The FBI has resumed purchasing reams of Americans’ data and location histories to aid federal investigations, the agency’s director, Kash Patel, testified to lawmakers on Wednesday.

This is the first time since 2023 that the FBI has confirmed it was buying access to people’s data collected from data brokers, who source much of their information — including location data — from ordinary consumer phone apps and games, per Politico. At the time, then-FBI director Christopher Wray told senators that the agency had bought access to people’s location data in the past but that it was not actively purchasing it.

When asked by U.S. Senator Ron Wyden, Democrat of Oregon, if the FBI would commit to not buying Americans’ location data, Patel said that the agency “uses all tools … to do our mission.”

“We do purchase commercially available information that is consistent with the Constitution and the laws under the Electronic Communications Privacy Act — and it has led to some valuable intelligence for us,” Patel testified Wednesday.

Wyden said buying information on Americans without obtaining a warrant was an “outrageous end-run around the Fourth Amendment,” referring to the constitutional law that protects people in America from device searches and data seizures.

The RIAA’s 2025 year end revenue report gives us a pretty clear look at where the music business stands right now. The recorded music industry in the United States generated $11.535 billion in wholesale revenue, a 3.1% increase over 2024. Streaming continues to dominate the market, vinyl remains the strongest part of the physical media business, and CDs keep drifting further into legacy territory.

Strip away the nostalgia and the usual industry hype and the story becomes pretty straightforward. Streaming pays most of the bills, vinyl still attracts buyers who want something tangible, and the rest of the formats are slowly losing ground. The numbers don’t argue. They just show how people are choosing to listen to music in 2025.

Before anyone starts comparing every figure to older headlines, one detail matters: RIAA says its reports are now based on wholesale data to align with global reporting standards. That means accuracy requires using the 2024 and 2025 figures shown inside the new report itself, not mixing them with older retail based totals from prior annual summaries.

Streaming Still Owns the Block

Streaming generated $9.4745 billion in 2025, up 3.1%, and accounted for roughly 82% of total U.S. recorded music revenue. Paid subscriptions were the engine inside the engine: 106.5 million premium accounts produced $5.881 billion, up 6.8% in revenue, while the broader paid subscription category represented 55.3% of all U.S. music revenue. That is the part of the business paying the rent, keeping the lights on, and making the rest of the machine possible. Spotify and Apple Music still dominate the landscape, but streaming’s share of total U.S. recorded music revenue has not pushed past the mid-80% range, which suggests something important: physical media’s double-digit share of the market has stabilized rather than disappearing.

There is a second story tucked inside those streaming numbers. Not every digital segment is moving in lockstep. Free streaming slipped 0.6% to $1.789 billion, and other streaming fell 3.8% to $1.309 billion. So yes, streaming is still the dominant format by a mile, but the healthiest part of it is clearly the paid side.

That tells us consumers are still willing to pay for access when the experience is frictionless and the catalog feels essentially infinite; though it does raise a fair question about how much of that catalog is genuine music versus the growing volume of AI-generated content now flooding streaming platforms.

Vinyl Is Not a Gimmick Anymore

Vinyl was the headline physical format again, and this time the number has real swagger: $1.0429 billion in U.S. revenue on 46.8 million units, up 9.3% in revenue and 7.9% in units year over year. According to the RIAA, 2025 marked vinyl’s 19th consecutive year of growth, and U.S. vinyl accounted for nearly 50% of global vinyl revenue.

This is no longer a boutique side hustle for crate diggers and weekend collectors. Vinyl has grown well beyond the small group of audiophiles who kept the format alive after CDs, downloads, and eventually streaming pushed it to the margins. Today it is a serious commercial format with real momentum.

Record Store Day alone tells part of the story. What started as a niche celebration has evolved into two major annual events, with collectors and music fans lining up before sunrise for a shot at limited pressings. Independent record stores are also seeing renewed life in college towns and major cities across North America. Many have adapted by turning themselves into community spaces selling coffee, food, turntables, record accessories, and entry level hi-fi gear alongside vinyl. The format is no longer surviving on nostalgia. It has rebuilt an ecosystem around it.

The more revealing point is not merely that vinyl grew. It is how decisively it beat the rest of physical media. Vinyl generated more than three times the revenue of CDs in 2025 and outsold them by a wide margin in units as well. The format has moved beyond novelty because it offers something streaming cannot: ownership, ritual, display value, collectibility, and a direct emotional transaction between listener and music. Streaming gives you access to everything. Vinyl gives you a reason to care about something. Different drug. Different high. Same customer wallet, sometimes.

CDs Are Not Dead, But They Are Bleeding Out Slowly

CDs brought in $312.4 million on 29.5 million units in 2025. That represented a 7.8% decline in revenue and an 11.6% drop in units compared with the prior year. The compact disc has not disappeared. It still sells in meaningful numbers, and there are niches where it remains relevant, including collectors, catalog buyers, K-pop fans, box set purchasers, and listeners who want a physical copy without paying vinyl prices. But the long-term direction is clear. CDs are no longer the center of the physical media market.

The biggest remaining advantage for CDs is price. New releases on CD are usually far cheaper than new vinyl, and the used market is enormous. Walk into almost any record store and you will still find large CD bins with thousands of titles selling for $1 to $5. For listeners building a music library, it is still one of the most affordable ways to own albums.

There is also continued support from the hardware side of the industry. A number of hi-fi manufacturers still produce portable CD players, traditional CD players, transports, and SACD machines, aimed at listeners who value physical playback and the potential for higher quality sound through a dedicated system.

But it would be a mistake to frame this as a revival similar to vinyl. The data does not support that narrative. CD sales continue to decline year after year, even if the format maintains a loyal audience. On a good player, a well-mastered CD can absolutely outperform most streaming playback, but that alone is not enough to drive a broad market comeback. Vinyl has turned collecting into an event. CDs have not. Nobody is lining up outside record stores before sunrise waiting for Compact Disc Day. Not in 2025, and not anytime soon.

Downloads Continue Their Slow Walk to the Exit

Permanent digital downloads kept shrinking. Total download revenue fell 0.8% to $272.6 million. Download singles dropped 2.2% in value, while download albums fell 9.2%. The category still exists, but mostly as a residue of older buying habits and edge cases where ownership of files still matters. In the larger picture, downloads now look like a transitional format that has already served its purpose. They were once the escape car from the CD era. Now they are just parked outside with a flat tire.

What the Data Actually Tells Us

The 2025 RIAA numbers show a music business that is healthier than the doom merchants want to admit and more complicated than the vinyl evangelists sometimes pretend. Streaming is the mass market utility. Vinyl is the premium physical object. Everything else is fighting for leftovers. Paid subscriptions are where the financial strength sits, vinyl is where the emotional and collectible upside sits, and CDs are losing relevance even though they still matter in absolute dollars.

That also means the industry has stopped being a simple format war. Streaming and vinyl are not really enemies. They represent different behaviors. One is about access, portability, and habit. The other is about ownership, fandom, and intent. Consumers are using both because they solve different problems.

The 2025 numbers make that clear: digital revenue climbed to about $9.7 billion while physical formats generated roughly $1.38 billion, and both categories grew at the same time. In other words, the market can support subscriptions and collecting when consumers see value in both. 

There is also a broader context that is easy to overlook. Music consumption in the United States now generates billions more in revenue than the theatrical movie business, with recorded music alone clearing $11.5 billion in 2025. People simply spend more time listening to music than watching films. It happens everywhere: at home, in the car, on the train, at the gym, and on airplanes. That constant presence makes music one of the most durable forms of media consumption, and it is likely that the gap between music and movies will continue to widen as streaming subscriptions and mobile listening keep expanding. 

When you compare it with other physical media categories, the contrast is interesting. Print books remain remarkably resilient, with roughly 762 million copies sold in the United States in 2025, a small increase over the previous year. But the growth is modest and largely flat compared with the pandemic peak earlier in the decade. 

Taken together, the numbers show something simple. Streaming dominates music access. Vinyl anchors the physical collector market. CDs remain a niche but affordable ownership format. And across all of it, music continues to be one of the most consistent and pervasive forms of entertainment people consume every day.

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The MacBook Neo, along with the Mac mini, is Apple‘s most affordable computing option at just $599. And yet it is a formidably capable device, possibly, a once-in-a-generation product. Why? One unknown I wanted to clear up was how well it ran Windows 11 in a virtual machine.

So I asked the team at Parallels to benchmark a Windows-equipped Neo, and what they delivered shocked me.

Yesterday’s discount on the Sonos Ace over-ear headphones wasn’t the only sale you can find on new additions to your Sonos setup. You can also nab the Sonos Roam 2 for just $139 as part of the Amazon Spring Sale. This Bluetooth speaker has excellent sound despite its relatively compact size, and of course it plays nicely with your other Sonos speakers.

Unlike older Sonos products, the Roam 2 now has Bluetooth in addition to Wi-Fi. When you’re home, the speaker joins your network and acts just like any other Sonos speaker in your setup. Take it on the go, and you can easily connect your phone and keep the tunes rolling. The Sonos app isn’t always the best at finding new speakers, but in this case it fired right up and connected to the Roam 2, good news for the easily frustrated. It has a fun sound profile that’s great for picnics or backyard hangs, with solid bass and balanced mid and upper ranges. Some other Bluetooth speakers might get louder, but the Roam 2 makes up for it by joining a chorus of other speakers around your home.

While the first-generation Roam suffered from some long-term battery health issues, Sonos has assured us that the Roam 2 more than fixes the problem, and at least in the short time our reviewer Parker Hall spent with it, it wasn’t an issue anymore. The outside is also slightly prone to smudges and scuffs, something to keep in mind if you prefer your equipment looking pristine. It’s waterproof, though, and quite sturdy, so just know that any marks you see on the housing are just surface level.

I spotted the discount in both black and white, but they’re both marked as “Limited Time Deals” so you’ll want to move fast if you’re interested. For anyone wondering what else is out there, or for non-Sonos users, make sure to check out our guide to the best Bluetooth speakers, or swing by our roundup of the best deals on hand-tested and approved products in the Amazon Spring Sale to see what else sparks your fancy.

The New York digital comics platform is combining its 300,000-title library with INKR’s AI localisation engine, and bringing in new leadership to execute the expansion.

The problem with getting manga into the hands of readers outside Japan is not demand. Manga is the fastest-growing category in American book publishing; global interest has been building for years, accelerated by streaming adaptations of franchises like Demon Slayer, Attack on Titan, and Jujutsu Kaisen.

The problem is infrastructure. Translating, reformatting, and distributing a comics series across languages and screen sizes is still a largely manual process, and the industry’s publishing toolchain has never been built to handle it at speed or at scale.

GlobalComix, the New York-based digital comics platform, is betting it can fix that. On Wednesday the company announced three moves at once: a $13 million funding round, the appointment of Henrik Rydberg as chief executive, and the acquisition of INKR, a Singapore-founded AI localisation platform for comics.

Together, the announcements describe a company that wants to be not just a reading destination but the infrastructure layer beneath the global comics publishing industry.

The $13 million round was co-led by SBI US Gateway Fund, the US arm of SBI, one of Japan’s most active venture capital firms with more than 1,200 portfolio companies, and Point72 Ventures, the venture arm of Steve Cohen’s Point72 Asset Management.

Point72 Ventures previously led GlobalComix’s $6.5 million Series A in July 2023 and returns here as co-lead. Additional participants include Scrum Ventures, Wise Ventures, Wicklow Capital, and Upside VC.

The Japan-US investor pairing is deliberate. SBI’s network spans Japanese media and publishing, the market that produces manga, while Point72 brings continuity and US market perspective.

Shohei Yamada, Managing Partner of SBI US Gateway Fund, described GlobalComix as “building the infrastructure that connects creators, publishers, and readers worldwide,” adding that he believed it had the potential to make manga and comics “accessible to anyone, anywhere.”

Ishan Sinha, now a Partner at Point72 Ventures who led the 2023 Series A, said the addition of INKR’s AI team and localisation technology “meaningfully expands what the platform can support for creators and publishers.”

The INKR acquisition brings the most technically substantive element of the announcement.

INKR was founded in 2019 by Ken Luong, Khoa Nguyen, and Hieu Tran, a team based in Singapore and Ho Chi Minh City, and launched its app in October 2020. 

The platform’s core product is an AI localisation engine that automates the most labour-intensive steps in preparing a comic for a new language market: text and object detection, image cleaning, translation, and typesetting.

The company says the technology reduces localisation time from days to hours and has been used to localise more than 15,000 comics, though that figure comes from GlobalComix’s press materials and has not been independently verified.

GlobalComix’s platform currently hosts more than 300,000 titles from publishers including Marvel, DC, Kodansha, Image Comics, and Tokyopop, alongside more than 25,000 independent creators.

The company’s ambition is to combine INKR’s localisation pipeline with its existing distribution and monetisation infrastructure, effectively creating a vertically integrated system: a publisher brings a Japanese title in, the AI engine prepares it for English, French, or Brazilian Portuguese markets, and GlobalComix handles distribution and revenue.

The global manga market is estimated to exceed $20 billion annually, with demand for translated content growing across the West.

Whether GlobalComix can capture meaningful share of that workflow, against established players including Viz Media, Yen Press, and digital platforms like WEBTOON, depends on whether the AI localisation quality is good enough for professional publishing standards and whether publishers will trust a startup with their most valuable IP.

The acquisition of INKR, whose technology is described as already trusted by publishers in Japan and Korea, is the clearest attempt to answer that second question before it is asked.

An Employment and Recruitment Federation report suggests that despite Ireland’s positive hiring market, progress is being stalled.

New research published by the Employment and Recruitment Federation and supported by Icon Accounting has highlighted how the skills shortage in Ireland is starting to delay further growth for organisations, despite some positive numbers. 

The Irish Labour Monthly Monitor report found that more than half of contributing recruiters reported an increase in permanent vacancies and 43pc said there is higher demand for contract roles. 41pc reported increased temporary vacancies and more than half also said that they expect vacancy levels to rise further over the next three months.

But despite the positive hiring market, the research also indicated that Ireland’s talent pool is not keeping pace. Of those who contributed their information, two thirds of recruiters said that they expect no improvement in the availability of applicants with suitable skills. The report said this points to a widening gap between what employers need and what the market can currently provide. 

Commenting on the figures, Siobhán Kinsella, the president of the Employment and Recruitment Federation, noted that this is the real challenge at present: not a lack of jobs, but a shortage of the right skills. 

She said: “What this data shows very clearly is that Ireland does not have a jobs problem. It has a skills problem. Employers are still hiring. Recruiters are still filling roles. But finding people with the right experience and qualifications is getting harder, and that is now starting to hold businesses back.

“This is still a strong jobs market, but it is becoming harder and more expensive for employers to hire. Businesses are dealing with higher costs, continued uncertainty and fast-changing requirements at the same time.”

She explained that if Ireland wants to maintain its momentum, there needs to be a serious commitment to training, reskilling and workforce readiness. “We cannot keep talking about strong employment numbers if employers cannot find the people they need to fill the roles that are there,” she said. 

Competing needs

The report noted how in February, Ireland’s unemployment rate stood at less than 5pc, resulting in a landscape where many employers find themselves competing for a limited pool of experienced workers, across sectors such as technology, engineering, healthcare, logistics and financial services, among others. 

Youth unemployment figures were also shown to be comparitively high, with the latest CSO figures showing a rate of 12.4pc for 15 to 24-year-olds, highlighting the continuing challenge of ensuring that people entering the workforce have the right skills to access available roles.

Kinsella noted that the findings are reflective of a much wider pattern now visible across developed economies, where the issue is no longer job creation, but whether countries have the people and capacity needed to support continued growth.

She said: “What Ireland is facing is part of a much wider shift across advanced economies. We have adapted before as technology changed the way we work, and we will adapt again. 

“But this next phase will depend on whether we invest properly in skills, support people to retrain and make it easier for employers to access the talent they need in areas such as AI, machine learning, engineering and healthcare. That is where the real focus now needs to be.”

Earlier this month, WiCyS and FourOne Insights published data that explored how skills-based cyber practices have the potential to positively impact employees and their organisations. 

The ‘ROI of Resilience: How Cybersecurity Talent Management Best Practices Improve the Bottom Line’ study suggested that skills-based, talent-friendly practices often generate the highest returns for an organisation and its workforce. 

The report said: “High-ROI practices, such as transparent promotion processes, executive sponsorship, access to upskilling and mentorship, and engagement with trusted third-party partners, can consistently reduce hiring friction and support retention. Over time, they open advancement pathways that have historically been narrow, especially for women.”

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Over the years, OPPO’s A series has delivered some great value phones for price-conscious buyers. Keeping that spirit alive, OPPO has launched the OPPO A6s 5G in India. The Chinese smartphone maker says the A6s focuses on battery life, smooth performance, and a camera setup designed for everyday photography. Here’s everything you need to know about it.

Design & Cameras

The OPPO A6s 5G features a flagship-inspired design with a slim profile measuring 8.61mm in thickness and weighing around 212 grams. Color options, of which there are two, include Aurora Gold and Plum Purple. The phone features a bright display for outdoor visibility, along with a metallic unibody-style frame that offers both durability and a premium look.

Optics are headed by a 50MP main camera accompanied by a 2MP secondary sensor. According to OPPO, the camera system is designed to capture clear images with natural colours across different lighting conditions. Selfies are handled by a 5MP sensor.

Performance & Battery

Powering the OPPO A6s 5G is the MediaTek Dimensity 6300 chipset. We’ve used several phones with the same processor in the past, and it’s a reliable performer. The smartphone runs ColorOS 15, which introduces system-level optimizations, including the Luminous Rendering Engine and Trinity Engine, to improve animation smoothness and overall performance.

Battery life is one of the main highlights of the OPPO A6s 5G. The phone packs a 6,500mAh battery, which is coupled with 45W SUPERVOOC fast charging, allowing the device to charge from 1% to 41% in about 30 minutes.

Pricing & Availibility

The OPPO A6s 5G starts at ₹18,999 for the 4GB + 128GB variant, while the 6GB + 128GB model is priced at ₹20,999. The smartphone is available starting today through Amazon, Flipkart, the OPPO online store, and offline retail outlets. As part of launch offers, buyers can get ₹1,000 instant cashback on select credit cards and no-cost EMI options for up to three months.