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Metal Veteran David K. Starr Roars Back With Powerful New Anthem “Not Dead Yet”

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Metal legend David K. Starr is proving that nothing can silence his spirit. Known for his powerhouse work with WildeStarr, Vicious Rumors, and CHASTAIN, Starr has released his newest single, “Not Dead Yet” — a thunderous declaration of resilience, courage, and survival.

After being diagnosed with Parkinson’s disease in 2020, Starr turned his experience into a creative firestorm. “I originally started writing the song about what I have gone through, but then I realized it’s bigger than me,” says Starr. “This song is for anyone out there dealing with life-changing events, be it their health, death of a loved one, a broken heart, or whatever comes your way.”

The song’s emotional power comes from its universal message. “I never mention my health problems in the song, that would be too corny, so I broadened my scope and made it for anyone out there who’s going through pain,” Starr explains. “It’s basically about standing tall and fighting for yourself, fighting to stay alive, no matter what kind of hell life throws at you.”

Directed by London Wilde, “Not Dead Yet” features Starr taking center stage on lead vocals for the first time while handling all guitar duties. He’s joined by bassist Rich Gray (Annihilator, Aeon Zen) and drummer Fabio Alessandrini (Annihilator, Bonfire), creating a fierce, unrelenting soundscape that captures both grit and glory.

Comedy Legend Alan Partridge Takes On The Touchscreen Revolution

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Alan Partridge’s quest for human connection takes him to a coffee shop, only to be defeated by a touchscreen. The famously awkward TV host longs for conversation, but automation stands in his way. It’s man versus machine, Partridge-style, and humanity loses again.

SOPHIE SHREDZ Turns Fashion Into Fury With Explosive Hyperpop Anthem “DIE IN CHANEL”

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Hyperpop powerhouse SOPHIE SHREDZ storms back with her boldest release yet, “DIE IN CHANEL,” now streaming on all major platforms. The track is a glitter-drenched explosion of attitude, humor, and chaos that captures the heart of SHREDZ’s world: where heartbreak meets high fashion and every emotion is turned up to 11.

“DIE IN CHANEL” is pure sonic couture. Produced by LA hitmaker Slush Puppy, it weaves distorted basslines, shimmering pop melodies, and SHREDZ’s razor-edged vocals into a ferocious club anthem. The song dances between glamour and madness, a tongue-in-cheek fantasy of going out in style while the beat melts around you.

Dripping with satirical flair, the track channels the high-voltage energy of late-night underground scenes, where style and self-expression rule. SHREDZ’s charisma bursts through every lyric, crafting a sound that’s both playful and defiant. “DIE IN CHANEL” doesn’t just play with the idea of pop excess — it lives in it, owns it, and sets it on fire.

SOPHIE SHREDZ has quickly become one of hyperpop’s fiercest rising stars. Her fearless storytelling and unapologetic sound turn vulnerability into a spectacle, making every track feel like an act of rebellion. With “DIE IN CHANEL,” she takes that vision to new heights — a glossy, high-octane anthem destined to dominate playlists and dance floors alike.

Sammy Hagar Brings His Red-Hot Rock Legacy to the UK With The Best of All Worlds Tour

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Sammy Hagar is bringing his red-hot rock energy to the UK for the first time in nearly 30 years. The Rock & Roll Hall of Famer has announced his Best of All Worlds Tour will hit UK arenas in July 2026, celebrating over five decades of anthems, riffs, and pure rock attitude.

The tour reunites Hagar with his powerhouse bandmates in The Best of All Worlds Band — guitar icon Joe Satriani, legendary bassist and former Van Halen bandmate Michael Anthony, and drummer extraordinaire Kenny Aronoff. Together, they’ll deliver a high-voltage setlist spanning every corner of Hagar’s legendary career, from his early Montrose days to solo smashes, Van Halen hits, and Chickenfoot favorites.

Fans can look forward to hearing “Finish What Ya Started,” “5150,” “Your Love is Driving Me Crazy,” “Best of Both Worlds,” “Poundcake,” “Why Can’t This Be Love,” and “I Can’t Drive 55.” Speaking on the upcoming run, Hagar shared, “I can’t wait to cross the Atlantic with the Best of All Worlds Band. Fans in the UK and Europe have waited a long time and so have I!”

Joining the rock celebration are Joan Jett & The Blackhearts, performing their first UK shows in 15 years. The punk pioneer will bring timeless hits like “I Love Rock ‘n’ Roll” and “Bad Reputation,” while breakout British act Jayler will kick off each night with their fiery opening set.

The announcement follows Sammy Hagar & The Best of All Worlds Band – The Residency, a 19-track live album recorded during Hagar’s Las Vegas run at Dolby Live at Park MGM in 2025. The UK tour promises the same explosive energy, turning every arena into a red-and-chrome celebration of pure rock freedom.

UK Tour Dates:
07/04 – Manchester – AO Arena
07/05 – Birmingham – BP Pulse Live
07/07 – Leeds – First Direct Bank Arena
07/09 – London – The O2 Arena

Miyeon and Colde Ignite K-pop Passion With Electric New Single “Reno”

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Following the success of her soaring single “Sky Walking,” Miyeon of I-dle steps into a bold new era with “Reno” featuring Colde, the latest preview from her upcoming second mini album My, Lover, arriving November 3. The track marks an exciting new direction for the alt-pop star, blending her refined artistry with a raw emotional edge.

“Reno” unfolds like a cinematic love story, anchored by a hypnotic minor-key guitar loop that spirals through the verses. Miyeon’s expressive vocals take center stage, moving between delicate vulnerability and confident control. Colde’s feature adds another layer of intrigue, his smooth tone creating a captivating tension that perfectly complements Miyeon’s dynamic delivery. As the song rises toward its finale, it bursts into a breathtaking release that mirrors the turbulence and thrill of love at its peak.

The single follows “Sky Walking,” first performed during her 2024 I-dle World Tour solo stage in Seoul. That track shimmered with ‘80s-inspired energy, blending vibrant guitar and synth textures with Miyeon’s bright vocals. Together, “Sky Walking” and “Reno” showcase her range — from atmospheric introspection to high-voltage passion — and reflect her evolution as a composer and storyteller.

Born Cho Mi-yeon in 1997, the artist has always carried music in her bones. Trained in violin, guitar, and piano since childhood, she debuted with I-dle in 2018 and soon reached global recognition as the voice of Ahri in K/DA, whose hit “Pop/Stars” topped Billboard’s World Digital Songs chart. Each chapter of her journey adds to a growing body of work that blends classical discipline with pop innovation.

With “Reno” featuring Colde and her upcoming mini album My, Lover, Miyeon continues to push her creative boundaries. The project promises an intimate look into her expanding sonic universe, filled with elegance, power, and emotional honesty — a thrilling step forward for one of K-pop’s most magnetic voices.

The Beaches Turn the NPR Tiny Desk Into the Coolest Alt-Rock House Party Ever

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Canadian alt-rock powerhouse The Beaches just turned NPR’s Tiny Desk into their own personal rock ‘n’ roll playground. With swagger, humor, and chemistry that only lifelong friends could pull off, the band stormed through a setlist that felt equal parts confessional and celebratory.

They kicked things off with “Lesbian Of The Year,” a track that’s become both a fan anthem and a viral sensation. The stripped-down setting gave their sharp wit and punchy melodies new life, showing off the band’s ability to make even the smallest room feel like an arena. “Can I Call You In The Morning?” followed, gliding with their signature blend of tenderness and power, while “Last Girls at the Party” radiated an infectious, carefree energy that had the Tiny Desk crew visibly bopping along.

Just when you thought they couldn’t top themselves, The Beaches pulled a crowd-pleasing twist — diving back into their Blame My Ex era with “Blame Brett” and “Edge of the Earth.” Both songs hit with the same boldness that first cemented their alt-rock royalty, proving that their sound has only grown sharper and more self-assured with time.

Fresh off sold-out shows at Webster Hall and The Wiltern, the band is in the middle of their headline world tour in support of No Hard Feelings — a record packed with eleven tracks of brutally honest lyrics, defiant guitar riffs, and unapologetic joy. The Tiny Desk session is the perfect reminder that The Beaches aren’t just having a moment — they’re defining one.

If there was ever any doubt, this performance cements it: The Beaches are Canada’s coolest export since maple syrup learned to shred.

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

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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

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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’

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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.