#FactCheck - Debunking the AI-Generated Image of an Alleged Israeli Army Dog Attack

Tech News overview

Recently, the TRAI has passed some recommendations that benefit the telecommunications industry in India. The suggestion is to lower the entry fees and bank guarantees on the 26th of July 20, 2022. Then wrote a few consulting papers, countering comments by the stakeholders of various companies. 

In a significant move, TRAI (Telecom Regulatory Authority of India) has proposed spacious changes in terms of entry fees and bank guarantees in the telecom sector. These endorsements have been abeyant to escort the new era of competition, investment, and innovation, reshaping India’s telecommunication landscape.

Proposal Points by TRAI to telecom companies:

As we dive into considering the recommendations by TRAI  into the crucial aspects of the telecom industry, deliberate about the significance of entry fees, the importance of banks, and the guarantees.

1. Entry fees: Entry fees are the advance key point that upholds the charges that telecom companies pay to the government when they want to offer services to the civilians of the country. The amount they pay is quite hefty and usually non-refundable.
2. Bank guarantee: An important factor that is also a type of security, the financial security that assures the telecom companies to fulfil their financial obligations and follow the regulations and policy conditions specified in their license agreement.
3. TRAI roleplay: The Telecom Regulatory Authority of India is an authority responsible for supervising the telecom industry in the country. Making sure that the regulations and recommendations such as entry fees and bank guarantees are working in the proper way or not, a supervision of such things. 
4. Expected outcomes: TRAI focuses on reducing the entry fees for various types of licenses in the other telecom sector. This step encourages other new telecom operators to enter the market and increase the fair price and investment, which leads to enhancing the competition.
5. Consolidating Bank guarantees: TRAI also proposed an amalgamation of bank guarantees, which means telecom companies are required to maintain separate guarantees for different business licenses, which makes business doing sectors an easy environment.
6. No entry fee at the time of License Renewal: Recommendations by TRAI by not charging any entry fees when telecom operators renew their licenses. This step can reduce the financial burden on both existing and new entrants,, specifically for UL(VNO)license shareholders.

Reshaping the telecom panorama:

Recommendation by TRAI that can potentially help in reshaping the Telecoms landscape in India in various aspects:

• Increment in healthy Competition: By reducing the entry fees, TRAI would be creating a platform profitable and affordable for new market players in India.
• Market enlargement: Lowering the entry fees might lead to the participation of new entrants, including regional and smaller players,, to get involved in the telecom industry. 
• Due to the market expansion, the outcomes can potentially lead to improved access to telecom services in underdeveloped areas and regions and contribute to digital inclusion.
• Job Recruitment: The evolution in the telecom industry due to new operators and increased investment can lead to job uplift in both telecom and industries related to technological infrastructure.
• Choice of preference: As there is a rise in competition, consumers are likely to have many choices when it comes to telecom service providers. The consumers get to select from a wider range of services, leading to better value for money and quality of service.
• Quality of service: With increased competition and a hefty amount of investment, telecom operators have a spur to enhance the quality of service.

Conclusion:

In conclusion, TRAIs proposal on lowering the entry fees and bank guarantee for financial services marks a significant milestone in India’s telecom industry. These essential changes hold the promise of fostering competition, investment, a platform for new entrants, quality of service, wider range of platforms for selection. As these advance suggestions take place, in telecom industry in India is on a new threshold of an existing transformation that could reevaluate the way we communicate and connect.

Reference:

https://www.gearrice.com/update/telecom-companies-will-get-a-sigh-of-relief-on-trais-recommendation-to-the-government-on-entry-fees-and-bank-guarantee/

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Introduction

In June 2026, Eros Innovation launched Eros Music Worlds, describing itself as the world's first "large cultural music platform". Its first two acts, Jordan and Tanu, are not singers in any conventional sense; they are AI-native personas built from Eros's own film characters, powered by models trained on a licensed corpus of roughly 1.5 trillion cultural tokens drawn from 11,000 films. Alongside them sits a strategic partnership with the family of Mohammed Rafi, the late playback legend, to produce new recordings, a live concert franchise, and a music academy in his name. It's a tidy preview of where AI in music is actually headed: not a novelty generator bolted onto the old industry, but a new kind of media company built around owned IP, licensed data, and characters designed to outlive any single song.

Beyond the demo

The last eighteen months have produced a stream of "firsts". Xania Monet, an AI-voiced R&B act built by Mississippi poet Telisha Jones using Suno, became the first AI artist to chart on a Billboard airplay ranking and was signed by Hallwood Media after a bidding war that reportedly reached $3 million. Breaking Rust, Enlly Blue and Juno Skye followed onto country, rock and Christian charts within weeks. None of this happened in a vacuum: Suno and Udio, the two dominant AI music generators, went from being sued by every major label in mid-2024 to signing licensing settlements with Universal and Warner by late 2025. Voice cloning has run a parallel track from the viral 2023 track "Heart on My Sleeve", which mimicked Drake and The Weeknd without consent, to a wave of Indian cases where AI tools recreated a specific singer's timbre for commercial use. Composition and production tools are now routine studio infrastructure rather than curiosities; the interesting frontier has shifted to multilingual adaptation and catalogue reanimation. Eros has promised 34-language localisation for its AI artists, a scale no dubbing studio could match manually. A related, if less music-specific, signal came from Collective Artists Network's AI-powered Mahabharat: Ek Dharmayudh, produced with Prasar Bharati. AI tools handled pre-visualisation, multi-language dubbing sync and sound design, while composers and voice directors retained control of tone and emotion, a template other Indian studios are likely to copy for scoring and localising large-scale cultural content cheaply.

Where the money actually is?

The commercial case for labels isn't "AI makes music at scale", because scale alone isn't value. Deezer, the only major platform publishing detection data, reported in July 2026 that AI-generated tracks had crossed 50% of daily uploads, around 90,000 tracks a day, up from 10,000 in January 2025. Yet those tracks account for only 1–3% of actual streams, and Deezer flags 85% of that listening as fraudulent bot activity. Generating music has become nearly free; getting anyone to listen hasn't. The real opportunity for rights holders lies elsewhere: licensing catalogues into controlled ecosystems (Universal's 2026 platform with Udio, Warner's deals with both Udio and Suno), reviving legacy artists for new audiences (Eros-Rafi), and using AI for the unglamorous, high-volume work of localisation, sync placement and short-form content that never justified full production budgets before. AI-native performers also travel well into gaming, virtual concerts and brand collaboration formats built for characters rather than people, where a synthetic act never ages, never cancels a tour and can be licensed into a dozen campaigns simultaneously. That is a genuinely new revenue line, but it's a narrow one; it monetises IP ownership, not music generation itself. IFPI's Global Music Report 2026 shows the underlying business is healthy: revenues reached $31.7 billion, up 6.4% — but that growth is still driven overwhelmingly by human catalogues and paid subscriptions, not AI-generated volumes.

The legal fault lines

This is where India's position is genuinely instructive and unresolved. The Copyright Act, 1957, defines the author of a "computer-generated" work as the person who causes it to be created (language added in 1994 for a world of human-directed software, not autonomous generative models), and Indian courts haven't yet settled how far it stretches. What's clearer is the industry's stance on training data: The Indian music industry body, alongside T-Series, Saregama and Sony Music, has sought to join the ANI Media suit against OpenAI in the Delhi High Court, arguing that scraping sound recordings to train models without a licence breaches copyright, a case they say is "crucial for the entire music industry in India, and even worldwide".

Personality rights have moved faster than legislation. In the absence of a dedicated statute, Indian courts have built protection case by case: the Delhi High Court's 2023 order shielding Anil Kapoor's voice and likeness from AI misuse and the Bombay High Court's 2024 ruling in Arijit Singh v Codible Ventures, India's first AI voice-cloning judgement, which granted an injunction spanning every medium, explicitly including the metaverse and generative-AI tools, and rejected fair-use and parody defences outright. Similar orders have since followed for Amitabh Bachchan, Aishwarya Rai Bachchan and others. The pattern mirrors, but predates, statutory responses abroad: Tennessee's 2024 ELVIS Act was the first US law to protect voice explicitly as property, and the federal NO FAKES Act remains pending. The US Copyright Office's January 2025 report reaffirmed that human authorship is the bedrock of copyrightability, denying protection to fully AI-generated output while leaving substantially human-directed hybrid works to case-by-case review. Two regimes are converging on the same instinct that consent and human contribution must anchor ownership through different legal tools: India via judge-made personality rights and the US via statute and Copyright Office guidance.

Who bears the risk?

The disruption isn't evenly spread. Session singers, jingle artists, dubbing performers and early-career composers, the layer of the industry that supplies craft rather than fame, are most exposed since their work is precisely what generative tools now approximate cheaply. A PRS for Music survey of over 2,600 creators found 79% worried about AI competing directly with their output and 76% expecting it to hurt their livelihoods. CISAC has projected AI could erode musicians' incomes by nearly a quarter by 2028. Separately, roughly a fifth of professional voice actors surveyed say they've already lost work to a synthetic voice. For streaming platforms, the risk is structural: as AI supply floods catalogues, royalty pools shared across all streams get diluted, discoverability worsens, and fraud bot streams on AI tracks are designed purely to harvest royalties, which becomes a live threat to the economics everyone else depends on.

Recommendations

None of this points to AI simply replacing musicians, nor to it staying a background production tool. A third category is emerging AI-native "characters" with continuity, backstory and owned IP, closer to franchise properties than bands, which is exactly the model Eros and Hallwood Media are betting on. The deeper shift underneath it is economic: once the marginal cost of producing a new track approaches zero, the constraint on the industry stops being supplied and becomes attention. Whether AI-native artists become a durable category depends on questions still unresolved, training data legality chief among them, and on whether audiences keep listening once the novelty fades. Deezer's own research found 97% of listeners can't reliably distinguish AI from human music, yet 52% still believe fully AI-generated songs shouldn't sit on the same charts as human ones. Provenance matters even when perception can't detect it.

Conclusion

Scarcity in the age of AI will not be creative output but genuine human connection. As AI makes music production abundant and inexpensive, the qualities it cannot replicate authenticity, lived experience, artistic identity, and trust – become increasingly valuable. Audiences will continue to seek creators with compelling stories and meaningful live experiences. In an era of infinite synthetic content, originality is no longer the premium; credibility, human presence, and emotional connection are.

Sources

1. https://www.livemint.com/industry/media/ai-music-ai-native-artists-eros-music-worlds-eros-innovation-copyright-intellectual-property-music-industry-11785053693997.html
2. https://www.facebook.com/KJSIMofficial/posts/the-mint-featured-insights-from-dr-alka-agarwal-assistant-professor-general-mana/1375301184595168/
3. https://www.linkedin.com/posts/livemint_how-ai-brought-the-mahabharat-to-life-collective-activity-7389643662193999873-6BKG
4. https://musically.com/2026/07/02/ai-powered-platform-eros-music-worlds-is-turning-film-characters-into-virtual-singers/
5. https://www.business-standard.com/companies/news/bollywood-t-series-saregama-sony-music-copyright-lawsuit-openai-delhi-hc-125021400876_1.html 

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Executive Summary
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A video showing a massive gathering of people dressed in black is widely circulating on social media. The clip is being shared with the claim that it shows crowds mourning the funeral of Iran’s Supreme Leader Ayatollah Ali Khamenei following his alleged killing in February 2026 However, research by the CyberPeace found that the claim is misleading and the video is unrelated to Iran.

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Claim:

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The viral video shows a large crowd gathered in a public square, with a mosque featuring a golden dome visible in the background. Social media posts claim that the footage captures mourners attending Ayatollah Khamenei’s funeral after his reported death in a joint US-Israel operation.
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• https://www.facebook.com/reel/25853039284304550 
• https://perma.cc/PHB8-DUPL 

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Fact Check:

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To verify the claim, we extracted keyframes from the video and conducted a reverse image search. This led us to a similar clip uploaded on January 15 by an Iraqi broadcaster, Karbala TV, on Facebook. In the footage, a large crowd can be seen carrying a symbolic coffin near a shrine with a golden dome—matching the visuals seen in the viral video. According to the Arabic caption, the video shows a “symbolic funeral” procession held at the Kazimayn Shrine in Baghdad, Iraq. The event is part of an annual religious observance commemorating Imam Musa al-Kazim, the seventh Imam in Shia Islam, who is believed to have died after being poisoned in the 8th century.

Every year, large numbers of Shia devotees gather at the shrine in Baghdad to pay their respects during this commemoration. The visuals seen in the viral clip are consistent with this annual gathering.
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• https://www.facebook.com/reel/4350956585190139 

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Conclusion:
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The claim that the video shows crowds at Ayatollah Khamenei’s funeral is false. The footage is unrelated and actually depicts a religious gathering in Baghdad, Iraq, held as part of an annual Shia ritual.

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