different. However, I have always loved, just like Dishonored’s heart, the way the Shivers skill lets the city speak to us, in the most beautiful ways.

Blades in the Dark | Evil Hat - Blades influnece on my work is well documented, but for Signet City it is the city map, with its districts and factions that I feel the strongest influence from. Theres something so elegant in its minimalism, it seems to ask, what is the optimum amount of information you need to tell a story in this city that is both true to the setting and still your own.


LIVING ART

Mundaun | Hidden Fields

Mundaun is a very special game, a grotesque and yet gorgeous paper puppet show about a cursed mountain and the shadow its history casts over a remote village. There are many special things about it, from its haunting exploration, to its spiralling narrative, but it is its aesthetics that I can never tire of. Rather than trying to look like a drawing, Mundaun is a game made of drawings.

At the heart of this are its textures, each sketched in pencil by the game’s creator Michel Ziegler. I love the way that at a distance they are a part of the whole, this monochrome mountain scene, but when you get close they collapse into gestures and marks captured in graphite. Charred wood and even skin becomes heavy marks, while tiles are sketched in precise grids. It gives an uncanny quality to the game that has been on my mind as I have been shaping the aesthtics of Signet City.

Half Life 2 | Valve - Another Viktor Antonov concepted city, along with Dishonored’s Dunwall, City 17 is one that has lived in my mind since launch day. But it’s the city’s skyboxes—the citadel cutting through clouds, the socialist blocks at the canals edge—that serve as the canvas for my imagination. Something I hope to provide the player with in Signet City.

Despelote | Julián Cordero, Sebastián Valbuena - One of my favourite games of the past few years, Despelote is a beautfully heartfelt trip into its creators childhood, and role football played in it, but it is the character sprites that inspire me the most, hand drawn in a simple style that helps them pop among the photo-textures that capture the city of Quito.


DAY BY DAY

Alien Squatter | Andrew Hagen, Shea Kennedy

An RPG that should have sparked a revolution in the genre if there was any justice in the world, Alien Squatter is a hidden gem in the truest sense where you must productively spend your days in an alien migrant camp as you try to beg, borrow and steal a pass into the city. It is written with incredible heart and humour as well as a deep awarness of what it means to live in poverty, but it is the game’s loop that I find so brilliant.

Each day you have a limited humber of “steps” to walk around the camp, taking on tasks, getting into random battles with cockroaches, stealing, begging, chatting and scavenging. The more you eat during the day, the more steps you’ll have during the next one. It is tight to the point of restictive, but gives the game a compelling rythmn of overlapping short, medium and long term goals, while still allowing for surprises. As I have found with Signet City it can be so hard to get a day loop right in a game, but Alien Squatter is a brillaint example.

Diaries of a Spaceport Janitor | Sundae Month - Many of you will know the influence this game had on Citizen Sleeper, but one element I love that fits in Signet City where it didn’t in Citizen Sleeper, is its days of the week. Both an elegant way to give a world depth and a way to give the players variety and rythmn, I could never get enough of the way Theday parties and music were always naturally followed by the trash-strewn streets of Onday.

Before the Green Moon | Turnfollow - A farming sim that is less interested in bucolic fantasies and more interesrted in the downtrodden community at the foot of a space elevator, Before the Green Moon is another exceptional but overlooked game. There are many parts of its subtle narrative and world I love, but it is actually the rainy season, with its natural progression from drizzle to downpour, that I adore. Farming games often treat seasons as distinct, with hard boundaries that don’t reflect reality. Before the Green Moon instead stages an constant transition from wet to dry and round again that makes its world feel real.


So there you have it, nine games that all played their part in my process. Together, with the books, photography, film, comics and music, I hope you will find something to love while you wait for Signet City.

With this foundation set, this newsletter will now be turning to news and updates about the game itself. you have all been very patient, but I wanted to take my time with explaining the project to you all and give you an insight into my process. Most of the reveals around the game will be coming in 2027, but I may be back for one more newsletter before the year ends.

Until then, wrap-up warm and be well,

Gareth

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reaching for you

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reaching for you

Last week I went to a concert with two of my best friends. We were there to see singer-songwriter Nick Carpenter, who goes by Medium Build on stage. Carpenter has been in the music industry for more than a decade. He comes across as relatable and charming, a person who seems at ease singing deeply personal songs to rooms of 500 or so. Medium Build tells stories about people who have messed up, who loved and lost. He sings about the yearning and mistakes and sparks of growth that dot the lives of most young people. I heard the room sing along to one of his bangers about depression when I thought, "I want to talk to Vincent about this!" Vincent is an internet friend of mine from Toronto. He saw Medium Build a couple weeks ago when the artist toured through Canada. We had a virtual sit-down this week to chat about how we connected to Carpenter's music.

Vincent and I found out by accident that we were both hooked on Medium Build. His music doesn't sound like that of any artist we'd talked about before. Vincent says that his usual flavor of music is well within the "pop diva" realm. He says, "I try to seek out male musicians who use he/him pronouns when referring to a lover," something I do as well. Vincent also likes ballads and slow songs but will on occasion dip into twangier sounds. The twang genre—not quite country, not quite rock—is one of my favorites. I grew up in Austin (the live music capital of the world, thank you). Most of the music from the region, the land of Willie Nelson and Stevie Ray Vaughan, tends to have a little drawl to it. My tastes still include a lot of synthesizers and pop divas, but I have a soft spot for a sad song set to acoustic guitar. Across our conversation, I noticed a few themes in Medium Build's work that resonate with us both.

a different model of masculinity

Carpenter identifies as queer or bisexual. "Everybody's hot!" Carpenter says in one interview. He often leaves the subject of his songs as gender ambiguous, or refers to them as "baby," or the like. On other songs, he make his attraction to many genders more direct. 'Drug dealer' is about the crushes we develop on the service workers in our lives. His drug dealer is a man, his bartender is a woman, and everyone loves "that songwriter" on the same track. He opens 'Thank you, Cook' with the lyrics, “when the masculine in you finds the feminine in me.” Gender is a spectrum in a song about the connections we may have across our long lives. The song is a personal and emotional end to an album full of such moments. But it also touches on personal growth in ways that seem inaccessible to many male musicians. In the first verse he talks about needing Cook more than anything. By the end of the song, he reassures them that the love they once showed him is how he learned to love himself.

His writing also blurs the lines of biography and fiction. Carpenter describes the song 'Hey Sandra,' as a letter that his dad might have written his mom if he needed to win her back. Vincent says, “he's almost mythologizing his dad and and straight male relationships. He wants to win his woman back by writing her a letter. At one point he sings, 'That lil' prick from Texas tried to touch ya and I broke that fucker's hand? [...] You used to like that tough guy act.' It feels like it's part of a story.” It might be this exploration that makes Medium Build's music so compelling. Men can mess up, make mistakes, fail their partners, and apologize. Carpenter’s songs don’t put the blame on the person he’s singing to. It’s not that person’s job to fix him. He can feel torn up about losing them, even long for them, but the work is his to do. Carpenter also sings on several songs about his struggles with body image. Lyrics from older songs like 'FatBrokeLoser' read like painful and self-deprecating diary entries. Newer songs like 'Armor' reveal some growth when he sings, "I wanna starve myself until I'm beautiful. Hey, what the fuck is that? Thought I could fix myself without the dysphoria." This is a topic rarely covered by male musicians, but one that a growing number of men struggle with today. I Medium Build's music offers a model of masculinity that says it’s okay to be vulnerable; it's okay to grow.

storytelling in songwriting

Vincent and I learned that we approach Medium Build's storytelling in different ways. He's not the first artist to sing about messed-up youth and bad breakups. One of my favorite artists, The Mountain Goats aka John Darnielle, often sings in that register. Vincent and I compared Carpenter's lyrics to those of women singer-songwriters like Lana Del Rey and Mitski. Music critics often ask women artists if their songs are autobiographical. This stems from the outdated sexist belief that a woman can only write songs from her own experiences. Sarah MacDonald writes, "Authenticity is mistaken as a synonym for autobiographical, and women have been told by critics, fans and their male colleagues they can only make autobiographical art." Women create personas to blur the lines between reality and fiction in their songs. Darnielle never wrote songs about stories from his own life until The Sunset Tree, his 9th album. Men are free to create personas, too, something Carpenter seems to be urging us to remember.

Carpenter's songwriting focuses on the emotional depths of the characters he sketches. I related to many of the people who show up in these songs. At some points in my life I have been those characters, these former lives of a person who's now grown up. I'm not the only listener who's ever been a little reckless in love. We all feel regret for the things and people we've lost. I am grateful for all the people who have left impressions on the many seasons of my life. 'John and Lydia' is one of a handful of Medium Build's songs that is explicitly about his parents. He intersperses snippets from the past with how he relates to them as an adult. He embraces the freedom of making his own choices and respecting the ones they once made. “Would we have been friends if we were born at the same time?” he sings. “Maybe in another life.”

I asked Vincent how he related to Medium Build's lyrics. I was curious if his life experiences overlapped his songs in the same ways that mine did. It surprised me to learn that, for the most part, he didn't. Instead, Vincent said, “the songs are like watching a movie about someone’s life, one that's not my own.” Songs like ‘Hey Sandra’ and ‘Misery’ are dramatizations of events that happened to someone around him. All artists borrow from and embellish the stories of people they know. But the way Carpenter blurs into his Medium Build persona gives us the thread of truth we need to connect with him.

parasocial connections to a stranger

At the concert, Medium Build sings a line from 'Never Learned to Dance.' It goes, "Buying weed on Wilshire, sexting with my therapist." The crowd sings along with him, but seem to get louder at that part. He grins at us and says something like, "I know you weirdos love that line." Carpenter worries about the fans who think the harmful relationships in his songs are normal. What does this say about us in 2026? A person who sings about depression is once again rising in the music industry? In another recent interview he says, “I get DMs all the time of people being like, "Our song is Triple Marathon." I'm like, "You should check the recipe on that cuz that song is unhealthy.” In many of his songs he wrestles with his growing fame. On ‘Perceived’ he laments having to turn his “private life into entertainment." On ‘Never Learned to Dance’, he sings, “Babe this dream I had feels like it might ruin me.” Despite lyrics that feel too revealing at times, Carpenter still comes across as a private person. Perhaps this is why he's quick to puncture the illusion of his stories in interviews.

I can see the appeal a songwriter might have in blurring the lines on the sources of their inspiration. Singer-songwriters aren't usually manufactured from within the music industry. Authenticity—emerging organically from the grassroots—is part of what they sell. People relate to an artist more if they tell a story that feels real. Songs about trauma feel more real when people who identify with them believe the artist has also experienced it. That vulnerability connects the fan to the artist in very personal ways. But we don't know an artist as a person when we hear their music. Despite the romantic notions we may hold, songwriting and performance is still a job. Artists are still part of a billion-dollar industry. The internet expanded how much access that regular people can have with celebrity. A post-covid decline in face-to-face interactions further fueled this desire for celebrity intimacy. Horton and Wohl first described these interactions as "para-social" in 1956. These are one-sided interactions where the audience falsely thinks they know a celebrity like a friend. It's well-documented that this belief is untrue (but huge business for many industries). It can also make celebrities, especially ones who are new to fame, uncomfortable. In 2024, Chappell Roan famously shared how uneasy parasocial fans made her feel.

do something productive

"I wonder what Nick would think if he read your article," Vincent said near the end of our call. "Would he be like, 'What are these guys talking about?? They don't know me!'" We laughed a little at the idea but I didn't have an answer ready. Writing this essay taught me how little we actually know about the famous people in our lives. I can relate to music without believing that the artist and I are the only survivors of those experiences. We will only know a sliver of most people's lives. Even among our friends, we know the most about what they choose to show us. Vincent is a friend I made from the internet. He visited Seattle once for a work conference but we chat online almost every day. Online interactions can certainly feel parasocial at times. Unlike most celebrity encounters, these potential friends can also deepen into real friendships.

What we do know with intimate familiarity is the interiority of our own lives. It can feel profound when another person holds a key of experience that matches one of the locks in our heart. When we connect with someone, we should see it as an invitation to share more in both directions. Even after we add one or two more colors to our palette, we still can't rely on a picture of the person we paint in our minds.

Medium Build, aka Nick Carpenter, is fascinating for many different reasons. But they're still two different people (or personas). I'm happy that I got to see Medium Build with two friends who are important to me. I'm delighted that Vincent was willing to chat with me on zoom for an hour after work. I'm grateful that Nick Carpenter's art found me when it did. I'm also grateful that he helped me create a deeper connection with some of the real friends in my life.

Thanks so much to my pal Vincent for talking with me this week!

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rocketo
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Meta Keeps Suspending Seattle Bars and Clubs from Instagram

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Massive club owners Kevin Kauer and Ethan Cory were in the middle of doing a supply run for a party on October 22 when Cory received a concerning text from their social media manager. Instagram had suspended the gay club’s account–which boasts around 22,500 followers—without much explanation. 

According to Kauer and Cory, the so-called “final straw” for Meta—the Mark Zuckerberg–headed company that owns Instagram—appeared to be Massive’s promotion of Pack Party, a monthly party for Seattle transmascs. The club co-owners said Meta’s AI detection flagged the posts for “conditioning harm” to other people and took down all accounts involved: Massive, Pack Party, and the account belonging to bar manager and Pack Party organizer Max Currie. No one received any further details on what happened and why. 

“All they told us was two words: ‘conditioning harm.’ That’s it,” says Cory. “The issue with Meta is that you don’t clearly understand what the rules are. So, if we were to do anything wrong—and nothing we’re doing is wrong—there’s no way to actually amend your actions without going through their AI review.” 

The suspension and deletion of Massive, Pack Party, and Currie’s accounts are part of a concerning pattern of gay clubs and promoters across the country being targeted by Meta’s AI detection system. Meta could not be reached for comment on Massive’s Instagram suspension.  

Gay clubs exist as spaces for queer people to dance, sip a drink, and meet up with other people in their community, things everyone has a right to do. For a club like Massive, not having access to a platform where they can promote their parties and events to followers means smaller turnouts, directly affecting their bottom line in a business where margins are already small. The suspension of their Instagram last month forced Massive to cancel Bronze Babez, a drag-pole-burlesque show featuring Black and Brown performers. 

“We can’t get promotion out, and it means that a whole group of people are now out of a paycheck as well,” says Cory. “It affects more than just our engagement and selling tickets. It means losing a space for a lot of people to just be themselves, for one, and also make money and survive in Seattle, which is obviously a very insanely expensive city.”

Kauer and Cory immediately took to their personal Instagrams, alerting the community about the accounts’ suspension, urging any queers who had an inside track at Meta to help them with the situation. In the past, according to Kauer (who has worked in queer nightlife for two decades), public pressure was the surest way to get accounts back. But as Meta increasingly relies on automated technology to monitor their platforms, it makes it seemingly impossible for suspended accounts to make their case to an actual human without a sympathetic party on the inside. 

“You’re not really given the option to ever get justice on it unless you make some huge deal of it, which is super unfair, particularly if a person that’s being affected doesn’t have some large community or business or people behind them to help them out,” says Kauer. “You’re just kind of screwed.”

A few days of back-channeling later, Massive’s Instagram account was restored, only for Massive’s Stripe account—which processes credit card payments on the club’s ticketing site—to then be taken down. The company flagged Massive event descriptions containing the terms “slutty bingo” and “pole dancers.” As they worked with their ticketing company, Tixr, to get their Stripe account back up and running ahead of Massive’s packed Halloweekend event schedule, their Instagram was taken down— again. 

“Obviously a human reviewed our things and got [Massive’s Instagram] back. Was it then automatically reported again by the automations? Or did some other human come in and say, ‘No, that’s not OK?’” says Kauer. “We follow the rules the best we can.”

A similar sense of frustration overcame Max Currie, who started the monthly Pack Party at Massive in April 2025 as a way for people under the transmasc umbrella to meet one another, make friends, dance, and find partners in love.

Meta labeling his party as “conditioning harm” is completely against the party’s ethos. “If anything, it’s the opposite,” says Currie. “These events are oftentimes how we can help stop harm in our community, just having a place to go and be around other people who have shared life experiences.” He immediately appealed Meta’s ruling and, three days later, discovered both his personal and Pack Party accounts had been fully deleted. Though Currie still plans on hosting the party every second Thursday at Massive, there’s no clear path forward.

“I’m at a standstill,” he says. “How do I even reach my community without being able to be on social media? How do I promote this event, how do I talk to people about their experiences at the party? It’s been pretty rough.”

This patterned targeting of queer clubs, bars, and promoters isn’t new. According to a Facebook post, CC’s Seattle had their Instagram account suspended in April and denied their appeal for reinstatement. When a bar worker continued to promote CC’s events, their account got suspended as well. As a result, CC’s has been forced to move off of Instagram and mainly posts updates on Bluesky and their website. 

Nationally, Meta suspended the Instagram account of historic San Francisco gay bar the Stud in July, falsely flagging it for “engaging in human trafficking.” Only after intense pressure from the public and state senators did the Stud get its account back. In the last year, similar Meta suspensions have hit trans-focused club night Transfix and clubs Catch One, Club Chico, and Club Tempo in Los Angeles, gay bar Rain on 4th in Austin, and Latino gay clubs Next Level and Que Rico in Oakland. 

It’s a tricky balancing act for gay bars and promoters. They have to navigate the ever-shifting sensibilities of a large social media platform that is seemingly hostile to their existence, while running a business based on attention. Kauer and Cory say they have had to be extra judicious about what they post on Massive’s Instagram page, nixing party pictures that might have an errant exposed torso or using codes for words like “trans” or “queer”  that could set off Meta’s detection system. 

“For us to advertise and put our business out in queer nightlife… and make it through the Instagram barriers is a real huge effort,” says Kauer. “And they keep taking you down, or people can report you. It just makes it quite a hellscape, to be honest.”

While Massive got their Stripe account back up before Halloween, their Instagram account is still suspended. The account’s suspension is making Kauer and Cory rethink the club’s entire marketing strategy and consider moving things like ticketing and promoting offline entirely. Currently, the best way to find out about goings-on at Massive is to subscribe to their weekly email newsletter. Though they currently have 15,000 subscribers, Kauer says the email “open” rate sits at around 8 percent. 

For better or worse, social media platforms like Instagram are the de facto way to get word out about parties, DJ nights, and drag shows they host each week. Not having it hurts attendance, which, in turn, affects their ability to keep the bar above water. But being on a platform like Instagram or Facebook puts gay bars like theirs in a position that’s beholden to the whims of Meta’s technology. 

“Massive is like many businesses that, unfortunately, rely heavily on Instagram. We’ve worked really hard this whole time to build it naturally and to make it fun and engaging and work for our club while still following their rules,” says Kauer. “Then to take it away, I mean, they’re just dinging a small business that’s already fighting to survive.”

The post Meta Keeps Suspending Seattle Bars and Clubs from Instagram appeared first on The Stranger.

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rocketo
7 days ago
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reason number whatever to quit meta
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The Bull And Male Donkey Who Choose Each Other Again And Again (For Sex)

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Elisabetta Palagi, an evolutionary biologist at the University of Pisa, had sent her team of research students to Ethiopia to study geladas, monkeys whose hearts appear to gleam out of their chests. But as her students watched the geladas munch on a grassy plateau alongside other grazing animals, they noticed a peculiar interaction between two other animals. A bull approached a male donkey and mounted him. This behavior did not seem to bother the donkey. The donkey did not kick him or otherwise try to escape the interaction. The researchers contacted Palagi and asked if she thought this cross-species intercourse was worth studying. "I said yes," Palagi wrote in an email.

After close observation, the researchers found that the the bull, dubbed Achille, and the donkey, dubbed Patroclo, have a persistent, mutual sexual relationship, which is described in a new paper in Current Biology. Achille and Patroclo's relationship was not news to the local herders, who laughed when they saw the researchers filming the unexpected pair. "What was an unexpected observation for us was evidently a familiar sight to them," Palagi said. (The paper includes explicit footage of the pair's mating that we have omitted out of respect for their privacy.)

The plateau, with scattered gelada monkeys and Achille and Patroclo nuzzling on the left.


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rocketo
8 days ago
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“(The paper includes explicit footage of the pair's mating that we have omitted out of respect for their privacy.)”
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Sir Patrick Stewart (1940-2026)

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thefugitivesaint:

Sir Patrick Stewart (1940-2026)

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rocketo
9 days ago
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