Abu Dhabi, Dubai, Ajman, Fujairah, Ras al Khaimah, Sharjah and Umm al Qaiwain. The less geographically astute amongst us may be unfamiliar with many of these regions individually, as the United Arab Emirates.
Each governed by a hereditary emir, they make up the Supreme Council of Rulers who then appoint the prime minister and cabinet that preside over the seventh-largest proved reserves of both crude oil and natural gas in the world¹.
As ruler of Abu Dhabi and president of the UAE at its inception in 1971, the late Sheikh Zayed was quick to seize on the potential of the oil industry, overseeing the development of all the emirates and the flow of oil revenues into healthcare, education and the national infrastructure. Such financial and politcal independence was in 2011 described as the setting of the sun for British Empire by The Nationalwriter Jonathan Gornall.
Nevertheless, such hyperbole seems to have struck a chord with the Daily Mail, who in a article examining increased levels of Qatari investment in British infrastructure projects – or ‘How Qatar bought Britain’ – referred to the expansion of Qatar’s capital Doha as ‘the equivalent of Britain’s Industrial Age.’
As these symbols dominate both skylines and headlines in equal measure, LBB favourite Matthias Heiderich frames the UAE’s striking statements of industrial expansionism in manner that has become unique to the Berlin-based photographer.
Top that off with a remix by Widows’ Bobby Evans and some real arthouse minimalism by RBMA alumni Swede:art, and what you have is a sophisticated smash. Friday soon come – December 10, 2012 on Earnest Endeavours.
Were I to have received a penny for every programme that has been compared to The Wire, I’d have enough money tucked away to have executive produced Mad Men: one of the few shows worthy of such comparison, and one that has made its return on the Outer Hebredies of British television – Sky Atlantic.
Rather than dwell on my lack of free-viewing opportunities, allow me to delve into the impressive promotional photography’s ode to painter Edward Hopper. Subtlety of this nature is something one can come to expect from a show that is as true to life as it is a supreme work of fiction.
The angst, unrequited emotions and unspoken words present in Hopper’s work flow through Andy Ryan’s images, creating a suggestive, intriguing narrative. I couldn’t state with any certainty what Donald Draper’s take would be on this work, but Ansel Neckles says that if you are going to tell a story through picture, make sure it says the right things and has the viewer asking the right questions.
The answers to the Eurozone’s ills, all contained within the ill verses of Euro Neuro by
Eurovision 2012 Montenegrin entry Rambo Amadeus. Yes, I said ‘ill’. Yes I said I’m voting.
Let’s get this straight – I’ve never voted for any song in the Eurovision Song Contest in all my years of existence. This year though, is the exception.
Rambo Amadeus has been a cult figure in the music scene of the Western Balkans for more than 20 years. For late-comers like myself, the cult-like admiration starts now. Sorry Engelbert, you’ve had your day. It’s Rambo time.