Home Blog Page 179

The First Ten Metres: Designing Pick Paths Where a Hand Trolley Beats a Forklift

0

By Mitch Rice

The quickest wins in a warehouse rarely involve major capital spend. They live in the first few steps of a pick. Those opening seconds decide whether a shift feels light on its feet or permanently behind. In Dubai, where heat, seasonal peaks, and tight delivery slots add pressure, getting that opening right matters even more. When the path is clear and the layout does the thinking for you, a hand pallet trolley will frequently outpace a powered kit for short, fussy tasks. Not always, not everywhere, but surprisingly often in those first ten metres.

What the “first ten metres” actually includes

Think of a short corridor running from the aisle mouth to the first bay: floor markings, sightlines, the way returns are parked, where water sits in relation to footfall, and whether labels are legible without a second glance. 

None of this looks glamorous in a drawing. Yet it’s where time leaks away. Tiny hesitations that become minutes by lunch.

In a Jebel Ali facility, a runner showed me how this plays out without making a fuss. He rolled in, made one clean stop, lifted a carton, scanned, and drifted back out. No shuffle-steps, no second look at the label, no detour around a parked cage. Meanwhile, a forklift idled further down, waiting for a gap to turn. The trolley won because it didn’t rely on the path; it designed it as it went along.

Match the tool to the first task, not the whole shift. 

Forklifts are very important for your worksite; there’s no denying that. They move pallets, deal with height, and clear docks when inbound is heavy. And they can manage a lot of load too. 

But the first ten metres of many picks in your warehouse are short, frequent, and presentation-sensitive: beauty, electronics, chilled top-ups, and last-minute e-commerce lines. For those, the speed advantage often comes from a light kit, short movements, and predictability.

Here’s a simple test: if the picker can approach, stop once, reach safely, and roll away without re-positioning, then you know that the trolley is the right call. 

If that sequence requires a long swing, a second alignment, or waiting for someone else’s turn, you might’ve a case for powered movement where it isn’t needed, or you’ve allowed clutter to turn a simple job into complicated choreography.

Put products in “zones of reach”, not just velocity buckets

Velocity ranking is helpful, but it’s not the whole story. The place where an item sits relative to a human body matters just as much. 

Treat the first two metres inside the aisle as “short reach” (below shoulder height, within one step). That’s where your tiny, high-touch, high-frequency picks should live. 

Next comes “comfortable reach,” which is still fast, still low effort, but a half-step deeper. Save “assisted reach” for items that are picked less often or need a platform.

A trolley can only carry the load; the shelves have to keep it. 

No matter which you choose, a trolley or a forklift, both are no good if your shelving is below par. 

This is where heavy duty shelving pays back. Good shelving makes the difference between smooth movement and second-guessing. If your ground-level racks are sturdy, level, and free from loose fittings, people roll in confidently and work faster without even realising it. 

When the storage feels solid, pickers stop hesitating, and that confidence is what keeps the whole rhythm of the aisle steady.

Lines, labels, and the wayfinding effect!

The first ten metres should read like a simple sentence. Thin, continuous floor lines that guide “in” and “out.” Labels should be at eye height where the turn begins, and repeated on the shelf edge where the hand pauses. 

Nothing busy, and definitely nothing shiny. We all know that glare under bright lighting is a real distraction in warehouses. And redundant information is just overcrowding when the aisle is busy. You want everything readable and to-the-point! 

At Dubai Investment Park, a supervisor spent a quiet hour moving three bay labels and sweeping a metre-wide arc where trolleys pivot. And guess what? Afternoon congestion eased the same day. Not because people worked harder, but because the same hard-working people could find their routes more easily.

Start well, finish well.

The first ten metres determine whether the rest of the pick is a glide or a scrabble. In Dubai’s pace and climate, the best result often comes from pairing tidy paths with light, reliable tools and reserving the heavy kit for the work it’s built to do. 

Treat those opening steps as a design problem in their own right, and the unassuming trolley stops being a compromise and becomes your fastest yet calmest move.

So, start tomorrow! Clear the first metre inside each aisle. Put the most-picked items at a natural height. Give the trolley a marked pad. And just after a week, watch how much noise disappears from the shift lead’s radio. That’s your payback. It will be felt by your workers and your wallet. 

Once the first ten metres are working well, you can focus on the whole unit, and maybe use the same logic to help your entire warehouse racking system. 

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

6 Songs That Changed Politics

Music has always had the power to move people—but sometimes, it moves entire nations. From protest chants to pop anthems that turned into rally cries, these songs didn’t just top charts; they reshaped conversations, rewrote narratives, and made politicians sweat. Here are five songs that proved a great hook can change the world.

“A Change Is Gonna Come” – Sam Cooke
Written after Sam Cooke faced racial injustice, this 1964 masterpiece became the soundtrack to the Civil Rights Movement. Soulful and aching, it wasn’t just a song—it was a promise. Every note carried hope that still resonates today.

“Born in the U.S.A.” – Bruce Springsteen
Often mistaken for a patriotic anthem, it’s actually a blistering critique of how America treated its Vietnam veterans. With that defiant chorus and pounding drums, The Boss turned protest into stadium power. Reagan even tried to co-opt it. Big mistake.

“Fight the Power” – Public Enemy
When Chuck D said “Elvis was a hero to most,” the world stopped and listened. Spike Lee blasted it through Do the Right Thing, and suddenly, hip-hop wasn’t just music—it was movement, truth, and unapologetic fire.

“Fortunate Son” – Creedence Clearwater Revival
John Fogerty’s growl cut through the fog of war with a simple truth: class decides who fights. The song became an anti-establishment lightning bolt during Vietnam, reminding everyone that not all patriots wear privilege.

“Sun City” – Artists United Against Apartheid
In 1985, 50 artists including Bruce Springsteen, Run-D.M.C., and Bono joined forces to protest South Africa’s apartheid regime. Refusing to play the resort of Sun City, they turned pop into protest. It was a boycott with a beat.

“Sunday Bloody Sunday” – U2
With its pounding militaristic beat and Bono’s cry of “How long must we sing this song?”, U2 captured the anguish of the Northern Ireland conflict. It wasn’t a protest from anger—it was one from exhaustion, demanding peace through melody.

Hallmark’s Countdown to Christmas Brings Star-Studded Songs and Holiday Cheer

0

Music shapes the emotional landscape of Hallmark movies, especially during the most wonderful time of the year. Keeping with tradition, Hallmark Channel has teamed up with top recording artists to feature festive songs that will lift spirits and make this year’s 16th annual Countdown to Christmas the most musically magical yet.

Front and center is Grammy Award-winner Brad Paisley, who wrote and recorded the original song “Counting Down the Days,” the official anthem of the 2025 Countdown to Christmas campaign. Paisley also lends his talents to A Grand Ole Opry Christmas, contributing two original songs — “Leave the Christmas Lights on for Me,” performed by the film’s fictional duo Winters & Wade (Rob Mayes and Luke Benward), and “Falling Like the Snow,” which he performs on the Opry stage. His version of “Santa Claus is Comin’ to Town” also appears in Christmas at the Catnip Café, all featured on his forthcoming holiday album Snow Globe Town.

Grammy-nominated country stars Mickey Guyton and Drew Baldridge join forces for “Joy to Your World,” an exclusive Hallmark duet written by Niko Rubio, Dalton Diehl, and Johnny Simpson. The song captures the warmth, connection, and hope at the heart of Hallmark’s holiday tradition, airing throughout the event alongside timeless classics like Frank Sinatra’s “I’ve Got My Love to Keep Me Warm,” Jimmy Fallon’s “Holiday” featuring The Jonas Brothers, Julie London’s “I’d Like You for Christmas,” Dean Martin’s “It’s Beginning to Look a Lot Like Christmas,” and Laufey’s “The Christmas Waltz.”

Rounding out the lineup are standout contemporary performances from Megan Moroney (“All I Want for Christmas is a Cowboy”), Tigirlily Gold (“Mistletoe Tipsy”), and Mickey Guyton (“Save a Little Christmas for Me” and “Sugar Cookie”). Little Big Town’s “Santa Claus is Back in Town” and Lauren Spencer Smith’s cameo in Single on the 25th add extra sparkle. Original songs from Hallmark’s songwriting camps — including “Glow of the Season” (Alex Vickery), “Best Holiday Yet” (Lonis ft. Joh Mero), “Merry & Bright” (Jamra), and “Glow” (Moonzz) — complete a soundtrack that celebrates the magic, joy, and music of the season.

Paul Thompson Bends Space and Sound with New Single ‘The Clocks Went Back’

0

Singer-songwriter Paul Thompson takes listeners on a cosmic journey with his new single The Clocks Went Back, a release that playfully intertwines physics, philosophy, and melody. The track arrives precisely at 2 a.m. BST on Sunday, October 26, 2025—just as the clocks shift back to GMT—creating what Thompson calls “the first song in history to time-travel its release.”

Inspired by Einstein’s theories and the ever-expanding Universe, The Clocks Went Back transforms the concept of daylight saving into a meditation on the nature of time itself. With the Universe expanding at 73.5 kilometers per second, Thompson calculates that in the one hour our clocks retreat, the cosmos will have stretched an astounding 264,600 kilometers—an idea that fuels both the whimsy and wonder of his music.

Philosophical and poetic, the track invites listeners to step beyond human schedules and imagine time as something fluid and infinite. Thompson’s art turns an ordinary clock change into a portal for reflection—on our fleeting existence, on cosmic vastness, and on the strange beauty of moments that feel both gone and eternal.

MONSTA X Bring Their Decade of Music to the Big Screen with ‘CONNECT X in Cinemas’

0

Trafalgar Releasing and CJ 4DPLEX are bringing MONSTA X : CONNECT X IN CINEMAS to theaters worldwide on December 3 and December 7. Filmed over three unforgettable nights in July 2025 at Seoul’s KSPO DOME, the 120-minute concert film celebrates MONSTA X’s 10-year journey with MONBEBE, capturing the band’s signature energy and emotional connection.

Presented in SCREENX, 4DX, and ULTRA 4DX formats, the film transforms cinemas into immersive concert venues, offering fans an experience that feels larger than life. Tickets and participating theater details will be available November 4 at monstax-incinemas.com.

CONNECT X IN CINEMAS features electrifying performances of fan favorites including “BEASTMODE,” “WHO DO U LOVE?,” and “Secrets,” along with new songs like “Fire & Ice.” Between songs, viewers will see exclusive behind-the-scenes footage and intimate interviews as SHOWNU, MINHYUK, KIHYUN, HYUNGWON, JOOHONEY, and I.M reflect on their decade-long career.

CJ 4DPLEX CEO Jun Bang shared, “We’re proud to push the boundaries of what it means to experience live performance on the big screen—transforming theaters worldwide into truly immersive concert venues.” Trafalgar Releasing CEO Marc Allenby added, “This release marks a special moment for MONSTA X, celebrating their 10th anniversary as a group and uniting fans as a global community.”

Since debuting in 2015, MONSTA X have become one of K-pop’s most dynamic groups, known for their high-octane performances, creative artistry, and deep connection with fans. MONSTA X : CONNECT X IN CINEMAS honors that bond, offering a front-row experience for fans around the world.

Boots In The Park Returns to Albuquerque with Post Malone, Jelly Roll, and Texas Country Icons

0

Activated Events has announced the highly anticipated return of Boots In The Park to Albuquerque, NM, lighting up the iconic Balloon Fiesta Park for two massive days on Friday, May 15, and Saturday, May 16. This year’s lineup is one for the books, led by global superstar Post Malone and country powerhouse Jelly Roll, alongside Jessie Murph, Koe Wetzel, Max McNown, Tyler Hubbard, and many more.

Presales kick off Thursday, November 6, with general tickets available Friday, November 7, at 10 a.m. local time. Fans can expect over 20 artists performing across multiple stages, plus line dancing, whiskey and tequila tastings, craft food from local vendors, and immersive art installations that bring the spirit of the Southwest to life.

New for 2026, the festival introduces a Texas Country Stage—a dedicated showcase celebrating the heart and soul of Lone Star sound. Fans will experience gritty, heartfelt performances from Cody Jinks, Randy Rogers Band, Clay Walker, Josh Abbott Band, Bri Bagwell, and more, blending tradition with the high energy that has made Boots In The Park one of the most beloved country music events in the U.S.

Friday night belongs to Jelly Roll, whose deeply personal songwriting and raw, genre-bending style has made him one of country’s most inspiring voices, with hits like “Save Me,” “Need A Favor,” and “Son of a Sinner.” Then, on Saturday, Post Malone will close out the weekend with his trademark mix of country, pop, and rock. With the massive crossover success of “I Had Some Help” and his upcoming country album, Post is poised to deliver a show that redefines what a modern music icon can be.

Nathalie Miller Dances Through Self-Discovery on Whimsical New EP ‘like you used to’

0

Brooklyn-based indie-pop artist Nathalie Miller twirls between nostalgia, femininity, and self-realization on her shimmering sophomore EP like you used to, out Friday, October 24. Sparked by a paraphrased Martha Graham quote about the pain of letting go of what defines us, the record explores what it means to grow, to grieve former selves, and to rediscover joy through art.

A former dancer and photographer from Massachusetts, Miller found her voice in songwriting—a medium she describes as something that “automatically writes itself in my head even when I’m actively trying not to.” Working alongside producer and multi-instrumentalist Brian Charles at Rare Signals in Cambridge, she transforms those fleeting moments of inspiration into cinematic soundscapes filled with piano, banjo, mandolin, and playful experimentation.

Across the EP, Miller paints vignettes of life in motion: the defiant “witches don’t burn,” inspired by New England’s witch trials and purity culture; the glistening “slippers,” a witty reflection on modern womanhood born from refrigerator word magnets; and the propulsive “sit and stew,” an upbeat track that hides darker themes beneath its pop sparkle. Lead single “kansas,” with a video directed by Palmer Wells and Christopher Consoli, reimagines friendship heartbreak as a “platonic break-up song,” blending humor and ache with vivid honesty.

Through like you used to, Miller builds a world both ethereal and grounded—a collage of confessions, reflections, and resilience. She embraces pop sensibility without apology, unlearning the idea that what’s feminine is somehow less profound. “Once I got over the internalized misogyny of pop being seen as not art,” she says, “I stopped policing the genre as much.” The result is an enchanting portrait of a young woman coming fully into her own voice—one that dances, even after the music stops.

A Perfect Circle Announce 2026 European Tour – First Shows on the Continent Since 2018

0

A Perfect Circle are officially returning to Europe in 2026, marking their first shows on the continent in seven years. The Maynard James Keenan and Billy Howerdel-led band will bring their acclaimed sound across 13 countries, headlining major venues and festivals including London’s O2 Academy Brixton, Berlin’s Zitadelle, and appearances at Rock Im Park, Rock Am Ring, Nova Rock, and Copenhell.

“To our European friends,” Billy Howerdel shared. “We miss you. It’s been far too long… like seven years too long. We found a solution.” Fans have eagerly awaited the group’s return since their last European run in 2018, and this announcement cements A Perfect Circle’s long-overdue comeback to one of their most passionate fanbases.

Tickets for all headlining performances go on sale Friday, October 31, at 10 a.m. local time, with an exclusive artist pre-sale beginning October 29 at 10 a.m. (Code: ELEPHANT). Stockholm’s performance at Gröna Lund will be part of the venue’s season subscription series.

Formed in 1999 by Billy Howerdel and Maynard James Keenan, A Perfect Circle quickly became one of the defining forces in alternative rock. Their debut album Mer de Noms (2000) made history as the highest-charting debut rock album at the time and remains beloved for hits like “Judith” and “3 Libras.” Over their 25-year career, the band has released Thirteenth Step, eMOTIVe, and Eat the Elephant, the latter debuting at #3 on the Billboard 200. Known for their cinematic live shows, A Perfect Circle have headlined world festivals, sold out venues like the Hollywood Bowl and Madison Square Garden, and continue to captivate fans with their artistry and intensity.

A Perfect Circle – 2026 European Tour Dates:
June 3 – London, UK – O2 Academy Brixton
June 4 – London, UK – O2 Academy Brixton
June 6 – Nürnberg, DE – Rock Im Park
June 7 – Nürburg, DE – Rock Am Ring
June 9 – München, DE – Zenith
June 10 – Warszawa, PL – Torwar
June 12 – Wien, AT – Nova Rock Festival
June 13 – Ferrara, IT – Ferrara Summer Festival
June 15 – Budapest, HU – Budapest Park
June 16 – Zagreb, HR – SRC Šalata
June 18 – Zürich, CH – Halle622
June 21 – Düsseldorf, DE – Mitsubishi Hall
June 24 – Amsterdam, NL – AFAS Live
June 26 – København, DK – Copenhell
June 28 – Stockholm, SE – Gröna Lund
July 1 – Berlin, DE – Zitadelle
July 2 – Praha, CZ – Forum Karlín
July 4 – Esch-sur-Alzette, LU – Rockhal

Jonas Brothers Light Up Orlando for Samsung TV Plus Livestream as Kevin Jonas Announces Solo Debut

0

The Jonas Brothers brought their Jonas20: Greetings From Your Hometown Tour to a fever pitch in Orlando on Sunday night (Oct 26), delivering the fourth stop of their exclusive Samsung TV Plus livestream series. Fans around the world tuned in for an electric night of music, surprise appearances, and interactive fan engagement that redefined what a livestream concert can be.

Midway through the show, Kevin Jonas took the spotlight for a moment that sent the crowd into overdrive—he officially announced his debut solo single, “Changing,” out November 20. Produced by Mark Schick and Jason Evigan, the track has already become a fan favorite after Kevin first performed it live at Fenway Park earlier this year.

The livestream experience featured FanVote, an interactive poll that allowed fans at home to choose which deep-cut Jonas Brothers song would make it into the setlist. It was a new level of fan participation, giving the audience real-time control over the night’s performance.

Capping off the unforgettable show were surprise guest performances from Khalid, Sebastian Yatra, and a show-stopping appearance by Moana star Auliʻi Cravalho. The night turned Orlando into a glowing celebration of music, connection, and nostalgia as the Jonas Brothers proved once again why they remain one of pop’s most beloved acts.

The Samsung TV Plus x Jonas Brothers livestream series wraps up November 9 in Buffalo, NY, marking the final chapter of this five-stop fan-driven celebration that’s brought the Jonas20 experience to living rooms everywhere.

The Quality of Mercury Returns with Cinematic Sophomore Album ‘The Voyager’

0

Alternative rock artist The Quality of Mercury makes a triumphant return with The Voyager, his long-awaited sophomore album. The project, led by Pennsylvania-based musician Jeremiah Rouse, arrives nine years after his acclaimed debut Transmission and delivers an exhilarating journey through emotion, distance, and discovery. Blending cinematic atmosphere with anthemic rock energy, the album invites listeners to feel both the rush of exploration and the quiet ache of longing.

Featuring the standout track “Radiate” alongside singles “Heaven’s Gate” and “Ganymede,” The Voyager captures Rouse’s meticulous craftsmanship and cinematic imagination. From writing and performing to engineering, Rouse handles it all, creating music that feels both expansive and intimate. “The Voyager is born from a deep place of longing — for connection, for meaning, for something beyond the surface of everyday life,” says Rouse. “If this album helps someone feel a little less alone in their search, then it’s done what I hoped it would.”

Drawing inspiration from artists like Hum, Failure, and Sunny Day Real Estate, Rouse builds immersive soundscapes that merge rock precision with cosmic wonder. The album’s detailed production and expansive textures reflect his background in film and sci-fi, turning each song into a scene — filled with tension, light, and emotional depth.

Now available on all major platforms, The Voyager is more than an album — it’s an odyssey of sound and soul. With its mix of lush guitars, vivid storytelling, and interstellar themes, it cements The Quality of Mercury as one of the most visionary voices in modern alternative rock.

Track List:

  1. Moonrise
  2. Radiate
  3. Ganymede
  4. Heaven’s Gate
  5. Desperate Measures
  6. Receiving Hertz
  7. Selenite
  8. The Voyager