music - The Latremie Post

EXCLUSIVE: Ozzy Osbourne Reveals Dream Epitaph in Emotional Memoir — After Radar Told You First He Was Set to Include Sad Grave Message in Final Book

**Ozzy Osbourne Reveals His Dream Epitaph in Posthumous Memoir**

*Published Oct. 6, 2025, 6:00 p.m. ET*

Ozzy Osbourne has revealed his dream epitaph, joking darkly about his own death in his posthumous memoir while reflecting on his extraordinary final show, RadarOnline.com can reveal.

The 76-year-old Black Sabbath frontman, who passed away at his Buckinghamshire home after years of illness, writes candidly about the end of his life and shares his hopes for what will appear on his tombstone.

### Osbourne’s Ideal Epitaph Revealed

In an extract from *Back to the Beginning* — his forthcoming memoir detailing his last concert at Villa Park in Birmingham before 42,000 fans — Osbourne describes feeling at peace with his mortality and shares his preferred epitaph.

“Between you and me, though, I’m thinking something short and sweet,” he says about his ideal inscription. “‘I told you I wasn’t feeling well’ should do the trick.”

The line is a nod to legendary British comic Spike Milligan, whose own epitaph reads the same but was inscribed in Irish to placate church authorities.

### Family Reflects on Osbourne’s Humor About Death

According to those close to him, Osbourne discussed the idea of his epitaph with his wife Sharon, 72, and their children Aimee, Kelly, and Jack in the months before his death.

“Ozzy always had that wicked sense of humor, even about death,” a family friend said. “He loved Spike Milligan and would often quote him. He felt that epitaph summed up his whole life — funny, self-deprecating, and a little bit rebellious.”

Another insider added, “Sharon hated him talking about the grave, but Ozzy was insistent. He said, ‘That’s me, that’s who I am.’ He wanted to make people smile even at the very end.”

### ‘Death’s Been Knocking at My Door’

Osbourne shared his ideal epitaph in the memoir after RadarOnline.com was first to reveal in July that he was penning his final words for his gravestone ahead of his last Black Sabbath gig.

In the book, Osbourne also recounts how close he came to missing his final show due to a string of health crises, including pneumonia, sepsis, and ongoing complications from Parkinson’s disease. Less than three weeks before the gig, doctors warned he might not survive.

“Death’s been knocking at my door for the last six years, louder and louder,” Osbourne writes. “And at some point, I’m gonna have to let him in. Not that I’m ready to go. But I’ve had a good run. I think I made a mark on the world. And I’m glad I didn’t check out early, like so many others.”

### Final Wishes and Reflections

His memoir also details his and Sharon’s decision to be buried together and his refusal to be cremated.

“When the end does come, I don’t want to be cremated,” he writes. “It’s like you were never here. You’re just a bag of dust. That’s not for me. I wanna make the flowers grow.”

Despite the somber subject matter, the book is filled with the same black humor and wild stories that made Osbourne a cult figure — from tales of smuggling jewelry on a transatlantic flight to rehearsing with the original Sabbath lineup for their “metal’s answer to Live Aid” final show.

But it’s his reflections on legacy and the afterlife that resonate most.

“People ask me what I think’s gonna happen in the afterlife,” he writes. “I say to ’em, I’ve no idea, but it won’t be long now, so if you hang around a bit, maybe I can haunt you and give you the answer.”
https://radaronline.com/p/ozzy-osbourne-reveals-dream-epitaph-in-emotional-memoir/

Zubeen Garg’s final film to release on October 31

The late Assamese singer Zubeen Garg’s final film, *Roi Roi Binale*, is set to be released on October 31.

Filmmaker Rajesh Bhuyan made the announcement, marking a significant moment for fans and the Assamese film industry alike.

This release will serve as a tribute to Zubeen Garg’s enduring legacy and his contributions to music and cinema. Stay tuned for more updates on the film’s release and related events.
https://www.newsbytesapp.com/news/entertainment/zubeen-garg-s-roi-roi-binale-to-release-this-month/story

Swords and sarangis

The first of October is marked as Music Day in many parts of the world; another day, June 21, is also observed, with a slightly different emphasis—a celebration of music’s many forms and its capacity to bring disparate traditions into conversational harmony. Yet, if music can unite, it does not, by itself, inoculate a society against violence. Celebrating sound and rhythm is no guarantee of moral restraint.

That paradox is painfully evident in Pakistan. After the country was widely branded as a sponsor of, or at least a haven for, extremism, successive governments sought to cultivate a softer image. Soft power became a remedy in speech and policy: embassies were urged to host cultural events; diplomats extolled the nation’s literary and musical heritage; fashion shows and art exhibitions were staged abroad to suggest a modern, outward-looking society.

Under the administration of Shaukat Aziz in the early 2000s, such displays of liberal openness were pursued with enthusiasm—a conspicuous diplomacy that sought to counterbalance a darker international narrative. But optics and policy do not always track one another. The presence of concerts, galleries, and catwalks does not automatically negate the political choices that lead to violence. Culture can coexist with brutality; sometimes it even flourishes alongside it.

Israel, a society rich in music, theatre, and visual arts, has nevertheless employed indiscriminate force in ways that many have condemned. Equally, Japan in the 1930s and 1940s, steeped in aesthetic traditions and religious values often associated with pacifism, pursued an expansionist military policy that wrought enormous suffering across East Asia. Nor should we forget the colossal human toll recorded in China’s historical memory of the Japanese invasion.

These are awkward truths, but they are instructive. Art and culture do not automatically immunize a polity against violence. Art is not a prophylactic. It is an expression of a people; and like any human practice, it can coexist with contradictory impulses.

A society’s musical culture may be lush and diverse while its politics are hard-edged and uncompromising. Artists and musicians can and do protest violence, yet their songs seldom, on their own, alter the course of state action.

Part of the reason for this disconnect is that culture and policy inhabit different registers of power. Music, painting, and dance shape hearts and imaginations; statecraft organizes resources, defines enemies, and makes war possible. Soft power—the ability to attract and persuade through culture—has real value, but it is subsidiary to the hard instruments of policy: the legal framework, the security apparatus, the economy, and the structure of political incentives.

You can fill an embassy with sarangis and sitars, but if the policy calculus in the capital favors militarized responses, the public display of culture will look like tokenism. Wars and ballads, swords and sarangis, have always coexisted in human history. The task for cultural policymakers and civic leaders is not to pretend otherwise, but to shape the balance.

In Pakistan, the elevation of martial themes in popular culture is striking. Patriotic anthems and taranas that extol bravery, sacrifice, and territorial defense have long commanded greater official recognition than songs of love or pleas for peace. Epic literature and praise of warrior virtues have classical antecedents—from the Iliad and the Mahabharata to the Shahnameh. Modern states draw on these narratives, consciously or otherwise, to frame national identity.

In such a cultural economy, a vocalist who sings to celebrate the nation’s might may be lauded as a custodian of public morale, while a singer who pleads for reconciliation is dismissed as sentimental or naive. That does not mean that songs of peace do not exist or lack potency. Throughout history, poetry and music have articulated dissent and conscience—from the laments of the troubadours to the protest songs of the twentieth century.

But the institutional esteem afforded to different genres matters: where martial music is publicly rewarded, its messages multiply; where songs of reconciliation are marginalized, they struggle to be heard beyond sympathetic circles.

Also, there is a more ambivalent truth about human temperament. Courage and tenderness are not mutually exclusive; they often run in parallel. Communities cultivate both the capacity to defend and the capacity to heal. Expecting one to annihilate the other is wishful thinking.

Wars and ballads, swords and sarangis, have always coexisted in human history. The task for cultural policymakers and civic leaders is not to pretend otherwise, but to shape the balance.

So, what might a more honest engagement with culture and security look like?

First, cultural policy must be more than window-dressing. Investing in arts education, ensuring public funding for diverse cultural practices, and embedding critical artistic voices within civic life can slowly shift the norms.

Second, artists must be accorded not only space to perform but also platforms where their critique can meet policy debate—forums where poets, musicians, and filmmakers speak to lawmakers, educators, and security planners.

Third, civil society should resist binary thinking that casts culture as either naive or complicit; instead, it should recognize art’s capacity to unsettle, heal, and imagine alternatives, even while structural change proceeds through other channels.

Music will not end aggression, but it can change the vocabulary of public life; it can keep alternative imaginaries alive. For that reason alone, it is worth the sustained attention of policy as well as public affection.

Swords and sarangis will coexist for the foreseeable future. The hope should be that the sarangi’s song grows louder—not because it will stop every bullet, but because it will have more chance of shaping the world into which those bullets are fired.
https://www.thenews.com.pk/tns/detail/1348305-swords-and-sarangis

YOSHIKI Sparks Yoichi Wine Craze

At the center of this transformation is Mayor Saito’s wine-focused strategy, which shifted production toward premium grape varieties and leveraged top-level sales efforts to win global recognition.

YOSHIKI’s involvement in producing Yoichi wine has added star appeal, amplifying the town’s reach on the international stage.

The success has extended beyond bottles and festivals. Yoichi has attracted donations through the hometown tax scheme and drawn new investment. These proceeds are funding community programs such as childcare support and tourism development.

The result is a cycle of growth that is reshaping Yoichi’s identity and reputation far beyond its origins as a whisky town.
https://newsonjapan.com/article/147146.php

Ultimate Betrayal: Nicole Kidman’s Friendship with Blake Shelton and Gwen Stefani ‘Being Torn Apart’ — As Actress is ‘Deeply Hurt’ Over ‘Silence’ From Pals on Keith Urban Divorce

**Nicole Kidman Feels Betrayed by Nashville Friends Amid Divorce from Keith Urban**

*Published October 3, 2025, 4:10 p.m. ET*

Nicole Kidman has been going through an emotional ordeal as she copes with the end of her 19-year marriage to Keith Urban. According to RadarOnline.com, she has also been deeply hurt by the silence of many close Nashville friends the couple once shared, including fellow country music singer Blake Shelton and his wife, Gwen Stefani.

In recent years, the two couples reportedly grew close, often spending time together at Kidman and Urban’s $3.5 million Nashville home. However, insiders reveal that Kidman, 58, feels deeply wounded by the apparent lack of support from Keith Urban’s inner circle—many of whom she considered her own friends.

### Keith Urban and Blake Shelton’s Friendship

Keith Urban, 57, and Blake Shelton, 49, have moved in similar circles for years due to their country music careers. Sources say their friendship grew stronger while working on the TV series *The Road* together. The two singers began hanging out regularly and often shared relationship advice.

An insider shared, “(Shelton) really admires what Keith has built with Nicole – it’s something they talk about a lot, and Keith’s been an incredible sounding board for Blake. Keith has a lot of advice on what it takes to weather storms and keep a marriage going when things are challenging.”

### Urban’s Friends Didn’t Warn Kidman About ‘Cheating Rumors’

As previously reported, Kidman is said to have been the one desperately trying to save the marriage before Urban moved out of their Nashville home and into a rental. Just one day after the separation news broke—and amid rumors that Urban was already involved with another woman—Kidman officially filed for divorce.

Insiders later revealed that gossip about Urban’s romantic involvement with someone other than Kidman was an open secret in Music City. This revelation added a painful layer of betrayal to an already difficult situation for the Oscar-winning actress.

### Kidman ‘Can’t Understand’ the Silence from Nashville Friends

Despite believing she was also friends with Shelton and Stefani, Kidman has reportedly been shaken by their loyalty to Urban. A source close to the situation said, “Nicole feels blindsided not just by Keith but by the silence of the whole group. She can’t understand how no one gave her even a hint, not Blake, not anyone.”

Whispers about Urban’s “late nights and mysterious disappearances” had been circulating for months before Kidman filed for divorce, prompting her to reassess her friendships in a new light.

The source continued, “Looking back, Nicole sees it now. The jokes, the awkward pauses, the looks—they were signs. She just didn’t want to believe them. She thought they were her friends, too. Now she feels betrayed by the whole world Keith came from.”
https://radaronline.com/p/nicole-kidman-keith-urban-divorce-blake-shelton-gwen-stefani-silence-betrayal/

Taylor rates Travis’s proposal a perfect ’10 out of 10′

**Taylor Rates Travis’s Proposal a Perfect ‘10 out of 10’**

*By Shreya Mukherjee | Oct 03, 2025, 04:29 PM*

—

**The Story**

In a recent appearance on *The Graham Norton Show*, popstar Taylor Swift opened up about her engagement to NFL star Travis Kelce. She revealed that Travis surprised her with a romantic proposal after recording his *New Heights* podcast in August.

“He really crushed it in surprising me,” Taylor shared. “While we were talking on his podcast, he had a complete garden built out the back of his house to propose in. He went all out—10 out of 10.”

—

**Wedding Details**

Wearing a black bejeweled mini dress that showcased her engagement ring, Taylor mentioned that she is currently prioritizing the promotion of her new album, *The Life of a Showgirl*, before diving into wedding planning.

“I want to do the album stuff first, and the wedding is what happens after in terms of planning. I think it will be fun to plan,” she said.

The album was officially released last Friday.

—

**Album Insights**

Swift described *The Life of a Showgirl* as a secret passion project that helped her cope during the physically demanding *Eras Tour*.

“Last year on the tour, I was physically exhausted, sick, and worn down, so to spark me up, I had the album as a secret passion project behind the scenes. It stopped me from hitting a wall,” she explained.

The album features 12 tracks, including a notable collaboration with singer Sabrina Carpenter.

—

**Artistic Growth**

Taylor also reflected on her evolution as an artist, sharing how her approach to songwriting has matured.

“In recent years, I have a different perspective and like storytelling at a little bit of a distance, so it isn’t like doing a complete autopsy of myself. I think my wheelhouse is bigger now. I feel I can do anything now while running in heels. I am confident to write higher choruses, jump an octave, and do falsetto stuff,” she said.

—

**Master Recordings**

On finally owning her master recordings, a lifelong dream came true for Taylor.

“I was able to buy my entire back catalog. I don’t respond to stuff generally, but not owning it really pissed me off. I didn’t think I should be given it—I was happy to pay and at a premium. I’m glad I spoke publicly about it and my fans got behind it and championed it,” she reflected.

—

Taylor’s candid conversation offered fans a glimpse into not only her personal happiness but also her continued artistic growth and business successes.
https://www.newsbytesapp.com/news/entertainment/taylor-talks-proposal-on-graham-norton-show/story

Golden Globes shortlists 25 podcasts for inaugural audio award

The Golden Globe Awards have announced an exciting addition to their lineup: a list of 25 podcasts eligible for their first-ever Audio Award.

This new recognition highlights the growing influence and popularity of audio storytelling in the entertainment industry.

The selected podcasts represent a diverse range of genres and voices, showcasing the best in audio entertainment today.

Stay tuned for more updates as the Golden Globe Awards prepare to honor outstanding achievements in this innovative category.
https://www.newsbytesapp.com/news/entertainment/golden-globes-will-award-podcasts/story

The Fenian Beatles – the Fab Four’s Irish heritage examined

Seen by most as a fun-filled 1960s romp, *A Hard Day’s Night* is in fact a Beatles movie with an anti-British undercurrent filled with pro-Fenian rhetoric.

I have found the Fountain of Youth. It’s called watching The Beatles in *A Hard Day’s Night*. Not only do you get to hear several of their early ’60s hits, but you also get to laugh at the absurdities of the world through the eyes of youth.

The film is a comedy in the spirit of the Marx Brothers and, with a wink of the eye, casts a cold stare against the Cold War, future stupid wars, austerity, and the general political bulls–t of the time—which, ironically, we are still living through today.

This is a subversive film, very dangerous in its own way.

Ironically, it came out in 1964—the same year that gave us *Dr. Strangelove*, the ultimate subversive film and perhaps the best statement of the century on the stupid politics of the century. It’s like the kids of the time—and I was one of them—are telling the world through this Beatles flick that they are sick and tired of listening to politicians and all their fearmongering about nuclear bombs, communism, and the everlasting Cold War.

There is a memorable scene on the train at the beginning where the band members are trapped in a compartment with a regular commuter—armed with a bowler hat and ubiquitous umbrella—the symbolic backbone of Britain. First, he closes the window. The boys protest. Then they turn on their radio loud and clear, and he turns it off. “I fought the war for your sort!” he finally says. And Ringo has the perfect reply: “I bet you’re sorry you won!”

**Fenians Unite!**

There is also something else that delighted me about *A Hard Day’s Night*: its wonderful anti-British, pro-Fenian rhetoric. This is most evident in Paul McCartney’s supposed grandfather, John McCartney, played by Dublin-born actor Wilfrid Brambell—perhaps best known for his appearances on *Steptoe and Son* on British television.

He’s a disruptive, scheming, lecherous old bastard capable of anything. People often say what a clean old man he is—but actually, he is the opposite: a dirty old man. Wanting to go to a casino where sin is sure to be on duty, he swaps his clothes for the tuxedo of the room service waiter and soon finds himself bending over a gaming table. He spies a well-endowed young woman and comments, “I bet you’re a great swimmer!”

He is known in the casino as Lord John McCartney, a millionaire Irish peer—filthy rich, of course! After losing nearly 200 pounds, he is rescued by the boys.

Grandfather McCartney is eventually rounded up by the police for selling forged Beatle autographs. He then goes right after the poor police desk sergeant:
“Ya ugly great brute, ya got sad-ism stamped all over your bloated British kisser!”

Not to be outdone, he invokes an Irish weapon of war:
“I’ll go on hunger strike. I’m a soldier of the Republic!”

He then sings several choruses of *A Nation Once Again*.

The boys do some anti-British mocking of their own, led mostly by John Lennon. While Lennon is being measured by a tailor, he turns around, scissors in hand, and cuts the measuring tape, declaring regally, “I now declare this bridge open”—a clear mockery of the Royal Family and their civic contributions of the day, such as ribbon cuttings.

Lennon also recreates the sea battles of World War II in the bathtub with a toy submarine, alternately singing *Rule Britannia* and *Deutschland Über Alles*. This is a far cry from the heroic British naval films of the day such as *Pursuit of the Graf Spee* and *Sink the Bismarck*.

Then there’s Lennon dressed as a disheveled Abraham Lincoln, admonishing:
“This older generation is leading this country to galloping ruin! The younger generation will be heard!”

A tip of the hat should go to screenwriter Alun Owen, who received an Academy Award nomination for Best Original Screenplay. Owen was from Wales, but his mother was of Irish descent, perhaps explaining the many nationalist proclamations in the production.

—

### How Irish Were The Beatles?

“Were all Irish,” John Lennon famously declared when The Beatles toured Ireland in the fall of 1963. Indeed, there was a lot of Irish blood in The Beatles.

Paul McCartney, with the most Irish name, was the product of a union between Jim McCartney and his wife Mary Patricia (née Mahon). McCartney’s maternal grandfather was born in Ireland and was Catholic, while his great-grandfather—also born in Ireland—was Protestant.

John Lennon’s father was a merchant seaman of Irish descent. Lennon declared in 1971:
“I’m a quarter Irish or half Irish or something,” and, long before The Troubles started, he told Yoko Ono that’s where they were going to retire. “We went around Ireland a bit and stayed there and had a sort of second honeymoon. So, I was completely involved in Ireland.” In fact, he bought an island off the west coast of Ireland for his retirement plans.

Even Ringo Starr, born Richard Starkey, had some Irish blood traceable to County Mayo. Perhaps the most Irish of all The Beatles was George Harrison. His mother was an Irish Catholic, and he often visited Ireland to see family who lived on the Northside of Dublin.

So, it seems the infamous British Invasion was led by a quartet of Irish Wild Geese musicians!

—

### The Troubles Bring Out The Irish in The Beatles

When The Troubles broke out in Northern Ireland in 1969, two of The Beatles actively protested British occupation of Ireland.

John Lennon, collaborating with Yoko Ono, wrote **Sunday, Bloody Sunday** in response to the British killing 14 Irishmen in Derry on January 30, 1972.

*Sunday, Bloody Sunday* features bitter, virulent, and devastating lyrics:

> You Anglo pigs and Scotties
> Sent to colonise the North
> You wave your bloody Union Jacks
> And you know what it’s worth
> How dare you hold to ransom
> A people proud and free
> Keep Ireland for the Irish
> Put the English back to sea.

It continues:

> Well, it’s always Bloody Sunday
> In the concentration camps
> Keep Falls Road free forever
> From the bloody English hands
> Repatriate to Britain
> All of you who call it
https://www.irishcentral.com/roots/genealogy/beatles-irish-heritage

Latin superstar Bad Bunny will headline the 2026 Super Bowl halftime show

LOS ANGELES (AP) — Bad Bunny will bring his Latin trap and reggaeton swagger to the NFL’s biggest stage next year. The Grammy winner has been announced as the headliner for the Apple Music Super Bowl halftime show in Northern California.

The NFL, Apple Music, and Roc Nation revealed on Sunday that Bad Bunny will lead the halftime festivities at Levi’s Stadium on February 8 in Santa Clara, California. The Puerto Rican superstar’s selection comes amid another career-defining run. He is fresh off a historic Puerto Rico residency this month that drew more than half a million fans and is currently the leading nominee at the Latin Grammys this November.

Bad Bunny has become one of the world’s most streamed artists, thanks in part to albums such as Un Verano Sin Ti, an all-Spanish-language LP that has received widespread acclaim. In addition to his musical achievements, Bad Bunny will host Saturday Night Live on October 4.

“What I’m feeling goes beyond myself,” Bad Bunny said in a statement. “It’s for those who came before me and ran countless yards so I could come in and score a touchdown. This is for my people, my culture, and our history. Ve y dile a tu abuela, que seremos el HALFTIME SHOW DEL SUPER BOWL.”

Roc Nation founder Jay-Z praised the artist, saying, “What Bad Bunny has done and continues to do for Puerto Rico is truly inspiring. We are honored to have him on the world’s biggest stage.”

The 31-year-old artist, born Benito Antonio Martinez Ocasio, has won three Grammys and 12 Latin Grammys. He has become a global ambassador for Latin music, starred in films such as Bullet Train, Caught Stealing, and Happy Gilmore 2, and collaborated with top fashion houses.

Bad Bunny will enter the Latin Grammys as the leading nominee with 12 nods, dethroning producer and songwriter Edgar Barrera.

Roc Nation and Emmy-winning producer Jesse Collins will serve as co-executive producers of the halftime show, with Hamish Hamilton directing. Jon Barker, Senior Vice President of Global Event Production for the NFL, said: “We know his dynamic performances, creative vision, and deep connection with fans will deliver the kind of unforgettable experience we’ve come to expect from this iconic cultural moment.”

Last year, Kendrick Lamar shined with guest SZA in New Orleans, setting the record for the most-watched Super Bowl halftime show with 133.5 million viewers. His performance surpassed the audience for Michael Jackson’s 1993 show.

Oliver Schusser, Vice President of Apple Music and Beats, commented, “His music has not only broken records but has elevated Latin music to the center of pop culture, and we are thrilled to once again partner with the NFL and Roc Nation to deliver this historic performance to millions of fans worldwide. We know this show will be unforgettable.”

https://www.mymotherlode.com/sports/nfl-general-news/10005081/latin-superstar-bad-bunny-will-headline-the-2026-super-bowl-halftime-show.html

Soundcheck: What Struck A Chord

Music plays a central role in life, culture, and counterculture. Research shows that listening to music reduces stress hormones, slows the heart rate, and improves mood. It is a simple way to cope with everyday pressures. People turn to music when they want to manage anxiety, recover from grief, sharpen focus while studying, or stay motivated irrespective of their goals.

The act of singing or playing an instrument stimulates brain activity, strengthens memory, and builds discipline. It also creates new pathways within the brain and generates new neurons, which is important because it can protect against diseases of the mind that have no cure once the onset begins. Playing an instrument is a skill that carries over to other areas of life. A familiar melody can unlock memories and help us express emotions that some individuals can’t articulate. It’s almost like magic that a single song can transport you back to a specific moment in time.

Beyond individual well-being, music acts as social glue that binds communities together. Shared playlists, family gatherings, weddings, and live concerts create spaces where people connect and celebrate together. These shared experiences foster joy and empathy. Feelings of love, loss, and many other emotions become easier to deal with and find expression in ways that language alone sometimes struggles to match. Even the simple act of exchanging song recommendations can deepen friendships.

Culturally, music preserves history and identity in ways that textbooks simply cannot. In Pakistan, centuries-old folk songs pass down stories of place, language, and folklore. They keep a variety of traditions alive from Sindh to Gilgit-Baltistan. These songs carry the voices of our ancestors—their struggles, celebrations, and dreams. Qawwali, for instance, can open a spiritual door, particularly when all others fail. It is an expression of divine will and consequently lifts the soul.

Meanwhile, contemporary genres such as hip-hop, pop, and electronic music give younger generations a platform to reflect on modern realities and global influences. Streaming services like Spotify and YouTube have widened this reach dramatically. They allow regional artists to find audiences far beyond their own regions. The rules of geography and man-made borders take a backstage. They also make it easier for listeners to explore both ancestral sounds and cutting-edge trends.

Whether ancient or modern, personal or collective, music remains a universal language that speaks to everyone, regardless of background or belief. National shows such as Pakistan Idol add another layer by uncovering hidden singers and giving them a stage to be heard. This serves as a reminder that talent exists everywhere, not just in big cities. These platforms give a chance to extraordinary voices emerging from the most unexpected places—small towns as well as bustling neighborhoods.

—

### 313 Productions to Produce Pakistan Idol as It Enters Phase 2 with Record Participation

HL Global has named 313 Productions as the official producing partner of Pakistan Idol, with seasoned producer Badar Ikram at the helm. The show is set to premiere today, a date that means a great deal to music fans across the country.

Badar Ikram, a veteran of Pakistan’s television industry, launched Karachi-based 313 Productions in July after eleven years as SVP and Head of Film at a well-known local channel’s film division. In the past, he was also the Managing Director of Geo TV, which produced the programme’s first and only season more than a decade ago. This gives Ikram unique insight into what made the original show work and what needs to be improved for the upcoming second season.

Pakistan Idol hopes to raise production standards and audience engagement while offering a platform to undiscovered singers. The goal is not only entertainment—it’s about creating real opportunities for talented individuals who might otherwise never get their big break. Badar Ikram called the project both an honour and a responsibility, words that reflect the weight of nurturing new talent in a country with an immense pool of potential.

Meanwhile, MHL Global’s Director, Zoya Merchant, praised the energy at auditions and expressed confidence that the show will inspire viewers and highlight new talent. Auditions have been held nationwide, and state-of-the-art sets have been prepared. The competition has now moved into Phase 2, as organisers begin shortlisting contestants from a vast pool of applicants. This is a task that is both exciting and daunting given the sheer volume of talent.

Auditions drew singers from Karachi, Lahore, Islamabad, Rawalpindi, Multan, Sukkur, Quetta, and Peshawar. There was also notable turnout from Azad Jammu and Kashmir, Gilgit-Baltistan, and many smaller towns including Khairpur, Jacobabad, Gujrat, D.G. Khan, D.I. Khan, and Hyderabad. The geographic diversity is remarkable.

Those who auditioned wanted to prove that talent knows no boundaries. While many will not make it as contestants, it was heartening to see such turnout. Venues were busy, often with long queues and hundreds of hopefuls auditioning for a chance to progress to the next round. Many contestants travelled for hours just to perform, carrying dreams that had been years in the making.

Pakistan is more than one thing, and this show is ample proof. The judging panel for Pakistan Idol includes musician and actor Fawad Khan; qawwali and playback singer Rahat Fateh Ali Khan; singer Zeb Bangash; and singer-songwriter, scriptwriter, storyteller, and director Bilal Maqsood.

“What makes Idol special is how it brings Pakistan together through music,” said Zoya Merchant. “From the smallest towns to the biggest cities, every voice matters here. This is where dreams meet opportunity and where the next star is born.” Her words capture something essential about the show’s mission. It’s not just about finding one winner but about celebrating the musical diversity that exists across the country.

As part of the global Idol franchise, the show offers the average individual an opportunity to transform their passion into a profession. Ultimately, Pakistan Idol aims to create a cultural moment that could resonate for years to come. With 313 Productions at the helm and record participation from across the country, the programme has the potential to reshape the local music ecosystem.

The show could become a genuine launchpad for new careers rather than a one-season spectacle. This depends on whether production value, the judging panel, and broadcast partnerships match the ambition shown at auditions. The stakes are high, but so is the potential.

For now, the biggest story is the sheer breadth of talent that turned up. It’s a reminder that opportunity, when paired with the right platform, can change lives and revive interest in the local music scene. In a country where musical talent often goes unrecognised, Pakistan Idol represents hope—hope that the next generation of artists will have better opportunities than those who came before them.

—

### How to Make the Most of Spotify Free

Spotify, the world’s largest audio streaming platform, is always innovating to keep listeners engaged. Spotify Free is another step in that direction. It puts a huge library in anyone’s pocket, letting listeners search, play, and share without a subscription.

In Pakistan, many users begin their streaming journey on the free tier, and honestly, it’s a good starting point. You can search for any track, play a suggested playlist, or jump straight into a song a friend has shared. The appeal lies in its simplicity and immediate access to millions of tracks.

Personalized lists such as Discover Weekly and Release Radar help you find new music. The more you listen and share, the more accurate the recommendations become. It feels like having a friend who understands your taste in music and keeps introducing you to new favourites.

Daylist adapts throughout the day to match your routine. It provides upbeat tracks for your morning workout and mellow tunes for your evening wind-down. Meanwhile, real-time lyrics make it easy to sing along and share lines on Instagram or WhatsApp. There’s something satisfying about posting those perfect lyrics that capture exactly how you’re feeling at that moment.

For local listeners, Spotify Free is an entry point to both familiar favourites and new voices from across the country. It’s where you might discover that incredible singer from Multan or that indie band from Lahore that’s about to blow up. It lowers the barrier to discovery. There’s no financial commitment, just curiosity and a willingness to explore.

For emerging artists, this openness can lead to real exposure. For listeners, it can spark interest in gigs—particularly local ones—or talent shows such as Pakistan Idol. In that sense, the free tier is more of a beginning than an ending. It’s the first step in an ongoing conversation between artists and audiences that helps keep the music alive—the digital equivalent of discovering new music through word of mouth, just on a much larger scale.
https://www.thenews.com.pk/tns/detail/1346799-soundcheck-what-struck-a-chord