Category: Pop

  • We have lattes at home: The rise of the at-home barista

    We have lattes at home: The rise of the at-home barista

    Corey Regensburg’s working with a shiny chrome La Marzocco — the Cadillac of professional espresso machines. It purrs and whooshes as he pulls a double shot of espresso and sets it up for a latte tutorial. It’s well past Ox’s normal business hours, the sunset peers through the shop’s large windows and pulled-down shades.

    Regensburg, one of the shop’s consultants, steams milk in a frothing pitcher and demonstrates his latte pour for a crowd of four people huddled around the quartz countertop at Ox Coffee in Queen Village.

    “Pencil thin,” he narrates as the milk streams into the base of the mug, sinking under the espresso’s golden layer of crema. Then, “push, push, glide,” he instructs. The result is a tulip design, finished with two dainty hearts.

    The spectators at Ox aren’t new employees — they’re at-home enthusiasts, including a father-daughter duo who took the class to perfect their kitchenside almond milk lattes.

    Americans are buying all types of coffee makers and brewing at home more, according to the National Coffee Association, with ownership of countertop espresso machines growing by 50% in 2025 and still on the rise in 2026. Breville Kitchen Group, especially, has seen a surge in sales among amateur espresso makers, with a range of high-end automatic and semi-automatic machines.

    “COVID triggered a rise in at-home espresso,” Regensburg said. “Breville boomed like 10 times, and everyone else — from Panasonic to Ninja — hopped on.”

    Industry experts say the global espresso and coffee machine market is rapidly expanding, driven by a “prosumer” movement: enthusiasts at home who crave high-end gear to make cafe-style drinks.

    Now, coffee shops are leaning into the phenomenon, offering lessons to hobbyists to help master the craft. It illustrates a larger trend across the food service industry: teaching as a way to diversify revenue, build relationships with customers, and fulfill patrons’ desire to peek behind the curtain.

    Across Philly, you’ll find Mighty Bread teaching croissant classes, Jezabel’s hosting empanada-making courses, the Bread Room with pizza lessons, Bloomsday with wine 101 sessions, and plenty more.

    “It’s really exciting because it adds something to the dynamic besides going to eat or drink, which is wonderful but one-dimensional,” Jonathan Deutsch, director of Drexel University’s Food Lab, said.

    Corey Regensburg and Leo Dowd lead a Latte Art 101 class at Ox Coffee.Emily Bloch

    Leo Dowd runs Ox’s coffee class program. He says the shop has hosted about 10 classes so far on topics including espresso 101 and latte art for beginners. The classes allow everyday customers to get behind the bar and learn from the pros.

    “The rise of remote and hybrid work has played a big role [in coffee classes], along with DIY culture on social media,” Cody Wood, a barista trainer at Crema Coffee in Nashville, said. Crema runs a host of classes inside a training lab at its downtown location. “Overall, it seems more people are tackling home projects, baking bread, learning to cook, trying new experiences on their own, and learning to make the best coffee at home.”

    At Ox, the students take turns behind the La Marzocco — a powerhouse compared to any home espresso machine. They sheepishly tinker with the steam valve under Regensburg’s tutelage, practicing with water before moving onto whole milk.

    As the milk steams, he calls out cues for students to look out for, like the sound of paper tearing and the appearance of white paint. Dowd picks out a Sonny Stitt record and puts it on in the background.

    Ox Coffee consultant demonstrates pouring milk in a Latte Art 101 class
    Video: Ox Coffee consultant demonstrates pouring milk in a Latte Art 101 class

    Coffee shops giving away tricks of the trade — including recipes — hasn’t hurt sales, either. If anything, the rise of the at-home barista has helped them.

    “Zahav’s hummus recipe is published everywhere, for instance, and it doesn’t mean that you are going to necessarily make it,” Deutsch said. “Coffee’s different because on one hand, it’s really easy to make if you know what you’re doing. But on the other hand, to do espresso drinks really beautifully, you need the right equipment. And there’s awesome home equipment like the Breville, but it’s still not the same as going to a coffee shop and having a really properly pulled, professionally done espresso.”

    Wood at Crema in Nashville says the same people who take their coffee classes are also coming back to try new roasts and to talk shop.

    Cody Wood demonstrates a pour at Crema in Nashville. Wood, a barista trainer, also leads Crema’s public education program.Courtesy of Crema

    “My hope is that we continue to see better coffee brewed and shared in both cafes and homes,” he said. “Coffee has always been a communal experience. Everyone I know who loves making coffee loves sharing it with others.”

    Coffee classes nationwide average around $100 per session. Ox’s classes cost between $95-$135 depending on the intricacy.

    “That’s a lot of cups of coffee you would have to sell to get that kind of revenue,” Deutsch said.

    Deutsch said this approach is wise since during regular business hours, coffee sales rely on convenience and speed.

    “If you’re standing in line at 7 a.m., it’s not really a great time to ask about the sustainability of the beans and provenance and all this kind of stuff you might be curious about as a coffee nerd,” he said. “The whole idea of building a relationship with guests on a more substantive level makes sense. Also, if you go out, you’re going to spend a hundred bucks easily on a few drinks and some music. Why not educate yourself and do something entertaining that will stay with you?”

    Gloria Sullivan tired and reviewed 100 Philly coffee shops for her followers. Today, she creates her own signature drinks at home. She’s shown here trying an Ice Drip Coffee with half and half and an Iced Earl Gray Tea at Vault + Vine in Philadelphia, Friday, September 1, 2023.Jessica Griffin / Staff Photographer

    On social media, TikTok feeds are flooded with content creators attempting to create (or recreate) their favorite lattes and little treats at home.

    Philly-based creator Gloria Sullivan — aka @_gloyoyo_ — often documents her morning coffee ritual for her more than 700,000 followers. She alternates between her Breville Bambino, a moka pot, and other methods when making her coffee.

    “In the beginning, a lot of coffee creators framed their videos as ‘stop buying coffee out, make this at home instead’ and now it feels more focused on creativity, finding fun ways to make drinks at home exciting,” Sullivan said. “Making coffee is as much of a hobby as knitting or reading or baking, coupled with the fact that a lot of people want to start making content online and there’s not a super high barrier to entry for making coffee at home.”

    @_gloyoyo_ banana pudding🍌🌸 & a coffee to match🍌☕️ #bananapudding #bananacoffee #bananasyrup #coffeesyrups #icedcoffeerecipe ♬ original sound – Glo

    By the end of class at Ox, half empty mugs and rags are scattered across the bar. The level of proficiency after an hour and a half varies, but every guest has managed to get their milk to skate on top of their mug of espresso.

    The amateur work isn’t close to Regensburg’s tulip, but he remains encouraging.

    “I know that latte art is sexy and fun and it looks good on Instagram,” he said. “But this — milk texture — is what matters. Latte art got big because it’s indicative of good milk texture.”

    Dowd anticipates Ox’s coffee class schedule will ramp up this fall and winter as locals look for indoor activities.

    Currently, Ox appears to be the only Philly shop offering courses. But Deutsch wouldn’t be surprised if that changes soon enough.

    “I think it’s a really good idea,” he said. “The positives outweigh the risks of teaching people your secrets. I really think that’s more a mythology than a reality that’s born out.”

  • Flyers update arena rendering after fans say women were left out of the first version

    Flyers update arena rendering after fans say women were left out of the first version

    The Sixers and Flyers released the first public renderings of their new arena, which is scheduled to open in 2030, earlier this week.

    Two images, which were created by Populous, the global design firm responsible for the arena’s conception, showed fans attending basketball and hockey games in the new state-of-the-art digs. But some fans say the Flyers’ rendering was missing one key detail: female fans. What ensued was a Where’s Waldo? level of analysis by people on the internet. The Flyers have since updated the rendering.

    The original Sixers rendering had a handful of what appeared to be female-presenting fans, wearing crossbody purses over their jerseys, with long hairstyles and ponytails. The Flyers version was more ambiguous. There appeared to be some women sitting toward the top of the image, in clusters across the stairs, but none wearing Flyers gear.

    A Populous spokesperson said the company accepted responsibility for the oversight and worked quickly to update the rendering as soon as it became aware of the issue.

    “The website now reflects the updated image,” the spokesperson said.

    Camille Barrière was one of the initial critics who pointed out the apparent lack of women via an X post. Barrière, who lives in Paris, studied architecture and is pursuing her master’s degree in media design at the School of Design Nantes Atlantique, with a focus on the delegitimization of women and non-male sports fans.

    When the renderings came out, Barrière said online that it was “new source material” for her thesis. Her post has been viewed nearly 200,000 times on X and has since spread to other social media platforms, particularly Reddit and Instagram among women’s sports pages.

    Some fans worry the lack of visibly female fans in the original rendering was more than an innocent mistake and is actually indicative of the male-centric way sports fandoms are still stereotypically viewed. Others say it’s not that serious and this much intense dialogue based off a rendering is laughable.

    “As a woman, I’m hyper aware of the amount of men in public spaces, and it’s for that reason that the image struck me. I continued searching and couldn’t find a single woman in Flyers gear in that picture,” Barrière told The Inquirer.

    Creating architectural renderings is not one size fits all and the process can vary considerably, but the final product can help represent the future of a space and who it belongs to, says Rashida Ng, an architecture professor at the University of Pennsylvania’s Stuart Weitzman School of Design.

    “I wouldn’t presume to know how or why the particular Flyers image was produced, or suggest that the omission was intentional,” she said. “But something can be unintentional and still be meaningful. If an image of a major public venue inadvertently leaves out a substantial part of the public, I think it’s worth asking how that happened.”

    The Gist and Togethxr, two popular women-founded sports media brands, called out the original renderings on Instagram. Reports show women are one of the fastest-growing audiences in sports.

    “They’re buying season tickets, filling arenas, creating fan communities, and shaping sports culture across every major league. The future of sports already includes women,” the Gist wrote in its post. “The renderings should too.”

    Ng says she sees the rendering debacle as a “teachable moment.”

    “Design is not neutral. The spaces we create — and the images we use to imagine and communicate them — both reflect and shape ideas about who belongs, who is welcome, and whose experiences matter,” she said. “That doesn’t mean every design decision or omission is intentional, but it does mean that designers have a responsibility to think critically about the worlds their work helps to envision.”

    Thursday morning, the Flyers updated the rendering on its website with a new version, one that added many new visibly female fans.

    As for Barrière, she’s shocked that a non-fan’s observation from across the world sparked discussion.

    “If my silly tweet that was just meant for my 40 followers can initiate a discussion on the issue, then I’m all for it,” she said. “I think inclusivity in hockey spaces, whether online or in real life, still has a long way to go, and calling out the teams directly is one of the ways we can help move the conversation forward in a positive direction.”

    And thinking about those women fans is particularly pertinent for the new arena — it’s also the future home of Philadelphia’s new WNBA franchise.

  • Metropolitan Museum of Art scraps John Galliano-focused Met Gala plans

    Metropolitan Museum of Art scraps John Galliano-focused Met Gala plans

    Next year’s Met Gala will not spotlight controversial fashion designer John Galliano after all.

    The Metropolitan Museum of Art and Galliano announced in a joint statement that the museum would not move forward with John Galliano: Horizons. Galliano, 65, is a British designer who has worked for some of the industry’s top fashion houses, including Christian Dior, Givenchy, and Oscar de la Renta.

    At the peak of his career, he served as Dior’s creative director for nearly 15 years. But in 2011, he was infamously canceled after his conviction in a Parisian court over a series of racist and antisemitic comments. It cost him his job leading Dior. At the time, Galliano said his alcohol abuse sparked the outburst.

    The museum’s retrospective was reportedly going to highlight the fashion director’s portfolio while also addressing his personal life, including his public exile and the work he later did to atone and get sober.

    “Following thoughtful discussions with many stakeholders and with John Galliano, we together have decided not to proceed with the exhibition,” said Metropolitan Museum of Art director Max Hollein.

    The announcement came exactly one month after the initial Met Gala theme reveal. Galliano’s exhibit would have only been the third retrospective for a living designer in the Costume Institute’s history.

    While fashion experts largely agreed the fashion director’s work is seminal, critics said the exhibit’s timing — which coincides with a global surge in antisemitism — was cause for concern.

    Professional thrifter and fashion writer Virginia Chamlee previously told The Inquirer that while the Met was equipped to accurately cover the designer’s checkered past, she was concerned about whether the storytelling would resonate with the average Met Gala consumer.

    The annual exhibit’s largest publicity draw is a televised red carpet where celebrities invited often wear pieces by or paying tribute to the spotlighted designer — not the exhibit itself.

    “Even if the museum intends to offer a complete examination of Galliano’s complicated legacy, it may come off as a straightforward celebration of someone who said things so heinous and racist that they were charged and fired for them.”

    In the joint statement, Galliano himself said he requested not to move forward with the exhibit.

    “After much reflection and discussion with The Met and all those involved, I have decided, with great sadness, that it is best for the exhibition not to take place at this time,” Galliano said. “I remain fully accountable for the pain caused by my words in the past, particularly the hurt I caused to the Jewish and Asian communities, and I remain deeply sorry for it. I understand that meaningful atonement is not achieved through an exhibition, institutional recognition or a single public gesture. It is a continuing responsibility, demonstrated through listening, learning and one’s conduct over time.”

    Galliano went on to thank Anna Wintour, a longtime champion of Galliano’s and the global editorial director of Vogue, chief content officer of Condé Nast, and Met Gala chairperson responsible for the event’s programming.

    In her extended statement to Vogue, Wintour framed Horizons’ cancellation as a “postponement.”

    “John’s decision to ask the Museum to postpone the exhibition devoted to his work is very courageous and a measure of the man he is,” she said. “I believe this is the right decision, and both he and the Museum have my full support.” The Met’s version of Wintour’s statement does not use that phrasing.

    Information on a new Spring Costume Institute exhibition and the 2027 Met Gala will be announced later, the museum said. The Gala itself was initially scheduled to take place May 3, though it’s unclear if that date would shift in light of the exhibit change.

  • Dolly Parton, music star, actor and beloved figure who spanned generations has died at 80

    Dolly Parton, music star, actor and beloved figure who spanned generations has died at 80

    Dolly Parton, the country music icon whose soaring vibrato vocals, poignant songwriting and sparkling costumes defined her rise from a log cabin in the Tennessee mountains to the height of stardom and acclaim, has died. She was 80 years old.

    Known for her curvy physique, massive blonde wigs and skin-tight outfits that served her self-deprecating wit, she was among the most beloved personalities in music and beyond — the rare celebrity whose appeal transcended generations, geography and politics.

    She wrote hundreds of songs, including classics like “Jolene,” “Coat of Many Colors” and “I Will Always Love You,” that totaled more than 100 million worldwide sales and more than 1 billion online streams. Parton, who plucked bejeweled banjos, guitar and dulcimers with her long fingernails during performances, was a generous philanthropist and successful businesswoman whose projects included a theme park in the Smoky Mountain foothills near her birthplace.

    Her career was forever influenced by her upbringing as one of 12 children born into what she called a “dirt poor” Tennessee family. She started her education nonprofit, Imagination Library, to send free books to children in Tennessee because her father, who quit school to work on the farm, struggled to learn to read.

    Parton’s first musical performances were in church, where her grandfather was a preacher. By age 10, she was learning guitar and singing on local television shows. At 13, she appeared on the Grand Ole Opry in Nashville, where Johnny Cash introduced her as “a little girl here from up in East Tennessee.”

    With a suitcase of songs, she followed her uncle, Bill Owens, also a songwriter, to Nashville after graduating high school in 1964. Fred Foster, who produced Roy Orbison, Willie Nelson and more, saw her potential and got her songs cut by other artists, as well as recording and releasing Parton singing her own material. By the mid-1970s, Parton was a Nashville queen.

    A key collaboration with Porter Wagoner

    Parton’s partnership with Porter Wagoner, a pencil-thin pompadoured star with flashy rhinestone outfits, was key to her career. She honed her acting skills on his syndicated TV show and he advocated for her to get a record deal at RCA. Their first duet, “The Last Thing On My Mind,” was released in 1967, the same year she started her own publishing company.

    While their duets were often big radio hits, Parton’s solo singles didn’t chart as high at first. With Wagoner as a co-producer, she began to adjust her country warble to a more polished, pop-leaning style.

    She got her first No. 1 solo single with “Joshua,” and reached the Top 5 with the ballad “Coat of Many Colors,” about how her mother sewed together scraps of clothes to make a coat Parton wore “so proudly” even as her peers mocked her for being poor. The song, with its Biblical references and ode to maternal love, was later made into a children’s book and a TV movie.

    In 1973, she had the hit that made her career — “Jolene,” a country music standard with its steady, churning rhythm and Parton’s repeated delivery of the title as she pleads for the woman not to steal her man.

    The song topped the country charts, crossing over to pop and later being released internationally, opening up new audiences for Parton. “Jolene” is one of her most covered compositions, including by Miley Cyrus (Parton’s goddaughter), Olivia Newton-John and The White Stripes.

    She left Wagoner’s show in 1974, amid reports of squabbling between the two, although they continued to record together and Wagoner stayed her producer for years after that. But the relationship turned litigious when Wagoner sued her in 1979 for millions in management fees and royalties.

    A pop crossover star

    She followed “Jolene” with a huge hit in 1974, “I Will Always Love You,” an ode and farewell to Wagoner that helped her win the Country Music Association’s female vocalist of the year back-to-back in 1975 and 1976. She famously turned down Elvis Presley, who wanted to record it, because she would not share publishing rights.

    Decades later, Whitney Houston’s version of “I Will Always Love You” became a smash for the soundtrack of her 1992 film “The Bodyguard,” and broke sales records. Houston won a Grammy for her performance in 1994, presented to her by Parton.

    “Here You Come Again,” a pop crossover hit and one of the few she didn’t write, further established Parton as a multi-genre entertainer and brought her first Grammy Award in 1979.

    “A lot of people thought I had totally lost my mind,” she told The Associated Press in 1979 of changing her singing style. “But I had no fear of change. I expected success, but I was braced for failure. I didn’t care if people thought I was wrong. In my own heart, I knew I was doing the right thing.”

    Parton’s other crossover hits included the title song from “9 to 5,” the 1980 comedy starring Parton, Jane Fonda and Lily Tomlin; and her duet with longtime friend Kenny Rogers, “Islands in the Stream,” written by brothers Barry, Maurice and Robin Gibb of the Bee Gees. In 1987, she collaborated with Linda Ronstadt and Emmylou Harris on the million-selling “Trio” album.

    Down home charm

    For millions of fans, she was simply “Dolly,” a mixture of Southern charm, humor and glamour. But she was also considered a feminist role model for holding the reins of her own career, writing her own songs, owning her content and looking after her finances in an entertainment world dominated by men.

    Parton was open to making fun of herself; when she hosted “Saturday Night Live” in 1989 she told the writers that her only restrictions were she wouldn’t curse and she wouldn’t make fun of Jesus. She regularly joked about her breasts or her dumb blonde appearance, but with a wink that she was the one controlling the laughs. In the memoir “My Life So Far,” Fonda remembered Parton’s way with a wisecrack, “usually high raunch,” and a laugh that was “somewhere between a girl’s giggle, an explosive shriek, and a cascade of little bells.”

    After her gown split down the front when she won CMA’s entertainer of the year in 1978, Parton quipped: “My Daddy said that’s what I got for putting 50 pounds of mud in a five-pound bag.”

    Throughout her career, she embraced her glamorous style, often wearing custom curve-hugging rhinestone dresses and bodysuits even if they drew tsk-tsks from others in the industry. Her look was always a part of her larger musical business plan.

    “I knew my songs were good even if I had been ugly as sin,” she told the AP in 2014. “So I thought, ‘Well, I would have probably chose to look this way even if I had been a waitress.’ I mean, this is my look. I mean, I like a lot of makeup. I like a lot of hair. I like flashy clothes. I like to show it off. But that’s just who I am.”

    She married Carl Dean, an asphalt paving contractor, in the mid-1960s; they were together until his death in 2025 at the age of 82. Though rarely seen in public, he was an influence on her career. She told NPR that she wrote “Jolene” about a flirty bank teller who seemed to take an interest in Dean.

    ‘9 to 5’ to Hollywood and Broadway

    In her first major film role, Parton played alongside Fonda and Tomlin as office workers who rebel against their tyrannical boss in “9 to 5.” Critic Roger Ebert called her a “natural-born movie star” and the title song earned her two Grammy Awards and a ranking of 78 on the American Film Institute’s list of top 100 movie songs. Starring roles in the “The Best Little Whorehouse In Texas” and “Steel Magnolias” followed.

    “I never thought of myself as a movie star,” she told AP’s Bob Thomas in 1979. “I knew I’d be a star, but as a singer or as a writer of songs or books or poetry. I wanted to be a famous performer and wear flashy clothes, but singing in movies was not one of my ambitions. My family lived in the mountains and we didn’t see movies.”

    Her love affair with TV and film continued for decades, with appearances alongside Cyrus on “Hannah Montana” and adaptions of her music for Christmas specials, films and streaming series. She also became an author, her books ranging from the memoir “Dolly” to a bestselling novel co-authored by James Patterson, “Run, Rose, Run,”

    The stage adaptation “9 to 5: The Musical” debuted in 2009, and “DOLLY: A True Original Musical” had been set to open in December 2026.

    United States of Dolly

    Beyond her music, Parton’s most lasting legacy might be her generosity and broad appeal.

    When a deadly wildfire swept through the Smokies in 2016, she held an all-star telethon and set up a foundation that sent monthly checks to residents whose homes were damaged or destroyed.

    She opened up her Dollywood theme park in East Tennessee, a major economic driver in Appalachia that draws tourists from around the country, and established the Dollywood Foundation. She wrote books and memoirs, was inducted into the Country Music Hall of Fame and was given a lifetime achievement award by the Recording Academy. She was selected for the Jean Hersholt Humanitarian Award from the Academy of Motion Picture Arts and Sciences in 2025.

    With 55 Grammy nominations and 10 wins, Parton is the third-most nominated woman in Grammy history, only behind Beyoncé and Taylor Swift.

    Parton spanned social and political divides, through multiple generations of fans, urban and rural and in between. In tumultuous election years, it wasn’t uncommon to see “Dolly for President” shirts. But she was strict in not voicing her own political beliefs, often turning aside questions about presidents, candidates, policies and other controversies.

    “I don’t do politics,” Parton told host Jad Abumrad on his hit podcast “Dolly Parton’s America.”

    “I have too many fans on both sides of the fence. Of course, I have my opinion about everything, but I learned years ago to keep your mouth shut about things.”

    When the Rock & Roll Hall of Fame Foundation sent out a ballot in 2022 with her name on it, though she said she felt she hadn’t earned it, the voters answered with a “Hello, Dolly.” Parton showed up to the induction ceremony, performed and then put out a rock album.

  • WHYY’s ‘Fresh Air’ host Terry Gross is at the center of catfish-style scams targeting stars and media personalities

    WHYY’s ‘Fresh Air’ host Terry Gross is at the center of catfish-style scams targeting stars and media personalities

    Comedy writer Bruce Vilanch was enamored.

    He had received an email from WHYY’s Terry Gross, herself, asking to be interviewed on NPR’s Fresh Air.

    “It was so articulate and so like her,” the writer told the Hollywood Reporter. She laid out talking points and a run of show, according to Vilanch. “It felt real.”

    But when Vilanch jumped on their scheduled video call, Gross was nowhere to be found. It finally dawned on Vilanch: He had been scammed. And he was not alone.

    A recent string of scams and catfish-style attempts targeting stars and other media personalities are using Philly’s own Gross as the bait. Vilanch says he was the latest victim.

    “If somebody claiming to be Terry Gross contacts you for an interview, it is a scam,” the comedian said in a Facebook post last week. He encouraged other potential victims to contact NPR and WHYY.

    Online forums reveal a number of recent catfishing attempts involving someone purporting to be Gross.

    “These impersonation scams are increasingly common,” said Siwei Lyu, digital media forensics expert and director of the Institute for Artificial Intelligence and Data Science. “Authors are a particularly attractive target because an unexpected invitation from a prominent host or podcast can seem both flattering and plausible.”

    It is unclear if one person is behind all of the Fresh Air-centered fraud or if multiple impostors are responsible. Lyu says scam scripts and techniques are easily shared, adapted, and copied, “so the same premise can be used by many unrelated actors.”

    On a Facebook group for authors, a writer posted in July about being approached by Fresh Air and asked to donate money. Months earlier, psychologist Steven Pinker, author of The Better Angels of Our Nature, said he was similarly approached by “Terry Gross” via a fake Gmail account as part of a scam targeting authors.

    In Vilanch’s case, he said “Gross” asked him for money to support NPR’s nonprofit public radio efforts amid government cuts. He told the Hollywood Reporter that he thought the request was odd, but that enough credibility within the email chain had been established. So he went for it.

    From there, the scammers prepped him for Fresh Air, sending interview questions and scheduling their virtual interview. When the big day arrived, Vilanch was greeted by two video boxes: a screen that read “NPR,” and one with a man who identified himself as “Mike,” the new interviewer. When Vilanch eventually bailed, he sent a final message, according to the Hollywood Reporter: “Whoever you are, I hope you enjoy the paltry sum that I sent.”

    Then he reached out to NPR and WHYY. WHYY confirmed it was aware of the scams and investigating.

    “WHYY, NPR and Fresh Air with Terry Gross & Tonya Mosley are aware of fraudulent emails in which individuals have impersonated Terry and members of the Fresh Air team attempting to deceive potential guests,” the news organization said in a statement. “As the article in The Hollywood Reporter mentions, other programs and podcasts have also been the subject of these scams.”

    The Fresh Air situation is one of several podcast/radio scams targeting Hollywood. According to the Hollywood Reporter, Broadway actor Seth Rudetsky was targeted by a scammer posing as Nikki Glaser who solicited a podcast interview in exchange for a fee. Later, Rudetsky also received an invitation from someone supposedly working on Amy Poehler’s podcast, Good Hang.

    In addition to money, some of the scams also target the victim’s social media accounts or login credentials.

    Sportswriter Jemele Hill said someone once lied and claimed to be booking her for a new Facebook show hosted by Rob Dyrdek of Ridiculousness. She handed over her Facebook credentials. It took weeks to get them back, she wrote in an X post. “It’s a very sophisticated operation.”

    In April, figure skater and personality Adam Rippon told a story on his podcast about being similarly catfished by someone purporting to be on Katie Couric’s podcast via Facebook Live. The follow-through scammed him out of his own Facebook credentials.

    “I know I made a grave error,” he said. His Facebook account was ultimately suspended.

    A spokesperson for WHYY added that Fresh Air cohost Tonya Mosley has been the named catfish in similar scams, imploring would-be guests to send money in exchange for a radio slot. As a nonprofit organization, WHYY says, it never requests payment for interviews, nor does it pay guests to be interviewed on any of its programs.

    “Any communication asking a prospective guest to pay a fee — or offering payment for an interview while claiming to represent WHYY or Fresh Air — should be treated as suspicious,” the statement said.

    It is unclear if any of the scams are connected. What they all have in common, though, is their apparent leverage of a celebrity figure along with heavy use of AI to capture the alleged host’s voice and flatter victims with deep-cut knowledge about their work. Lyu said generative AI’s rise in popularity and usage makes hoaxes like this even easier, allowing scammers to quickly personalize messages and operate at a greater scale.

    “The technology is new, but the underlying strategy is classic social engineering,” Lyu said. “Establish trust through a recognizable identity, then use that trust to obtain money or account credentials.”

    WHYY said it is concerned about its own brand and credibility being used in this case.

    “We take the misuse of our journalists’ and programs’ names seriously and are concerned that scammers are exploiting the trust audiences and guests place in Fresh Air,” WHYY said. “We are working with law enforcement to address the situation.”

  • Booker Rowe, celebrated trailblazing Black violinist with the Philadelphia Orchestra, has died at 85

    Booker Rowe, celebrated trailblazing Black violinist with the Philadelphia Orchestra, has died at 85

    Booker Rowe, 85, of Philadelphia, award-winning violinist, the first Black musician to play with the Philadelphia Orchestra and the Nashville Symphony String Quartet, the second permanent full-time Black player in the Philadelphia Orchestra, teacher, mentor, and role model, died Friday, July 31, of complications from pneumonia and sepsis at Jefferson Abington Hospital.

    A lifelong musician — he played piano at age 5 and violin at 11 — Mr. Rowe was invited by famed music director Eugene Ormandy in 1968 to become the first Black musician to perform with the Philadelphia Orchestra. He was a substitute violin during most of the 1968-69 season and returned for good in 1971 as the orchestra’s second Black permanent full-time member.

    Mr. Rowe stayed for 49 years.

    “My first day, I came in late from New York, and the orchestra was already rehearsing, and I sat myself down on the last stand to play,” Mr. Rowe told The Inquirer’s Peter Dobrin in 2020. “The sound was amazing. It was like stereo all around me. The stage was slanted down, and when the brass and winds would play I had to brace myself with my right leg from being blown off stage. It was just so beautiful.”

    For five decades, until his retirement in 2020, Mr. Rowe played with half a dozen elite conductors and traveled the world in the orchestra’s second violin section. He and his colleagues gave thousands of memorable performances at the Academy of Music, the Kimmel Center, and the Mann Center in Philadelphia, Carnegie Hall and the Lincoln Center in New York, and the Saratoga Performing Arts Center in Saratoga Springs, N.Y.

    They played at the 1993 World Series at Veterans Stadium, for Pope Francis in 2015, and at the Vail Music Festival in Colorado. They played in Europe, South America, Asia, and elsewhere around the world.

    This photo of Mr. Rowe (left) appeared in the Daily News in 1993Newspapers.com

    In 1973, the orchestra made a historic 10-day, five-concert cultural exchange tour in China, and Mr. Rowe told the Daily News afterward that he visited a commune and returned with Chinese instruments. In 2008, he mingled with former Secretary of State Alexander Haig and other international notables after a concert in Beijing.

    In 2013, he posed for pictures with the Chinese welcoming contingent at Shanghai Airport. “Booker was such a kind soul, and his passion, his artistry, and his humanity are woven into who we are,” Yannick Nézet-Séguin, the orchestra’s music and artistic director, said in a tribute.

    Ryan Fleur, the orchestra’s president and chief executive officer, said: “He was a warm and steadying presence in our orchestra.”

    Born in Kentucky, Mr. Rowe and his family moved to North Philadelphia when he was 2. His father was a singer, and his mother played piano, and they “pushed me in the direction of classical music,” he told the Daily News in 1981.

    He became concertmaster for the West Philadelphia High School orchestra, the All-City high school orchestra, and the old all-Eastern Conference college orchestra. He earned a bachelor’s degree in music at Temple University in 1963 and a master’s degree in music at Yale University in 1968.

    Before Philadelphia, he played solo in New York and with symphony orchestras in Nashville, New Haven, Conn., and Washington. Later, he played with the old Symphony Club of Philadelphia, the Lansdowne Symphony Orchestra, and other local groups.

    Mr. Rowe (left) stands with fellow musicians Andre Watts (center) and Renard Edwards.Courtesy of the family

    He also got freelance gigs with Sammy Davis Jr., Isaac Hayes, Smokey Robinson, the Supremes, Barbra Streisand, Aretha Franklin, and other stars. He played with chamber music ensembles around the country and gave dozens of free concerts for children, churches, and community and scholarship fundraisers.

    He championed racial and ethnic diversity, and was active with the Philadelphia Orchestra’s cultural diversity initiative. He sought and performed work by Black and other minority composers, and mentored dozens of colleagues and students.

    He encountered at least one racist incident that first year in Philadelphia and told the Daily News in 1981: “The time was right for an Afro-American in the Philadelphia Orchestra. It was just a matter of finding somebody who was ready.”

    Mr. Rowe and his family lived in Center City, East Mount Airy, and Germantown. Courtesy of the family

    A friend said on Facebook: “His legacy and historical contributions are unparalleled.”

    Mr. Rowe taught at Settlement Music School and gave private lessons. He earned music and service awards from City Council, the American Foundation for Negro Affairs, and other groups.

    In 2019, he was asked to advise young musicians in a video interview for the Philadelphia Orchestra website, philorch.ensembleartsphilly.org. “Practice, practice, practice,” he said. “But also enjoy, enjoy, enjoy. Do it with love in your heart.”

    Booker Taliaferro Washington Vance Rowe Jr. was born Dec. 10, 1940, in Lexington, Ky. In Philadelphia, he studied at the old Philadelphia Musical Academy and Settlement Music School, and his father worked at RCA Victor records in Camden. So their home was always filled with music.

    Mr. Rowe (rear center) stands with Philadelphia Orchestra colleagues and members of the Chinese welcoming contingent in 2013.

    Jan Regan / Philadelphia Orchestra

    He met soprano Patsy Baxter at a Philadelphia Orchestra concert, and they married in 1970 and had a son, Landis, and a daughter, Vivian. They lived in Center City, East Mount Airy, and Germantown, and visited his family often back in Kentucky and Tennessee.

    Mr. Rowe enjoyed puzzles, hiking and kayaking with his family, and tai chi. Friends noted his “kindness,” “million-dollar smile,” and “cheerful presence” in Facebook tributes.

    “He liked people,” his wife said. “He liked socializing. He liked to stick with one thing and concentrate on it.”

    His son said: “My father and I always had a good time together, and we never knew when playful sparring would break out.”

    Mr. Rowe and his wife, Patsy, married in 1970.
    Jose F. Moreno / Staff Photographer

    His daughter said: “He was very fiery and lovable. He was always who he was. He was one of a kind.”

    In addition to his wife and children, Mr. Rowe is survived by a daughter-in-law, Maria, two granddaughters, and other relatives.

    A celebration of his life is to be held later.

    Mr. Rowe (rear second from left) enjoyed time with his family.Courtesy of the family
  • Why is honoring John Galliano at next year’s Met Gala controversial?

    Why is honoring John Galliano at next year’s Met Gala controversial?

    The next Met Gala is nine months away, but it’s already sparking charged opinions. The controversy centers around the Costume Institute’s decision to honor one designer at its next exhibit: John Galliano, a lauded fashion designer with a checkered past.

    Galliano’s exhibit at the Met will be significant, marking only the third solo show for a living designer in the gala’s history. (The others were Rei Kawakubo in 2017 and Yves Saint Laurent in 1983.)

    But it’s not all pierced leather and newspaper print (just two of the designer’s many signature elements). In 2011, Galliano was infamously canceled after his conviction in a Parisian court over a series of racist and antisemitic comments.

    It cost him his job leading Dior. At the time, Galliano said his alcohol abuse sparked the outburst.

    After “two years of exile‚” the designer’s career bounced back. Now, it will be showcased at length. Still, the Met is working to emphasize that the exhibit would not shy away from the problematic aspects of Galliano’s history.

    “His career isn’t defined by a moment — something that he will live with for the rest of his life. The exhibition won’t shy away from any of the darkness in John’s past,“ Anna Wintour told Vogue. Wintor is the global editorial director of Vogue, chief content officer of Condé Nast, and Met Gala chairperson responsible for the event’s programming. “It’s part of what has shaped him. The show will take in the full arc of his career and grapple with all of it.” Wintour is a longtime champion of Galliano and his work.

    The exhibit’s announcement — and the rehashing of Galliano’s comments — come during a time when antisemitism is surging globally. Fashion expert and professional thrifter Virginia Chamlee says the Met is equipped to accurately cover an influential artist without sanitizing the ugly parts.

    Still, Chamlee noted, the biggest publicity draw for the Met’s annual exhibit is the televised red carpet walks leading up to the gala itself — not the exhibition that follows. She’s concerned that whatever efforts the Met has devoted to accountability could be lost to the larger audience.

    “So there’s a real risk here,” Chamlee said. “Even if the museum intends to offer a complete examination of Galliano’s complicated legacy, it may come off as a straightforward celebration of someone who said things so heinous and racist that they were charged and fired for them.”

    Met Gala attendees often wear looks by or inspired by the artists being honored, meaning Galliano’s pieces will likely be worn on celebrities whose looks will be photographed and televised prominently.

    Fashion influencer and writer Ashley Ballard has collected vintage Galliano Dior-era pieces for years.

    “It’s undeniable that Galliano’s time at Dior had a ripple effect on fashion and greater culture,” she said. The designer’s work redefined haute couture with immersive fashion shows, used historical references in fashion, and often bled into pop culture, with top celebrities wearing his designs.

    “It’s key for us to remember that pioneers from this time period [1996-2011] — particularly Galliano and Alexander McQueen — created pieces that challenged high fashion as an institution,” Ballard said.

    Citing Galliano’s incorporation of subcultures into his art, breaking the traditional molds of luxury fashion, Ballard called the designer’s work art that “bridged the gap between traditional fashion houses and audiences that historically were considered an afterthought.”

    Ballard said the controversy over honoring Galliano was valid.

    “This doesn’t exist in a vacuum, and people have the right to be upset by what was said 15 years ago,” she said. “[But] as a culture, if we genuinely care about minimizing hatred and the effects of addiction, it’s imperative that we support rehabilitation and reconstruction, offering the possibility that change is possible and welcomed — otherwise we become participants in the continuity of harm.”

    Here’s everything else you need to know.

    Who is John Galliano?

    Galliano, 65, is a British designer who has worked for some of the industry’s top fashion houses, including Christian Dior, Givenchy, and Oscar de la Renta.

    At the peak of his career, he served as Dior’s creative director for nearly 15 years. Galliano went on to work for Maison Margiela from 2014 through 2024.

    Earlier this year, Zara announced a two-year creative partnership with Galliano.

    What work is John Galliano best known for?

    While at Dior, Galliano’s haute couture and ready-to-wear collections were hailed as among the best of the best.

    He designed the fashion house’s signature Saddle Bag, premiering in 2000 and remaining a staple shape.

    He’s also responsible for iconic looks, including the newspaper dress worn by Sarah Jessica Parker’s Carrie Bradshaw in Sex and the City, and model Kate Moss’ 2011 wedding dress.

    “Galliano’s work as a fashion designer is very highly regarded [and collectible],” Chamlee said. “Just look at the asking price [$375,500] of this Galliano for Dior Homme menswear leather skirt. The industry also largely welcomed him back years ago.”

    Why was Galliano canceled?

    Galliano made a string of antisemitic and racist comments in 2010 and 2011, leading to his conviction in an antisemitism trial held in Paris.

    Galliano was recorded at a Paris bar making drunken, antisemitic comments to a group of Jewish women.

    The video recording surfaced in February 2011, just before Paris Fashion Week. Dior suspended and ultimately fired the creative director.

    Galliano was tried by French authorities under national laws against antisemitic speech, where he was found guilty and ordered to pay €16,500 (about $19,000) in fines and damages. He also lost a compensation case against Dior in labor court.

    What happened to Galliano after Dior fired him for his antisemitic comments?

    Galliano spent years involved in public and private efforts to rehabilitate.

    The 2024 documentary High & Low — John Galliano suggests Galliano was overworked and abusing alcohol and drugs when he made the disparaging comments. The documentary features interviews and analysis on Galliano’s efforts to repair the harm he’d done.

    After a period of silence, alcohol rehabilitation, and outreach to Jewish organizations, some of the designer’s fashion peers and religious leaders began publicly forgiving him.

    Notably, Anna Wintour has repeatedly championed Galliano’s work, both in the early days of his career and later, after his period of cancellation.

    She reportedly helped the designer secure funding over the years, as well as his positions at Givenchy and Dior prior to his conviction and at Oscar de la Renta in 2013. In March, he announced his partnership with Zara.

    Wintour and Galliano met with Jewish leaders to discuss the planned Met Gala showcase, according to the New York Times.

    The Times quoted Jonathan Greenblatt, chief executive of the Anti-Defamation League, as saying: “We believe John Galliano has genuinely worked through the issues that led to his antisemitic outburst years ago in Paris, and we have long since accepted his apology.”

    Greenblatt added: “His efforts to repair the damage his words caused and to learn from that incident should be applauded.”

    What has the Met said about the Galliano exhibit?

    In a news release Friday, the museum promised John Galliano: Horizons would address the good, bad, and ugly of Galliano’s career.

    “It will directly address the rupture caused by his antisemitic, racist, and anti-Asian conduct in 2010 and 2011, which resulted in his dismissal from Christian Dior and his eponymous label and his conviction by a Paris court for public insults based on race, religion, ethnicity, or origin,” the release said. “It will also consider his subsequent treatment for substance addiction and his later public acknowledgment of his actions. Rather than presenting a conventional narrative of disgrace and redemption, the gallery will examine how memory, experience, cultural values, and historical circumstances continually reshape the reception of a designer’s work.”

    Have other ‘canceled’ designers been honored at the Met Gala?

    Several Met Gala showcases and exhibitions have been considered controversial over the years, but experts say this time is different.

    This year’s Met Gala faced backlash and boycott threats for accepting a corporate sponsorship from Amazon founder Jeff Bezos. A “Ball Without Billionaires” counterprotest, which took the form of a grassroots fashion show, took place outside the museum’s entrance.

    The celebration for Yves Saint Laurent in 1983 was criticized for being the first to celebrate a living artist. Critics and art historians suggested the precedent could lead to a promotional advertorial-style treatment for an active brand.

    In 2023, the gala’s Karl Lagerfeld showcase — which highlighted the late designer’s work for Chanel, Fendi, and Chloé — was criticized for celebrating a man known for a history of fatphobic, misogynistic, anti-Me Too, and anti-immigrant views.

    “Lagerfeld had a long record of cruel and discriminatory public comments … But Galliano’s conduct was explicit enough to result in his firing and a criminal conviction,” said Chamlee. As a living designer, Galliano stands to benefit professionally and financially from the renewed attention, she added.

    When is the 2027 Met Gala?

    The Met Gala will take place May 3. John Galliano: Horizons will premiere to the public May 9 and be on display through Jan. 9, 2028.

    The Associated Press contributed to this article.

  • Of all the places in the world, pop star Audrey Hobert says she would haunt Drinker’s Pub in Center City

    Of all the places in the world, pop star Audrey Hobert says she would haunt Drinker’s Pub in Center City

    Ever been throwing back a white tea shot (or four) at Drinker’s Pub at 19th and Chestnut Streets and found yourself wondering: “You know what would make this better? A slender strawberry-blonde ghost.”

    Well, apparently, you wouldn’t be the only one. At an onstage Q&A in a respite from performing, singer-songwriter Audrey Hobert was asked: “If you could haunt any place, just some place, for the rest of your life, what would you choose?”

    As she gripped a plastic water bottle sitting in front of a large speaker, Hobert, who grew up in L.A., smiled and contemplated.

    “Such a great question,” responded Hobert, in a lime green zip-up and gym shorts. “I would probably haunt this bar in Philly which is where, during my song ‘Silver Jubilee,’ it’s like based on a real weekend in Philly in my life and that’s where we spent most of the weekend so I’d probably haunt that bar. It’s the best bar I’ve ever been to.”

    The video capturing the moment was posted Sunday on TikTok and labeled as “audrey q+a in columbus.” It has since amassed more than 130,000 views.

    @thewayiloafedyou audrey q+a in columbus!! #audreyhobert #whostheclown #fangirl #staircasetostardomtour #concert @Audrey Hobert ♬ original sound – addi 🪩

    Hobert said she couldn’t recall the name of the bar in the moment, but a blog post on her website detailing the backstory of “Silver Jubilee” explains that the song was inspired by a Halloween weekend in 2024 she spent at Drinker’s Pub in Center City celebrating her cousin’s 25th birthday.

    Hobert didn’t go into detail about what made the experience so memorable other than spending time with friends and family and a mysterious man from Spain. But almost two years later, the neighborhood haunt (pun somewhat intended) still clearly holds a special place in her heart.

    The “Sue Me” singer is in the midst of her “The Staircase to Stardom Tour,” which stopped in Philadelphia on June 10 at the Met.

  • This Sixers fan has the tweets to prove he waited almost a decade for LeBron to join the team

    This Sixers fan has the tweets to prove he waited almost a decade for LeBron to join the team

    An X (formerly Twitter) account that’s been around since 2017 has only ever had one question: Is LeBron James a 76er yet?

    After having lost hope and gone dormant years back, the anonymous account has returned for what fans are calling “the greatest re-login” of all time.

    It was a moment of redemption when @IsBronA76erYet came back online Friday. The user didn’t use words, but rather posted a popular GIF from the TV show BMF, where one of the main characters, Lamar, opens his eyes while on oxygen after waking from a coma. Millions of viewers knew exactly what they meant.

    You see, not much is known about X user @IsBronA76erYet besides their fandom. X stats show the account was created in July 2017, is based in the United States, and follows only two accounts — take a wild guess who.

    @IsBronA76erYet followed a format popular across Twitter accounts throughout the aughts. The “is [insert topic] XYZ yet” accounts were devoted to constantly answering a lingering question, usually in the pop culture realm, with a brief status update.

    Know Your Meme has documented dozens of so-called “gimmick accounts” on Twitter over the years, with the earliest examples dating back to 2007, according to managing editor Zach Sweat.

    Examples include “Is Winds of Winter out yet?” an account devoted to George R.R. Martin’s sixth novel in the A Song of Ice and Fire series, @knickswintrack, which follows if the Knicks have won, or “Is GTA 6 out yet?” which has been waiting since 2019 for the latest Grand Theft Auto installment.

    “When these pop up dedicated to a specific event, most of the time they fizzle out or are forgotten when the thing they’re dedicated to never happens,” Sweat said. “However, when they do come true, people love digging them up and reviving them, and it’s always really funny seeing them come back to life and seeing how users react to them like they were an oracle or something.”

    Over the course of @IsBronA76erYet’s lifespan, it would repeatedly just tweet: “No.”

    There was a brief moment of hope for this devoted X user in August of 2017 when media outlets suggested James was done with the Cleveland Cavaliers. “No, but soon,” the account mused.

    But in 2018, when James announced he was headed to the Los Angeles Lakers, the user took it like a dagger to the heart. “He never will be now,” the user tweeted on July 1, 2018. “Time to deactivate.” The account went quiet.

    For years, fans speculated that James’ retirement from the league was imminent. Even James, the NBA’s oldest active player at 41, said there were moments he thought he was done, too.

    “I was pretty sure I played my last game,” James said in a series of social media posts Friday morning. “I still truly love this game, and I have more to give.”

    That’s when the figurative oxygen tank started hissing for this X user — or probably more likely, when they started fervently trying to find their old dormant account’s login information.

    At 9 p.m. Friday, it was the tweet seen around the world.

    Is LeBron A 76er Yet was back.

    Their prophecy had been fulfilled. And the internet was there to see it.

    The wordless post with the GIF has been viewed over 50 million times and has 1 million likes — more than the 400,000 or so likes for ESPN insider Shams Charania’s post breaking the news about James in the first place.

    Users have been enamored with the account’s determination.

    “One million likes from a non verified account who’s finally got Bron in Philly, after not tweeting for 7 years. We’ll never see this organic tweet ever again,” one user wrote. The account “rose from the ashes,” said another. “Remembering the password on an account you haven’t been able to use in eight years is worth the [likes] alone,” another remarked.

    On Monday, @IsBronA76erYet posted again. This time, they wrote something they’ve never gotten to say before. One word, three letters. “Yes.”

  • People are selling the free World Cup bracelets they waited hours in line for

    People are selling the free World Cup bracelets they waited hours in line for

    Well, that didn’t take long. Days after the World Cup wrapped up, fans are reselling their once highly coveted swag.

    The FIFA World Cup resale market is on fire, and that includes Fan Fest attendees profiting off their freebies, including the viral Bank of America charm bracelets.

    For those uninitiated: Throughout the duration of the World Cup, fans at U.S. host cities lined up in droves to get their hands on free swag, especially these darned bracelets.

    Mimicking a Pandora bracelet, the “Fan Bands” are composed of a red, blue, or black woven band and an assortment of metal charms laced through. Available charms included numbers, flags, a World Cup trophy, and designs that pair with World Cup host cities. Philly, for instance, had boxing gloves, a cheesesteak, and the LOVE statue.

    It was the World Cup’s hottest free accessory, but it cost interested parties hours of their time. At one point, wait times in Philadelphia were reported to be four to eight hours. Weeks later, Philly’s Fan Fest refashioned the waiting process, citing high demand. Instead of a free-for-all giant line, organizers nationwide pivoted to a ticketed system with set time windows to receive bracelets.

    Bank of America called the demand for the bracelets “unprecedented.”

    Now, they’re a relic of a time that has come and gone — and are selling for anywhere from $10 to $150, no line required.

    Fashion expert and pro-thrifter Virginia Chamlee says this isn’t surprising.

    “The secondary market for the FIFA Fan Fest bracelets is all about scarcity and exclusivity — the second something is ‘free but limited,’ or ‘difficult to obtain,’ it stops being a souvenir, and it becomes a status symbol,” she said. “So people aren’t really buying free beads; they’re buying the two-hour line they didn’t actually wait in.”

    On Facebook Marketplace, dozens of bracelets are listed across Philadelphia. Some sellers said they waited about an hour; one said they volunteered at Fan Fest, which gave them easy access to swag; another said they were selling after snagging the bracelets for their kids, who evidently didn’t like their charm selection.

    In a few listings, bracelet-holders are hoping to trade with others for different charms.

    On eBay, things get more intense. A recent scan, filtering for sold listings, shows bracelets have allegedly sold for as much as $500 in some cases. There was also a listing that sold for $1,000 that included bracelets from nearly every host city. By the knockout rounds of the World Cup, Bank of America unveiled a handful of additional commemorative charms. Bracelets with those charms are in especially high demand.

    As of Tuesday, eBay showed over 1,600 active listings for the Fan Bands. Chamlee says it all boils down to desire, and maybe a little bit of FOMO.

    “To me, this is no different from paying for a resold Taylor Swift Eras tour tee when you didn’t actually go to the concert, or a Trader Joe’s tote that’s been considerably marked up,” Chamlee said. “In these cases, the price isn’t really set by the object itself (i.e. how much it cost to produce) but by how badly someone wants to say they were there.”

    Bank of America says the Fan Bands’ success has exceeded expectations. The company had more than 2 million bracelets and 10 million beads to distribute, it said in a statement at the beginning of the World Cup. Within the first two weeks of the tournament’s nearly six-week run, the company announced it had given away more than 700,000 bracelets across the 11 host cities.

    “For Bank of America, this is a marketing win by almost any metric,” Chamlee said. “A giveaway meant to build brand goodwill has evolved into a resale market. That’s free earned media most brands would pay millions for.”