"Approximately half of Gen Z and millennials who have purchased a CD do not own a CD player," according to midyear sales statistics from entertainment data company Luminate. It's driven in part by "collection building", according to their report [PDF]: The CD has been recontextualized from a functional audio format into an affordable collectible. This behavior underscores that for younger generations, the act of buying physical music is as much about aesthetic ownership and direct financial support for the artist as it is listening to the music on the product itself
"Among artists who had a direct impact on the resurgence of CDs, K-Pop icons BTS' 10th studio album, ARIRANG, was a big seller," Vice points out in their report on the new data. "However, Luminate also found that, beyond K-Pop's overall influence, CD sales still increased 6.7% year over year, even if the whole genre was removed from the equation, jumping 16% to 16.3 million units."

That's more than the growth of vinyl sales (2.4%) — but physical media in general seems to be making a comeback: Through the first half of the year, total physical album sales on vinyl, CDs, and cassettes reached 38.2 million units in the United States. This equates to a 7.8% increase.... [I]t seems that younger music fans have been driving a lot of the retro revival. The report shows that in 2026, 60% of Gen Z listeners said they most often listen to music from the 1990s and older. This is a massive increase from the 18 percent marker in 2021.

The new report also revealed that the way music fans are buying physical media has shifted. Indie record stores have been the largest generator of physical album sales for some time, and they continue to be. However, big-box stores like Target and Walmart took significant strides in the first half of 2026. Collectively, their music sales made up about 30% of the market.
Thanks to Slashdot reader fjo3 for sharing the article.

An anonymous reader quotes a report from Techdirt: In 2022, due to "evolving licensing agreements" with distributor StudioCanal, German and Austrian users had hundreds of movies disappear from their PS accounts, long after buying them through Sony. Then in 2023, it happened again in America, specifically when Sony ended its licensing agreement with Discovery after the Warner Bros. merger, which, of course, has since been bought by Paramount Skydance. That resulted in customers having hundreds and hundreds of episodes of TV shows deleted from their accounts. Nowhere in any of this were there refunds, of course. No recompense at all, actually. Just a thing you thought you'd bought taken away from you by the very people you thought you bought it from.

And now it's happening again. Due to another licensing agreement fallout with StudioCanal, hundreds of movies and TV shows are being ripped from the accounts of PS Store customers, and there appears to be fuck all that they can do about it. [Kotaku reports:] "This news was brought to people's attention by X user somatyk, who posted the notification they had received from PlayStation this week. Along with the unapologetic news that the purchased movies would be deleted from their account on September 1, the message concluded with, 'Click here for a full list of affected titles that will no longer be supported. Thank you.' The same warning is now reproduced in full on the PlayStation website, along with the list of 551 films and TV series that are being pulled from people's libraries."

As Kotaku notes later in their post, part of what is striking in all of this is the sheer mundanity of the announcement. Because there have been no consequences, or any action at all from the public or government, Sony treats this all as if it's perfectly normal and no big deal. You can tell me all you want about how the Ts and Cs in these purchases do in fact note that the nature of the purchase is a temporary licensing of the content for an undetermined time period... but I can promise you that the public in general doesn't understand that. They think they're buying a thing, not a license.

Spotify is testing a new "Talk to Spotify" AI feature for Premium subscribers that will let them chat with an AI assistant to explore music, podcasts, and audiobooks. The feature can answer questions about what users are listening to, adjust playback through follow-up prompts, and offer more personalized recommendations. The Verge reports: Amazon Music introduced a similar feature last year when it integrated Alexa Plus into the service. Spotify's chatbot goes a step beyond providing AI-powered recommendations and general trivia, however, because it references your playlists, favorite artists, repeat listens, and listening data when responding to requests. That means you can ask questions about your own listening history to check when you first heard a specific song, or see what genres you've been into lately if you can't hold out for the annual Wrapped insights.

The updated AI capabilities are more conversational than older features like Prompted Playlist, which automatically builds playlists based on descriptions. Now, you can ask the Spotify chatbot to "play some songs I haven't heard before," and control what's being played with further instructions like requesting specific artists or asking to make it "more upbeat." Spotify says the new conversational experience aims to make the platform "more personal and useful for every listener," making this one of several ways that the company is trying to address complaints about its algorithm.

You can also ask the Spotify AI general questions about whatever you're listening to, making the feature feel similar to using chatbot services like Google's Gemini or OpenAI's ChatGPT. That includes asking for when a song was released, exploring other titles an author has written when listening to one of their audiobooks, or checking if a podcast guest has appeared on other audio shows.

A hacker who breached Suno reportedly revealed source code and training-library details showing the AI music generator scraped millions of songs and lyrics from sources including YouTube Music, Deezer, Genius, Pond5, Jamendo, Freesound, and podcast RSS feeds. "The hacked data is a rare look at exactly how AI models and tools are built," reports 404 Media. "Suno is one of the largest AI music generation tools on the internet, and has been the subject of several major lawsuits from the record industry, which accused the company of training on millions of copyrighted songs." Suno maintains that its models were trained on publicly available music files and metadata as fair use. 404 Media reports: The Recording Industry Association of America accused Suno of ripping songs directly from YouTube; the hacked data seen by 404 Media confirms this. The hacked material includes source code that appears to be from 2023 and 2024 that includes scraping instructions and details about the scope of at least some of the scraping. For example, the comments in one file note that they will pull from "genius_hq, youtube_music, freesound, jamendo, imp, deezer, ytm_tagged," and that "non-music will be filtered out." A file called "youtube_music" notes that at the time the file was last updated, it had ingested "2,013,545 music clips." Another file contains comments about different datasets Suno had created, which included "113,879 hours of youtube_music," "17,615 hours of genius_hq," "410 hours of free sound," "19,514 hours of imslp," "3,726 hours of jamendo," "62,117 hours of pond5_music," "12,287 hours of deezer," "152,162 hours of ytm_tagged," and "103 hours of musescore_lyrics." In total, this is at least decades worth of music.

Other code the hacker shared with 404 Media appeared to look specifically for vocals by searching specifically for acapella versions of songs on YouTube. The code also suggested that Suno was using proxies to scrape songs from YouTube through a company called Bright Data, which sells scraping tools, infrastructure, and data services. Additional code shows that with the help of an online tool called PodcastIndex, Suno identified 420,000 different podcasts that had at least five, 30-minute episodes and sought to download roughly 1 million hours of podcasts.

[...] The hacker, ellie.191, told 404 Media they breached the company by hacking an individual employee using the Shai-Hulud worm, a supply chain attack that allowed hackers to harvest GitHub and cloud service credentials. They said they also accessed Suno's customer list, which included customers' emails and/or phone numbers and Stripe payment details, depending on what they used to login. The hacker provided a sample of some of the customers, some of whom confirmed to 404 Media they had used their phone number to sign up for Suno and said they were never notified of a breach. The hacker told 404 Media they had no specific motivation for hacking Suno and said "I like to hack anything and everything."

The FCC plans to vote on repealing local TV ownership limits, including the 39% national audience cap that currently restricts how much of the U.S. market a single broadcast group can reach. Engadget reports: On August 6, commissioners will hold a ballot to repeal Section 303 of the Communications Act, and with it the 39 percent rule. In essence, the rule limits the reach of a local TV network to no more than 39 percent of the U.S.' total audience market. In its place, the FCC would move to a system whereby it would personally approve or reject TV ownership deals on a case-by-case basis.

It's not clear if the FCC even has the authority to reject Section 303 without the explicit consent of the legislature. As Lawrence J. Spiwak wrote in the Yale Journal on Regulation back in January, Section 10 of the Communications Act expressly forbids the FCC from bending the rules around Section 303. "Americans no longer trust the legacy national media to report the news fairly or accurately," wrote FCC Chairman Brendan Carr in an op-ed published on Breitbart. "In fact, only eight percent of Americans have a great deal of trust in mass media. That figure is even lower among Republicans -- sitting at a mere three percent."

"... Many local broadcast TV stations are getting hollowed out as a result and turning into little more than mouthpieces for programming produced in New York and Hollywood," he alleged. "That is not what Congress or the FCC intended."