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Singapore-based startup founder Anand Roy thinks generative AI can help fix a broken music sector

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For Anand Roy, making music used to mean jamming with his progressive rock band based out of Bangalore. Today, the one-time metalhead now makes music with a simple tap of a button through his start-up Wubble AI, which allows users to generate, edit, and customize royalty-free music in over 60 different genres.

Roy started Wubble with his co-founder, Shaad Sufi, in 2024, from a small office in Singapore’s central business district. Since then, his platform has generated tunes for global giants like Microsoft, HP, L’Oreal and NBCUniversal. They’re even used on the Taipei Metro, where AI-generated tunes soothe harried commuters. 

Generative AI has been a controversial subject in the creative industry: Artists, musicians and other content creators worry that companies will train AI on copyrighted materials, then ultimately automate away the need for human creators at all.

Roy, however, thinks Wubble is a way to fix a music sector that’s already broken. Artists are awarded micro-payments on streaming sites like Spotify, which only works for the most famous artists. 

Roy spent almost two decades at Disney, where he oversaw operations at its networks and studios in major cities like Tokyo, Mumbai and Los Angeles. He said his time leading Disney’s music group opened his eyes to the tedious process of music licensing.

“So many licensing deals were not going through because of the quantum of paperwork, the amount of red tape, and how expensive, complex and convoluted the entire process was,” he says. Yet, the incumbent music firms “don’t have a lot of motivation to streamline processes.”

Wubble is trying something different, collaborating directly with musicians and paying them for the raw material used to train Wubble’s AI. “If we’re looking at Latino hip hop, we’ll go to a recording studio in Buenos Aires or Rio de Janeiro, and tell them we need ten hours of Latino music,” Roy says. Wubble then negotiates a deal and offers a one-time payment for their work, at rates Roy argues are more competitive than other companies offering music streaming services.

He admits that a one-time payment isn’t a perfect solution, however, and adds that he’s currently exploring how technologies like blockchain can uncover new ways to compensate musicians for their help training Wubble’s AI models.

David Gunkel, who teaches communication studies at Northern Illinois University in Chicago, thinks training AI from artist-commissioned material is a smarter business move than just trawling the web for copyrighted content.

Production companies like Disney, Universal and Warner Bros., for example, are suing AI companies like Midjourney and Minimax of copyright infringement, arguing that users can easily generate images and videos of protected characters like Star Wars’s Darth Vader. 

“If you’re curating your data sets, and compensating and giving credit to the artists that are being utilized to train your model, you won’t find yourself in a lawsuit,” he explains. “It’s a better business practice, just in terms of your long-term viability as a commercial actor.”

Text-to-speech generation

Wubble currently offers just instrumental music and audio effects, but Roy thinks voice is the next step. By end-January, Roy says his platform will offer AI-generated voiceovers created from written scripts, to cater to clients who require narrative-led audio tracks. “So, the entire audio content workflow for a business can be housed on Wubble,” he concludes proudly. 

AI music startups are popping up around the world, hoping to use the powerful new technology to make the process of creating tunes and songs easier. Some, like Suno, cater in generating full songs, while others like Moises offer tools for artists.

In Asia, too, Korean AI startup Supertone offers voice synthesis and cloning, using samples to generate new vocal tracks. The startup, founded by Kyogu Lee, was acquired by HYBE, the entertainment company behind K-pop sensation BTS, and now operates as its subsidiary. Supertone even debuted a fully virtual K-pop girl group, SYNDI8, in 2024. 

At Fortune Brainstorm AI Singapore last year, Lee said he saw musical artists as “co-creators,” not just in terms of licensing their voices, but also asking for their help in refining the technology. 

AI “will democratize the creative process, so every creator or artist can experiment with this new technology to explore and experiment with new ideas,” he told the audience.

Roy, from Wubble, also sees AI as a way to make it easier for more people to get involved in music creation.

“Music creation has always been a privilege. It’s been the domain of those who have the time and resources to learn an instrument,” he says. “We believe that every human being should be able to create—and AI enables that now.”



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The ‘Holy Grail of comic books’ once owned by Nicolas Cage sells at auction for a record $15 million

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A rare copy of the comic book that introduced the world to Superman and also was once stolen from the home of actor Nicolas Cage has been sold for a record $15 million.

The private deal for “Action Comics No. 1” was announced Friday. It eclipses the previous record price for a comic book, set last November when a copy of “Superman No. 1″ was at sold at auction for $9.12 million.

The Action Comics sale was negotiated by Manhattan-based Metropolis Collectibles/Comic Connect, which said the comic book’s owner and the buyer wished to remain anonymous.

The comic — which sold for 10 cents when it came out in 1938 — was an anthology of tales about mostly now little-known characters. But over a few panels, it told the origin story of Superman’s birth on a dying planet, his journey to Earth and his decision as an adult to “turn his titanic strength into channels that would benefit mankind.”

Its publication marked the beginning of the superhero genre. About 100 copies of Action Comics No. 1 are known to exist, according to Metropolis Collectibles/Comic Connect President Vincent Zurzolo.

“This is among the Holy Grail of comic books. Without Superman and his popularity, there would be no Batman or other superhero comic book legends,” Zurzolo said. “It’s importance in the comic book community shows with his deal, as it obliterates the previous record,” Zurzolo said.

The comic book was stolen from Cage’s Los Angeles home in 2000 but was recovered in 2011 when it was found by a man who had purchased the contents of an old storage locker in southern California. It eventually was returned to Cage, who had bought it in 1996 for $150,000. Six months after it was returned to him, he sold it at auction for $2.2 million.

Stephen Fishler, CEO of Metropolis Collectibles/Comic Connect, said the theft eventually played a big role in boosting the comic’s value.

“During that 11-year period (it was missing), it skyrocketed in value.,” Fishler said “The thief made Nicolas Cage a lot of money by stealing it.”

Fishler compared it to the theft of Mona Lisa, which was stolen from the Louvre museum in Paris in 1911.

“It was kept under the thief’s bed for two years,” Fishler noted. “The recovery of the painting made the Mona Lisa go from being just a great Da Vinci painting to a world icon — and that’s what Action No. 1 is — an icon of American pop culture.”



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Trump order says Venezuelan oil money is being held by US for ‘governmental and diplomatic purposes’

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President Donald Trump’s new executive order on Venezuelan oil revenue is meant to ensure that the money remains protected from being used in judicial proceedings.

The executive order, made public on Saturday, says that if the funds were to be seized for such use, it could “undermine critical U.S. efforts to ensure economic and political stability in Venezuela.”

The order comes amid caution from top oil company executives that the tumult and instability in Venezuela could make the country less attractive for private investment and rebuilding.

“If we look at the commercial constructs and frameworks in place today in Venezuela, today it’s uninvestable,” said Darren Woods, CEO of ExxonMobil, the largest U.S. oil company, during a meeting convened by Trump with oil executives on Friday.

During the session, Trump tried to assuage the concerns of the oil companies and said the executives would be dealing directly with the U.S., rather than the Venezuelan government.

Venezuela has a history of state asset seizures, ongoing U.S. sanctions and decades of political uncertainty.

Getting U.S. oil companies to invest in Venezuela and help rebuild the country’s infrastructure is a top priority of the Trump administration after the dramatic capture of now-deposed leader Nicolás Maduro.

The White House is framing the effort to “run” Venezuela in economic terms, and Trump has seized tankers carrying Venezuelan oil, has said the U.S. is taking over the sales of 30 million to 50 million barrels of previously sanctioned Venezuelan crude, and plans to control sales worldwide indefinitely.

“I love the Venezuelan people, and am already making Venezuela rich and safe again,” Trump, who is currently in southern Florida, wrote on his social media site on Saturday. “Congratulations and thank you to all of those people who are making this possible!!!”

The order says the oil revenue is property of Venezuela that is being held by the United States for “governmental and diplomatic purposes” and not subject to private claims.

Its legal underpinnings are the National Emergencies Act and the International Emergency Economic Powers Act. Trump, in the order, says the possibility that the oil revenues could be caught up in judicial proceedings constitutes an “unusual and extraordinary threat” to the U.S.



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As U.S. debt soars past $38 trillion, corporate bond flood is a growing threat to Treasury supply

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As the Treasury Department looks to ensure investors continue absorbing the fresh supply of debt it must sell, growing competition from companies issuing their own bonds could send rates higher, according to Apollo Chief Economist Torsten Slok.

In a note on Saturday, he pointed out that Wall Street estimates for the volume of investment grade debt that’s on the way this year reach as high as $2.25 trillion.

That’s as the AI boom increasingly sends companies, including hyperscalers and adjacent firms, to the bond market to fund massive investments in data centers and other infrastructure.

“The significant increase in hyperscaler issuance raises questions about who will be the marginal buyer of IG paper,” Slok said. “Will it come from Treasury purchases and hence put upward pressure on the level of rates? Or might it come from mortgage purchases, putting upward pressure on mortgage spreads?”

With U.S. debt topping $38 trillion, the federal government has already borrowed $601 billion in the first three months of the 2026 fiscal year, which began in October 2025, according to the latest data from the Congressional Budget Office.

That’s $110 billion less than the deficit during the same period a year earlier as tariffs helped revenue outpace spending. But the Supreme Court could strike down President Donald Trump’s global tariffs soon, and this year’s tax season should see a surge of refunds to account for new tax cuts under the One Big Beautiful Bill Act.

Meanwhile, Trump has vowed to boost defense spending to $1.5 trillion a year from $1 trillion, threatening to further deepen federal budget deficits.

And despite the Federal Reserve’s series of rate cuts this past autumn, Treasury yields remain about where they were in early September, suggesting the government will not see much relief on debt-servicing costs that are also contributing to the overall tally of red ink.

“The bottom line is that the volume of fixed-income products coming to market this year is significant and is likely to put upward pressure on rates and credit spreads as we go through 2026,” Slok said.

Apollo

To make sure there’s sufficient demand among bond investors, Treasury yields must remain attractive relative to the competition. Failure to draw enough investors raises the risk of so-called fiscal dominance, or when a central bank must step into to finance widening deficits.

That’s what former Treasury Secretary Janet Yellen warned of last weekend, during a panel hosted by the American Economic Association.

“The preconditions for fiscal dominance are clearly strengthening,” she said, noting debt is on a steep upward trajectory toward 150% of GDP over the next three decades.

At the same time, he holders of U.S. debt have shifted drastically over the past decade, tilting more toward profit-driven private investors and away from foreign governments that are less sensitive to prices.

That threatens to turn the U.S. financial system more fragile in times of market stress, according to Geng Ngarmboonanant, a managing director at JPMorgan and former deputy chief of staff to Yellen during her tenure at Treasury.

Foreign governments accounted for more than 40% of Treasury bond holdings in the early 2010s, up from just over 10% in the mid-1990s, he wrote in a New York Times op-ed last month. This reliable bloc of investors allowed the U.S. to borrow vast sums at artificially low rates.

“Those easy times are over,” he warned. “Foreign governments now make up less than 15% of the overall Treasury market.”



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