The U.S. housing market’s inventory is growing, putting pressure on prices and slowing new construction, according to fresh research from the Bank of America Institute. As of June, existing-home supply reached 4.7 months, the highest level since July 2016. New-home supply surged even further to 9.8 months—its highest point since 2022—highlighting how quickly inventory is building across the housing market.
The influx of available homes reflects sluggish demand, with builders citing weak buyer urgency, affordability challenges, and lingering job instability. The Institute noted new-home inventory is now at its highest level since 2007, the year before the housing market collapse that led to the Great Financial Crisis.
ResiClub co-founder Lance Lambert told Fortune that the rising inventory tells us that “homebuyers are gaining leverage” as slack in the housing market is increasing. “The Pandemic Housing Boom saw too much housing demand all at once, home prices overheated too fast in many markets, and underlying fundamentals got too stretched.”
Lambert characterized the last few years as a “recalibration period” where the housing market is smoothing out that excess. Mounting inventory sucks out appreciation in more markets—and even causes outright corrections in some markets’ home prices. He said he expects the underlying fundamentals to slowly improve as that happens and incomes keep rising. “It takes time.” This period is different from 2007, he said, because that window saw a far greater weakening of the housing market and upswing in resale inventory, along with unsold, completed newbuild homes.
BofA Research
One striking shift: The median price of a new home has actually fallen below that of an existing home—a reversal of the usual market dynamic. BofA said this pricing inversion underscores how builders are being forced to discount amid rising supply and softer demand. “Builders are starting to pull back on new home starts in many markets,” Bank of America wrote. While the slowdown is broad-based, conditions vary regionally, with some areas such as the Midwest proving more resilient than others.
“Since the Pandemic Housing Boom fizzled out in 2022, and the affordability squeeze was fully felt,” Lambert told Fortune, “the national power dynamic has slowly been shifting from sellers to buyers as homes have a harder time selling and active inventory for sale builds.”
Still, Lambert noted the inventory picture varies significantly across the country. For instance, it remains most limited across notable sections of the Midwest and the Northeast, although still growing, he said. On the other hand, active inventory has neared or surpassed pre-pandemic 2019 levels in many parts of the Sun Belt and Mountain West, and he said that is where homebuyers have gained the most leverage.
The trend comes as the Federal Reserve has begun trimming interest rates in an effort to support both broader economic growth and housing affordability. Whether those cuts will be enough to reignite demand remains an open question.
For now, the data signals a market in transition: high inventory, moderating prices, and builders caught between a cautious consumer and the need to manage supply.
For this story, Fortune used generative AI to help with an initial draft. An editor verified the accuracy of the information before publishing.
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new video loaded: Egypt Recovers Ancient Artifacts From Underwater City
By Amogh Vaz and Jamie Leventhal•
As part of a major archaeological operation, Egyptian officials uncovered underwater remnants from a 2,000-year-old “party town” known as Canopus. Archaeologists believe that the city may be larger than previously thought.
Thursday marks the 365th day since USA Swimming CEO Tim Hinchey officially announced his resignation from the role with a letter on the USA Swimming website. That’s one full year without any long-term leadership or vision toward the upcoming U.S.-hosted Olympics in Los Angeles in 2028.
Hinchey is now off working in hockey in the Vancouver Canucks organization, and USA Swimming is still without its long-term solution.
In that time, three individuals have sat in the seat on an interim basis. First it was Hinchey’s #2 Shana Ferguson, who immediately took over the interim CEO title. She briefly returned to that role after Chrissi Rawak’s short-lived, nine day stint before joining the LA28 staff.
After Ferguson spent a few more weeks rearranging deck chairs before her final departure, Bob Vincent, a member of the same Board of Directors who hired Rawak, resigned that role to take over USA Swimming.
And now here we are. A day short of celebration national “no CEO day.”
While there is a growing global precedent for private organizations to operate without CEOs, those decisions are made intentionally and with a lot of thought and vision behind them.
The optics of one year are bad, but there’s really a much more glaring message: after Rawak’s resignation, USA Swimming said that the second search would be shorter. Because of the materials they had leftover and the things they learned in the first search, it wouldn’t take them as long this time.
It took them 183 days the first time. Day 365 marks a year, while day 366 marks another 183 days and another promise unfulfilled.
SwimSwam sources say that two men were brought in a few weeks ago for final interviews, and that one has emerged as a favorite. As with Rawak, it takes a few weeks to finalize contract negotiations, which implies that an announcement should be imminent.
But this all-but-proves the rumors: the most qualified candidates are losing interest in manning the listless vessel. The search firms and committees have had to get creative in looking for leaders who have retired from their primary career and have any connection or experience in the Olympic world.
It’s not as if nothing is happening. Bob Vincent has been more aggressive in big decision making than the average interim CEO, including restructuring the National Team department, some high profile promotions, and the departure of a lot of senior staff.
But that’s not the same as a full-time hire who can lay out a plan and a strategy for the next three, seven, or 11 years – which is what CEOs are meant to do.
And once again, the process is clouded with secrecy. No transparency, no timelines, no updates, no “hey swimming community, help us vet this candidate before we make another mistake.”
Just crickets and curtains.
With USA Swimming preferring to announce their biggest news on Fridays, it would be poetic if they announced it tomorrow, on the first anniversary of announcing Hinchey’s resignation.
Most green power solutions seek to generate large amounts of electricity to meet demand in the fight against global warming. However, some projects aim to harness more humble renewable energy sources to power sensors and wearables. If we recently talked about nighttime solar power, today it’s the turn of wind power with a wind turbine that works with the slightest breeze. Welcome to the electricity of small things, a world in which the slightest vibration can power a device.
The wind harvester that loved the breeze
The world’s most enormous wind turbines can reach 850 feet in height, and their electrical output is measured in megawatts. The prototype presented by scientists at the Nanyang Technological University (NTU) in Singapore pales in comparison: it is six inches high by eight inches wide and produces two hundred and ninety microwatts. But what’s so special about it?
First, the Singapore prototype can operate in a breeze of just two meters per second. That’s equivalent to a two on the Beaufort scale, the rating that measures wind intensity based on its observable effects. To put it in plain English, that’s the bare minimum to feel a breeze on your face.
Secondly, along the lines of the bladeless wind turbines we discussed some time ago, the Singapore prototype is based on a similar technology. Instead of using a turbine, it relies on the vibration of its materials.
The device comprises low-cost parts made of copper, aluminum, and Teflon, together with an epoxy fiber body. The mechanism converts vibrations into electric current thanks to a long piece of aluminum foil that, like a trampoline, vibrates in the breeze. These vibrations generate an electric charge transmitted from the aluminum foil to the copper foil to generate a triboelectric effect.
The researchers found that the prototype generated enough energy to light forty LED bulbs in laboratory experiments with a four-meter-per-second breeze. This electric current was also enough to power a thermal sensor and send data wirelessly to a cell phone. The device has a rechargeable battery that stores energy when the air is still.
Urban… and countryside applications
The new wind harvester is designed for an era of sensors and IoT devices that, thanks to 5G technology, will be able to multiply exponentially and communicate instantaneously. One of the first applications that NTU scientists have conceived is to power sensors installed on the facade of buildings in environments such as the suburbs of Singapore, where the wind often blows at a speed below 2.5 m/s.
These sensors could measure aspects such as the temperature and health of the structure, air quality, or wind intensity, among other parameters. And not only in cities. Since the device is free of heavy metals or toxic materials, it is ideal for use in sensors installed in forests to warn of the danger of wildfires or other eventualities. When the equipment reaches the end of its useful life, it will not cause harmful effects on forests.
The trillion sensor challenge
In IoT developments, the concept of trillion-sensor systems applies to networks with countless interconnected devices. In ecological and logistical terms, it would be a nightmare if all of them were powered by batteries, as they would need to be recharged or replaced regularly. The key to meeting this challenge is employing technologies that harvest energy for each sensor. And that do so in a renewable way.
In this sense, one of the fundamental breakthroughs is triboelectric nanogenerators (TENG), usually made of organic materials. The first versions of these electrical systems were announced in 2012 and are devices capable of generating energy by transforming vibrations or mechanical pressure into electricity.
One of the latest examples of this technology comes from China. Scientists at Fuzhou University have announced a new version of TENG dubbed CS-TENG, which harnesses wind even at speeds of 2.3 m/s and has demonstrated its ability to power a water quality sensor.
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MBW’s World’s Greatest Producers series sees us interview – and celebrate – some of the outstanding talents working in studios across the decades. This time out we meet Grammy-nominated Y2K. Signed to Sony Music Publishing and managed by Nic Warner at Milk & Honey, Y2K most recently worked on Doja Cat’s comeback single Jealous Type as co-writer and co-producer (alongside Jack Antonoff). World’s Greatest Producers is supported by Kollective Neighbouring Rights, the neighbouring rights agent that empowers and equips clients with knowledge to fully maximise their earnings.
Ari Starace – better known as Y2K – doesn’t exactly fit the mold of a stream-chasing 21st century hitmaker.
For starters, he’s refreshingly honest about social media. “I’m not that big on it anymore,” he admits. “I was big into social media for a minute, but I just don’t care at this point.”
This from the producer behind one of TikTok’s earliest viral sensations.
It was Y2K’s collaboration with Bbno$ on Lalala in 2019 that helped establish the blueprint for the TikTok era. The infectiously catchy track went viral across social media platforms long before traditional radio discovered it.
The song has since accumulated billions of streams globally, elevating both Y2K and Bbno$ from underground SoundCloud artists to mainstream success stories.
But Y2K’s trajectory into pop’s big leagues began well before Lalala. Growing up around music – his mother owned a music store – the Phoenix-born producer initially set his sights on becoming a DJ after picking up Ableton during his brief stint studying computer science at Arizona State University.
“About halfway through my first year, I stopped going to class and started just producing,” Y2K recalls. “I realized really quickly that that’s what I wanted to do; I didn’t go back.”
His early years were spent crafting remixes and working with SoundCloud rappers before connecting with Bbno$ through a mutual friend.
That relationship would prove career-defining, but Y2K’s ambitions stretched far beyond viral moments. His signature sound – a blend of ethereal textures, digital-age pop sensibilities – has since attracted A-list collaborators, most notably on Doja Cat’sPlanet Her album.
More recently, he co-wrote and co-produced Doja Cat’sJealous Type with Jack Antonoff for her new album, marking another evolution in Y2K’s sound palette. (Indeed, it’s understood that Y2K co-produced a run of tracks on Doja’s upcoming LP, Vie.)
Despite Grammy nominations and major-label success, Y2K maintains an almost philosophical approach to his craft, citing everyone from Enya to Elliott Smith as influences, while staying determinately removed from the content creation hamster wheel that defines modern music promotion.
“I think the worst thing you can do when you’re making a song is be focused on streaming metrics or trying to make something that goes viral,” he explains. “Good songs tend to do well throughout all of music history.”
Here, Y2K discusses his unusual inspirations, the evolution of his production style, and why he believes the music industry’s social media dependency is harming creativity…
How did music first become important in your life?
My mom owned a music store when I was little – band stuff, rentals for schools, kids taking lessons. So I’ve always been around music, but I never really took it very seriously. I took lessons but never paid attention.
When I got older, in college, I picked up Ableton and started producing because I was a fan of music that was being made [digitally].
I went to Arizona State University for computer science for one year, and about halfway through, I stopped going to class and started just producing. I realized really quickly that that’s what I wanted to do, and I didn’t go back.
Did your parents support this decision to drop out and pursue music?
My parents probably weren’t excited that I was dropping out of college to pursue being a DJ and electronic artist at the time. But they let me do it, and they believed in me.
You started out doing remixes before moving into pop production. How did that transition happen?
I started doing remixes around 2012 because I wanted to be a DJ. I did that for years, and then maybe in 2016 or ’17, I started producing for some of the SoundCloud rappers – people like Killy, Lil Aaron and Yung Bans who were adjacent to the world I was in.
Then I eventually started working with Bbno$, and that’s where I had my first very big song. From there, a lot more opportunities opened up for me to be a backend producer versus just doing the DJ remix thing.
I love production for other people, and I definitely get burnt out on the DJ thing for a bit. But funny enough, now that I haven’t done it for a few years, the idea of being a DJ again is exciting to me.
How did you meet Bbno$ and what was the story behind Lalala?
We met through a mutual friend. I think he was doing a song with my friend Josh Pan, who I knew from SoundCloud, and they needed a place to shoot a music video. They asked if they could use my house, and I said yes.
That’s how I met him, honestly. It had a carpeted bathroom, which I thought was pretty funny, but I’m not really sure why they particularly asked to use my house!
How would you describe your signature sound?
My biggest inspirations are probably Enya and Elliott Smith. Elliott Smith is my favorite songwriter of all time, but his influence isn’t so obvious considering the world of music I work in. Sound selection wise, I love Enya and New Age music.
Another big influence of mine is the intro song to a show they would play in science class when I was in elementary school – DK Eyewitness. It’s a camera flying through a poorly rendered museum and the music stuck with me in a huge way.
“My biggest inspirations are probably Enya and Elliott Smith.”
I also use a lot of nature in my productions. My producer tag is a loon, which is a bird. I think it’s awesome to put a bit of background noise, or nature into a song, even if it’s really quiet – you might not even hear it – but it helps make things sound less sterile in the ultra clean digital age.
I think I’ve gotten better at music and learned more over time, but I’m largely inspired by the same stuff. When I hear a sound that I like, most of the time it falls into this pocket where you can trace it back to those influences.
Do you ever disagree with artists about creative direction?
The artist’s vision always comes first, unless I disagree with it so much that I really, really think something is wrong – then I’ll fight them about it!
But for the most part, if somebody has to go on stage and sing a song every day, what they want that song to be is more important than what I want. My job is to help them get what they want.
“The artist’s vision always comes first, unless I disagree with it so much that I really, really think something is wrong – then I’ll fight them about it!”
I will say that sometimes I won’t do a session if I think the best version of that thing is something I don’t like, because then I could never know if the end result is bad or if I just don’t like it due to taste. If I’m picking the right people to work with, we’re not butting heads because we’re compatible.
How did you start working with Doja Cat, and when did you realize she was exceptional?
We started working in 2020. At that point, it was already obvious [she was special]. Say So was already out, Need to Know was already out, Juicy was definitely already out.
There were these huge songs where you could see her dancing her ass off, and the songwriting is so good. Then you look at the credits and realize she writes all of that – melodies and everything. She really doesn’t use co-writers, almost never. On her last several albums, it’s been entirely her.
“She’ll sit in the back of the room quietly for 20-30 minutes. Then the first thing out of her mouth is incredible.”
So I already knew she was an exceptional artist from the jump.
The process with her has always been: make a bunch of really cool, interesting pop but different instrumentals, give it to her, and she’ll sit in the back of the room quietly for 20-30 minutes. Then the first thing out of her mouth is incredible. It’s a different process than with many people I work with.
What was it like co-producing Jealous Type with Jack Antonoff?
Jack’s awesome. He’s really talented as an instrumentalist, really good with arrangement, and really good at adding interesting things that many people wouldn’t think to add. For Jealous Type specifically, that one was started by me with her, then we brought it to Jack.
He added all these things that were captivating and made it more interesting to listen to. I think it brought it from a good song to a great song on the production side.
The song itself was always great, but on the production side, he added this extra mile that I was really happy about.
Streaming has obviously changed how music is made and promoted. Do you think about metrics when you’re in the studio?
No, I personally avoid all of that. I think it’s easy to get caught up in streaming metrics and content creation. What’s ultimately going to come out on top is good songs over time.
I think we’re in a rough patch where you see songs that get big because of TikTok or social media because they’re good accompaniment to videos, not necessarily because they’re good songs.
“I think we’re in a rough patch where you see songs that get big because of TikTok or social media because they’re good accompaniment to videos, not necessarily because they’re good songs.”
When you start making a song with the intention of it being a good accompaniment to a video, you lose out on the chance of it being a good song at all. I think there are good songs that can accompany videos, of course, but going in with that intention is not the right thing.
Over time, these things will phase out or evolve. Nobody was predicting streaming before it happened, nobody was predicting TikTok. We don’t know what the next 10 years will look like. The one thing consistent throughout all music history is that good songs tend to do well.
Do you think TikTok is ruining something for musicians, or is it ultimately positive?
TikTok just is – it’s just a thing. I don’t think it’s the end all, and I do think you can be successful without playing that game. However, I feel bad for artists in that most of them feel they have to be a content creator on top of being a musician.
In times before now, you could focus on being a musician, and a label could promote your music effectively. Now labels are largely offloading that responsibility onto artists because they don’t have the same power they used to.
“It’s not reasonable to ask somebody to be very good at singing, writing, performing, and then also to be very good at content creation.”
Being a content creator is a job in itself. The people that are very good at it spend so much of their time and effort on it.
It’s not reasonable to ask somebody to be very good at singing, writing, performing, and then also to be very good at content creation. Something ends up suffering, and that’s unfortunate.
What’s your view on AI in music production?
I’m fine with it. It doesn’t bother me.
There’s a lazy way to do these things, and there’s an art-forward, creative way to use things. I see no issue with taking inspiration from AI, using bits and building your song around it.
“If people are spending three minutes listening to an AI artist, that’s three minutes they’re not spending listening to a real artist.”
I don’t necessarily love the idea of fully generated AI bands being uploaded to streaming services, because people have a limited amount of time in the day. If they’re spending three minutes listening to an AI artist, that’s three minutes they’re not spending listening to a real artist. In that regard, I don’t like it.
A fully generated AI thing should not be eligible for royalties and really shouldn’t be on websites where that royalty could go to an artist. But if you make a little flip with generative tools and then make a song out of that as an artist, I don’t have a problem with it.
Do you think there’s a realistic solution for streaming to pay producers and songwriters more?
I don’t really know the ins and outs of their business, but logically, yes. The royalty payouts are pretty low. I feel like somebody’s making a lot of money, and it’s not really the musicians.
The people that drive traffic to the site seem to be getting paid the least. But I really don’t know their business model enough to say anything beyond intuition.
You’ve been building a catalog over the years. What’s your view on the trend of selling catalogs?
I understand why you would do it and why you’d be apprehensive. It comes down to how much promised income you can be willing to give up. If you sell your catalog for $100 and you were used to getting $5 every couple months, logically you’re selling for much more than your promised income. But there’s something mentally scary about not getting the consistent income anymore.
“if you sell your catalog, you’re not selling your credits. You still wrote those songs – that’s still you.”
Down the line, if it made sense, I’m not opposed to it. It’s important to distinguish: if you sell your catalog, you’re not selling your credits. You still wrote those songs – that’s still you. Someone else owns it as a business asset. You chose to make money upfront rather than collect royalties.
You’ve been nominated for Grammys twice. How much value do you put on music awards?
I would love to win a Grammy. It’s the thing everybody knows about. Does it mean your song is better or worse than another? It’s subjective.
There’s a lot of politics in awards, and sometimes decisions are made that I don’t understand or agree with.
I’ve been nominated twice – for Attention for Best Rap Song and for my involvement in Planet Her for Album of the Year. I was super excited both times. We didn’t win either, which is fine, but even being nominated has been incredibly cool.
I’m not losing sleep over winning a Grammy, but I’d be very stoked if I did.
Do you ever think about awards when you’re creating?
If you focus on something like that – same as focusing on streaming or trying to make something for TikTok – you’re setting yourself up to fail. You have to try to make really good songs, and those other things can be worried about later.
Obviously somebody needs to worry about streaming, somebody needs to worry about TikTok, somebody should submit things to the Grammys. But when you’re making the song, the worst thing you can do is be focused on that stuff.
If you had a magic wand to change one thing about the music business today, what would it be?
How intertwined it is with social media. I don’t necessarily think the [old world of the] super-gatekept vibe of [the industry] was better – I see both sides. But it’s rough that musicians now have to also be content creators, because it takes away from the music and what artists excel at.
Actually, in the past year, there have been quite a few artists that have gotten big without doing the social media craziness, and I think that’s cool. Chappell Roan, for example – she’s just very good and was able to rise to the top by being very good. She didn’t need to do the song and dance… except for her literal song and dance.
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CFO David Zinsner has also downplayed concerns that Intel’s manufacturing arm could fall under outside control.
Published On 28 Aug 202528 Aug 2025
The chief financial officer for the chip manufacturer Intel, David Zinsner, has announced his company received $5.7bn as part of a deal negotiated with the administration of United States President Donald Trump.
During an investor conference on Thursday, Zinsner said that Intel, a leader in the US development of semiconductor chips, received the funds on Wednesday evening.
Last week, the White House revealed the federal government would take a 10 percent stake in the struggling tech giant, based in Santa Clara, California.
As part of the deal, the government negotiated a five-year warrant for an additional 5 percent of Intel’s shares, in case the company should cease to own more than 51 percent of its manufacturing operations.
“I don’t think there’s a high likelihood that we would take our stake below 50 percent,” Zinsner said. “So ultimately, I would expect [the warrant] to expire worthless.”
The Trump administration converted funds earmarked for Intel under the 2022 CHIPS Act — signed into law by former President Joe Biden — into capital to buy the US government’s stake.
In a news briefing on Thursday, however, White House press secretary Karoline Leavitt indicated the deal with Intel was still being negotiated.
“The Intel deal is still being ironed out by the Department of Commerce. The Ts are still being crossed, the I’s are still being dotted,” Leavitt said. “It’s very much still under discussion.”
Many of the enduring questions hinge upon Intel’s chip manufacturing arm, or foundry.
Trump campaigned for re-election on the promise that he would restore the US’s domestic manufacturing industry and outcompete economic rivals like China in the technology sector.
But Intel has taken steps to separate its foundry from its design business, and it indicated it may be open to outside investment in the foundry.
The company has also created a separate management board to govern its manufacturing branch.
Should Intel take outside funding for the foundry business, Zinsner said the company was leaning toward taking a strategic investor versus a financial one. But Intel is “years away from that”, he said.
In July, Intel disclosed that the future of its foundry business depended on securing a big customer for its next-generation manufacturing process known as 14A. Failing that, it could get out of the foundry business altogether.
Still, on Thursday, Zinsner downplayed the potential risk to its foundry. “The lawyers are always looking for areas where we should be elaborating in terms of our risks,” he said.
The investment comes as Intel faces increased pressure from competitors like NVIDIA, which reported better-than-expected quarterly earnings on Wednesday.
Dan Ives, an analyst at Wedbush Securities, told Al Jazeera that NVIDIA is at the top of the chip industry, as demand for its artificial intelligence (AI) technology grows.
“With AI infrastructure investments continuing to grow [and] with the company expecting between $3 trillion to $4 trillion in total AI infrastructure spend by the end of the decade, the chip landscape remains NVIDIA’s world,” Ives said.
“Everybody else,” he added, is “paying rent as more sovereigns and enterprises wait in line for the most advanced chips in the world.”
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The director of the US Centers for Disease Control and Prevention (CDC) remains in a heated standoff with the Trump administration after the White House announced she had been fired.
Susan Monarez – who has only been in the job for a month – refused “to rubber-stamp unscientific, reckless directives” and accused Health Secretary Robert F Kennedy Jr of “weaponising public health”, according to her lawyers.
Her lawyer insisted Dr Monarez’s sacking was not legal and only President Donald Trump – not White House officials – could remove her.
The reason for her removal was that she was “not aligned with the president’s agenda”, the White House said in a statement.
At least three senior CDC leaders resigned from the agency, some citing frustration over vaccine policy and the leadership of Kennedy, also known as RFK.
Among them was Chief Medical Officer Debra Houry, who warned about the “rise of misinformation” about vaccines in a letter seen by the BBC’s US partner CBS News. She also argued against planned cuts to the agency’s budget.
A long-time federal government scientist, Dr Monarez was nominated by President Donald Trump to lead the CDC and was confirmed in a Senate vote along party lines in July.
Her nomination followed Trump withdrawing his first pick, former Republican Congressman Dave Weldon, who had come under fire for his views on vaccines and autism.
On Wednesday, Dr Monarez’s lawyers issued a statement saying that she had chosen “protecting the public over serving a political agenda”.
The White House statement announcing the termination of her post said: “As her attorney’s statement makes abundantly clear, Susan Monarez is not aligned with the president’s agenda.”
On Thursday, Kennedy told Fox News that the CDC leadership “needs to execute Trump’s agenda”.
The CDC, he added, “in in trouble, needs to be fixed”.
The exodus at the top of one of the world’s most foremost public health bodies comes as health experts voice concern over the agency’s approach to immunisations since Kennedy took over.
Daniel Jernigan, who led the National Center for Emerging and Zoonotic Infectious Diseases, was one of those to quit citing “the current context in the department”.
Head of the National Center for Immunization and Respiratory Diseases, Demetre Daskalakis, also said he was no longer able to serve “because of the ongoing weaponising of public health”.
There are also reports, including by NBC News, that Dr Jennifer Layden, director of the Office of Public Health Data, Surveillance and Technology, has also resigned.
Earlier on Wednesday, the Food and Drug Administration (FDA) approved new Covid vaccines while limiting who could receive them.
The vaccines will be available for all seniors, but younger adults and children without underlying health conditions will be excluded.
“The emergency use authorizations for Covid vaccines, once used to justify broad mandates on the general public during the Biden administration, are now rescinded,” Kennedy wrote on X.
Dr Monarez was the first CDC director in 50 years to not hold a medical degree. Her background is in infectious disease research.
In her month as the CDC leader, she helped comfort agency employees after the CDC’s headquarters in Atlanta was attacked by a gunman who believed he had been harmed by Covid vaccines.
The attack, in which hundreds of bullets struck the building, killed one police officer.
Earlier this month, current and former employees of the agency wrote an open letter accusing Kennedy of fuelling violence towards healthcare workers with his anti-vaccine rhetoric.
Dr Monarez’s departure comes about a week after a union representing CDC employees announced that about 600 CDC employees had been fired.
The wide-ranging layoffs included employees working on the government’s response to infectious diseases, including bird flu, as well as those researching environmental hazards and handling public record requests.
new video loaded: Rescuers Search Through Rubble After Russian Strikes on Kyiv
By Finbarr O’Reilly and Monika Cvorak•
Emergency workers looked through the wreckage of a five-story apartment building early Thursday after a Russian missile and drone attack on Kyiv, the Ukrainian capital, killed more than a dozen people.
