Latest news with #cost
Yahoo
5 hours ago
- Business
- Yahoo
Unexpected Wedding Costs Leaves Bridesmaid Frustrated After Paying for Dress, Bridal Shower and Bachelorette
The cost of a woman's wedding is piling up, and one bridesmaid has had enoughNEED TO KNOW A bridesmaid is struggling with the mounting costs of her friend's wedding After promising to pay the tip for hair and makeup professionals (the bridesmaids covered the actual cost), the bride went back on her word and told the bridal party they'd be responsible for the tip The bridesmaids already contributed to the bachelorette party, bridal shower and their own dresses for the ceremonyThe cost of a wedding is piling up — not just for the bride, but for the wedding party as well. A bridesmaid — who had already donated to the wedding couple's celebrations — shared her frustration on Reddit's r/weddingdrama forum after the bride insisted her wedding party cover the tips for the makeup artist and hair stylist. The bride had previously told her bridesmaids she'd take care of it — and now she's backing out. The wedding is in just a few days, the bridesmaid wrote. The bride had indulged in the usual pre-nuptial celebrations, including a bachelorette party and a bridal shower, both of which her bridesmaids were expected to fund, the woman wrote. On top of that, the bridesmaids paid for their own dresses for the ceremony. Months prior, the bride communicated to the bridesmaids that she'd handle the tips for the professionals doing hair and makeup, "as we are paying for that on our own," the woman wrote. But it appears the bride has gone back on her word. "Recently [the bride] sent a message that I found a tad rude, saying that we have to handle the tip now because she's handling the traveling fee. 'I'm paying the traveling fee so I figured everyone else can tip,'" the woman recalled of the bride's message. The post continued, "The wording threw me off as I figured you should because it is your wedding and you told us months prior you would cover it." The general consensus in the comments determined the bride was wrong for asking so much of her bridesmaids, in terms of finances. Hair and makeup are both temporary, and only the wedding couple's photos stand to benefit. Thus, many argued, that expense in particular should fall to the bride. Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. Many suggested the woman should just tip, so as not to make the makeup artist and hair stylist suffer because of the bride's rudeness. Furthermore, just days out from the wedding, commenters noted the drama of pushing back about costs is unlikely to end well for anyone involved. "I mean, you can bring up that she's going back on the plan but also pragmatically... the wedding is in days," one wrote. "It's irritating and annoying and I get that this is the straw, but the time to speak up about costs piling up was sometime well before this weekend." Read the original article on People Solve the daily Crossword
CTV News
a day ago
- Business
- CTV News
Costs of data breaches dropping globally but not in Canada: IBM study
The uOttawa-IBM Cyber Range at the University of Ottawa, in Ottawa, is seen on Wednesday, May 22, 2024. THE CANADIAN PRESS/Justin Tang TORONTO — A new report shows the global average cost of a data breach dropped for the first time in five years — but not in Canada. The average cost of a breach between March 2024 and February 2025 was $6.4 million, down from $6.6 million a year earlier, showed research released Wednesday from technology giant IBM and the Ponemon Institute, a U.S.-based cybersecurity research centre. While global costs are decreasing because of shorter breach life cycles, expenses related to these attacks have risen in Canada, IBM Canada's security delivery leader Daina Proctor said. The average cost of a Canadian breach soared 10.4 per cent to $6.98 million in the latest year studied from $6.32 million the year before. Canada's average is higher because detection and escalation costs, which cover forensic investigators, regulatory responses, legal counsel and crisis communications, have risen, Proctor said. Detection costs now average $470,000 in Canada, while post-breach recovery costs hover around $270,000. At the same time, Canada is facing rising costs because of 'slower adoption of AI-driven defences and governance gaps,' Proctor said in an email. In the last year, cybersecurity issues have been reported at Nova Scotia Power, the College of New Caledonia in Prince George, B.C., and PowerSchool, the maker of education software used by many Canadian schools. Breaches can be expensive because they can be difficult to detect and assessing and recovering from them can be tedious, time-consuming work requiring many professionals and sometimes, interruptions for customers and workers. Most countries have seen fees associated with a breach drop because it's taking less time to investigate breaches. Yet several countries including Canada bucked that trend. IBM and Ponemon's research showed the cost of data breaches also rose in the U.S., India, the Association of Southeast Asian Nations and Benelux — the economic union of Belgium, the Netherlands and Luxembourg. Average breach costs in the United States reached a record US$10.22 million, an increase of nine per cent from last year. When it analyzed 600 organizations impacted by data breaches, it found the most expensive attacks hit the health care sector, followed by the financial, industrial and energy industries. In many instances, hackers made use of shadow artificial intelligence — when workers use AI without employer approval or oversight. 'Shadow AI has become one of the biggest blind spots for organizations today,' Proctor said. 'Employees are adopting AI tools to boost their productivity, but without oversight, they are inadvertently creating vulnerabilities.' Shadow AI systems often process sensitive data and interact with external systems companies have no control over. 'Once attackers exploit these gaps, the cascading effects can expose entire systems and supply chains to significant breaches,' Proctor said. Twenty per cent of the organizations studied said they suffered a breach due to security incidents involving shadow AI. Global organizations with high levels of shadow AI said use of this technology added $967,011 to the average breach price tag compared to those that had low levels of shadow AI or none. Incidents involving shadow AI also resulted in more personal identifiable information and intellectual property being compromised. To address the risks associated with shadow AI, Proctor said companies need to give workers more approved AI tools and conduct regular audits to find gaps in their offerings and employee compliance. This report by The Canadian Press was first published July 30, 2025. Tara Deschamps, The Canadian Press
Yahoo
4 days ago
- Business
- Yahoo
The cost of love: Europe's most expensive and cheapest cities for a date
Love might be priceless, but dating certainly isn't. As the cost of living continues to rise, singles are finding that romance comes with a higher price tag than ever before. And it's not just first dates. Couples in long-term relationships are also tightening their belts when it comes to nights out and shared experiences. The cost of a date varies widely across Europe, reflecting differences in local price levels. It has also risen significantly over the past five years. So, which European cities are the most expensive or the most affordable for a date? And just how much should you expect to spend on a romantic outing in Europe? A study from Deutsche Bank Research Institute compares the cost of a date across 67 cities worldwide — and nearly half of the studied cities are in Europe. Drawing on data from this report ("Mapping the World's Prices"), Euronews Business takes a closer look at how much dating actually costs in European cities. For the purposes of the research, a 'cheap date' is defined as: one bottle of wine, a pair of jeans, a dress, two coffees, a meal for two at a mid-range restaurant, two cinema tickets, two one-way public transport tickets, and a 5km taxi ride. Swiss and Nordic cities most expensive for dating This year, Switzerland topped the list as the most expensive country in Europe for a "cheap" date. In terms of cities, Geneva leads with an average cost of €400, followed closely by Zurich at €393 — taking the top two spots in the ranking. Copenhagen (€337) and Oslo (€321) follow the Swiss cities. In Europe, Stockholm comes in 7th at €292, while Helsinki takes 9th place at €286 — placing the Nordic capitals alongside Switzerland as the most expensive locations for a date on the continent. Britain tops EU's Big Four in dating costs A "cheap" date costs €313 (£269) in London and €297 (£255) in Edinburgh, placing the two British cities 5th and 6th on the list. This also makes the UK the most expensive country for dating when compared to the EU's four largest economies. In the capitals of those economies, the costs are notably lower: €268 in Paris, €248 in Berlin, €224 in Madrid, and €200 in Rome. Interestingly, some non-capital cities are pricier than their capitals — such as Milan (€275), Munich (€272), Frankfurt (€251), while Barcelona is a slight exception at €214. The average cost of a cheap date across 28 European cities is €264. Cheap dates: Istanbul, Prague, and Budapest Istanbul ranks as the cheapest European city for dating at €163, followed by Prague (€186) and Budapest (€192). However, these figures reflect nominal prices and do not take into account purchasing power standards (PPS). For locals, these costs may still feel high. When income levels are considered, the picture of affordability across cities is likely to shift significantly. The cost of a cheap date in several other European cities includes: Amsterdam (€290), Dublin (€283), Brussels (€275), Vienna (€253), Athens (€218), and Lisbon (€214). How do non-European cities compare in dating costs? Outside Europe, New York ranks as the most expensive city globally at €301 ($354), placing 6th among 67 cities. Bangalore, India, is the cheapest, with a date costing just €88. Related Swipe right - but watch your data: Dating app hit with AI privacy complaint LGBTQ+ dating: This study ranked the best European cities for a romantic getaway Tel Aviv-Yafo is also among the more expensive cities, with a date costing €291. Buenos Aires (€252) is pricier than many major European cities, as well as globally popular destinations like Los Angeles (€244), Dubai (€244), and Tokyo (€184). On the other hand, Shanghai, Cape Town, and Rio de Janeiro are significantly cheaper in nominal terms, with the cost of a date falling below €150. Dating has become significantly more expensive In October 2022, inflation in the EU reached its highest level in four decades, with the cost of living rising sharply across nearly all member states. When comparing the Cheap Date Index from 2020 to 2025, a significant increase is evident. Although the original report is in USD, we converted the figures into euros to offer a clearer perspective, and then calculated the change over this period. Istanbul saw the highest increase, with the cost of a cheap date rising by 84% in euro terms. The increase is also 40% or more in several other cities: Edinburgh (46%), Budapest (45%), London (41%), and Birmingham (40%). However, part of this rise is influenced by exchange rate fluctuations. In the UK, for example, the actual increase would be slightly lower when calculated in local currency — around 33% in London. In Istanbul, the impact is even more dramatic: due to the sharp depreciation of the Turkish lira in recent years, the local cost of a cheap date has surged by over 840%. Across most European cities, the cost of a cheap date has risen by approximately 25–30% over the past five years. Rome stands out as the only city where prices have actually declined in euro terms by 2%. A Euronews Business article titled 'Which Are the Cheapest and Most Expensive Countries in Europe?' compares European countries based on overall cost of living.
SBS Australia
5 days ago
- Entertainment
- SBS Australia
Are cost-of-living pressures and streaming platform algorithms killing Australian music?
Triple J's Saturday debut of its Hottest 100 of Australian songs has prompted many to reflect on the state of the local music industry — and the sobering reality that perhaps the biggest hurdle is cost. An April report from Creative Australia found 62 per cent of Australians say music is really important to them — but cost is the main barrier to attending live shows. While 66 per cent said they want to hear more local music, many still prioritise saving up their dollars to see international acts — simply because they're rarer. FBi Radio's Tyson Koh says people tightening their hip pockets are having a direct flow-on effect on the industry, especially community radio, which has long been considered a cornerstone of the Australian music scene. FBi Radio — where Koh is managing director — has been an institution in the inner-Sydney suburb of Redfern since 2003, bolstered mostly by community memberships. But in June, it had to cut half its permanent staff after entering a period of "extreme financial distress". It still isn't out of the woods. "We found that in this brave new world of digital streaming and social media, a few people had taken our service for granted," Koh said. "They were still listening to the station — but because they already had several other subscription-based services to keep up with, we'd gotten lost in the mix." Tyson Koh says the cost of living crisis and growth of algorithmic music streaming is affecting community radio stations such as FBi, which could close its doors if not enough funding is secured. Source: Supplied / John Feder As cost-of-living pressures linger, Koh says discretionary spending — such as going to live gigs or subscribing to community radio stations — is becoming harder to justify. "We really need our listeners to show up for us if we are to survive." "I think we have to decide as a society whether music is important … if we can agree on that, then the question comes down to support and participation." Less disposable income, fewer ticket sales Joe Draffen, bassist for Melbourne band Floodlights, says the rising cost of living is also affecting artists. "The current economic climate has made it harder to sell tickets, as many people just don't have as much disposable income right now due to the rising cost of living," Draffen said. "On top of that, our own expenses have gone up, which meant ticket prices had to increase too." Melbourne-based band Floodlights say the cost of living crisis has put pressure on musicians, leading to slower ticket sales and higher touring costs. Source: Supplied / Matt Shaw "Touring's gotten a lot more expensive — flights, accommodation, gear hire, crew — it all adds up." The band has also been impacted by the closure of several music festivals across the country, which would typically bring more exposure and broaden their fan base. More than 25 music festivals across Australia have been cancelled since 2022, according to data from the Australian Festival Association. Community-led efforts still not enough Caitlin Welsh and Joe Hardy run a manually curated gig guide born from the loss of local music press and the lingering effects of Sydney's lockout laws. The guide briefly shut down in June due to a lack of funds, before a flurry of one-off donations and sponsorships allowed Welsh and Hardy to keep going — for now. "People hugely underestimate the amount of time and human labour it takes to manually research and compile the gig guide, as well as put together playlists and post daily lists to socials," Welsh told SBS News. "It's made by a small team of humans — including musicians and creatives who work with us as researchers — who need to be compensated for the amount of labour we're all doing in order to continue living in one of the most expensive cities in the world." Caitlin Welsh and Joe Hardy founded gig guide after frustrations with the diminishing Sydney music scene. But the cost of living is making it difficult for them to continue operating. Source: Supplied / Caitlin Welsh But live music spaces are becoming increasingly rare as venues face even more pressure to keep the doors open. India Wallis is a Brisbane-based musician and head of youth-focused record label Starving Kids, which runs a dedicated 150-capacity all-ages venue in Brisbane, serving musicians who are often booking their first show. "The gap between local acts and established acts seems to be getting wider," she told SBS News. "Brisbane is home to some great large-scale venues, but with more and more small venues closing, there are noticeably less opportunities for artists to cut their teeth." More than 1,300 live music venues and stages across Australia have been lost since the COVID-19 pandemic, according to a 2023 report from music rights management organisation APRA AMCOS. Welsh added: "Venues are being bled by insurance premiums and rent and the alcohol excise, and they can't afford to run all-ages shows because they rely on bar sales to support putting on music at all, and punters can't afford to buy as many drinks as they used to because their rent is too damn high." "The narrowing of music participation to people who can afford to treat it as a hobby, or who are forced to accept poverty to keep doing it, is just as creatively flattening as the algorithm." Algorithms placing pressure on industry At the same time, streaming platforms such as Spotify are continuing to grow, with over nine million users in Australia. Date from market research firm Roy Morgan found Spotify had doubled its Australian user base between 2017 and 2020. Since 2017, the platform has moved towards algorithmically creating personalised music recommendations, informed by a user's listening history and preferences. Koh says this means that people are more likely to value platforms like these instead of community radio, which was traditionally a hub for music discoverability. "People lead such busy lives, so the amount of time that people can devote to going on their own musical journey and discovering new artists is getting more and more limited," he said. Koh says this convenience is creating a "giant homogenous culture". "One thing that social media and algorithms can't replace is the experience and joy of seeing a band. That's often where artists find their audiences and the people who they can take on the journey with them throughout their careers." Despite coming off their largest Australian tour so far, Floodlights say it's become harder to be discovered organically — even in the midst of a breakout moment. "There's so much music coming out every day, and unless you're backed by major playlists or algorithms, it's easy to get lost in the noise," Draffen said. Should Triple J be doing more? In the face of so many obstacles, musicians such as Ben Lee — who is expected to chart in Saturday's countdown for his hits Cigarettes Will Kill You and Catch My Disease — have called for the ABC's Triple J to do more to support Australian music, including restricting all Hottest 100 countdowns to only spotlight Australian songs. "At a time when there are so many platforms for international music discovery, I just don't see the logic in a taxpayer-funded station using their platform to promote international acts, many on major labels," Lee told SBS News. He said it was being run like a "commercial station that's constantly bending over backwards to increase listenership", primarily through bigger international artists. Lee added that it should move to play only Australian music across the board. "They could single-handedly lead the way to revitalising the Australian music industry if they wanted to. But it would mean stopping thinking of themselves as a commercial radio station, but rather as a mission-driven government utility," he said. The station has a mandated quota of 40 per cent for Australian music, but typically plays closer to the 50 per cent mark. Last week, Lee made similar remarks on both social media and to The Sydney Morning Herald. Head of Triple J Lachlan Macara told the Herald seeing local artists next to international names was what made the Hottest 100 " so special". He said the program "would love to see even more people and platforms supporting and prioritising Australian artists". Australian musician Ben Lee has called for Triple J to do more to support Australian music. Source: Getty / Martin Philbey But members of the industry are still conflicted over the best path forward. While Floodlights recently played their biggest headline shows across the country, Draffen said it's still difficult to cut through without support from Triple J. "We've really had to double down on staying connected with our audience and finding new ways to reach people but it's hard as Triple J doesn't really play us, which obviously makes it tougher to reach a wider audience in Australia," he said. Wallis said that while artists at her record label have seen "great support" from Triple J Unearthed, which features unsigned local acts, she wanted to see more. "I strongly believe Triple J should be focusing more on a diverse range of homegrown acts, rather than commercial, international acts that already have a platform." Welsh agrees the Hottest 100 should be all-Australian each year, but stopped short of supporting that across the board. "Nobody does more for Australian music than Triple J," she said. "The ones who are letting down Australian music are the commercial stations … There has been zero accountability for commercial radio formats to meet their local music quotas." Koh agreed: "We know that we're doing our bit, and I think Triple J does as well." FBi Radio also operates under a 50 per cent Australian music mandate, with half of that coming from Sydney. "I think it's important to see Australian music in a global context and that local artists just don't exist in a silo."
Yahoo
24-07-2025
- Automotive
- Yahoo
Stellantis Expects Greater Tariffs Impact in Second Half as Weak Shipments Partly Drive First-Half Loss Guidance
Stellantis (STLA) said Monday that US tariffs will likely cost it more in the second half than they Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
